'Composition decides who should sing the song'

It is no easy task to look up ���songs composed by Vidyasagar��� online. The list just keeps going from page to page, and would seem never ending.

Be it Azhagiya Ravanan ��� his first project in Malayalam ��� or the latest Mammootty-starrer

Thoppil Joppan

, his songs continue to cast a spell on Malayali music buffs. We talk to the musician about his journey, composing songs for different languages, while managing to strike a chord with the musical sensibilities of the audience in Kerala.

You have been in the Malayalam music industry for around two decades now. How has the journey been?
It has been a lovely experience, as the music I do for Malayalam films is the kind I like, which comes naturally to me. Having made a mark with my first film itself, I was put on a high pedestal by the audience. There could not be any better encouragement than that. I will always be indebted to them and God at the same time. But I still have loads to give.

However, I see that over time, there are fewer films with deep storylines, where in you are required to delve into situations and make songs accordingly. I don���t get much to do these days like in Yathrayai Sooryodayam in Niram or the songs in Krishnagudiyile Oru Pranayakalathu, when it comes to situations.


You have a very good rapport with directors such as Lal Jose and Sathyan Anthikad. Does that influence the way you compose songs for their films in any way?
I also have a very good rapport with directors Kamal, Sibi Malayil and Priyadarshan. Everyone has their own forte or style of picturising a song. The important part is that they believe in you and give you the freedom, never demanding anything in particular. You become more responsible and try to come out with the best within the given time.


What is your take on experimentation in music composition?
We either experiment with the voice, lyrics or music, and it is nothing new. Experimentation has been there since time immemorial. Even Thyagaraja had listened to a song of a European band and created his own raga!
At a time when Southern folk music was not popular, I did Chingamaasam for Meesa Madhavan. It was like a Tamil folk number, but was a Malayalam song. I also did the music for Devadoothan, where I composed a western classical composition for Endaro Mahanubhavulu, which was an experimentation per se. Thoppil Joppan���s title track is another example, it has something to do with soul music of the 50s and 60s. So, I have tried to bring that kind of slow music into Malayalam songs.


Your association with KJ Yesudas, KS Chithra and MG Sreekumar���
I have known Das ettan for a long time now. He knows my father very well, who is also a musician. He has seen me growing up, and so my relationship with him is more than that between singers. That has been the case with the others too, they are more of personal bonds because I know each one of them. All of them are great singers and I have great admiration for them. It has been a pleasure and a privilege to have them sing my songs.
However, it is my composition that demands the singer, not me. It is the tune which should tell me who is to sing the song. That is why I chose Hariharan for the song Oh Dilruba in my first Malayalam film. Then I brought Shankar Mahadevan for Chingamaasam and Angakale in Satyam Sivam Sundaram.


Which of your compositions are closest to your heart?
I cannot pinpoint my best compositions as I think my best is yet to come. I never rest on my laurels and success. If I do, it���s over for me.
The music I create has to be soulful and it has to stay with the listener. At the same time, it should be hummable. Whether it is hip-hop, jazz, folk, ballet or anything, my genre has always been that of simplicity and melody.


Your upcoming Malayalam projects���
Work is on for my next film, Sathyan Anthikad���s Jomonte Suvisheshangal. I am also part of another major film, the details of which I will announce at a later date.