When you cannot call Santhosh Narayanan a musician! ~ you can call him a magician.on: June 22, 2016
http://www.ceylonews.com/2016/06/when-you-cannot-call-santhosh-narayanan-a-musician/
By Thava Sajitharan
It is difficult to find someone as comprehensively illiterate as I am when it comes to the language of music.
I am totally unschooled in the grammar of this lofty art and have no clue how music is created or how its inherent structures and symbols work. I possess neither the wisdom nor the credentials required for one to be able to speak competently about the subject.
Yet this has not stopped me from falling in love with music. (Come to think of it, falling in love with music is no different from falling in love with a woman – in both instances, metaphorically speaking, you allow yourself to be bewitched by an unfathomed, unfathomable ocean).
So I have chosen to write about something related to music this week. And I am well aware that, by doing so, I am knowingly putting myself among the proverbial fools that rush in where angels fear to tread.
The inextricable
As far as we Tamils are concerned, it is through cinema that music permeates our day to day activities. We, the laymen and women, listen to a lot of film songs every day.
Ilayaraja, AR Rahman and their likes are the psychotherapists we consult when we are in sorrow and distress. They are also the best companions whom we share the most joyful moments of our lives with (in a metaphysical sense). And I am no exception to this.
**
In December 2012, on the eve of New Year, I was asked by a Facebook friend to list my top ten favorite songs of that year.
Right now I am not able to recall the precise details of the list. But there is one particular song that has stuck in my mind. And there are two reasons why this song springs to mind promptly. One: to date that track remains in my list of favorite songs while other songs have faded away like an old memory. Two: to my surprise, some of my friends who were ardent music lovers had not heard of the track and its composer at that time.
The song, ‘Aasai oru pulveli’, composed by Santhosh Narayanan, was for the movie ‘Attakathi’, written and directed by Pa Ranjith.
https://youtu.be/YsMoZ5XO2xU
Attakathi, which proved to be a sleeper hit, was Pa Ranjith’s first film. Santhosh Narayanan was also a ‘newcomer’ to the Tamil film industry at that time.
Four years down the line, Pa Ranjith happens to be the director of India’s most-awaited movie of the year: the-soon-to-be-released ‘Kabali’ featuring superstar Rajinikanth, while the songs composed by Santhosh Narayanan for the same movie have easily trounced all other albums released this year, shattering many Youtube records in the process.
In these four years, Santhosh Narayanan has continued to produce a number of mesmerizing melodies with amazing consistency.
‘Mogathirai’ in Pizza, ‘Poo Avizhum Pozhuthil’ in Enakkul Oruvan (whose lyrics penned by Vivek Velvurumagan is one of the best I have come across) and ‘Aagayam Thee Pidicha’ in Madras are to name but a few.
‘Vaanam Paarthen’ in Kabali for me is the jewel in the crown; its soulful music so reminiscent of Maestro Ilayaraja. (An interesting fact to note about all the above-mentioned tracks is that they feature vocalist Pradeep Kumar).
The contrast
If on the one hand Santhosh Narayanan has been conjuring up such melodious marvels with seemingly effortless ease, on the other hand he has also been busy introducing hard-hitting, previously unheard sounds to the Tamil audience.
The track ‘Ding Dong’ in Jigirthanda is an apt example. Its vocals – the way it was sung, its instrumental sounds, all offer a very fresh experience to the listener. Ding Dong in many ways was the forerunner of the super hit ‘Neruppu da’ song in Kabali, which at the time of writing this column has garnered over 5.6 million views on Youtube within a span of 10 days.
Santhosh Narayanan also has this unique knack for picking peculiar voices: vocalists Gana Bala, Arunraja (who penned and sang Ding Don as well as Neruppu da) and Pradeep Kumar were all his finds.
Even before the release of the Kabali album, Santhosh Narayanan had proven himself to be one of the topmost bankable composers in the industry.
With Kabali album becoming an unparalleled chartbuster thanks to the unshakable stardom of Rajinikanth, he stands to be one of the most sought-after musicians in India.
Criticism
But with increasing fame comes exceeding scrutiny and criticism.
The other day I was watching an online video featuring interviews with the team behind the creation of Kabali album. Lyricists, singers and instrumentalists were among those interviewed.
The interviewees have shared some fascinating stories about the Kabali experience in that show. But a remark made by a viewer in the ‘comments’ section is what increased my curiosity manifold.
He or she had referred to an interview which legendary singer SP Balasubramaniam gave to popular host Bosskey. And the commenter suggested that the ace singer was questioning the credentials of Santhosh Narayanan as a musician.
Surprised, I went on to check the said interview also available on Youtube.
It is a fabulous conversation in which SPB candidly shares many of his nostalgic, fond memories involving acclaimed veterans in the Indian music industry and praises their greatness.
Asked about today’s music directors, he expresses dismay and at one point disapprovingly alludes to a “music director” who “doesn’t know anything” and “has got an arranger in Australia”. He goes on to say that the said music director “doesn’t mind spending a crore of rupees per song”.
Given that Santhosh Narayanan’s music production is partly done in Australia, the commenter I mentioned earlier suggests that SPB was talking about Santhosh Narayanan.
Only SPB will know who he had in mind when he was making that observation.
And it is no secret how Santhosh Narayanan produces his music. All those who contribute to his production get credited on youtube and elsewhere in a detailed manner.
But if SPB was indeed talking about Santhosh Narayanan, is it to be understood as a veteran’s bafflement at how new generation music production is done?
I have no clue. As I said right at the outset I am not knowledgeable enough to expound how music is made or enter into a debate on how it ought to be made. All I can talk about is how a well-made music affects me.
So if Santhosh Narayanan does not fit in with the conventional definition of being a musician, there should be another term that better describes the way in which he has amazed us. I think I have a good suggestion.
If we cannot call Santhosh Narayanan a musician, let’s call him this: a magician. For the feat he’s achieved through his journey from Attakathi to Kabali is nothing short of wizardry.
Thava Sajitharan is a lyricist, poet, broadcaster and documentary filmmaker. He is working as executive producer at IBC Tamil television in London at present. To share your feedback, please write to: sajitharan@ibctamil.com
Links for songs and interviews discussed in the column:
Aasai oru pulveli: https://youtu.be/YsMoZ5XO2xU
Mogathirai: https://youtu.be/FYPIS7WZkBo
Poo avizhum pozhuthil: https://youtu.be/O7DFE5ipiRs
Aagayam thee pidicha: https://youtu.be/9VFv0ZSFRw8
Vaanam Paarthen - https://youtu.be/QoCUEvewVYs
Neruppu da: https://youtu.be/LHaGDT6Pdbk
Ding Dong: https://youtu.be/HlDDpLg-gnY
Interviews with the team behind Kabali album - https://youtu.be/coqJbe6--Cs
Bosskey in conversation with SP Balasubramaniam
https://www.youtube.com/watch?v=OOA6z6omg74
http://www.ceylonews.com/2016/06/when-you-cannot-call-santhosh-narayanan-a-musician/
By Thava Sajitharan
It is difficult to find someone as comprehensively illiterate as I am when it comes to the language of music.
I am totally unschooled in the grammar of this lofty art and have no clue how music is created or how its inherent structures and symbols work. I possess neither the wisdom nor the credentials required for one to be able to speak competently about the subject.
Yet this has not stopped me from falling in love with music. (Come to think of it, falling in love with music is no different from falling in love with a woman – in both instances, metaphorically speaking, you allow yourself to be bewitched by an unfathomed, unfathomable ocean).
So I have chosen to write about something related to music this week. And I am well aware that, by doing so, I am knowingly putting myself among the proverbial fools that rush in where angels fear to tread.
The inextricable
As far as we Tamils are concerned, it is through cinema that music permeates our day to day activities. We, the laymen and women, listen to a lot of film songs every day.
Ilayaraja, AR Rahman and their likes are the psychotherapists we consult when we are in sorrow and distress. They are also the best companions whom we share the most joyful moments of our lives with (in a metaphysical sense). And I am no exception to this.
**
In December 2012, on the eve of New Year, I was asked by a Facebook friend to list my top ten favorite songs of that year.
Right now I am not able to recall the precise details of the list. But there is one particular song that has stuck in my mind. And there are two reasons why this song springs to mind promptly. One: to date that track remains in my list of favorite songs while other songs have faded away like an old memory. Two: to my surprise, some of my friends who were ardent music lovers had not heard of the track and its composer at that time.
The song, ‘Aasai oru pulveli’, composed by Santhosh Narayanan, was for the movie ‘Attakathi’, written and directed by Pa Ranjith.
https://youtu.be/YsMoZ5XO2xU
Attakathi, which proved to be a sleeper hit, was Pa Ranjith’s first film. Santhosh Narayanan was also a ‘newcomer’ to the Tamil film industry at that time.
Four years down the line, Pa Ranjith happens to be the director of India’s most-awaited movie of the year: the-soon-to-be-released ‘Kabali’ featuring superstar Rajinikanth, while the songs composed by Santhosh Narayanan for the same movie have easily trounced all other albums released this year, shattering many Youtube records in the process.
In these four years, Santhosh Narayanan has continued to produce a number of mesmerizing melodies with amazing consistency.
‘Mogathirai’ in Pizza, ‘Poo Avizhum Pozhuthil’ in Enakkul Oruvan (whose lyrics penned by Vivek Velvurumagan is one of the best I have come across) and ‘Aagayam Thee Pidicha’ in Madras are to name but a few.
‘Vaanam Paarthen’ in Kabali for me is the jewel in the crown; its soulful music so reminiscent of Maestro Ilayaraja. (An interesting fact to note about all the above-mentioned tracks is that they feature vocalist Pradeep Kumar).
The contrast
If on the one hand Santhosh Narayanan has been conjuring up such melodious marvels with seemingly effortless ease, on the other hand he has also been busy introducing hard-hitting, previously unheard sounds to the Tamil audience.
The track ‘Ding Dong’ in Jigirthanda is an apt example. Its vocals – the way it was sung, its instrumental sounds, all offer a very fresh experience to the listener. Ding Dong in many ways was the forerunner of the super hit ‘Neruppu da’ song in Kabali, which at the time of writing this column has garnered over 5.6 million views on Youtube within a span of 10 days.
Santhosh Narayanan also has this unique knack for picking peculiar voices: vocalists Gana Bala, Arunraja (who penned and sang Ding Don as well as Neruppu da) and Pradeep Kumar were all his finds.
Even before the release of the Kabali album, Santhosh Narayanan had proven himself to be one of the topmost bankable composers in the industry.
With Kabali album becoming an unparalleled chartbuster thanks to the unshakable stardom of Rajinikanth, he stands to be one of the most sought-after musicians in India.
Criticism
But with increasing fame comes exceeding scrutiny and criticism.
The other day I was watching an online video featuring interviews with the team behind the creation of Kabali album. Lyricists, singers and instrumentalists were among those interviewed.
The interviewees have shared some fascinating stories about the Kabali experience in that show. But a remark made by a viewer in the ‘comments’ section is what increased my curiosity manifold.
He or she had referred to an interview which legendary singer SP Balasubramaniam gave to popular host Bosskey. And the commenter suggested that the ace singer was questioning the credentials of Santhosh Narayanan as a musician.
Surprised, I went on to check the said interview also available on Youtube.
It is a fabulous conversation in which SPB candidly shares many of his nostalgic, fond memories involving acclaimed veterans in the Indian music industry and praises their greatness.
Asked about today’s music directors, he expresses dismay and at one point disapprovingly alludes to a “music director” who “doesn’t know anything” and “has got an arranger in Australia”. He goes on to say that the said music director “doesn’t mind spending a crore of rupees per song”.
Given that Santhosh Narayanan’s music production is partly done in Australia, the commenter I mentioned earlier suggests that SPB was talking about Santhosh Narayanan.
Only SPB will know who he had in mind when he was making that observation.
And it is no secret how Santhosh Narayanan produces his music. All those who contribute to his production get credited on youtube and elsewhere in a detailed manner.
But if SPB was indeed talking about Santhosh Narayanan, is it to be understood as a veteran’s bafflement at how new generation music production is done?
I have no clue. As I said right at the outset I am not knowledgeable enough to expound how music is made or enter into a debate on how it ought to be made. All I can talk about is how a well-made music affects me.
So if Santhosh Narayanan does not fit in with the conventional definition of being a musician, there should be another term that better describes the way in which he has amazed us. I think I have a good suggestion.
If we cannot call Santhosh Narayanan a musician, let’s call him this: a magician. For the feat he’s achieved through his journey from Attakathi to Kabali is nothing short of wizardry.
Thava Sajitharan is a lyricist, poet, broadcaster and documentary filmmaker. He is working as executive producer at IBC Tamil television in London at present. To share your feedback, please write to: sajitharan@ibctamil.com
Links for songs and interviews discussed in the column:
Aasai oru pulveli: https://youtu.be/YsMoZ5XO2xU
Mogathirai: https://youtu.be/FYPIS7WZkBo
Poo avizhum pozhuthil: https://youtu.be/O7DFE5ipiRs
Aagayam thee pidicha: https://youtu.be/9VFv0ZSFRw8
Vaanam Paarthen - https://youtu.be/QoCUEvewVYs
Neruppu da: https://youtu.be/LHaGDT6Pdbk
Ding Dong: https://youtu.be/HlDDpLg-gnY
Interviews with the team behind Kabali album - https://youtu.be/coqJbe6--Cs
Bosskey in conversation with SP Balasubramaniam
https://www.youtube.com/watch?v=OOA6z6omg74
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