K(ing of) M(elody) Radhakrishna
KM Radhakrishna would have needed an introduction before. But not any more. After Anand, he is known to one and all. His style of taking the classical based tunes to the masses is applaudable. He is definitely one of those music directors here in Tollywood promising to make a difference. His spell binding work for Godavari emphasizes the point.
Godavari is shaping up to release on 11th of May in India. He sat in length with TotalTollywood to express his opinions and talk about his music for Godavari. At times he becomes poetic. Here is an exclusive and complete interview that he gave to TotalTollywood.
Tell us how you designed the songs for Godavari?
Composition for Godavari started like joyful and elated waves of Godavari. They aren't big like the ocean yet they are happy and ever flowing. That is the concept of the album and that is how it is designed.
Can you explain the efforts that went into the composition of the songs?
First song I composed for the film is
Manasa vacha ninne valacha. This is a situational song. In the first go, we felt that audience will definitely like it. Though there were some discussions on the song, we went with the tune finally and we are now happy about the way it turned out. Chitra, Unni Krishnan rendered that song. Chitra did an amazing work with this song. She gave 100%. There needs no special mention about Unni. He is simply superb.
Then I came up with this western style song -
Manasa gelupu needera. This is a bit different from my style. Rather I should say, I gave it more effort technically to sound the way I wanted. You can feel the difference when you listen to it. The
length of this song in the film is cut to only 2 minutes. But it came out really good. Initially, I sang this song and thought
it is content. But I changed my mind and went with Shankar Mahadevan for the right effect. The chorus parts will still be in my voice since I did not want to trouble the singers with the pitch variations. Also, Gayatri and Chitra did an extraordinary job in this song.
Third one is
Uppongele Godavari. This is the song that is okayed in the first go. I hummed it and it got okayed instantly. Then
Andamga lena is done. This is one of my favorites. Memorable song from the album is
Rama chakkani. Initially we decided on a length of 1 1/2 minute. In fact, we did not even have a situation for the song. When we went composing, it took me to a different world. It came out splendid and we decided to extend the lyrics and take the song for 4 mintues. Then we had to think of the situation for it in the film. After giving that quite a bit of thought, we split the song into three parts and inserted it at different places.
Every song, every word of the lyrics, every pitch and every sound is situational in the film. We planned the tunes to fit into the film. I am very happy that my tunes go in synch with Veturi's lyrics and then get settled conveniently in Sekhar's film.
Also, all the singers cooperated nicely. Without their efforts, it cannot be complete. Balu garu was so happy with the outcome. When I make music, I think in the way of a listener than a composer. When you can think in the mindset of listener on what to expect at that mood, then you can give fitting music.
I am happy with the way songs have come out and I am double happy with the way they shaped out on screen. Songs in this film
come as an expression of the feelings of the lead pair. There is no artificiality in the songs.
The trend is moving to get rid of songs in the film like it is done in Hollywood. What is your opinion?
Movie is a lie and songs are a bigger lie (he laughs). Music is part of Indian culture. Audience come to the theater for 3 hours of entertainment. And for that relaxation songs are a must. That is my feeling. If the music is done in the right way and
is projected nicely on the screen, then songs gel with the film. Then they wont think of getting rid of the songs (laughs).
There were quite a number of Alaps in Anand. Is it the same with Godavari too?
There are alaps in Godavari but not many. I went in a different way with this film compared to Anand. Re-recording is done completely different. I confess this is the film that I went in deep and even made it a bit expensive for re-recording. I am pretty sure that I will get good recognition for the re-recording.
It is in word that Radhakrishna can compose only classical touch of music
That is so not true.
Probably that impression is created because of your classical vocal credits.
I learnt classical vocal and I am not sure if that is an advantage or disadvantage for me in this case. Most of the people think that cinema music should be like this and should be in this formula. But that is not true. In fact, to compose regular tunes you need only 20% of the efforts compared to that with a classical touch. Anyways, it depends on the requirement and taste of the director. Both kind of compositions are good as long as they cater to the audience.
Did you visit Godavari on sets?
Yes. I have been to the sets.I should say that Godavari is a beautiful concept. It discusses the human emotions.
It is the celluloid reflection of human nature. I feel that Sekhar took parts of his heart and then distributed it to various characters. They are so good in detail. Vijay C Kumar did an excellent job with the camera.
Though I have been on sets, I did not go deep into the river since I was on a special boat. Even in that small distance, I underwent different emotions. I envied the folks who worked for the entire production on the sets. They would have tasted more of
that beauty, experience and emotions. To me, Godavari is a beautiful musical painting.
How much do you think is the involvment of the director in terms of music?
I would say 100%. Music is one part of the film. Director is the captain of the ship. The captain knows what he wants. He has a view of his scene and he knows how music should support it. Then it is the responsibility of the music director to aptly support the visual content. If Sekhar asks me for a fast beat, I have to do it. If he wanted a formula type album with 2 beat songs, one folk and one rock song, I will do it. In fact, I did such kind of album too. People even wondered if I was the one who composed the music. Some times you got to do it.
Though I did what is required for Anand, I consider it only 50-60% justified. It still bugs me that there is so much else needed. Probably that is the key factor making me compose tunes better and better.
Is it tune for lyrics or lyrics for tune?
It works either ways (laughs). It depends on the understanding and coordination between the lyricist, director and music composer.
Which way is easy?
It is the same either ways. Most of my compositions are based on lyrics and situations. That is how it was done in the past.
However, I respect both the methods and practise both types.
Is there a shadow of Anand on Godavari
Definitely not. Both have different moods and different compostions. People might think that way because both are in the same combination.
What are your future films?
I am doing the film for Indraganti Mohan Krishna (Maya Bazar). Songs recording is already done.
What is your word to our visitors?
I will say a few words about Godavari. It has come out excellent. The entire cast and crew put in their efforts to make this a pleasantly touching film. I assure every one that there will be a 3 hours of refreshing entertainment. So, please go and see this film. Enjoy Godavari. Thanks.
