When Mano received a call on June 25 from A. R. Rahman inviting him to his Panchathan Studios in Kodambakkam, he wasn’t sure he could go. He had a flight to the U.S. at 8.45 that evening, and there was hardly any time. He was told that he would be singing a song for the upcoming Rajinikanth film called Lingaa . When he realised what a huge opportunity it was, he rushed to the studio by 3 p.m, and as soon as Rahman stepped in at 4, he told him about his flight and that he had to leave in a couple of hours. “That’s all right. Let’s get started,” said the composer.
Somewhere in his head, Mano remembered the studio as being the hallowed ground where he had sung hits such as ‘Mukkala Mukkabla’ ( Kadhalan ) and ‘Kikku Eruthe’ ( Padaiyappa ), which incidentally was the last time he had sung for Rajinikanth. He remembers the first time he sang for the superstar like it happened yesterday. “Director Muthuraman sir and Ilaiyaraaja sir had called me for a song (‘Velai Ilathavan’), and it was only after I finished recording that I realised I’d sung for a Rajini film called Velaikaran .”
Singing for Rajini is an experience like no other, says Mano. “When you sing for a star of his stature, it ensures your longevity as a singer. Should the song become a hit, you will get huge mileage.” Such were the thoughts swirling in his head as he memorised the tune and stepped into the all-consuming silence of the recording studio that evening. He found himself behind the mic, and as the phrase goes, it was time to dance.
He calls ‘Mona Gasolina’ a “gallop song” — “the beat is very Mexican in its essence.” Rahman had already given him the go green to improvise and use any vocalisations he thought would be appropriate for Rajinikanth. After Mano sang the first two lines, the composer asked him to stop. “He changed the sruti of the song, and in minutes, changed the rhythm pattern too,” says the singer, clearly in awe of the rapidity of the changes. Rahman also made a quick call to an acquaintance in the U.S. and checked the validity of words like ‘Gasolina’ and ‘Trampolina’ that feature prominently in the lyrics. “He was in a particularly happy mood that day; it added to my excitement.” The singer then put on display his full range of exaggerated vocal effects (as can be gleaned from the guttural roars in the song), drawing extensively from his familiarity with Rajinikanth’s voice, having dubbed for him in numerous Telugu films over the years. “He talks with a certain glide at the end of each word if you notice. I used such minor observations in my singing.” The recording was completed in a little over an hour; in time for him to catch his flight.
On his return to India a few weeks later, he learned that some changes had to be made to the track. The vocal effects had to be toned down a bit, as in Rajinikanth’s words, “ 63 vayasula ivlo energetic-a effects kudutha, naan epdi pa dance aadardhu? ” (which loosely translates as “at 63, how can I dance to such energetic sound effects?”)
The song was officially released a few months later, and has now gone on to become the hit of the album. Mano can’t compliment Rahman enough for the freedom given to him during the singing of the track — an aspect some new composers should imbibe, according to him. “I find that many new composers have a rigid idea of what their songs should be. They need to realise that when the singer is given more liberty, the song opens itself to new meaning, new interpretation. The baby is still the composer’s, but perhaps the singer can dress it better?”
Interestingly, he attributes part of his long run in the Tamil industry to something you would assume he would be sore about — the similarity of his voice to legendary Tamil singer S. P. Balasubrahmanyam’s. “I credit my success to him. Composers approached me in the beginning as his replacement, when his schedule didn’t permit him to sing for them.” Of course, Mano later discovered an interesting facet to his voice — an Arabic modulation that he tried for the first time in ‘Vedhalam Vanthiruku’ ( Soora Samharam ), and repeated successfully in ‘Hey Shabba’ ( Karna ), ‘Azhagiya Laila’ ( Ullathai Allitha ), and ‘Aayirathil Naan Oruvan’ ( Iruvar ).
SPB, interestingly, has sung the title track ‘Oh Nanba’ for Rajinikanth in Lingaa . “Rahman sir must have felt that I’d bring my own quirks to ‘Mona Gasolina’, I guess,” says Mano. “He isn’t somebody who forgets people quickly.” Mano should know — his familiarity with Rahman dates back to the composer’s days before Roja . He sang more than 10 ad jingles for him, and remembers singing an early Rahman composition called ‘Allahu Akbar’ at the inauguration of Panchathan Studios in 1989.
Even though singers like SPB, Hariharan, Shankar Mahadevan, and even the relatively young Karthik have turned composers, Mano is not tempted to follow suit. “I notice some directors inviting composers to create music for their films even before formally announcing them as the music director. Such arrangements wouldn’t work with me. I need confidence reposed in my ability to deliver good work.” In short, as Rahman did with ‘Mona Gasolina’.
