How important are lyrics in a song?
As a corollary to this question, I would even ask –
How important is the subject or the main theme of a song?
By ‘theme’, I am not talking about the musical theme
but the ‘main subject’ of the song. In my opinion, it is a tricky question and
is not very easy to answer or explain. Most importantly, it is subjective.
Let us take Tyagaraja kritis for example. Would a
‘Chakkani Rajamaargamu’ or a ‘Kanugontini’ sound the same or give us the same
kind of vibrations if the wordings were different?
I doubt.
Because here, words and music go hand in hand and
one sees a royal path unfold in front of the eyes or one even sees the
magnificent form of Rama in the mind. Most importantly, one sees and feels the
emotions of a great soul.
This is of course the case of Carnatic Music. Let me
turn my attention to film music.
One of the most important reasons for the old
songs (‘50s and ‘60s) for sounding great and so very pleasing even now is the
way the lyrics were written.
Sample this:
‘Kanni Tamizh Thandadoru Thiruvaasagam/ Kallai Kani
Aaakum Undhan Oru Vaasagam(The language of Tamizh gave us Thiruvaasagam/ One
word uttered by you (vaasagam) will make a stone melt).
‘Kamban Thandha Seethai Undhan Thaayallava/
KaaLidasan Sakuntalai Un Seyaallavaaa’( Kamban’s Seeta is your mother and
KaaLidasan’s Sakuntalai is your daughter).
Though this may sound odd(everybody knows that Seeta
and Sakuntalai were not related), but by invoking literary characters and using
poetic licence, Kaviyarasar not only makes us interested in literature (or know
more about it), but takes romance itself to new levels(this was sung by a male
character to his beloved). So here, we appreciate the tune in Mayamalavagowla
along with beautiful Tamizh(for people who do not know this song, it is
‘Kallellaam MaaNikka Kal Auguma’ and what I have given is just a sample line
and there are more beauties in the song).
And then we have, ‘Neerodum Vaigiyile NindRaadum
Meene, Neyyurum Kaanagaththil Kai Kaattum Maane’( the fish which dances in
Vaigai river, the Deer in a beautiful forest) to describe two sweet and cute
kids.
Then there is my oft-quoted ‘Naan Kaadal Ennum
Kavitai Thandhen Kattilin Mele, Andha KaruNaikku Naan Parisu Thandhen Thottilin
Mele’- which in my opinion, are the best ever lines written on love making in
terms of subtlety and poetic beauty.
That brings me to the lyrics in Raaja sir’s songs.
Though there have been some great lines written in his music, somehow these are
few and we don’t pay attention to the wordings in his music because the music
is so great that other things sound secondary to us. I can quote many songs in
which lyrics have been below par but I would refrain from doing this now due to
many reasons, the primary one being- ‘always focus on the positives and not on
the negatives’.
Some (rather many) of the situations given to him
have also not been challenging and yet he has given some immortal compositions
for such situations. In a way, this answers the question about poor
picturisation of a majority of his songs.
The rare gem of the day falls under the category of
‘poor lyrics’. More than that, the situation itself is not the one which we as
good citizens should not be proud of. To put it plainly, the song is an ‘Eve teasing’ song
and considers women as glamorous creatures. But the way Raaja sir has handled
this song would make even a feminist to not hate the song and even love the
song.
To start with, he composed it in a classical raga.
In fact, he has composed many ‘kuththu’ songs in classical ragas and
Shanmukhapriya seems to be his most favourite in this genre.
But somehow
he decided to compose ‘Vaa Machchi Machchi’ from ‘ManjaL Nila’(1982) in
Hamsadhwani. The beginning is a kind of viruththam in a morning raga BhoopaLam
and the wordings are a poor imitation of a verse in Abhirami Andaadi. Here I
must add that though one may not like the concept of eve teasing, the words do
bring a smile or two (after all, what is life without humour?).
The resonant bass guitar is backed by the pulsating
drums and we begin to tap our feet instantaneously. The tabla and dholak that
follow play the beats in ‘usi’ enhancing the experience. The piped instruments
play in pure Hamsadhwani and it is a musical celebration to say the least.
Deepan Chakravarthy(joined by the chorus) sings the
Pallavi which is beautifully structured. The last line ‘Ooduvaththi’ lasts 2
aavartanaas and without a doubt sounds like a classical piece. Please also note
how the percussion sounds the chatushram beats and the intermittent guitar
sound. Humour at its best!
Celebration of musical humour continues in the first
interlude with the western wind instruments in full flow backed by Indian
percussion. The guitar enters the fray and tickles the wind instruments which
start jumping. These tickle the guitar in return and it is fun all around. The
pure Hamsadhwani appears again before the keys and the guitar take over leading
us to the first CharaNam.
The pauses between the lines in the beginning of the
first CharaNam and the keys add to the humour. Same is the case with the long
pause towards the end and the intentional off- key singing.
The second interlude is humorous too but what is
beautiful here is the classical Hamsadhwani. The mridangam and the jaalra have
been aptly used and don’t these smirk and titter? Surprisingly enough, the
keys(or is it the synth?) are used to give the Hamsadhwani flavour in the
beginning. The Indian melodic instruments join in the second segment playing
Hamsadhwani to the backing of mridangam and jaalra. The guitar and the’synth’
appear after two aavrtaanas and sound in ‘usi’!
It is a MeLa..Musical MeLa.. Humorous MeLa..
So, how important are lyrics in a song?
I would prefer not to answer this question now and
would rather prefer to listen to this song again now..
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