Tag Archives: ramesh vinayagam

10: Song of the Day: Ponge Yevvanam

31 Oct

Song: Ponge Yevvanam

Composer: Ramesh Vinayagam

Lyrics: Veturi Sundara Ramamurthy

Singers: S.P.Balasubramaniam, Chitra

Movie: Paila Pachchees

Ramesh Vinayagam made his film composing debut with a Telugu movie and he composed for a bunch of Telugu movies before making his Tamil debut with Hey Nee Romba Azhaga Irukke. This song is his best Telugu song in my opinion and among his best tunes ever. It has a fantastic choral setup all through the song and SPB/Chitra sound like heaven. The composer has used a galaxy of instruments like flute, electric guitar, acoustic guitar in the first interlude (apart from the choral harmony and strings section in the background). The second interlude has a superb Veena piece. Above all, this is a very memorable classical tune and the beautiful classical and fusion orchestration elevates the song to a different level. A must-listen!


2: Song of the Day: Yen Swaasathil

23 Oct

Song: Yen Swaasathil

Composer: Ramesh Vinayagam

Lyrics: Kavivarman

Singers: Madhu Balakrishnan, Kalyani Nair

Movie: Jery

Ramesh Vinayagam is one of the most talented composers in the industry. Though his discography is rather small, each of his albums has a couple of excellent songs. Jery was an obscure movie that faded away but this song in the movie was a very melodious one and was hardly noticed. It is based on the Brindavana Saranga raga. The song begins one a very melodious note with triangle, symbals and flute pieces. Madhu Balakrishnan has a voice texture similar to the legendary Yesudas and it suits this song very well. The first interlude has an interplay between keyboard with some awesome bass lines and the clarinet jumps in and the highlight of this song is the varied use of the clarinet all through the song. Sometimes it just comes like a breath sound but it enhances the overall effect on the song. Kalyani Nair jumps in the first stanza and she sounds really good as usual. Another highlight of the song is that most of the ending portions of the lines are sort of extended like an alaap and this is where Ramesh shows his originality as ultimately the tune has to stand on its own. The second interlude starts with clarinet which sounds very elegant, followed by Kalyani’s humming ending with a flute piece. In the second stanza, the singers continue with the same zest and at it ends on a Hindustani -style humming. In the last lap of the song, the singers voices overlap when they sing the end of the line  and it adds to the songs variety. The link to the song is below:


Talented Music Directors not getting their due

8 Dec
There have been a lot of music directors, who I feel have not got the chances they deserved. The first one who comes to my mind is Ismail Darbar who composed great music for Hindi movies like Hum Dil De Chuke Sanam and Devdas. There are not many movies to his name as he did not get many opportunities. His music for both the mentioned films were awesome. He treaded a path which many modern Hindi film composers did not-classical music. His classical numbers like Albela Sajanwa(HDDCS), Silsilsa yeh chahat ka, Bairi piya, Hamesha Tumko Chaha (all from Devdas)were wonderful.

The second composer is the extremely talented Sharath, who has composed for a few malayalam movies and one Tamil movie. His songs were technically brilliant and the orchestration was too good. Still, he has only a handful of movies and a couple of albums to his credit. His tamil song in June R, Mazhaiye Mazhaiye (an amazing rendition by Hariharan) still haunts me. Harish’s blog has a very thoughful post on Sharath.

From the Tamil music industry, Ramesh Vinayagam has not got the respect he deserves. He has composed great melodious numbers (some Hindustani classical ones too like Kasturi Manirame in Azhagiya Theeye). Some of his good songs apart from the former one were Vizhigalil Aruginil (Azhagiya Theeye), Enna idhu (Nala Damayanthi), Nenje Thullipo (University) and En Swasathil (Jery). All these are wonderful songs and Ramesh also has a nice music style (not Rahmanish; I don’t mean Rahman’s style is bad, its just that some composers sound just like him, I too love Rahman). Ramesh’s songs have an Indian sound apart from having good percussion and bass guitars.

In retrospect, what I felt especially in the case of Ismail and Ramesh is that they got lost because of the overemphasis on “dance-based songs.” Directors want popular and peppy numbers which don’t have much melody but only loud music. In Tamil, there is a craze for “gaana” songs, having 1 or 2 gaana songs is fine but almost all the songs fast. The solitary slow song is dull, boring sad number(where the hero cries for his mother or lover).

The trend is slowly changing today. Music directors like the legendary Ilaiyaraja, Rahman and Vidyasagar are putting their foot down saying they would want to compose more melody-based numbers. They have every right to say that because they should be the ultimate decision-makers as they are the creators of the music, though the situations are given by the directors. There are innumerable numbers of these 3 genius music dirs which are very melodious and yet satisfy the situations.

My only wish and prayer is that we get to hear more melodious music than the fast-paced ones.