Album tamil movie music director
So it became very difficult for me to convince producers. They think that you can only do one type of music.
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The problem with doing devotional albums is that people do not get to see your variety. And then Vaigasi Poranthachu happened in 1990. It was not a big success but it put me on the map. My first movie was Manasukketha Maharasa in 1989, which had Ramarajan. That is when MS Viswanathan came to an event and told the gathering that I deserve a movie chance. I did almost 450 albums for which all the big singers sang. By the 1980s, I began doing devotional albums, which became a big hit. At the same time, I learnt Indian classical on the harmonium from JB Krishna master. I then learnt the piano from Dhanraj master, who also taught Ilaiyaraaja. I was suspended for 15 days for touching the piano. Since I had some rudimentary knowledge of the keys by then, the workers there would ask me play through the night for entertainment as it was a tiring job. I remember one time when they brought a piano to the set. My job was to help make the shooting sets.
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By then, due to family pressure, I took a job in Doordarshan as a floor assistant. But unfortunately, certain circumstances led to Chandrabose scoring the music on his own. I think around 1977, we got a chance in the movie Madurai Geetham by Guhanathan. In 1973, music director Chandrabose and I started the Boses Deva troupe. Then, drama stars such as Chandramouli, S Ve Shekar, Y Gee Mahendran started asking for me to play the harmonium. I slowly started doing that in three or four years. In those days, the harmonium was played between scenes in plays to keep the crowd engaged. So whenever they were not in their office, I began playing the harmonium. My job was to get taxis for them since they had to hop from one concert to another every day.Īt that point, I was interested in music, but had no knowledge of any instruments. Kamesh and Rajamani were popular drama musicians. The Tamil theatre scene was very strong in the 1960s and 1970s. I failed the pre-university course at Vivekananda College in Mylapore. It was the radios in shops and big speakers at public events that brought whatever little music I heard to my ears in those days. I remember that we did not even have a radio in our home in Mylapore until I turned 18. My father was a postman and had to take care of a large family. Were you not interested in music in your younger days? You had no music training until you were well into your thirties. The interview was conducted in Tamil and translated into English. In an interview, the composer talks about his humble beginnings, his early struggles, and his chartbusting work during the 1990s. His scores played a big role in the emergence of actors Ajith and Vijay, with hits such as Kadhal Kottai, Aasai, Nerukku Ner, Vaali, Priyamudan, Ninaithen Vanthai, Kushi helping them establish themselves as the next-generation superstars.īorn in 1950, Deva is often called the “King of Gaana” for bringing the Madras Gaana beat to commercial cinema. In 1996, Deva composed tunes for 36 movies. The 1990s belonged as much to Deva as it did to Rahman. The theme music was so popular that when Rahman composed for Muthu in 1995, he retained a bit of it for the “Super Star Rajni” signage that appears at the beginning of all of the actor’s movies. While Annamalai’s songs were melodious and peppy, its background music was extraordinary and tailor-made for its hero. Its composer was Devanesan Chockalingam, known popularly as Deva.
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Its music was as popular, if not more, than Roja’s. That year’s biggest box office hit wasn’t Roja, however, but the Rajinikanth-starer Annamalai. The year 1992 in Tamil cinema is remembered for the emergence of AR Rahman through Mani Ratnam’s Roja. The great music composer MS Viswanathan called him “thenisai thendral”, or the breeze of sweet music.