How the gaana tag overshadowed Deva’s melodic genius

Deva, the renowned Tamil music director, unintentionally overshadowed his own melodic genius due to the popularity of the gaana genre in his films. From the early 2000s, Deva's songs took center stage, becoming the defining characteristic of his career. However, this sudden fame caused him immense sorrow, as many listeners praised those tracks without realizing he was the mastermind behind them.

Despite his chart-topping songs, many continued to attribute his compositions to other music directors like Ilaiyaraaja. This led to Deva's heartache when he traveled abroad for stage concerts, as organizers often asked him to perform only his own songs, suspecting that others had composed tracks like "Pulveli Pulveli" and "Engenge Engenge."

Deva's early career was marked by numerous exceptional melodic songs. In films like "Manasukketha Maharasa" and "Vaigasi Poranthachu," tracks such as "Aathu Mettu Thoppukulla," "Chinna Ponnuthan," and "Kanne Karisal Mannu Poove" showcased his exceptional songwriting abilities. He consistently featured soft melodies in his films throughout the 1990s, with hits like "Therku Theru Machan," "Annamalai," "Suryan," and "Kalamellam Kaathiruppen."

Deva's insistence on being recognized for his work was clear. Even when he traveled abroad, he sent organizers a list of songs he planned to perform, only to be confronted with doubts about his authorship. His deep-rooted desire to be acknowledged for his soft melodies remained unfulfilled, as his identity was forever tied to the gaana genre, a misinterpretation that robbed him of the recognition he deserved.