Rosa in retrospect

Chamikara WEERASINGHE

When Prasanna Rosa, recording artist\lead guitar\vocals of Marians did his first stage gig with a beat band he was just 11-years-old.

“The band was Sweetones. This was the time the Yamaha YC-10 electric organ was introduced to the market. I joined Sweetones because there was a vacancy in that band for a keyboardist that had to be filled immediately,” Rosa reflected.

“This was during the period between 1978 and 80s. My task was to play this organ. I had a harmonium to do

 my practices. I was afraid to play the electric organ because of the loudness that oozed forthwith it,” he said.

“There were no synthesizers those days. It is only now that computer technology, sequencing and sampling have landed on to music.”

“But we were up with the same task. The bands of olden days was not anything different to what the present day beat bands are doing,” he maintained.

“They too performed at concerts, functions and weddings, you name it. Their catering was all the same,” he pointed out.

Rosa was met by “In tune” last Wednesday at his residence at Yatiyana, Minuwangoda. The self-taught guitarist, famed for his musicianship and fabulous lead riffs upon baila, oriental and western pop, hip hop, grunge or garage based fusion or oriental classic.

Music cascades under his fingertips on the guitar with a different touch of special quality which Rosa describes as “musical individuality” that comes within.

Rosa’s style is more apparent especially when he makes headway with a lead riff on a compound baila rhythm.

I asked him where Sri Lankan music was heading in terms of musical value.

There is a development in instruments and technology. I do not even say that music has tumbled. But if you look at the nature of creations which comes these days there is hardly any value in terms of the musical picture in a creation.

People still talk about eras 60s and 70s.

How did you come to join Marians?

I was playing with Seac at the time. When you see someone playing an instrument, you get an idea of that person and what he is doing at that instruments. In the like manner Nalin (Marians’ leader) approached me in 1991. I was playing with Seac from 1988.

And before that how was your life?

I was going to St. Peter’s College, Negombo. I was too busy with music than with my school work. Even my teachers knew it. I spent more time with our music teachers. I think our principal John Fernando knew it so well that he was telling me that I should follow that path. He is in Rome now and is a Consular General there.

I met him as a guest at a certain show in Italy. He recognised me after so many years. I did calypso.

My band members were at least 10 years older than I was then. I had to fold the country batic sarong half in half in order to wear it to fit in the outfit. I was as tall as the guitar.We used to play at Bentota Beach Hotel, Sea Sand and variouos other resturants and tables.

Because I was the smallest, the guests used to stuff their tips into the body of my guitar. When we are nearing the end of a session my guitar would not sound because of the money inside it. This was in the early 80s.

I later joined a family band called Mendis Task. I played with them for four years. My job was to play rhythm guitar. I could play lead guitar, but I did not show that up.

There was a certain show for which many artists have come which we were supposed to back. But the band has not practised lead riffs of many songs which these artists were going to sing that day.

But I have practised most of them on my own. And since Ashok Mendis (the lead guitarist) asked me how we could handle the task since he has not practised all the songs, I asked him to jack my guitar to his amplifier if he did not mind.

Among the artists present were John Shelton Muthunamage, Vilbert Anthony, Indrani Perera, Nihal Nelson and Anil Bharathi.

I think I became a lead guitarist that day by virtue of this incident.

And I must also remember late Neville Fernando of Neville sounds at Ja-Ela. He was a vocalist, sound engineer and a guitarist. He had been an influential character in my musical career.

What was it like to join Marians?

I have been with Marians for over 14 years. I heard that Marians were playing with bigger sound settings, with 40 columns or so at this or that junction. I was dreaming to play with sounds as big as this because we were only using four or six columns in Seac.

How do you look back at Marians considering its musical successes and faliures?

We do not have a “music library” as such or big anthology of our albums. We do not have a big collection. Marians have been in music for 19 years. There were times which we released just one cassette for five years.

We have done a very few cassettes that is less than the fingers of my hands. That is not because we lack the ability to produce something.

Albums can be produced like drawing hoppers out of pan.I can create something even now and put to recording.

Such creations may be called creations for the sake of argument. But I’d like to stop there and say that Marians tried creating something good, something that would last, and something that will make the public feel.

Let me put it this way, suppose if one becomes a star guitarist in Sri Lanka, there will be a lot of producers around that one to make him a movie star.

Sometimes he or she may be asked to compere or to appear on advertisements. Sometimes the supposed star is asked to become a film director. I personally disagree with this kind of thing.

If you look at the present picture in the music field, you will see that how many actors have become singers.

And sometimes a producer would ask an actor to become a singer. And the strategy for selling the cassette or CD is set on his popularity as an actor.

The result is that we only end up delivering an unworthy product on the hands of our audiences.

Suppose if someone asks me to play drums, I cannot do it because I am not a drummer. Yet I can sit and start and hit the drums. Will I be a drummer if I did so?

How do you describe yourself as a guitarist considering your present station?

People have seen and heard something about me when I play. Probably that is why they say nice things about your playing. Moreover Some interested parties come to me and ask me how you played this part or that part.

Do you conduct classes?

I have a few students alright. I teach them when I have time. But my aim is to help them. I do not want to hang boards and conduct these classes. I just tell them what I know. And as I do it I also improve. Suppose some student comes and asks me a question. If I do not know it today, I will find the answer tomorrow.

Of the musical prodctions by Marians , any particular creations you like?

There are. But having said that I must confess there are many creations I like but unfortunately they have not surfaced the way I would have liked them to.

There is a problem in Sri Lanka that musically rich products do not get what they deserve in terms of recognition. It is a sad situation.

Anyway, Marians unplugged musical was a tremendous success. However there are hardly any music videos produced by Marians?

I am sorry, but sometimes I do not understand what it is expected from a music video. But I have seen so called locally produced music videos.

Girls running up and down, changing their outfits, jumping... oh how disturbing. What have they got to do with the song’s meaning. How can my eyes tolerate abundance of visuals in one single clip that lasts to about three to four minutes.

It is true Marians do not have such music videos. I know millions have been spent on them. We do not feel we should spend that much, but it is ok if you can do a meaningful video clip to a song or two if you must. We did a small clip to a new song called “Kalaya Sundarai Sundaree” just a couple of days ago. This is my first.

What are your plans these days.

I am planning to produce a few songs with me on the vocals. I have been in the music field for 25 years now. I must do something for the family and the children’s sake.

Don’t your band plan to do re-mixes?

I have heard good re-mixes, for an example the Hindi song “Chura Liya”, I heard this one a few years ago. It was a nice one. The song’s melody and music was kept in tack. Nothing was destroyed. The interludes preserved and some stuff added keeping everything safe.

When doing remixes one has to take extra precautions not to destroy the original under the banner of re-mixing.

Live music events of celebrated artists

Namel Malini Punchi Theatre Arts Circle will launch a continuous program of monthly music events of the celebrated artists at dinner for the public to experience at the end of each month throughout the year.

This will commence from March 31.

The Arts Circle has lined up 12 such artists to perform at the end of each month supported by a beautifully enriched orchestra. The dates of such performances will be announced and given publicity each month indicating, who the legendry artist would be.

The opening legendry artist of the program is Ivor Dennis.

He is the foremost disciple of maestro Sunil Shantha of yesteryears. The event is named as “Legendry Sunil Shantha’s Music via Ivor Dennis”.

For the following months Indrani and Sisira Senarathne and Rohana Beddage are scheduled whilst a host of others of the similar calibre for the succeeding months.