Boxing a tribute for a man who just completed a journey of 1000 films as a music composer in my usual limit of 1000 words is going to be tough. Even tougher is going to be the task of choosing from his expansive body of work for driving home a point. So it is with much trepidation, I sit to pen this tribute to the Maestro Ilayaraja, – as per me the best “all around” Indian composer of film music of our times on his 1000^th film as a music director. The film Thaarai Thappattai (names of folk percussion instruments) and its maker Bala are indeed lucky to be a part of this milestone.

For those in their 40’s and 50’s and who grew up in the south of Vindhyas and Tamil Nadu in particular, Ilayaraja (Raja from now on) would have been a fellow traveller in life with his music. Tamil Film music has 2 eras – one before Raja and the other after. For the very discerning and ever critical ears in South India inspite of Raja making waves early, I would say he was on “probation” probably till his 100^th film – Moodu Pani.  That was a good 5 years since he made his debut in Annakili. Till then, there was a feeling that though he was good, he was repetitive and can’t see beyond Tharai Thappattai – folk style I mean. But ever since this landmark of 100 films I must say there was no looking back. And as we stepped into the 80’s Raja with his music was like “Narasimha Avatar” – Omnipresent. Thoonilum Irunthar, Thurumbilum Irunthar!!!

Honest Disclosure. I am an unapologetic admirer of Raja’s work. A lot has been said and written about his modest upbringing, his travails as a struggler in Madras,..,… and how he became what he is today. So not going to dwell on those. This piece is entirely going to be on my connection with Raja and his work.

For me the tipping point was Raja’s music in Bharathiraja’s Nizhalgal.  In a middle class household with just a radio to define the entertainment quotient, my first brush with Raja was the Sunday afternoon programme in Trichy AIR called Neengal Kettavai where the top 10 songs of that time were played. I remember many weeks when the entire 10 songs were of Raja’s. Then gradually technology presented many options to be in touch with Raja.  From his initial style of churning rustic tunes and melodies, gradually his repertoire extended to Western Classical melodies, tunes laced with Carnatic scales and other contemporary stuff.

I started this intended hagiography like piece on Raja by saying that he is the best “All around” music composer of our times. His music was melodious at times, haunting at times, chirpy at times, romantic at times, melancholic at times. I am now at a loss of better adjectives. Enough to say that his music went beyond just great songs. Many aspects of his work prove this beyond doubt.

• Like there is no other composer who can “Value add” to a song situation better than Raja. There are examples galore:
  • In this song from the film Nayagan, the situation is of a duet between the hero and the heroine in happy times. Generally speaking any plain vanilla melodious tune would have done the job. But Raja comes with this peach of a melody – Nee Oru Kaadhal Sangeetham,..(listen here) which conveys the joyous mood between the lovers but with a subtle trepidation. The song moves you to no end and grows on you. Amazing stuff!
  • Another example is this song from Punnagai Mannan. The film opens with this situation I think. 2 Lovers try to spend “quality time” together in a forest kind setting before they call it “Quits” forever. The song is supposed to walk us through this rather traumatic situation. Raja lifts the song situation few notches above with this layered piece Enna satham inda neram,…(listen here)
  • Now look at the very many melodies he churned for plain vanilla duet situations which according to me are equally masterclass – Thendral vanthu ennai thodum,.. or for that matter Vaa Vaa Vaa Kanna Vaa for example.
• Like Raja’s knack of weaving the story line in the songs. In a sense using the songs to convey a sense of foreboding.
  • If you listen to this song from Moondram Pirai – Kanne Kalaimane,…. A lullaby song which could have been just that. But Raja (combined with the words of another genius poet Kannadasan) weave a kind of pathos into the lullaby situation and prepare us for what would be coming.
• Like using a song as a theme in the Background score. Raja is a trail blazer in this.
  • Best example being Then Paandi Seemaiyile,… in Nayagan
  • Another song is Poongaatru thirumbuma,… from Mudhal Mariyaadhai.
    • As the film traverses from good times to sad times the mood of the theme song changes.
  • Like being spot on in the choice of singers to suit a particular actor/character/mood.
    • Though those days the choice was limited for singers unlike these days of “Super singers emerging from reality shows” – Raja was canny in his choice. So while he went mostly with SPB/Yesudas for Kamal, It was always SPB for Mohan. And as Rajinikanth transformed from being a villain to an anti – hero to a superstar – Raja also moved from Malaysia Vasudevan to SPB. And he sang himself for the rustic Ramarajan and the likes!
    • When the mood is of sensuousness his call was to Janaki for the female voice. In Idhayathai thirudathey while most of the songs are sung by Chitra the one song (Om Namaha,…) which is a very romantic sensuous number he went with Janaki. By the way this song is another testimony to Point 1 as above.
  • Like Raja being the best in business in India as far as Back ground score is concerned. Apart from his songs, his background score elevates the movie to a different level. I have seen this in many films. But the following examples sort of seal the point.
    • Film is Maniratnam’s Thalapathy. Rajinikanth, Mammooty, Nagesh, Kitty and Arvind Swamy are engaged in a heated argument in Arvind Swamy’s office. Watch this clip. And watch how Raja’s BGM at the end of the scene lifts the drama element of the scene. Best part is for most part of the scene there is no BGM but the timely intervention is what makes it brilliant. This is just pure brilliance.
    • In this very heart rending scene in Kamal’s Apoorva Sagotharargal – it is interesting to see how Raja value adds with his BGM.
    • The Background score in Bhagyaraj’s film – Vidiyum Varai Kaathiru is a case in point where the BGM keeps you on the edge of the seat.
    • Even in his latest outing Tharai Thappattai his BGM is haunting and at the same time outstanding. Watch this.
  • Like without making it obvious, using classical ragas in many of his songs with small tinkering in the scale.
    • The superb piece – Anthi Mazhai Pozhigirathu,.. in Raga Vasantha
    • Chinna Kannan Azhaikiran,.. in Raga Reeti Gowla
    • Raathiriyil poothirukkum thamarai,.. in Hamsanandi
    • Raga Amirthavarshini in Thoongatha Vizhigal rendu,..
    • And many others

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