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"It was not my ambition to be a music director. In fact, I didn't have any ambition," he says. But genius can never escape from the grand role it is destined to play. Johnson, who was born in a Catholic family in Thrissur, entered the music world by singing in female voice in small ganamelas and in the church choir. Later, a friend taught him to play the harmonium and he practised playing the violin. Johnson and friends formed a troupe called 'Voice of Trichur' and he became its music director. This forced him to learn western notes. 'Voice of Trichur' used to give accompaniment music to P Jayachandran and Madhuri in their ganamelas in Kerala. This connection brought music director G Devarajan across their path. "I came to Chennai 1975 to buy an accordion for our troupe. Devarajan Master asked me to remain here. I couldn't think of not returning to Kerala. But master wouldn't relent," says Johnson. "I knew Master had a programme in Kerala after a few days. So, I stayed here with a dream that I would run away when we went to Kerala for that programme." But he could not escape. Devarajan Master met Johnson's parents and convinced them of his talent and brought him back to Chennai to make the youngster his assistant director. Master taught him Carnatic music and appointed Dhanarajan to teach him western music, violin and piano. Later, Johnson assisted music directors like A T Ummar and M K Arjunan. His first independent background score was for the film 'Aaravam' in 1978. The next year, he composed the song 'Vipina Vaadika Kuyil Thedi' for the film 'Inaye Thedi' "I was satisfied with the role of an assistant director. I didn't/don't value the glamour of an independent work. I didn't/don't like the cheap tactics played by artistes to get a chance. But many offers came to me mainly because I was brought to this field by Devarajan Master," says Johnson. He composed three songs for 'Parvathy' in 1981 which was followed by 'Prema Geethangal'. Songs like 'Kalakalamozhi' in 'Prema Geethangal' placed him in the limelight. The years that followed witnessed lots of offers and hits, bringing to him the national award two times and state award, five times.
Songs like 'Poo Venam Poopada Venam' (Oru Minna Minunginte Nurungu Vettam) gave Johnson the name, 'exponent of folk songs'. "Folk songs, well; there are elements of folk songs in some of my songs. But it was not a deliberate attempt. What I felt, I created, that's all," says Johnson, who stays at Nessapakkam with his wife Rani and two children. Johnson may contradict what I am going to say. But I can't help it: The success of Johnson as a music composer lies in his power or patience to give proper impact to the lyrics. Thus, there is only creativity, no treading on the beaten paths. Salil Jose Readers' response/inputs can be e-mailed to salil@chennaionline.com.
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"I don't think music is the ultimate thing in life. Nobody is going to lose sleep if he/she doesn't hear my song," says music director Johnson. But Johnson's songs like 'Panchavarnna Payinkili Penne' (Sallapam), 'Kakkakarumban Kandakurumban,' 'Devakanyaka Surya Thamburu' (both Ee Puzhayum Kadannu) or 'Doore Kizhakkuthikkum' (Chitram) have given us the impression that music is the ultimate thing in life. That is the magic spell of your song, Mr Johnson. We are helpless!
There is a tendency to associate Johnson's name with that of lyricist Kaithapram Damodaran Namboothiri as they were the top team in Malayalam in the '90s. There was a consistent flow of hits from the Johnson-Kaithapram team which included 'Kanneer Poovinte Kavulil'
(Kireedam).
