Four days ago, when Jailer 2 opened in theatres, it wasn’t just the theme from Annamalai (1992) that resonated with fans, but it was also the sound of boots striking the ground from the theme of Baashha (1995). Deva composed both pieces, establishing himself as an important composer in Tamil cinema music, even when a Maestro and a Mozart reigned high. Moving beyond conventional approaches, the composer brought out the voice of the streets and the people to whom it belongs. Deva’s use of gaana has always been signified by love: love for music, love for Chennai, love for the family, love for a partner, and love for the cause. In this article, CE looks at eight songs in which the composer used a distinctly Chennai genre and its elements to explore different types of love.
‘Naa Autokaran Autokaran’ from Baashha (1995)
Let's begin with ‘Naa Autokaran Autokaran,’ a song synonymous with the state's auto drivers and the occasion of Ayutha Poojai. The track perfectly captures the conversations between an auto driver and a passenger. Love, family, the price of labour, the changes in the socio-economic and geopolitical spectrum, and most of all cinema, are just some of the topics that the driver and passenger cover, no matter the duration. Beyond the kuthu and pop elements, Deva also brought in the electric guitar, giving Rajinikanth another iconic song that brought him even closer to the masses.
‘Kaathadikuthu Kaathadikuthu’ from Ninaivirukkum Varai (1999)
This song has no breaks, only beats. Beneath this song's upbeat, fast pace lies a smidge of sadness about the troubles of poverty. While the singer, Deva’s brother Sabesh, happily declares this a celebration of the ezhai janam (poor people), another line sings, ‘paavam andha vaithuku pasika solli thandhadhaaru’ (who taught that poor stomach hunger). Deva’s use of gaana may have popularised the genre, but lyrics like these popularised the city's stories, including those of the coastal Kasimedu area of Chennai referenced in the song. But the biggest wonder that this song evokes is when they retold the Ramayana within a 30-second interlude within the song.
‘Chennai Namma’ from Adhanda Idhanda (2003)
Gaana often retells a personal anecdote through simple lyrics and a memorable beat. Deva pays tribute to everything and everyone who made the city, and the city itself, in a song that uses all the elements that make a memorable Deva tune. The composer retains the vocal percussion notes from ‘Kaathadikuthu Kaathadikuthu’ and adds the harmonium, mridangam, and an array of instruments to make it as catchy as possible without crowding the lyrics. But as Chennai enters a tough monsoon, the song reminds us that, with changing times, Chennai's monsoons remain unchanged. But the song sums it up by declaring the city as, ‘verum puyal adithalum azhiyaadha ooru’ (the city won’t be impacted by storms).
‘Udhayam Theatre La’ from Anandha Poongatre (1999)
While we can talk endlessly about how Deva popularised a very Chennai genre by way of tunes, the composer also used references to theatres in the city as a way of personalisation. In this song, it references popular Chennai theatres like the Devi, Shanthi, Kamala, and Krishnaveni. But they are cheekily used to refer to the women being wooed by the hopeless romantics, from whose perspective the song is set. But like every good gaana song, we also get some lines about the tough road to finding ‘true love’ past castles in the air.
‘Kothal Savadi Lady’ from Kannethirey Thondrinal (1998)
In this song, Deva takes us on a tour of North Madras, following a man's attempt to woo a woman from Kothwal Chavadi. As we travel from the markets of Koyambedu to Zam Bazaar, Burma Bazaar, and Pattinappakkam, we hear the man and his questionable escapades as he tries to woo multiple women, who in turn teach him valuable lessons. While composers usually use the interludes between sections to mellow the music and set up the next part, Deva does the opposite and amps up the impact of his percussion. This song is a perfect example, as in between each lyrical section, a mix of band beats and the tabla pump up the energy.
‘Vidha Vidhama Soap’ from Kaadhale Nimmadhi (1998)
Among the elements that make up gaana, the dholak is ubiquitous. In this song, Deva blends gaana with Hindustani elements, creating a seamless cultural fusion. The composer mixes the dholak and tabla for the percussion, as we hear the tale of a horse cart driver recounting the tale of how he spent a very heartfelt time with his wife in Madras when they went to the shops of South Usman Road to watch Kadhal Kottai (1996), a film with Deva’s own music, in the Devi Theatre.
‘Chennama Pattanam’ from Madhumathi (1992)
Another origin of the gaana genre is that it was sung in and around city burial grounds. While the song starts on the streets of Kannamapet (which refers to a burial ground in the city), Deva composes another ballad about a man pursuing his one true love. The man, who has forgotten the Mandaveli thiruvizha and has St. Thomas Mount disappear from his mind, remembers his one true love and remains staunch in his belief that his pursuit will succeed because of the significance of the bells of the Velankanni Church. But even before diversity and inclusion became important factors in today’s culture, Deva transcended faith, a true example of Chennai’s multi-coloured fabric.