http://www.dhool.com/sotd2/647.html
- Saravanan writes:
‘mazhaikkaala mEgangaL’ from kaL vadiyum pookkaL
Sung by K.J.Yesudas.
Lyrics by Vaali.
Music by Shyam.
* * * *
‘kaL vadiyum pookkaL thangaL kaambai marakkum’ wrote Vairamuthu in one of the charaNams of the sensuous ‘aayiram thamarai mottukkaLE’. The intoxicating imagery that the line evokes must have so attracted director V. Karthikeyan that he fixed on ‘kaL vadiyum pookkaL’ as the title of the film he scripted and directed. But sadly enough, the poetic flourish did not extend much beyond the title, for kaL vadiyum pookkaL (1983/ Raviben Cine Arts) was a listless exercise; another tepid triangle with nothing novel in its proceedings. Srinath, Nalini and nizhalgaL Ravi were the lead actors, supported by Poornam Viswanathan, Lavanya and Goundamani.
Shyam’s music was the silver lining that brought glory to this otherwise undistinguished cloud. The songs were aired ever so often as ilangai vaanoli continued its broadcast valiantly even as the isle was in turmoil. If ‘vaanam pannerai thoovum’ found place in the morning pongum poompunal parade; the rollicking ‘ninaivil aadum azhagO’ featuring in pudhu veLLam, would be a godsend to drive away the ennui of the afternoon; and as the fitting finale of iravin madiyil, the SOTD would caress as a gentle zephyr in the still of the night.
Vairamuthu’s ‘vaanam paneerai thoovum’ (SPB & Kausalya) was put up as SOTD two years back:
http://www.dhool.com/sotd2/202.html
‘ninaivil aadum azhagO, avaL nerungidaatha uRavO’ is another brilliant KJY solo. Starting in a joyous classical strain, the song breaks into an unexpected diversion in ‘aagayam bhoomi ellaam avaL pOla vaNNam kaNdEn’, with Yesudas reveling in this inventive composition. We’ll hoard this treasure for another day.
* * * *
Whenever I listen to SPB enjoy himself singing ‘unnai padaithathum brahman’, or SJ sing ‘radha krishnaa’ and then stay at that incredible pitch holding her breath for what seems to be an eternity, or KJY & VJ treat themselves to a semi-classical outing in ‘vaanambaadi jOdi serndhu’, or when PS goes poetic with poignancy in ‘yEtho nadagam nadandhadhu polE gnabagam’ and surely when I chance upon SPB and KJY alternately tantalize in Hindi and Tamil in ‘paniyE vaa, panju mazhaiyE vaa’, I sigh ruefully at the recognition that Shyam richly deserved, but never received. And like these forgotten stunners, the man behind them too is all but forgotten today.
At SOTD, however, time and again, we have come up with some of Shyam’s gems, and have resurrected them to rightful honour.
Samuel Joseph was born on 19th March 1937 in Guindy, Madras. His father, Thangaraj Joseph, and mother, Mary worked as teachers, and his mother played the organ in the local church. Samuel was thus drawn to music at an early age. And during his college years at MCC, he learned western classical music from the famed Dhanraj master. He entered tfm as a violinist in C.N.Pandurangan’s troupe.
His father, however, did not want Samuel to be associated with the tinsel world. In an interview, he recalls those years thus: “ My parents strongly disapproved. But I had to do what I did. I wanted to excel as a violin soloist, but earning a livelihood was paramount and I played for music troupes. In due course, I moved from the second row to the first in the troupe, then played solo and finally became an assistant to music directors. I've played for M. S. Viswanathan, R. D. Burman, C. Ramchandra, Madan Mohan, Ravi, Salil Chowdhry, T. K. Ramamurthy, Pendiyala, Veda, T. Chalapathi Rao and S. Rajeswara Rao”.
It was when he was asked by MSV to play the violin for the classic ‘thanga ratham vandhadhu’ (kalaikkOyil), that he realized his knowledge of Carnatic music was woefully inadequate. And to address this need, he underwent rigorous training under Lalgudi Jayaraman. Jayaraman was so impressed by him that in later years he asked him to conduct the orchestra for the famous thillana album.
How Samuel evolved into Shyam is an interesting story. When he was a violinist in MSV's orchestra, MSV found it simpler to address him as Sam, which in due course became Shyam! “`Sam' looks ridiculous when written in Tamil. So it has been `Shyam' ever since. The name is convenient and endearing” says Shyam.
ARR’s father R.K. Sekhar helped Shyam a great deal in those early years. It was he who introduced Shyam to Salil Chowdhry, and soon Shyam was assisting Salilda for a number of films.
Shyam has been a prolific composer in Malayalam. “I knew nothing about Malayalam films, but veteran actress Sheela insisted that I do music for the film, `Manyashri Viswamithran'. I had started out as a composer in Tamil cinema for her film, `Appa Amma'. After `Manyashri Viswamithran', I was paid the advance for `Akkaldaama' and `Kamam Krodham Moham'," he recollects.
Have you listened to S.Janaki’s award winning rendition of ‘kasturimaan kuruvi’ from the Malayalam film kanamarayathu? It is a delightful experience. Follow up with it VJ making classical magic with characteristic élan in ‘pranaya sankalpame hrudaya sowrabhame’ from nirakuttu. And top it with the graceful ‘sruthiyilninnuyarum’ sung by Yesudas and SJ in Trishna. You would realize why Shyam remains a revered name in the annals of mfm to this day. Some of the Malayalam films in which Shyam's works are still remembered are Maanyasri Viswamithran, Akkal Dhaama, Kamam Krodham Moham, Gnaaval Pazhangal, Angadi, Daisy, Abhinivesam, Thammil Thammil, Engane Nee Marakkum, Nadodikkattu, Nirakkuttu, Love Story, Munettam, Manu Uncle etc. Shyam has won the Kerala State Award for Best MD twice, in 1983 and in 1984.
Shyam’s career in Tamil has been a chequered one. He was working with Veda, when the latter passed away suddenly. Modern Theatres (Veda's regular patrons) did not have to look far for Veda's successor, and their karunthEL kaNNaiyiram (1972) saw Shyam making his debut in Tamil. The melodious "nEtRu varai viNNil irundhaaLO" (SPB& Vasantha) and the jaunty "poonthamaliyilE" (SPB & Manorama) made his debut a memorable one.
A list of Shyam’s works in Tamil that I recall: (There are sure to be some more forgotten albums)
1. karunthEL kaNNaiyiram- 1972 (credited as Shyam-Philips. Wonder who this Philips was?)
2. appa amma- 1974
3. uNarchigaL- 1976
4. manitharil iththanai niRangaLa-1978
5. alli durbar- 1978
6. dEvadhai-1979
7. panchakalyaNi-1979
8. nee sirithaal naan sirippEn-1979
9. naan nandRi solvEn-1979
10. thEvaigaL- 1979
11. matRavai nEril- 1980
12. sridEvi- 1980
13. andhimayakkam-1981
14. vaa indha pakkam-1981
15. kuppathu poNNu-1982
16. nandRi meeNdum varuga-1982
17. idhayam pEsugiRathu-1982
18. KaLvadiyium pookkal-1983
19. oru pullankuzhal aduppoodhugiRathu-1983
20. nalam, nalamaRiya aaval-1984
21. kuzhandhai yEsu-1984
22. kuyilE kuyilE-1984
23. sandhOsha kanavugaL-1985
24. vilaangu meen-1985
25. vilangu-1987
26. paasam oru vEsham-1987
27. kallukkuL thErai (also titled jaathi pookkaL)- unreleased
28. salanam- unreleased
29. pudhiya payaNam- unreleased
Shyam has worked on a book on music called yEsu pugazh paaduvOm. Spry and energetic at 68 now, he is an active member of the IPRS and works enthusiastically for the welfare of his fellow musicians. Shyam’s baton may be still now, but the magic of his creations like ‘mazhai tharumO en mEgam’, ‘galeer galeer’ , ‘bhoomadEvi pOle vaazhum jeevan’, ‘ananda dhaagam’, ‘kaadhal kanavugaLE’ and ‘selvamE deiveega malarE’ will continue to mesmerize generations of listeners.
* * * *
So listen on to this song, one that ruled the airwaves once upon a time, but has since been buried in the inexorable sands of time. Yesudas, with the innate sorrow that resides in his honeyed tone, slips effortlessly into the melancholic mood of the song. Even while mirroring the ache of disappointment in love, Vaali’s lines allow room for hope. Shyam’s singular signature, a happy marriage of MSV’s ingenious structures juxtaposed on Salilda’s dream-laden canvas, is evident in its enticement.