I can compare the task of me writing about the genius composer Ilayaraja to an ant attempting to climb the Mt Everest. There are many reasons for this:

• I am not that knowledgeable about his music as I have listened only to his songs he had composed early in his career , to be precise from 1976 till around 1990 when I had left Chennai and started living mostly in states other than Tamil Nadu. That makes my knowledge restricted to only 15 years of his more than 4  decades career that is still going on .
• There must be hundreds of articles about him by his more knowledgeable , ardent fans  and so what new am I going to write?
• The last reason is that how can one do justice to the vast repertoire he has created  by selecting , say,  around 20 songs from the seven thousand he has composed ?

But still I feel , as a music  blog writer  , if I do not write about him , my blogsite will be incomplete ! With these caveats , let me attempt the impossible!

Almost the entire population in South need no introduction to R Gnanathesikan who became Ilayaraja after going through various names like Rajaiya , named by his father while admitting him to school, people in his village calling him Rasayya , his music teacher Dhanraj Master christening him Raaja and finally the film producer Panju Arunachalam giving him the nom de plume Ilayaraja. In Tamil film industry there was another music director by the name A.M Rajah and so the “ younger Raja” .  I wonder whether so many transformations in his name symbolizes the immense variety in his music!

My earlier blog was on the musical genius Salil Chowdhury who became a successful and much-admired composer in multiple languages. When he was working in the South Indian film industry, he noticed one young guitarist in his orchestra and after observing him closely  he had commented that one day this person would become a great music director and that was none other than Ilayaraja. It is not a co-incidence that I chose to write on him immediately after my blog on Salil da.

The journey of Ilayaraja from a very humble background , born in a  small village , Pannaipuram , Theni district of Tamil Nadu to become the maestro is well known to almost all his fans . Also there are many well-documented articles about him in the Net and so I will leave that part out and focus only on his music. Once again I am making it clear the songs selected are purely my personal choice -how I had listened and enjoyed them, mostly during my school and college days.

Still , if anyone wants to know about his journey , they can read it in this link: https://en.wikipedia.org/wiki/Ilaiyaraaja)

I was around 10 years when his first film Annakili made a sweeping wave across T.N . The completely fresh sound of the songs from this film made him a household name. For an average  Tamil film music listener ,  till then enriched with great music by  stalwarts like  G Ramanathan, Vishwanathan-Ramamoorthy, K V Mahadevan and many others , this was something totally fresh . IR’s music  ( going forward , I am taking the liberty of referring to him as IR for ease!) was an eclectic mix of  folk, classical and western  music with a scintillating orchestration, very catchy preludes, interludes that was easy for a layman to sing along. One after the other songs like ‘Kannan Oru Kai kuzhandai from the film Bhadrakali -1976, Chinna Kannan Azhaikiran by the veteran Classical singer M Balamuralikrishna in the film Kavikuyil (1977) , Vizhiyile Malarnthathu by SPB in film Bhuvana Oru Kelvikuri ( 1977) and the song that catapulted S Janaki and IR into a path that they never looked back – “ Senthoorapoove “ from 16 Vayathinile, all made IR a force to reckon with.

Film after film , song after song, IR showed exemplary mastery in his tunes, structuring, and placing various  instruments in the orchestration, creating interludes that were so catchy along with the main melody , always innovating with new sounds , introducing many new voices , thus making the Tamil film music of the 70’s , 80s and 90s very creative. Few major technical developments  in form of better sound recording, stereophonic sound , easy availability of tape recorders all helped in giving the listeners a revolutionary sound experience. IR exploited these technical developments and gave a heightened listening pleasure .

There are many experts who are writing and also presenting videos about his music with a great knowledge on the classical aspects of his songs .  I am  severely constrained by my lack of knowledge in that area and can only compensate to some extent by my passion in listening to good music as a layman.

Although the stalwarts of Tamil film music , in the years preceding IR’s arrival  did compose  many evergreen songs that are no way less popular , one of the outstanding features of IRs music was his preludes ,  interludes and the exceptional back ground scores he did for films. Most of his songs had totally different interludes and sometimes , when we listen , we wonder how the interlude takes off in a different path from the main melody and how  is he going to bring it back to the tune…but he always did this with superlative skills. One more unique feature was , within the interlude , multiple instruments will be used , with one instrument starting a melody and gradually fade away and a new one will join seamlessly and after few seconds that will fade away and a third one will start off. All this within a minute or so…it is always “ Never dull a moment” in IR’s orchestration. In my opinion these aspects endeared him to millions of fans who cannot spend even a day without listening to at least  some of his songs . There are many popular “combos” a typical IR fan will talk about- a rainy day with IR songs, a long drive with IR songs etc. IR , for countless fans is part of their  life-they eat , sleep and breathe  IR!

I think with that introduction , let me try the impossible task of listing out few of his masterpieces. I know for sure that any IR fan may have his/her own choice and may not agree with my selection. I am listing out my own personal favorites.

Songs listed  in chronological  order of the year of film with following sequence: Song/ Film/Year/ Singer(s) /Lyricist .

1. Senthoorapoove/ 16 Vayathinile-1977/ S Janaki/ Gangai Amaran

The multi layered guitar-violins-flute set the tone for this song, with the  voice of  S Janaki that sounds exactly like 16 years! The first and second interludes have the early signs of IR’s immense talent in structuring the background music that later became his signature style.

2. Uravugal thodar kathai/Aval Appadithhan-1978/K J Yesudas/ Gangai Amaran

IR being a great guitarist himself, starts off the prelude with a superb guitar , that gets into an exceptional duet with piano . In the first interlude the flute  joins and then goes on to “ sing “ along with KJY and takes on a solo flight in the second interlude. What a great melody and what exquisite singing by KJY!

3. Yen kanmani /Chittu Kuruvi-1978/ SP Balasubrahmanyam & P Susheela/ Vaali

A classic example of the concept called counter-point in Indian film music. IR  brings  in two different melodies that , if taken separately  will be  individual tunes . It seems they played the first melody and then along with that recorded the second one and when we hear it sounds as if it is a seamless single tune. What a beautiful imagination and execution ! The ‘ in-between’ dialogues that were merged within the tune  -Nanna sonnel pongo, thama karuvattu koodai munnadi po, Teynampettai super market irangu  were something totally new at that time and caught the imagination of the public in a big way.

4. Senthazhampoovil vanthadum-1978/ K J Yesudas/ Kannadasan

One of the early super hits of KJY , this time IR teaming up with the legendary Kaviarasar Kannadasan . An all-time favourite song that any IR fan will instinctively hum while going on a long drive. This has three interludes and all are brilliant , but the 3^rd one which has a violin -flute jugalbandi is just out of the world. Strings, flutes , guitars were IR’s eternal favourites, but in this song, we can hear santoor also in between.

Not to forget the unique table rhythm pattern throughout the song!

5. Thamthananam Thana/Puthiya Vaarupgal-1979/Jency and B Vasantha/Gangai Amaran

How to describe this “ seven course meal of a song”?! It is really a feast with an eclectic mix of Carnatic classical base, interspersed with western symphony. If you focus on the second interlude, you can hear  the veenai notes are traditional but the answering notes of the violins are westernized. A quintessential IR composition that is a heady mix of the classical Indian music with a symphony feel. Another unique aspect of this song is the  chorus that keeps constant company to the main singers.

6. Ennullil etho yengum/ Rosappu Ravikkaikari-1979/ Vani Jayaram/ Gangai Amaran

Although the number of songs Vani Jayaram sang for IR were less compared to the other female playback singers IR had worked with , some of them are just eternal. This one , with use of a  unique bass flute instrument ( I think it is called recorder) in the second interlude is simply mesmerizing.

7. Poongathave thaazh thiravai/Nizhalgal-1980/ Deepan Chakravarthy & Uma Ramanan/ Gangai Amaran

For me , this one song defines IR ‘s style of music comprehensively.

The prelude of this song is something out of this world. It starts with a  rising crescendo of the violins , culminating with the clap of the cymbals , and then the veenai, flute and violins start having a conversation within themselves!

A completely new voice -Deepan Chakravarty ( son of the legendary playback singer Tiruchi Loganathan) & Uma Ramanan gave one of their best songs. The first interlude is then taken over by piano and a solo violin and then we hear the trademark IR’s style of building up the orchestration with an overlap -wherein a new instrument and melody takes over as the earlier one slowly fades away. The solo violin is taken over by a string ensemble and then a brief flute chips in , and as you are mesmerized by these instruments,  totally out of the blue our traditional nadaswaram and thavil end the interlude with a  classical flourish!

I can listen to this song again and again   without getting bored just for the first interlude.

8. Yen iniya pon nilave/Moodupani-1980/ K J Yesudas/Gangai Amaran

An eternal favourite of almost all , IR made KJY render a song with a  “westernised” tone, that was a refreshing change from the staid   classical style  he had been singing earlier.

For KJY fans , this will always be among his top ten Tamil songs without a doubt. Guitar , one of the favourite instruments of IR , is the hero of this song.

The film Moodupani had many landmarks-100^th film of IR and for the fact that a young , 13-year-old Dilip ( later A R Rehman) assisted IR in the background score.

Keeping a close step with the exquisite instrumental ornamentation through out the song is the chorus , that lifts this song to its greatest height.

9. Kaatril yenthan Geetham/ Johnny-1980/ S Janaki/ Gangai Amaran

For me , this is one of Janaki’s all time best song, which I am sure many would agree.

Once again IR’s favourite guitar is in full flow, along with the unique bass flute and saxophone in the first interlude. Strings, as usual keep haunting you with their beautiful ebb and flow. The effect of pouring rain and winds is so powerfully brought out in the orchestration.

10. Puthum puthu kaalai/ Alaigal Oivathillai-1981/ S Janaki/Gangai Amaran

One more gem of a song from IR & SJ. The prelude alone is enough to make this song to qualify among the best compositions of IR. With a flute setting the tone , taken over by the ubiquitous strings of IR , followed by an ever-so-sweet sounding humming by SJ, all make you intoxicated. If the flute at the prelude was just a starter, wait for a full main course treat with the flute in the first interlude. Throughout the song , the percussion is simple but very unique and a guitar keeps playing in the background , which gives an ethereal sound effect to this song.

11. Kanne kalaimane/ Moondram Pirai-1982/ K J Yesudas/ Kannadasan

Always remembered as  the last  film song written by the genius Kaviarasar Kannadasan , this is one more milestone in the Tamil film music. Compared to most of his songs, IR had kept the orchestration to the bare minimum, with the highlight being a solo violin that plays totally in sync with KJY.  A  simple rhythm played with a ghatam enhances the poignant mood of the song.

Sung with a restrained pathos by KJY , this remains one of the most beautiful sombre compositions of IR.

12. Panivizhum malarvanam/ Ninaivellam Nithya-1982/ S P Balasubrahmanyam / Vairamuthu

SPB is simply outstanding in this song and creates sheer  magic along with IR in this song. All those little nuances of SPB’s singing  are in full play, including that trademark laugh. The most unique aspect of this song is those strings that seem to respond to SPB after the phrase “pani vizhum malarvanam” and “ un paarvai oru varam” with a rise and fall.

13. Poongatru thirumbuma/ Muthal Mariyathai-1985/ Malaysia Vasudevan & S Janaki/ Vairamuthu

It is said the two main architects of the great music of this film never liked the film and so did not see the completed movie!! Both IR & Vairamuthu , who even got the National award for best lyrics, gave one of their best in this film.

This film is also well known for the very under-played acting of the veteran , Nadigar Thilagam Sivaji Ganesan.

Almost all songs are too good and so I just chose one that I like personally .

Malaysia Vasudevan was at his best in this song and so were the lyrics by Vairamuthu, and above all IR’s simple and sublime interpretation of Karaharapriya raagam.

The sound of the kuil ( cuckoo) will keep playing in your mind even after you stop listening to the song.

14. Sangeetha megam/ Udaya Geetham-1985/ S P Balasubrahmanyam/ Muthulingam

Who would have ever imagined the following lines  will become an apt ode  to describe the great singer SPB after his untimely departure in 2020 , 35 years after he sang this:

Intha thegam marainthalum , isaiyai malarven…..

Enthan moochum, intha paattum anaiya vilakke…

One of the best ( we can keep saying this to hundreds of them) from the team of IR & SPB, this song is known for its superb saxophone , piano & drums,  Muthulingam’s superb lyrics and above all  the honey-laced vocals of SPB.

https://www.youtube.com/watch?v=kE4sgP6VB5Y

15. Naan Oru Sindhu / Sindhu Bhairavai-1985/ K S Chitra/Vairamuthu

K Balachandar was not only known for his films with  bold, innovative stories but also for utilizing music  to convey  the entire  film’s story in one song .  He had great association with many legendary composers  like V Kumar, M S Vishwanathan but with Sindhu Bhairavi , he had his first collaboration with IR. And what a musical milestone this film turned out to be!

Chitra got her first National award for best female playback with the two great songs of IR-Paadariyen Padippariyen and Naan Oru Sindhu.

In KB’s traditional style, the song Naan Oru Sindhu captures the story of the heroine through the excellent lyrics of Vairamuthu , set to a great score by IR , based on the Sindhu Bhairavi raagam.

The strings used through out the song are simply outstanding.

https://www.youtube.com/watch?v=tpQseR5gWVk

16. Kodiyile malliyappu/ Kadalora Kavithaigal-1986/ P Jayachandran & S Janaki/Vairamuthu

There are many songs of IR in which the orchestration becomes another “ singer” accompanying the actual singers. This is one such song. I think it is a synthesizer that keeps playing all along ( I stand corrected if I am wrong) and as always, the strings, flute in the interludes are out of the world!

17. Nilave vaa/ Mouna Raagam-1986/ S P Balasubrahmanyam/ Vaali

Mouna Raagam was a musical bonanza from IR. Again, it is difficult to choose one song from this film. But this is best among the best!

Embellished with one of his best vocalizations, SPB had rendered a timeless classic.

This film was not only famous for the songs , but had one of IR’s best background scores.

18. Raja Raja cholan/Rettai Vaal Kuruvi-1987/ K J Yesudas/ Mu Mehta

Very few singers can sound so sweet in  the lower octaves and KJY is definitely one  among them. IR, with  his favourite guitar weaves a magical tune. Flute , strings and guitar have a merry time in the first interlude .

19. Valai osai/Sathya-1988/ S P Balasubrahmanyam & Lata Mangeshkar/ Vaali

It was really IR and SPB’s skill in coaching the legendary Lata to render a Tamil song with  an impeccable diction . Reason for selecting this , apart from my bias towards Lata , is that the composition is just too good to ignore -how can one ignore the multi-dimensional musical arrangement throughout the song and in the interludes.

Those famous , layer-upon-layer construction of the interludes are in full glory in this song.

20. Raakamma Kaya thatu/ Thalapathi-1991/ SPB & Swarnalatha/Vaali

I end this list with a grand finale –IR must have been in one of his most creative moments when he composed this. Recreated  even to this day by many artists ,this remains one of IR’s best ever creations. Who else could have even dreamt of pairing  symphonised violins with the sound of snapping fingers. This takes this song to “ vera level” as the popular phrase used in TN goes. The sudden shift to a classical “ kunitha puruvamum kovvai chevvalyil” and coming back to the main melody seamlessly is what makes IR a genius composer. And to complete the song with a flourish, he creates a superb counter melody -not with instruments but the vocal humming of a chorus towards the end .

The best way to describe this song and the music of IR in a phrase from this song :

Jaangujakku chajakkujakku Jaangujakku ja

I don’t know how many parts will be required to cover many of his other songs , but I  will attempt to keep writing about them …….

Acknowledgements:  I sincerely thank the publishers of following blogsites & Internet sources  for the information that I could gather for this article:

1. You Tube
2. Wikipedia
3. The Youtube channel QFR -By Ragamalika TV.

 Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned and embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.