‘Neruppu Da’ -Arunraja Kamaraj, Lyricist-Singer
Arunraja Kamaraj has written and sung for films like Pizza, Jigarthanda, and Theri, but it’s ‘Neruppu Da’ that has completely transformed his career. “A Rajini sir film elevates everybody associated with it.”
It all came about when his long-time friend Santhosh Narayanan invited him to his studio at midnight. Arunraja figured he’d been called for help with Iraivi or Manithan. When he entered the studio, he was surprised to see director Pa. Ranjith in conversation with Santhosh about ‘Maya Nadhi’. He knew, of course, that they were working on Kabali.
It was when Santhosh played the ‘Neruppu Da’ track without vocals that Arunraja realised he was to write a song for Kabali. “I was asked to write about the character, keeping in mind the Superstar’s image.” Any other lyricist might have asked for a day or two, but Arunraja knew that such opportunities come by rarely. “They continued discussing the album, while I sat down and got myself into the mood by watching Thalapathi, Annamalai and Baasha.” Subsequently, this song, which has now been watched 60 lakh times on YouTube, was written in all of 20 minutes, and only two words were eventually changed. He’s as comfortable with Santhosh Narayanan as he is by himself, so the lack of privacy didn’t really hamper his creativity.
And then something unexpected happened. “Come, let’s record it,” said Santhosh. Arunraja agreed immediately. As he prepared to sing, he recalled Santhosh’s advice when they worked on hit Telugu song ‘Gangs of Ditchpally’, in Billa Ranga. “Kevalamaa paadu. Koral kodooramaa irukkanum (Sing horribly. Your voice should sound unpleasant).”
About his guttural laugh in the song, he says, “I was a huge fan of Will Smith’s songs when growing up in my village. I’d often sing them and laugh in between like he does. People in my village thought I was quite odd.” The teachers of the government school in this village – Kulithalai, in Karur – created in him a love for Tamil. “They saw us not as ATM machines, but as students.” Arunraja is disgusted by how education today is so focussed on grades. “Students pick French and Sanskrit in high school, only so they can get more marks.”
Arunraja is an untrained singer, and so, isn’t really keen to accept all the invitations to sing. “If some composer tells me, “Madhyathla paadunga”, I’d have no idea what to do. I’d rather not waste their time and mine.” He denies that Santhosh and gang are out to create a revolution with colloquial lyrics and untrained voices. “We just aim to contribute whatever is suitable for the film. But I guess we are avoiding some clichés.”
He almost believes that invisible forces have conspired to make these things happen. “How else can you explain that even in the first song I wrote (‘Rathiriyai’ for Pizza), some Rajini sir lines were used? And now, his dialogues are part of my track again.” Arunraja doesn’t yet know how his song will be used in the film. “I heard from a Ranjith interview that Rajini sir likes the song.” But he wants to hear it first-hand from the man himself. “It’d be enough if he looked at me and said, ‘Magizhchi’.”
'Maya Nadhi’ - Shweta Mohan, Singer
For singer Shweta Mohan, the joy was three-fold joy — first, a call from music composer Santhosh Narayanan; second, time in a Rajinikanth movie; and third, the sole female voice in the male-dominated Kabali album.
“The call came from Santhosh and I was excited from head to toe,” she says. “His wife Meenakshi explained that the song will be placed at a very important point of the movie, calling for an added flavour of freshness.”
Shweta said it was thrilling to render Uma Devi’s meaningful lyrics in the number, which was about love, affection and the bond between two adults meeting after ages. “The pitch I sang in was in tune with the minimal orchestration and soft melody. Ananthu and Pradeep Kumar contributed the male voices.”
Any instructions from the composer? “By nature, Santhosh is a chilled-out person, and all he wanted from me was to be myself and do away with any unwanted pressure. He is a great sound engineer, and once he got what he desired, he told me to pack up and took the mike off.”
Thrilled at the reach and unending phone calls, Shweta said the number will easily feature among her best. But her pick of the soundtrack is ‘Vaanam Paarthen’, the solo by Pradeep Kumar, with Kabilan’s lyrics.
“I simply fell in love with the lyrics starting with “Vaanam Paarthen” and ending with “Inimel Vendaamadi Kai Seradi”. Pradeep gave a new colour with his haunting voice. One listen isn’t enough.
‘Ulagam Oruvanukka’ - Gana Bala, Singer
Gana Bala’s 46th birthday fell on June 20, but the celebrations began eight days earlier – on June 12, when the Kabali songs hit the market. The realisation was yet to sink in for the singer, who talked on his music, despite a sea of well-wishers at his home.
He seems to share a special bond with composer Santhosh Narayanan, having done two numbers each in Attakathi, Madras and the mother of them all, Kabali. But for the first time, there is no Gana Bala solo in a Santhosh Narayanan album, and I asked him about that.
“That is what the film requires. There is nothing beyond that. There is a mutual respect I share with Santhosh. Our wavelengths have become increasingly similar after each hit. There was no extra pressure due to the Rajinikanth factor. This is my first song for him. The instructions were clear. Santhosh just wanted me to be myself in the track ‘Ulagam Oruvanukka’, meant to praise the protagonist with minimal music and with emphasis on maximising the sound effects. The subtle whistling is going to be awesome when you watch it on screen.”
Dwelling on the ‘Veera Thurandhara’ number, Bala said, “The instruction was to stick to a low pitch and the voice had to be in tune with that, softness being the key. It was relatively easy to sing in a low pitch as I am more comfortable.” When I asked if he was given any song as a reference, he said, “Santhosh never gives any reference songs.”
What about his voice? Was it ‘fixed’ later? “It is not fixed on the computer, if that’s what you mean. As a singer, I give the best options, and it is up to the composer to retain the soulfulness in the mix.”
In the passage that goes “Urimai Yaazh Meetinaan / Unarvaal Vaal Theettinaan / Ulagin Yaarena Kaatinaan”, the singer emphasises the second syllable of the last word of each line. “It was Santhosh’s idea. Fine-tuning and innovations are better left to composers. My job is to deliver what is being asked.”
I asked him if he knew he was singing a song for Kabali when he walked into the recording room. “Santhosh is not one to keep things under wraps,” he said. “I knew the song was for Kabali when I walked into the studio. And I was not nervous.”
Not surprised at the final output Bala said, “It’s better if the lines are simple for the best effect and the highest reach. You do not need heavier instruments for a ‘Gaana’ number like ‘Don’t Worry Be Happy’, my favourite number apart from ‘Aadi Pona Aavani’.”
Bala said life took a new meaning after ‘Kasu Panam Dhuttu’ became a big hit. “Now, there is a clamour for ‘Gaana’ songs. especially in movies with dark humour. That is a happy situation for people like me, who would otherwise still be knocking on people’s doors.”
‘Veera Thurandhara’ - Uma Devi, Lyricist
Of the two songs Uma Devi has penned for Kabali, she says “they are as different as chalk and cheese”. Talking on ‘Veera Thurandhara’, she says, “Thurandhara is a new word to Tamil cinema, but very much significant in Tamil literature, signifying that the don is out to protect the people of his region. The song is about the eight noble thoughts in Buddhism – Virtue, Concentration, Wisdom, Right Understanding, Right Thought, Right Speech, Right Action and Right Livelihood. These eight characteristics or factors aim at developing and perfecting the essence of Buddhist training without resorting to arms or ammunition. Director Pa Ranjith wanted to bring all these into the song.”
Of the other one with the lyrics “Maya Nadhi Indru Maarbil Vazhiyudhe, Thooya Naraiyilum Kadhal Malarudhe”, Uma said, “It was a delight to bring out the feelings of two adults when they meet after a long time. The words convey their emotions, of joy and of losing out. I got the licence to play around with the words, thanks to my literature background.”
Uma reveals that her poetry, which has been published in various journals, paved the way for her entry into the movies. “My collection of poems, Thisaigalai Parugiyaval, found an admirer in director Ranjith, who called to congratulate me. He then offered me the chance to write my first song, ‘Naan Nee’ in Madras.
With 25 films on hand – including ones with music composer Gibran (untitled) and Vikram (Thuqlaq) – Uma hopes to have an extended run. She says, “I am thankful for the warmth with which the industry has received me and appreciated me at every turn.”
