T.S. Gopal. File
| Photo Credit: B. Jothi Ramalingam
Isn’t it interesting to document the life of a documenter? Meet T.S. Gopal, who commenced his journey as a documenter by collecting records. Over the last 60 years, his collection has grown extensively. Also known as an encyclopedia on music and a wizard at video editing, Gopal says: “Though it all began in a pre-technology era, I have now happily embraced technology. Till date I have posted 2,400 pieces of music on my Facebook, which have garnered many likes. I also have many hard disks of music.”
To be surrounded by music, Gopal worked for a year at Super Radio Services, a shop that sold records in Chembur, Mumbai.
What kind of music interests him? “Initially, I was into Hindi film music, because I grew up in Mumbai. But later took to Hindustani, Carnatic, South Indian film songs, pop and operas. Comparing different genres of music became my hobby and this led to the documentation of similarities between film music and the use of ragas in film songs. I once heard a tune in the Mayamalavagowla scale at a restaurant in Mumbai, and it turned out to be Arabic music. I liked it very much. An Iranian friend shared with me his collection of Arabic music, which has inspired many Indian film songs. For instance, in the song ‘Kallellam manikka kallaguma’ (from Aalayamani), music director and singer MS Viswanathan has used the Mayamalavagowla scale and given the song an Arabic flavour. I discovered that the scale is used in Greek music too, as in the song ‘Misirlou’. ‘Bacchanale’ in the opera ‘Samson and Delilah’ is also in the same scale. The song, ‘Ghar aaya mera paradesi’ (from Awara) is in the Sindhubhairavi scale but has shades of Arabic music. Different Hindi music composers have used six tunes from the same album of Arabic music. Through a friend with connections in Bollywood, I visited recording studios in Mumbai. On one occasion, I found many composers using Sindhubhairavi. The same set of violinists played for all of them. But such was their integrity, that the violinists never revealed the tune of one composer to another.
Vyjayanthimala in the song sequence ‘O mere sanam’ from Sangam. The song is based on raag Shivaranjani
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Special Arrangement
“Film music composers have brought out a variety of emotions using ragas in film songs. The song ‘O mere sanam’ (from Sangam) is in raag Shivaranjani and the orchestration impeccably captures the emotions of the heroine,” says Gopal.
Indian film songs also show the influence of pop, folk and country songs, says Gopal, listing some Hindi songs that are inspired by hits from the West. “‘Onnum onnum rendu’ portion of the song ‘Yaaradi Nee mohini’ (film Uthamaputhiran) is based on Ben E King’s ‘Sweet and Gentle’ while ‘Partha nyabagam illaiyo’ (from Puthiya Paravai)on the pop song ‘Sway’. The opening portion of ‘Chura liya’ (from Yaadon ki Baaraat) is based on the song ‘If it is Tuesday, this must be Belgium’. ‘Kaun hai jo sapno mein aaya’ (from Jhuk Gaya Asman) is a copy of Elvis Presley’s ‘Marguerita’. The Lata Mangeshkar song ‘Ajeeb dastan hai’ reminds of Jim Reeves’ country song — ‘My lips are sealed’. ‘Anubavam pudhumai’ (film Kadhalikka Neramillai) has shades of the bolero song ‘Besame mucho’. ‘Dil tadap tadap from (from Madhumati) sounds similar to the Polish folk song ‘Szła dzieweczka do gajeczka’.”
The song ‘Anubavam pudhumai’ (from the film Kadhalikka Neramilla) has shades of the bolero song ‘Besame mucho.
Gopal is fascinated by the counter-melodies in film songs. “I use a certain software to remove the voice and amplify the background music. You will then notice the counter-melody in the songs. Sometimes, it is an entirely different tune. ‘Enge nimmathi’ (film Puthiya Paravai) and ‘Avala sonnaal’ (from Selvam) have interesting counter-melodies. I particularly find them appealing in Shankar Jaikishan’s compositions,” shares Gopal.
Apart from gathering such information and collecting records, Gopal took sitar lessons from Ustad Ahmad Hussain Khan, who was part of popular composer K.V. Mahadevan’s troupe. For instance, he played the sitar in songs such as ‘Ennathan ragasiyamo’ and ‘Malargal nanaindhana’ from Idhaya Kamalam. “The Ustad played in the Telugu film Sita Kalyanam, which got a mention in a review by The Hindu.”
When asked if a Tyagarja kriti has been sung in any film, Gopal immediately replies, “In the Telugu film Missamma, P Leela sings ‘Thyagaraja’s RagaSudharasa’ for Savitri.”
Apart from film songs, Gopal used to upload thukkadas sung by various Carnatic artistes to pen drives and gift them to residents of a senior citizens home. Upon the request of a friend in the U.S., he compiled 200 such thukkadas. “Children in the US learnt them and sang them in Navaratri kolus.”
Gopal believes he does not deserve any credit for his work. “Does a man deserve credit for merely plucking flowers in a garden? All I do is to collect what is available,” he says.
Published – June 03, 2025 05:26 pm IST