Tribute to the versatile Asha Bhosle-Part 1

May 11, 2026 Sivanandam Palamadai Leave a comment

8 September 1933 – 12 April 2026

Part 1 -Asha’s best for the ‘ other ‘ music directors

For me, Asha Bhosle, who , unfortunately passed away on 12th April , 2026 at the ripe age of 92 years is a singer who may not be among my top favourites, but I do like many of her exceptional songs. Music taste is highly individualistic and for me some singers have that quality to leave a great impact whereas some I admire only for their skill but may not be personally moved by their singing. Asha Bhosle , for me , belongs to the latter category. As a blogger, however, it is my duty is to record the contribution of all , irrespective of personal likes and dislikes.

The story of Asha Bhosle , second child of Deenanath Mangeshkar and Shevanti and the younger sister of the nightingale , Lata Mangeshkar is well chronicled and so I would not like to write about that. Media, Internet and most of the private radio stations have given excellent coverage on certain artists , conveniently forgetting numerous other deserving artists. So here I would focus on few of the songs Asha had rendered in an inimitable style that only she could do.

I will try to cover her landmark songs for not only the five main music directors for whom she gave her best ( O P Nayyar, S D Burman, Ravi, N Dutta and R D Burman) but also many others who are generally not talked about when it comes to Asha’s best songs. One more surprising aspect about her was that she herself very rarely acknowledged the contribution of all these music directors except her late husband -R D Burman.

As a singer Asha was without any doubt exceptional. She could sing a cabaret number, devotional song, qawwali, a romantic one, sad song all with equal finesse. When it came to the classical genre, sometimes she even outdid her more illustrious sister, Lata.

I will categorize her great songs in two parts-Part 1 shall have her songs for music directors other than the top five who shaped her career and Part 2 shall focus on her songs for those top five music directors. For now I shall list only her solo songs , except for few songs where there is a co-singer but on the whole it is predominantly her song. Maybe in the future I shall also write about her duets.

The songs are arranged first music director-wise ( for a change I am not doing this chronologically, but in alphabetical order of the music director name) with song /film/year/music director/lyricist mentioned in that sequence.

Hemant Kumar

Meri Baat Rahi Mere Man Mein-Sahib Bibi Aur Gulam -1962-Shakeel Badayuni

One of my very favourite songs of Asha , this has that typical haunting melody effect of a Hemant Kumar composition. The film had many gems from Geeta Dutt , but Asha rendered two masterpieces-this one and the next song I have listed here-Sakhiya Aaj Mujhe Neend Nahin.

Sakhiya Aaj Mujhe Neend Nahi- Sahib Bibi Aur Gulam -1962-Shakeel Badayuni

When compared to many mediocre songs that are talked about in a great manner by Asha’s fans, it is surprising why songs like this are almost forgotten . She has sung this with her typical flair and one more favourite of mine.

Jaidev Varma

Nadinare Na Jao Payyan Padoon-Mujhe Jeene Do -1963-Traditional

Jaidev was a genius composer who never had any ‘ favourite’ singers as such and could extract the best from all the singers he had worked with. This is an intricate composition in his inimitable style and who else but the versatile Asha to do the honours. She traverses through the ups and downs of the tune with an ease that is natural to her.

Kalyanji Anandji

Yeh mera dil pyar ka deewana-Don-1978-Indeevar

A quintessential Asha song , picturised on Helen for whom she must have sung hundreds of such songs, this remains one of the most popular one. Kalyanji Anandji , in their second innings had many popular hits though the quality of their songs in 60’s were much better.

Khayyam

Justaju Jiski Thi Usko Toh Na-Umrao Jaan-1981-Shahriyar

It is a well-documented fact that Khayyam made Asha sing at a slightly lower pitch than her usual and that elevated the songs of Umrao Jaan to a great level. Though Dil Cheez Kya Hai is more popular, my personal favourite is this one. Superb lyrics by Shahriyar.

Dil Cheez Kya Hai-Umrao Jaan-1981-Shahriyar

A true masterpiece by Asha, that needs no introduction or write up. One has to close the eyes and get immersed in its beauty.

Laxmikant Pyarelal

Koi Shehri Babu Dil-Loafer-1973-Anand Bakshi

A typical L-P composition that has their signature percussion arrangement, this is a high-energy song that Asha carries off with her usual flair.

Madan Mohan

Whenever we take the name of Madan Mohan , only Lata’s immortal songs come to one’s mind. But there were some great songs that he composed for Asha also . The most popular one that everyone may remember is of course Jhumka Gira Re Bareilly Ke Bazaar Mein from Mera Saaya -of course I have listed that , but my personal favourites are Shok Nazar Ki Bijiliyan and a very sober and rare Sabah Se Yeh Keh Do.

Shok Nazar Ki Bijliyan-Woh Kaun Thi?-1964-Raja Mehdi Ali Khan

Madan Mohan was always ahead of his times when he composed some unique songs -this has a very , what one may call, a quirky interlude . In the midst of Lata’s eternal masterpieces like Lag Jaa Gale, Jo Humne Daastan Apni Sunayee and Naina Barse Rimjhim , this Asha number might have remain hidden , but it is a true hidden gem.

Saba Se Yeh Kehdo-Bank Manager-1959-Jalal Malihabadi

Madan Mohan was a master of melodies and Asha was fortunate to get such a sober and sweet song from him. The lyrics by a relatively lesser-known Jalal Malihabadi are equally good.

Juhumka Gira Re Bareilly Ke Bazaar-Mera Saaya-1966-Raja Mehdi Ali Khan

Some songs do not need anything to be written about- a song that has been composed only for Asha-will remain one among her topmost songs.

Naushad

Daiya Re Daiya-Leader-1964-Shakeel Badayuni-With humming by Rafi

Naushad and Asha may be a very rare combination , but when it comes to classical based songs, both are masters-and with Rafi adding only those brief alaap pieces, this is a great song from Naushad for Asha.

Ramlal

Tere Khayalon Mein Hum-Geet Gaya Patharon Ne-1964-Hasrat Jaipuri

It is truly difficult to rank a particular song as ‘the best’ of an artist, but if you ask me , personally I would rate this as Asha’s lifetime top song. Composed by a brilliant composer who , unfortunately never got his fame, Ramlal had two great films -Sehra and Geet Gaya Patharon Ne and with just these two films he made his mark. The general public may not remember his name but serious music connoisseurs definitely recognize his talent. This Asha song is truly a haunting , excellent melody, composed brilliantly by Ramlal and sung with equal brilliance by Asha. I always do not understand why the so-called fans of Asha completely ignore masterpieces like this and keep glorifying many of her mediocre songs.

Ravindra Jain

Sajna Hai Mujhe-Saudagar-1973-Ravindra Jain

Ravindra Jain promoted many new singers , but whenever he composed songs for the sisters -Lata and Asha , they were great hits. The way Asha carries the song through with many twists and turns is amazing.

Roshan

Nigahen Milane Ko Jee Chahta Hai-Dil Hi To Hai-1963-Sahir Ludhianvi

If there has to be a slot for the topmost qawwali by a female playback singer , this could easily take the cake. It is songs like these that truly represent the great talent of Asha and not the more-often hyped about songs in the popular domain. I may keep repeating this thought , but that is how it is! Doing full justice to the excellent qawwali that Roshan was a master of , each every line sung by Asha is something no other singer can come close to.

Shankar Jaikishan

Pan Khaye Sayyan Hamaro-Teesri Kasam-1966-Shailendra

When it comes to Shankar Jaikishan ( my all time personal favourites and whom I considered as true emperors of Hindi film music) , Asha may not have been their first choice of female playback singer but whenever they composed for her , they were songs of high energy that was hallmark of SJ. This one from Teesri Kasam is typical of SJ & Asha!

Haye Gajab Kahin Tara Tootha-Teesri Kasam-1966-Shailendra

Teesri Kasam had SJ’s great compositions for Mukesh, Lata and Asha, not to forget a superb folksy Chalata Musafir for Manna Dey. SJ could come out with masterpieces even if they compose 8 to 10 songs for a film and that is the reason why they are the emperors. This song may not be as popular as Paan Khaye Sayyan but personally I like this even more.

Ustad Vilayat Khan

Ambar Ki Ek Paak Surahi-Kadambari-1975-Amrita Preetam

Ustad Vilayat Khan was a well-known classical Sitar maestro and ventured into composing for film music only for three films. This song of Asha must be very rare for most of the listeners but somehow I rate this among the best of Asha.

A bonus song from Tamil!

Ilayaraja-Shenbagame Shenbagame-Enga Ooru Paattukaran-

Gangai Amaran

Normally I do not mix up a different language song in my blogs, but occasionally do make exceptions. With this one song, Asha made a great impact on the discerning Tamizh audience and the song was a super-hit . For most of the singers from the North , getting the accent while singing Tamizh songs is a challenge , but Asha got this perfect . With a great tune by the maestro Ilayaraja , I thought this could be the right song to complete this blog on Asha’s best for music directors other than the top five, that I will cover in Part 2.

Acknowledgements and Disclaimer:

I sincerely thank the publishers of following Internet sources for the information that I could gather for this article:

You Tube
Wikipedia

The songs mentioned are from the popular, public domain and have been embedded here only for the listening pleasure of the music lovers. The photograph is taken from the internet, duly recognizing the full copyrights for the same to the original creator or the site where they were originally displayed .This blog does not claim any copyright over them, which rests with the respective owners of the rights.

Hindi film songs

The evergreen duets of T M Soundararajan & P Susheela

April 27, 2026 Sivanandam Palamadai Leave a comment

Part 2 -B

Continuing my blog on the great duets of TMS with P Susheela from the earlier part, here I conclude the series with some of their memorable duets from the year 1966 onwards.

By this time, MSV had parted ways from his long time associate T K Ramamoorthy , but was ruling the charts in a very big way. Towards the early 70’s and onwards, many new music directors slowly made their mark and although TMS & PS may have sung relatively lesser songs for these new comers, still , whatever they sand turned out to be evergreen hits.

In this concluding part, I am listing out around 25 songs to the best of my ability. The usual caveat always stands good-no listing of songs by such legends can never be comprehensive and my selection may be totally different from any other music lover’s selection.

While looking at the songs , I came across a video of a live concert that was held in the year 2010 , when these two legends were well past their prime-TMS would have been 88 years old and PS, 75 years. They were singing their immortal duet-Malarnthum Malaratha Paathi Malar -one could notice the hands of TMS were shaking as he was holding the microphone , the voice had the age of 88 years and had slowed down a lot , but still the way he sang with that emotion that is his trademark , equally supported by PS , is truly remarkable! I have provided the link to this live performance at the end of this blog along with the original version they sung in 1961.

This particular song has been recreated by numerous singers in social media , but I personally feel no one can even come near the rendition of the evergreen pair of T M Soundararajan and P Susheela. As long as there is music in this world, the name of TMS & PS will always be remembered with reverence.

1.Rajaavin Paarvai-Anbe Vaa-1966-M S Vishwanathan-Vaali

Let me begin with a blockbuster song! The orchestration of MSV is simply out of the world with strings, accordion & the chorus-all creating a masterpiece with majesty in TMS voice, complimented by PS’s sweet vocals.

2. Naan Parthathile Aval Oruthiyaithan-Anbe Vaa-1966-M S Vishwanathan-Vaali

Anbe Vaa film was a musical bonanza and this is one more super hit song. The interludes have the typical stamp of MSV, with TMS taking the lead in the song, joined by PS towards the end in her inimitable style.

3. Kalyana Naal Paarkka-Parakkum Paavai-1966-M S Vishwanathan-Kannadasan

A lilting waltz rhythm , with a superb brass section , MSV came out with a superb western dance number . Note how TMS has sung with a slightly different tone for MGR as compared to his usual style. Not to forget the way PS complements TMS in each line.

4. Innum Parthukondirunthal-Vallaval Oruvan-1966-Vedha-Kannadasan

Music director Vedha was capable of composing original tunes , but somehow the commercial compulsions of the producers confined him to songs inspired from the popular Hindi film songs of those times. But he would recreate them excellently in terms of orchestration . This song was inspired from the well-known music composers Shankar Jaikishan’s Mera Dil Ab Tera O sajna ( Film Dil Apna Aur Preet Parai-1960) , originally sung by Lata Mangeshkar as a solo song only. Vedha converted this as a duet superbly. TMS , whenever he sings for Jaishankar, always had a distinct tone.

5. Naan Malarodu Thaniyaga-Iru Vallavargal-1966-Vedha -Kannadasan

One more inspired song by Vedha . This is from the Shankar-Jaikishan’s super hit Tujhe Pyar Karte Hain song from the film April Fool that was sung by Rafi & Lata was recreated in Tamil by Vedha, and we have our own Rafi & Lata i.e TMS & PS making this equally popular in Tamizh . Note how Kannadasan does a superb job when writing for an already composed song with so meaningful lyrics, without spoiling the song .

6. Chandrodayam Oru Pen Aanatho-Chandrodayam-1966-M S Vishwanathan-Vaali

This duet can easily rank among the top ten by this golden pair. A superb composition by MSV that has an extra-ordinarily long charanam. The way both TMS and PS sang this , is something to be cherished for years .

7. Iraivan Irukkindrana-Avan Pithana-1966-R Parthasarathi-Kannadasan

This may strictly not be a famous duet of TMS & PS. I remembered this rare song after seeing so much destruction in recent war that has only taken a pause-God only knows if peace will ever return permanently in this troubled world. Composed by a composer who has remained unsung-only while digging out songs for my blogs I came across the name of R Parthasarathi-I must admit this could be purely my ignorance -many music lovers must be definitely knowing more about him. Different sources cite the lyricist as Kannadasan/

8. Ninaithen Vanthai Nooru Vayadu-Kaavalkaran-1967-M S Vishwanathan-Vaali

Starting off with an Arabian style tune and merging into a Punjabi bhangra so beautifully can only be done by that legend MSV! TMS & PS give that special touch to those phrases like Oh …ho…ho hoyyya so nicely, adding a unique charm to this evergreen song.

9. Muthakkalo Kangal-Nenjirukkum Varai-1967-M S Vishwanathan-Kannadasan

Only the picturization is austere, as the director C V Sridhar wanted-the lead actors Sivaji Ganesan and K R Vijaya acted in this film without any make-up. The music , orchestration and singing were so rich! This song is one of the topmost among the evergreen duets of this golden pair.

10. Poomalaiyil Or Malligai-Ooty Varai Uravu-1967-M S Vishwanthan-Kannadasan

By this time most of the ardent music lovers would have heard the anecdote behind this song’s creation as narrated by the master MSV himself. Taking inspiration from a brief flute prelude that appeared in the Hindi song composed by MSV’s ‘manaseega guru’ Naushad -Tu Mera Chand Mein Teri Chandidni, if MSV had not revealed this fact himself, no one could have ever guessed. That is how genius composers are made! The banjos that start off the rhythm after the line ‘ poomalayil’ is pure MSV signature!

11. Antha Sivagami maganidam -Pattanathil Bootham-1967-R Govarthanam-Kannadasan

I have consciously avoided writing much about the lyrical beauty in all these songs because if I start writing about Kaviarasar, then the blog’s theme would totally shift ! Making a brief exception, in this song I have to mention this story. It seems Kannadasan wanted to convey a subtle message on his political activities and the famous CM of T amil Nadi Kamarajar’s mother’s name was Sivagami. Using the theme of the film song , he did a master stroke of starting the song with the line ‘ antha Sivagami maganidam seithi solladi, yennai serum naal parka solladi’. Subtle touches like these make the songs of yore so interesting . No doubt, in all the talk about the story behind the song, we cannot forget the way in which TMS & PS rendered this.

12. Kuyilaga Naan Irunthenna-Selva Magal-1967-M S Vishwanathan-Vaali

Whenever TMS sang for the actor Jaishankar, he had a slightly different tone and most of the songs, like the ones he sang for the other top heroes-MGR & Sivaji- were also great hits. One more signature composition of the Mellisai Mannar, superbly rendered by TMS& PS.

13. Mannika Vendugiren Unthan Aasaiyai-Iru Malargal-1967-M S Vishwanathan-Vaali

When TMS starts the charanam with his inimitable style ‘ thithikkum idai unakku, enedrendum athu yenakku’ , we are elevated to the seventh heaven. Not to be left behind, OS always provides the equal counter to his singing and that is why one never tires of listening to this golden pair.

14. Pothumo Intha Idam-Naan-1967- T K Ramamoorthy-Kannadasan

After the immortal pair MSV & TKR parted their ways, MSV became a hugely successful independent composer. But unfortunately TK Ramamoorthy could get only few films , but he did compose some memorable songs-this one being one among them. Note the beautiful use of guitar and an innovative humming by both TMS & PS in the second charanam.

15. Vellikinnan Than Thanga Kaigalil-Uyarntha Manithan-1968-M S Vishwanathan-Vaali

There are very few songs in which PS joins in with only a humming. And what a great humming in this-it is as good as a normal duet.

This is without any doubt one of the evergreen duets of TMS & PS.

16. En Kelvikkenna Badil-Uyarntha Manithan-1968-M S Vishwanathan-Vaali

In the same film Uyarntha Manithan, if we had Vellikinnanthan picturised on the lead actors, this was on the second rung actors, but the song remains equally classic! TMS does more emoting than the actor on screen through his voice modulations!

17. Aadaludan Paadalai Kettu-Kudiyiruntha Kovil-1968-M S Vishwanathan-Alangudi Somu

With a terrific tempo , an unusual peppy style of singing by both the legends as compared to many of their very sober ones, this song proves that the veterans of those days can perform any genre. It was , in my personal opinion , their personal choice that they restricted themselves to a particular style.

18. Kannoru Pakkam Nenjoru Pakkam-Niraikudam-1969-V Kumar-Kannadasan

I have been guilty of bias towards MSV-TKR or independent MSV composed songs-no once can avoid that as they had given the maximum hits for TMS-PS. I have tried to include many other composers also-V Kumar is one highly under-rated but extraordinarily talented composer. I have already written about his exclusively in my blogs. The charanam is vintage V Kumar -intricate yet sounding so melodious.

19. Azhagiya Tamizh Magan Ivan-Rickshawkaran-1971-M S Vishwanathan-Vaali

Normally our film songs are around 3-4 minutes , but this one is a 6 minute song. But one can never get bored due to the excellent orchestration, singing and picturization of the song. The chorus is vintage MSV. Not to forget the ease with which both TMS & PS traverse through the high octaves so effortlessly!

20. Mayakemenna Intha Mounam-Vasantha Maaligai-1972-K V Mahadevan-Kannadasan

A film that ran successfully for almost 2 years during the first release, also went on to be as successful in digitally re-mastered versions twice-in 2013 and 2019. All the songs from this film became super hits and Mayakemmenna is a classic that is liked even today by music lovers. One more 6 minute song, but due to the excellent tune and rendition by the great pair, one can never get bored of the length.

21. Unathu Vizhiyil Enathu Paarvai-Naan Yen Piranthen-1972-Shankar Ganesh-Pulamaipithan

Shankar -Ganesh had a lucky break when they got this assignment to work an MGR film. Everyone knows MGR had an excellent music sense and almost all the songs of his films were great hits. This is one of the pleasing melodies from Shankar-Ganesh.

22. Iravukkum Pagalukkum-Engal Thanga Raja-1973-K V Mahadevan-Kannadasan

A typical KVM composition , with a fast tempo and sung so nicely by the duo. KVM had that ability to use minimum orchestration but the tunes were always so catchy. TMS’s adds his typical style while singing the last line ‘ kavignar sonnathu konjam inimel kanapovathu manjam’

23. Madhanamaligayil Manthira Maalagalam-Rajapart Rangadurai-1973-M S Vishwanathan-Kannadasan

One can never believe TMS was 51 years when this song was recorded. His voice had the same verve and energy of a singer in 20’s. The majestic way he starts off the song-the film was about a stage artist and so the style of the song was typical of the old stage songs. Equally youthful is a 40 year old P Susheela. Their voices never aged! Actually MSV had thought of two different tunes and ultimately merged them so beautifully based on the suggestion from an office boy supplying tea who happened to hear both the tunes! Genius at its best!

24. Aagaya Panthalile Ponnunjal-Ponnunjal-1973-M S Vishwanathan-Kannadasan

MSV used a grand orchestration with many wind, string instruments , complemented so beautifully with that master wordsmith Kaviarasar Kannadasan and to top them all-what a rendition by the golden pair!

25.Neramithu Neramithi Nenjil -Rishimoolam-1980-Ilayaraja-Kannadasan

One really wished the Isaignani could have composed few more songs with this golden pair. However music style had a sea-change with his advent and that is a separate world with its own charm. From the very limited few songs that TMS & PS together rendered for this mastro, this is a memorable duet. This could have been one of the last hit songs of this immortal pair.

I conclude my blog on the evergreen singing pair- T M Soundararajan and P Susheela . I know there can be so many other songs that I have missed , but hope this was a representative sample , covered in two parts.

Coupled with the first part in which I covered the duets of TMS with other singers, I feel happy that I could write about so many gems of the ‘ simmha kural’ TMS ayya.

In the beginning of this blog I mentioned about a live performance of the song Malarnthum Malaratha sung by this pair at a very advanced age. Here I am providing links to that and the original one. As long as music lives in this earth, this song will continue to move us emotionally.

TMS @ 88 years and PS @ 75 years….

And this one when they were at their prime….

Acknowledgements and Disclaimer:

I sincerely thank the publishers of following Internet sources for the information that I could gather for this article:

You Tube
Wikipedia
Ragamalika TV-QFR series

Hindi film songs

The evergreen duets of T M Soundararajan & P Susheela

April 10, 2026 Sivanandam Palamadai Leave a comment

Part 2 A

Around two weeks back, I had posted my blog on the duets of the legend T M Soundararajan ( TMS) with singers other than P Susheela with a promise that I would follow up with my blog(or blogs!) on his evergreen duets with the nightingale P Susheela.

For any Tamizh music lover, this is a golden pair and there could not have been a single day , when at least few dozens of their duets would have been aired in radio during the 60’s, 70’s and even into the later decades, till music tastes changed completely in the present times. Now one has to seek for their duets in the Internet /any other media that is available .

Although I am not an expert on statistics on Tamizh film songs, it is generally believed that this golden pair might have sung around 700-800 songs together. This exceeds the numbers by two other famous pairs -not in Tamizh, but in Hindi films-Rafi and Lata might have sung around 400-450 duets and Rafi and Asha around 600+ duets.

When I started listing out the popular songs of T M Soundararajan & P Susheela ( for brevity, I will henceforth refer to them as TMS & PS), I was overwhelmed with the number of songs that I could list out. It is truly an impossible task to select few out them. Still I have tried my best to provide a comprehensive list that not only includes their great duets under the baton of the great composers Vishwanathan -Ramamoorthy , M S Vishwanathan as an independent composer , K V Mahadevan, G Ramanathan but also many other composers.

I tried to find out if both TMS & PS had talked in depth about their experience in singing so many duets, but unfortunately there is hardly any such interview available to the best of my knowledge. There were just one or two I could find but that was very brief and not done in a professional manner.

One of the main objectives for me to create this blogsite is to provide a single source for looking at all the legendary artists of the Tamizh and Hindi film music. To that extent I feel glad that I have been able to write about so many legendary artists, provide links to few of their great songs and do my tiny bit in preserving their memory.

The inherent depth in TMS’ voice, his ability to modulate according to the actor on screen combined with PS’ sweet-as-nectar voice and together, their perfect Tamizh diction ( despite PS’ mother tongue being Telugu and TMS of Saurashtra origin but settled for many generations in Tamil Nadu) , ability to traverse those high notes with perfect ease-all these factors must have contributed to their duets being immortal. Above all these factors, the way they got into the soul of a song-be it a happy one or a pathos is something that is very unique.

I will try to cover some of their duets in two parts as I feel one single blog will become too lengthy! Though it sounds too academic, I have named this blog as Part 2 A that lists few selected songs till the year 1965 ; Part 2 B shall be on songs for films made in 1966 and onwards.

Arranged in chronological order as per the film’s release and with the song-film-year-music director and lyricist mentioned in that order, here I list out some of their greatest duets.

Mullai Mele Moikkum Vandu-Uthama Puthiran-G Ramanathan-1958-A Maruthakasi

One of the earliest hits of this golden pair has to be composed by none less than that veteran -G Ramanathan-who else! Those were the days when both TMS and PS were establishing their name slowly and this Darbari Kanada/Kanada based composition should be the right song to start my list.

2. Naan Pesa Ninaipathellam-Paalum Pazhamum-1961- Vishwanathan Ramamoorthy-Kannadasan

Paalum Pazhamum’s music got the best appreciation by the legendary composer Naushad Ali, who after listening to the songs initially refused to work on the Hindi version of the film Saathi, stating that it would be better if Vishwanathan -Ramamoorthy themselves do the Hindi version also. But language was a barrier and ultimately he also created excellent songs in Saathi. I have selected two songs from this film-each one a masterpiece.

3. Ennai Yaar Endru-Paalum Pazhamum-1961- Vishwanathan Ramamoorthy-Kannadasan

4. Kaveri Karairukku-Thayai Kaatha Thanayan-1962-K V Mahadevan-Kannadasan

After three songs picturised on Sivaji Ganesan , here is one on MGR with KV Mahadevan coming out with a lilting tune for the golden pair!

5. Kodi Asainthathum-Paarthal Pasi Theerum-1962- Vishwanathan Ramamoorthy-Kannadasan

One can understand why the duets of TMS & PS are so charming by listening closely to the expressions they bring out in this song-especially the humming at the beginning of the song. That is how legends are made.

6. Pesuvathu Kiliya Illai-Panathottam-1963- Vishwanathan Ramamoorthy-Kannadasan

That “ hoi hoi hoi” phrase sung by both in different ways at different places of the song is enough to charm you. Banjos, accordion add even more charm to the song.

7. Andru Vanthathum Ithe Nila- Periya Idathu Penn-1963- Vishwanathan Ramamoorthy-Kannadasan

The good old team of Vishwanathan -Ramamoorthy+ Kannadasan+TMS+PS come out with a ball room dance , westernized song but at the same time maintaining the beauty of superb lyrics in our Tamizh . The vocal tones of TMS & PS are somewhat different from what they usually sing, in line with the type of song. That is why they are the legends!

8. Enathu Raja Sabaiyile Ore Sangeetham-Kalyaniyin Kanavan-1963-S M Subbiaha Naidu-Kannadasan

S M Subbiaha Naidu was a master in composing songs with a distinct rhythm pattern , using mostly Indian instruments only.

9. Poopola Poopola Sirikkum-Naanum Oru Penn-R Sudarsanam-1963-Panchu Arunachalam(?)

I am not very sure if this song was written by Panju Arunachalam-most of the Internet sources attribute to him. One of the most famous songs by the veteran R Sudarsanam that was also taken as it is in the Hindi version of the film -sung by P B Sreenivas and Lata Mangeshkar ( Mein Bhi Ladki Hoon film-song: Chanda Se Hoga Woh Pyara composed by Chitragupt )

10. Thoongada Kannendru Ondru-Kungumam-1963-K V Mahadevan-Kannadasan

KVM was known for his lilting melodies that he invariably composed after the lyrics were written. Perfectly apt for the situation , he comes out with a soft melody and both TMS & PS as usual take the song to a great height with their restrained singing.

11. Nerodum Vaigaiyile Nindradum Meene-Paar Magale Paar-1963-Vishwanathan Ramamoorthy-Kannadasan

In the parts of the song where both sing together, it is absolutely a delight to listen to. Perfectly synchronized!

12. Javvadu Medaikatti-Panathottam-1963-Vishwanathan Ramamoorthy-Kannadasan

One would normally never see MGR acting in a tipsy way. I have not seen this movie and so do not know what was the context-he might have been just play-acting as if he was tipsy. He was always very particular about his on screen persona. But our focus is more on the golden pair rendering this so perfectly-not their usual style but observe how they have performed this behind the microphone! Despite singing in a tipsy way , just observe how they maintained the clarity in diction and maintained the dignity in singing.

13. Thottal Poo Malarum-Padagotti-1964-Vishwanathan Ramamoorthy-Vaali

If one can list the best ten duets of TMS & PS , this one will definitely be at the top of the list. What a composition by Mellisai mannargal and equally brilliant singing by the golden pair.

14. Paattukku Paateduthu-Padagotti-1964- Vishwanathan Ramamoorthy-Vaali

From the same film Padagotti, this song scores so high on the emotional content -it appears as if both are trying their best to outdo each other through their singing. Especially in those parts where it is just their vocals without any accompanying music, it is just heavenly. One of my personal favourites!

15. Vannakili Sonna Mozhi- Deiva Thai-1964-Vishwanathan Ramamoorthy-Vaali

An out and out guitar song played by Phillips -VR’s best guitarist. A lilting melody that remains in our memory long after the song is over.

16. Amaithiyana Nadiyile Odam-Aandavan Kattalai-1964- Vishwanathan Ramamoorthy-Kannadasan

This is one evergreen duet of TMS & PS that needs no introduction. Music, lyrics, singing all at its best ever. When PS makes an entry with the lines “ Naanalile Kaal Eduthu” in the last stanza, after a counter melody alaapanai in the interlude, the song reaches its zenith !

17. Methuva Methuva Thodalama-Vettaikaran-1964-K V Mahadevan-Kannadasan

K V Mahadevan composed many hit songs for the film Vettaikaran ( most famous being Unnai Arinthaal Nee Unnai Arinthaal) and they were quite different from his usual style.

18. Naanamo Innum Naanamo-Aayarathil Oruvan-1965-Vishwanathan Ramamoorthy-Vaali

The last film in which the mellisai mannargal worked together before parting ways was a landmark film musically. All the songs are still cherished by music lovers.

19. Ponnezhil Poothathu Puthathu-Kalagarai Vilakkam-1965-M S Vishwanathan-Panchu Arunachalam

I think this was the first film that MSV composed independently after the unfortunate parting of ways with his long-time associate T K Ramamoorthy. And what a grand start to another glorious innings as an independent composer! The evergreen pair of TMS and PS as always render a scintillating song with their typical flair. The high notes they travel through look so easy when we listen to but what a great effort must have gone into their work!

20. Anbulla Maanvizhiye-Kuzhandaiyum Deivamum-1965- M S Vishwanathan-Vaalidetecet

After MGR & Sivaji Ganesan, for other actors like Jaishankar also TMS rendered some of his best songs. One can detect a distinct tone that he used for other actors apart from MGR & Sivaji. When it comes to voice modulation, there was no one to beat TMS in Tamizh ffilm music. This is a delightful duet picturized on Jaishankar and yesteryear actress Jamuna. PS adds equal charm to the song.

21. Gnyayiru Enbathu Kannaga-Kaakkum Karangal-1965- K V Mahadevan-Vaali

Once again check out for the subtle variation in TMS’ singing for another actor- S S Rajendran. This is a rare association of KVM with Vaali-a delightful melody.

I have just touched upon a tiny fraction of this great singing pair’s evergreen duets-will come back soon with Part 2 B that will mention the songs they sang together 1966 onwards.

Acknowledgements and Disclaimer:

I sincerely thank the publishers of following Internet sources for the information that I could gather for this article:

You Tube
Wikipedia
Ragamalika TV-QFR series

Hindi film songs

Duets of T M Soundararajan

March 26, 2026 Sivanandam Palamadai Leave a comment

Part 1-Some of his excellent duets with “other singers”

It was more than four years back , in Jan 2022 , as my second blog, I had written about one of the greatest male playback singers of our country, T.M Soundararajan. In the initial days, I was not sure of embedding songs in my blogs and so it was a simple write up about 20 greats songs of TMS , randomly picked up by me. I had also confessed in that blog about how from being a person who was never fascinated by his songs in my younger days, I got transformed into a great fan of TMS , now placing him among my most favourite singers!

The versatility, emotive content , his absolutely flawless Tamizh diction, ability to mould the voice according to the actor on whom the song is picturized-all make him a great playback singer and definitely I have to write many more blogs on him.

In this blog I will try to showcase some of his excellent duets as my earlier blog focused only on his solo songs ( with exception of only one duet-Malarndum Malarada with P Susheela). I will list out his duets covering all main female and male playback singers with whom TMS had sung . This blog will be in two parts as the duets that he rendered with P Susheela deserves a separate one. In fact it is impossible to cover his fabulous duets with PS in one blog as the pair of TMS & PS gave some of the evergreen songs in Tamil films. In fact Part 2 , his duets with P Susheela may have to be multiple blogs Part 2 -A, B ,C etc as their association gave the best songs of the golden era of Tamizh film music.

If there has been a pair of playback singers who might have sung the maximum number of duet songs in films, it must be TMS and P Susheela. Though I do not have any authentic statistics, it may run into some 700-800 songs . This could be followed by those he sang with L R Eashwari, P Leela, Jikki, K Jamuna Rani , S Janaki , and many other singers with whom the numbers may be less like M L Vasanthakumari, A.P Komala, Radha Jayalakshmi , Soolamangalam Jayalakshmi, Vani Jayaram etc.

Apart from female playback singers , TMS also rendered many memorable male duet songs with P B Sreenivas , Seerkazhi Govindarajan , K J Yesudas, S P Balasubrahmanyam and A L Raghavan.

Although the duets of TMS with singers other than P Susheela are relatively less in numbers and maybe not known to all , barring the few he rendered with L R Eashwari, when we dig deep, definitely there are many gems to be discovered.

I will try my best to provide a representative list covering some of his memorable songs with these singers , though including everyone may not be possible.

His duets with female playback singers other than P Susheela

M S Rajeshwari

Kanvizhi Pugunthu Karuthinil-Thooku Thooki-1954-G Ramanathan-A Maruthakasi

Before M S Rajeshwari got stereotyped into singing for child actors in films , she had sung for heroines . It was only in her later part of her career, somehow the film industry, that gets into a stereotyping mode most of the time, gave her only those songs that were to be sung in a child-like voice. This duet from the early career of TMS is a nice melody.

P Bhanumati

Masila Nilave Nam Kadalili Magizhvodu-Ambikapathy-1957-G Ramanathan-Kannadasan

In the early era most of the actors were good singers also and P Bhanumati was not only an actor-singer, but even produced and directed films. With a very unique and distinct voice she had rendered many great songs. This duet with TMS is one of her most popular ones. G Ramanathan was well-known for his epic songs that were ragamalikas and this is one of those great masterpieces from that genius composer, that has been created with different raagas but also a “ thalamalika” i.e with different rhythm patterns.

Jikki

Kannil Vandhu Minnal Pol-Nadodi Mannan-1958-S M Subbaiha Naidu-Suratha

Jikki was an accomplished singer , known for her crystal-clear voice and very versatile singing. Though her duets with TMS may have been few in numbers, this is a very well-known song from the famous film of MGR-Nadodi Mannan.

R Balasaraswathy

Eliyorai Thazhthi Valiyorai Vazthum-Thai Piranthal Vazhi Pirakkum-1958-K V Mahadevan-K S Krishnamoorthy

Very recently, i.e Oct 2025 , the unlucky singer R Balasaraswathy passed away at the age of 97. She started singing in late 30’s and went on to sing even till the 60’s , mainly in Tamil and Telugu films , but never got the recognition she deserved. Only while writing my blogs, I came across this forgotten singer-her most famous song was Neela Vanna Kanna Vada in the film Mangayar Thilagam( 1955) composed by S Dakshinamurthy. This rare duet with TMS is a soulful melody, sung with pathos equally well by both the singers.

P Leela

Thazhaiyaam Poo Mudichu-Baga Pirivanai-1959- Vishwanathan -Ramamoorthy-Kannadasan

Composed brilliantly by the Mellisai Mannargal Vishwanathan and Ramamoorthy with a folk tune makes this song one of the greatest ever in that genre. As the cliché goes, the greatest things in this world are the simplest! With minimum orchestration , it is TMS & P Leela behind the screen and Sivaji Ganesan and Saroja Devi on screen who elevate this song to its lofty heights.

M L Vasanthakumari

Aadatha Manamum Undo -Mannathi Mannan-1960-Vishwanathan -Ramamoorthy-A Maruthakasi

One of the greatest classical duets composed in Tamil films, Vishwanathan Ramamoorthy used the classical Lalithangi raagam for this song. TMS , in his typical style breezes through the higher notes with the characteristic flair for which he was well-known. And paired with him, we have the legend from the Carnatic classical world-M L Vasanthakumari . When such giants sing together , the result is a song that will remain etched in our memories forever!

Soolamangalam Rajalakshmi

Ore Oru Oorile-Padikkatha Methai-1960-K V Mahadevan-Kannadasan

The Soolamangalam sisters-Rajalakshmi and Jayalakshmi were more renowned for their devotional songs and the most popular Kanda Shashti Kavacham-a hymn in praise of Lord Muruga. Both the sisters also performed many classical concerts. Their film songs were relatively lesser in numbers but many of them were hits. This duet from the film Padikkatha Methai is one of her most popular ones with TMS.

K Jamuna Rani

Mama Mama Mama-Kumudam-1961-K V Mahadevan- A Maruthakasi

If a single song could lead to a music director being accorded a nick name, this was it! The popularity of this song made everyone call K V Mahadevan as “ Mama” endearingly. An infectious tempo and rhythm make this an evergreen song, no doubt made even more memorable by the stunning rendition by TMS & Jamuna Rani. Jamuna Rani had sung in many languages like Tamil, Sinhala, Telugu , Kannada etc and was active during right from 40’s to 50’s . After a long hiatus , she rendered a song for Ilayaraja in the film Nayakan in 1987-Naan Sirithal Deepavali

L R Eashwari

1.Pavazhakodiyile Muthukkal Poothal-Panam Padaithavan-1965-Vishwanathan Ramamoorthy-Vaali

After P Susheela, TMS must have sung the maximum number of duets with L R Eashwari. LRE was knows for her versatility, the natural vibrato in her voice made her unique. Film world generally typecasts a singer into a particular genre-she was preferred more for peppy , cabaret songs though she was equally good singing pathos, romantic and even devotional songs.

A song in which one singer only does humming may not be strictly called a duet , but I included this masterpiece by LR Eashwari not only for TMS’ brilliant rendition , but equally for the haunting humming by LRE. A superb Arabian style composition by mellisai mannargal.

2. Muthu Kulikka Vareegala Anubavi Raja Anubavi-1967-M S Vishwanthan -Kannadasan

MSV created a fusion of folk, a middle-eastern music and even some elements of a classical raagam in this very popular and peppy number. Written by the Kaviarasar in the regional dialect of Tirunelveli-Thoothukudi , this is an absolute gem of a song. TMS & LRE create the perfect vocals for the on-screen antics of the veterans Nagesh & Manorama.

Trivia:the catchy rhythm had even inspired the music director in North, R D Burman, himself a master of rhythms, to re-create this song for the Hindi film Do Phool in 1973 ( that was also a remake of the Tamil film Anubavi Raja Anubavi).

3. Thulluvatho Ilamai-Kudiyiruntha Kovil-1968-M S Vishwanathan-Vaali

Personally , I would rate this as the best ever duet of TMS & LRE. Once again , MSV comes out with a scintillating composition and orchestration . The initial part of the song is fully dominated by LRE and then in the second charanam, TMS makes a grand entry . The energy in this song is unbeatable. Observe the way TMS adds an extra stress on the word “ Ilamai”-brilliant!

4. Naam Oruvarai Oruvar-Kumari Kottam-1971-M S Vishwanathan-Vaali

One more popular duet of TMS & LRE-the vibrato that LRE is so famous for comes out so prominently at the end of each charanam.

S Janaki

Kathalin Pon Veediyil -Pookkari-1973-M S Vishwanathan-Panchu Arunachalam

Of course , the best duet of TMS with S Janaki was in an old film -Kungumam made in 1963-Chinnanchiriya Vanna Paravai composed by K V Mahadevan. Since I had mentioned in detail about this song in my blogs on K V Mahadevan and S Janaki, I had to skip that here.

The number duets that TMS had with S Janaki may be less but most of them are great songs. Both are well-known for the ease in which they travel the higher notes and so when they sing together it is sheer magic.

2. Anthapurathil Oru Maharaja-Deepam-1977-Ilayaraja-Pulamaipithan

Ilayaraja and TMS worked only during the former’s early days. Music taste had changed , the main actors for whom TMS sang-MGR & Sivaji were also acting in lesser films , with former entering into politics in a big way and becoming the chief minister of Tamil Nadu. It was the era of young singers SPB & KJY –TMS had started taking bow after 1980 after a long innings of around 25 years. In those 25 years , he had truly dominated the Tamil film music , like a colossus.

This memorable duet with S Janaki is definitely the best from Ilayaraja for TMS.

Vani Jayaram

Andavan Illa Ulagamethu-Oru Oothappoo Kanchimittugirathu-1976-V Dakshinamurthy-Ra Pazhanisami

With Vani Jayaram, TMS’ duets may be in single digits . Composed by the great music director V Dakshinamurthy , this was for an off-beat film and hence may not have topped the charts.

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His duets with other male playback singers

When it comes to male-male duets, these are as such rarer as compared to male-female duets and in case of TMS , many would remember only his duets with Seerkazhi Govindarajan and P B Sreenivas. To my surprise, I could discover some rare ones he sung with other male singers apart from these two and I have tried to list few songs here.

Tiruchi Loganathan

Maanamellam Pona Pin-Aaravalli-G Ramanathan-1957-A Maruthakasi

There must be only a handful of songs by TMS & Tiruchi Loganathan. In this film , Tiruchi Loganathan had around seven songs , with his Chinna kutii Nathana Sillaraya Mathina being a popular one. TMS had only one song in this film -those were the days when TMS was just making his career and Tiruchi Loganathan was already an established singer. The charm of the music from golden era lies in the fact that even obscure songs, rarely heard are so nice!

J P Chandrababu

Aathukku Palam Avasiyam-Pathini Deivam-1957-Vishwanathan Ramamoorthy-Thanjai N Ramaiha Das

I had never heard this song earlier and never knew that TMS and Chandrababu had sung together. A rare song but a simple , delightful tune from the early days of Vishwanathan-Ramamoorthy.

A L Raghavan

Kayame Idhu Poyyada-Kumudam-1961-K V Mahadevan

I could not believe TMS singing for M R Radha -what a superb voice modulation . In between the song there are few dialogues by M R Radha and then immediately TMS continues the song and everyone knows what a distinct voice M R Radha had-TMS modulates his voice so well. A playback singer’s main strength is to get into the actor’s tone and TMS was a true master in that. A L Raghavan sings for an actor A Rama Rao and both have done an extra-ordinary job. It is a pity that songs like this have completely faded away from the popular domain.

Seerkazhi Govindarajan

Kasikku Pogum Sanyasi-Chandrodayam-1966-M S Vishwanathan-Vaali

I had written about the epic TMS-Seerkazhi duet “ Vendriduven Unnai Vendriduven “ from the film Agastiyar in two of my blogs earlier and hence did not want to repeat it here. There cannot be any doubt at all that it is one of the masterpieces by them. Here is a light-hearted one picturized on MGR and Nagesh.

P B Sreenivas

Pon Ondru Kanden-Padithal Mattum Pothuma-1962-Vishwanathan Ramamoorthy-Kannadasan

To this day, this song is being recreated by many singers in various events / social media channels. The popularity of immortal songs like this can never fade away. Beautiful , meaningful lyrics, a pleasing , catchy tune with that typical shehnai of V-R , combined with a superb rendition by the two great legends-TMS & PBS-what more do we need?

2. Nallavan Enakku Naane Nallavan-Padithaal Mattum Pothuma-1962-Vishwanathan Ramamoorthy-Kannadasan

From the same film , this is relatively less heard, maybe due to the immense popularity of “ Pon Ondru Kanden” song. Interspersed with a folksy touch in between ( I could not find out who had sung that portion), this song has a different flavour as compared to Pon Ondru Kanden.

3. Vazhndu Parkavendum-Shanti-1965-Vishwanathan Ramamoorthy-Kannadasan

The TMS solo song from the move Shanti-Yaar Antha Nilavu is a masterpiece . Here is a delightful duet by TMS & PBS from the same film that may be lesser-known but is nice to hear even after decades.

4. Kannan Vanthan Yengal-Ramu-1966- M S Vishwanathan-Kannadasan

TMS makes an entry only towards the last charanam , but both the legendary singers , whenever they sing together, elevate the song to a different level.

5. Paadinal Oru Paatu-Oru Thai Makkal-1971- M S Vishwanathan-Vaali

Muthuraman had acted with MGR in very few films-this is one of them. Typical MSV’s orchestration , with the delightful contrast in voices of TMS & PBS.

S P Balasubrahmanyam

Naalai Namathe-Naalai Namathe-1975-M S Vishwanathan-Vaali

Whenever MSV had to re-create a song from a hit Hindi film , it is said that he used to feel a bit uncomfortable. But the greatness in him was that he never copied the tune and made his own innovations in a such manner that the overall feel was the same , but in a completely different tune. A true genius! This is the Tamil version of the famous Yaadon Ki Baraat Nikli Hai Aaj from the Hindi film Yaadon Ki Baraat .

SPB and K J Yesudas were gradually taking over the top position in Tamizh film music from the veteran TMS …but the spark in TMS was still alive and glowing as brilliantly as ever.

K J Yesudas

Imathotta Manivizhi Irandukkum-Unakkaga Naan-1976-M S Vishwanathan-Kannadasan

Once again a remake film, this one from the Amitab Bachchan -Rajesh Khanna starrer Namak Haram. The Hindi film did not have any male-male duet song and this was an innovation in the Tamizh version-thankfully we got to hear TMS & KJY together -could be their only duet.

Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been embedded here only for the listening pleasure of the music lovers. The photograph is taken from the internet, duly recognizing the full copyrights for the same to the original creator or the site where they were originally displayed .This blog does not claim any copyright over them, which rests with the respective owners of the rights

Hindi film songs

Suraiya-one of the last singing superstars

March 4, 2026 Sivanandam Palamadai Leave a comment

15^th June 1929 – 31st January 2004

The Urdu/Arabic name Suraiya primarily means the Pleiades, a star cluster in the constellation Taurus, symbolizing radiance, brightness, and beauty. Her parents, Aziz Jamal Sheikh and Mumtaz Sheikh must have had some foresight to name her “Suraiya” Jamal Sheikh when she was born on 15^th June 1929 in Lahore. She would go on to become one of the most sought-after actress-singer in the 1940’s and 50’s. It is said that at her peak she was paid even more than the leading male actors of those times. It is indeed very rare to see a person endowed with a radiant beauty along with a wonderful voice.

For a long time I was thinking of writing about her , but was a bit apprehensive as my own exposure to the songs of the early era, i.e 30’s and 40’s is very limited . Even now I am not sure whether I would be doing a good job of writing about her great songs, but I am still going ahead as among all Suraiya is one of my favourite singers. Critics might say there were many other talented singers with wider range , but for me music is mostly about how one artist’s singing connects personally.

When she was a year old, her family moved to Bombay as Mumbai was then known. Her family was deeply religious and her grandmother, Badshah Begum taught her religious texts in Persian. She was also fond of Urdu literature and did her education at St. Petit High School, in Fort, Bombay. She did not have any formal training in classical music. Her uncle , M Zahoor once took her to see the shooting of a film and there she got noticed and at the very young age of 12 she had her acting debut as a child artist in the 1941 film Mumtaz Mahal, which got released in 1942. Meanwhile her singing talent was recognized by the veteran music director Naushad ( as a child artist she had sung for All India Radio’s children’s program) and gave her an opportunity to sing in the 1942 film Sharada.

Gradually she was groomed by Naushad, and later on she worked with most of the other leading music directors of those times like Husanlal-Bhagatram, Anil Biswas , C Ramachandra, Ghulam Mohammad, Shyam Sundar , S D Burman and many others.

After the partition of India, the other leading singers of that era, Noor Jahan and Khursheed had migrated to Pakistan and so Suraiya became a much sought-after actor-singer. Those were the days when play back singing had not caught up in a big way . Only after Lata and Rafi entered the industry, playback singing became the mainstay, with even singers like Talat Mehmood, Mukesh and Kishore initially trying to focus more on acting and so Suraiya, with her bewitching beauty and equally good voice dominated in the late 40’s and early 50’s. A career that could have gone for more decades started faltering due to her own personal issues. The famous romance between her and Dev Anand that was completely discouraged by her dominant grandmother is a well-known fact and I would not like to write much about that. Although Dev Anand moved ahead with his life, Suraiya never married and remained single throughout her life.

The most striking aspect of her singing that appeals to me is that contrary to the popular style of those times, she did not have a strong nasal tone to her voice. She could sing a peppy song , an intensely pathos-ridden song , breezy romantic duets -all with equal ease. Maybe the pure classical genre was not her forte as obviously she was not a trained singer. But whatever she sang became super hits. Her swan song “ Yeh Kaisi Ajab Dastaan Ho Gayee Hai ( Film Rustom Sohrab-1963-Sajjad Hussain-Qamar Jalalabadi) or all her songs for the 1954 film Mirza Ghalib remain popular to this day. More about the songs of Mirza Ghalib in my song listing here!

In the words of Naushad “Suraiya had an unsophisticated and charming voice and she sang effortless.” Hence one may not hear any intricate “alaap, “murkhi” etc but simple , free-flowing songs by her that had an emotional connect and so appealed to the masses. Her film Mirza Ghalib got the first President’s Gold Medal constituted by our government and it is said that in the award ceremony , then Prime Minister Pandit Nehru had said to her “ Mirza Ghalib ki rooh ko zinda kar diya’ (you have brought to life Mirza Ghalib’s soul)

I have tried my best to list some of her best duets and solo songs here. I sincerely request readers that this is from my own limited knowledge about her songs -mainly those that I have listened through radio in so many years and in no way reflects the vast repertoire she has left behind.

She decided to quit acting after the film Rustom Sohrab in 1963 , and so she stopped singing also as she mainly sang for herself. Suraiya became more withdrawn from public life. At the peak of her popularity, there were frequent traffic jams outside her Marine Drive home in Mumbai due to her fans wanting to have a glimpse of her! Towards the end she led a lonely life , but thankfully she did not face any financial difficulties unlike some of the other great artists of those times and owned many properties.

On 31^st January, 2004 , at the age of 75 , Suraiya passed away due to multiple illnesses.

I have attempted to list out few great solo songs and duets , arranged chronologically, with the song, film, year, music composer, lyricist and so-singer mentioned in that order. Since some of the video links either do not allow embedding in other sites of have very poor quality, I have embedded audio-only tracks for some of the songs.

Suraiya’s Solos…

Man leta hai angadai – Anmol Ghadi -1946- Naushad -Tanveer Naqvi

A breezy tune by Naushad in his typical style , with Suraiya, still in her teens singing with so much of maturity.

2. Door Papiha Bola-Gajre-1948-Anil Biswas-G.S Nepali

A superb composition by one of the pioneers of Hindi film music-Anil Biswas that, true to the lyrics , sounds as if some sweet bird is singing far away! Suraiya sounds extra-ordinarily sweet in this song.

3. O door jaanewale-Pyar Ki Jeet-1948-Husnlal Bhagatram-Qamar Jalalabadi

With the famous music composer duo Husnlal-Bhagatram , Suraiya had some of her most memorable songs . This song dripping with the feelings of separation of a lover is rendered by Suraiya with the right amount of pathos.

4. Woh Paas Rahe Ya Door Rahe-Badi Behen-1949-Husnlal Bhagatram-Qamar Jalalabadi

The film Badi Behen had few other gems by Suraiya like Ho Likhnewale Likh Di, Bigdi Bananewale, Tum Mujhko Bhool Jao and also a very young Lata coming out with Chup Chup Khade Ho Zaroor Koi baat hai-this was one of H-B ‘s most popular tracks. Who Paas Rahe Ya Door Rahe has that lilting rhythm pattern that one can say was a signature of H-B. Suraiya singing sounds like the flow of a gentle stream.

5. Muraliwale murli baja – Dillagi -1949- Naushad-Shakeel Badayuni

Naushad’s simple but interesting orchestration , Suraiya’s innocent dancing movements and her delightful singing make this a sweet song.

6. Tera khayal dil se bhulaya -Dillagi -1949-Naushad-Shakeel Badayuni

The film Dillagi had around six solos songs and two duets by Suraiya. This solo is one the popular ones.

7. Koi dil mein samaya chupke chupke -Kamal Ke Phool-1950-Shyam Sundar- Rajendra Krishna

When I listened to this old gem after a very long time , I got so much hooked to this that I kept listening to this again and again. Not much is known about the composer Shyam Sundar who had worked along with the other stalwarts of the vintage and golden eras-he had a short career only and had some personal health issues. He was the composer who gave Rafi his first break in the Punjabi film Gul Baloch.The excellent string arrangement in this song is simply the work of a genius. And what an endearing rendition by Suraiya-especially the way she says “ chupke chupke”!

8. Manmor hua matwala – Afsar -1950-S.D Burman -Narendra Sharma

In this song, we hear a different Suraiya , the composition being that of the master S D Burman. With an orchestration that has a superb flute, sitar , S D Burman does many innovations like a change in the tempo in between and also makes Suraiya come out with many variations in her singing. This is definitely one of her best renditions.

9. Nain Deewane Ek Nahin Mane-Afsar-1950-S.D.Burman-Pt Narendra Sharma

In the same film Afsar, S D Burman come out with one more gem of a song for Suraiya. This film could be one of the rare associations of the lyricist Pt. Narendra Sharma with S D Burman.

10. Nainon Mein Preet Hai- Dastaan-1950-Naushad-Shakeel Badayuni

Dastan was a famous musical bonanza from the veteran Naushad-in my list here there are two solos and two duets! There are totally nine songs of which six are Suraiya solos and three duets with Rafi.

Like most of Naushad’s tunes , this one is simple but has a lingering melody.

11. Ye mausam aur ye tanhaai-Daastan-1950- Naushad-Shakeel Badayuni

A typical “ Piano” song that was very popular in our films! In many such songs , the actor on screen keeps playing the piano without any notes from that in the actual song! But this one is a true piano song-Naushad intersperses that throughout the song with Suraiya rendering a soft melody.

12. Raste pe hum khade hain- Rajput 1951- Hansraj Bahal-Kaif Irfani

One of the under-rated music composers , Hansraj Behl gave us excellent songs. Suraiya’s voice always has a soothing effect on our ears-this song is an example of that.

13. Kabhi Na bigde kisi ke motor-Moti Mahal-1952-Hansraj Behl-Prem Dhawan

A very rare song-I included this to showcase Suraiya’s comic trait. She mostly sang romantic or sad songs-for a change here she is singing about a broken-down car and not a broken heart! Brilliantly written by Prem Dhawan and set to a simple tune by Hansraj Behl, Suraiya even does a small “ harkat” after the lyrics refers to the names of Suraiya and Madhubala:

“ho wo Suraiyaa yaa Madhubaala

bade-bade bhi ban jaayaa karte hain joker raste mein “

That extra emphasis on Motorrrrrrr is delighful to hear.

14. Parwanon se preet seekh le -Bilwamangal -1954- Bulo C Rani-D.N. Madhok

One of the greatest songs of Suraiya, this is my personal favourite. Bulo Chandiram Ramchandani was a great composer who had to remain in the shadows of other veteran music composers of the vintage and golden era; for many years I was under the wrong impression that it was a lady as the name was shortened to Bulo C Rani. Written by the famous lyricist of the vintage and golden era D. N. Madhok , this is sung by Suraiya with a sweetness that lingers in our mind long after we listen to it.

15. Aah Ko Chahiye Ek Umar- Mirza Ghalib-1954-Ghulam Mohammad- Mirza Ghalib

Now I come to the masterpieces of Suraiya and Ghulam Mohammad who had brough to life the timeless ghazals of Mirza Ghalib. Though I had written about most of the songs from this film in my blog on Ghulam Mohammad, I cannot help repeating them here. Suraiya truly brough to life the wonderful words of the poet Mirza Ghalib.

16. Nukta Cheen Hai- Mirza Ghalib-1954-Ghulam Mohammad- Mirza Ghalib

Many singers have rendered this very famous ghazal of Ghalib and Suraiya’s rendition is definitely one of the best ever.

17. Jahan Koi Na Ho– Mirza Ghalib-1954-Ghulam Mohammad- Mirza Ghalib

This is a somewhat under-rated song from the film , but is one of Suraiya’s best .

18. Yeh Na Thi Hamari Qismat– Mirza Ghalib-1954-Ghulam Mohammad- Mirza Ghalib

Suraiya shows her skills in gliding over the high octaves in this song , composed brilliantly by Ghulam Mohammad.

19. Mera dildar na milaya-Shama Parwana-1954-Husnlal Bhagatram-Majrooh Sultanpuri

This song also has a Rafi version that starts of with Tune Mere Yaar Na Milaya. I had not heard the one sung by Suraiya earlier and I find she has also sung this equally well.

20. Ye kaisi ajab dastan ho gayi hai -Rustam Sohrab-1963- Sajjad Hussain -Qamar Jalalabadi

This was the last song of Suraiya -truly a swan song-she had poured out all her feelings into this one , composed by none else than the great genius Sajjad Hussain.

Suraiya’s Duets…

21. Betaab hai dil – Dard -1947- Naushad -Shakeel Badayuni-Duet with Uma Devi

The film Dard had the very famous song of Uma Devi ( who later turned to be a comedienne with the screen name Tun Tun) Afsana Likh Rahi Hoon. This duet of Suraiya and Uma Devi is a unique one in which with the same tune Naushad creates a mood of pathos for the lines sung by Uma Devi , whereas Suraiya sings in a happier mood.

22. Tu Mera Chand Mein Teri Chandini-Dillagi-1949-Naushad-Shakeel Badayuni-Due with Shyam

The recurring, mesmerizing flute portions of this song inspired the veteran music composer of south , M S Vishwanathan to create another masterpiece song “ Poo Maalaiyil Oar Malligai” years later.

The link provided here also has a very rare solo version of this song by Geeta Dutt!

23. Yeh Sawan Rut, Tum Aur Hum-Dastaan-1950-Naushad-Shakeel Badayuni-Duet With Rafi

I had mentioned two solos from the film Dastan and here in the duet section , there are two more. It is rare to see Rafi used as voice of Raj Kapoor . Suraiya lends a whiff of fresh air to this song with an elegant rendition. The waltz rhythm makes this so sweet to hear.

24. Dil Ko Teri Tasveer Se – Dastaan-1950-Naushad-Shakeel Badayuni-Duet with Rafi

A typical Naushad composition , sung so well by both Suraiya and Rafi.

25. Dil – E – Nadan Tujhe Hua Kya-Mirza Ghalib-1954-Ghulam Mohammad- Mirza Ghalib-Duet with Talat Mehmood

The film Mirza Ghalib not only had some the best solo ghazals sung by Suraiya , but had this evergreen duet with Talat Mehmood-the ghazal king.

26. Beqarar hai koi ae mere dildar- Shama Parwana -1954- Husnlal-Bhagatram -Qamar Jalalabadi-Duet with Rafi

This is a strangely under-rated song that seems to have been forgotten by many. Has a beautiful extended alaap by both the singers Rafi and Suraiya , composed so brilliantly by Husnlal-Bhagatram. Many would not recognize the actor on screen-the usually ever ebullient Shammi Kapoor in his very early career looking so sober and different!

27. Man Dheere Dheere gaye re-Maalik-1958-Ghulam Mohammad-Shakeel Badayuni-Duet with Talat Mehmood

Once again we have the velvety vocals of Talat paired with Suraiya to give this immortal duet. Ghulam Mohammad who remained as assistant of Naushad for a long time, composed independently to give so many excellent songs .

I conclude my humble attempt to showcase some of the best songs of Suraiya with a question taken from the last song-Maloom Nahin Kyoon…whenever I listen to the voice of Suraiya, there seems to be gentle , soothing touch..Maloom Nahin Kyoon!! There are only few singers whose voice creates a pleasing feel when we listen to—Suraiya is definitely one of them….

Acknowledgements and Disclaimer:

I sincerely thank the publishers of following Internet sources for the information that I could gather for this article:

You Tube
Wikipedia

The songs mentioned are from the popular, public domain and have been embedded here only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights The photograph is taken from the internet, duly recognizing the full copyrights for the same to the original creator or the site where they were originally displayed .This blog does not claim any copyright over them, which rests with the respective owners of the rights.

Hindi film songs

Humming Birds!

February 19, 2026 Sivanandam Palamadai Leave a comment

Tamil duet songs in which humming plays a prominent role

Hummingbirds are named for the distinct humming sound produced by their wings, which flap at exceptionally high speeds, often between 40 and 80+ times per second. This rapid movement, used for hovering while feeding on nectar, creates a buzzing or humming noise, leading to their common name.

In a musical context , the literal meaning of humming goes like this :

Humming refers to the act of producing a low, continuous, droning sound or singing a tune with lips closed. It commonly describes vocalizing, i.e. singing with closed lips without articulating words.

In our film music, humming has been an integral part of many songs. There are many songs that start off with a superb humming as a prelude, sometimes interspersed in the charanam and even towards end of the song that adds a unique charm to the song . My blog is not about such songs that may run into thousands. It is about those songs in which one of the singers performs a pure humming only , with no lyrical component and these are relatively less in number.

I could immediately recall ten such songs from my memory, making me write one of my shortest blogs! In all these songs the humming forms an integral part of the song and elevates the song to a different level. Just like how our great composers used the chorus so exquisitely in many songs, pure humming by one singer adds an altogether different dimension to the song.

I am sure readers who are going through this may recall similar songs and I would be thankful if they can mention such songs in the comments section .

Listed here are ten songs that I could think of, arranged chronologically in the order of the year of the film, with the song, film, year, music director, lyricist and singers mentioned in that order.

Vasantha Kalam Varumo Nilai Marumo-Marakka Mudiyuma-1966- T K Ramamoorthy- Suratha-P Susheela -Humming by K J Yesudas

This was the first film that T. K. Ramamoorthy composed independently after his separation from M S Vishwanathan. It is rare for a song to have a male singer humming accompanying the lead female singer. This is a forgotten gem and is truly worth mentioning. The humming of KJY enhances Susheela’s excellent rendition. One can say this was one of the best ever composition of T.K Ramamoorthy as an independent composer ( he composed just around 15 films after his split from MSV ) and sadly this song was deleted from the film after having been included originally, after 5 days of running. This is a mesmerizing song with a rhythm pattern that is very unique -really sad that it did not get the due recognition it richly deserved. T K Ramamoorthy’s genius was in setting the humming of Yesudas as a counter melody to Susheela’s singing

2. Velli Kinnamthaan Thanga Kaigalil-Uyarntha Manithan-1968-M S Vishwanathan-Vaali- T M Soundararajan-Humming by P Susheela

A song in which the humming by P Susheela is as important to the song as TMS’ singing. One cannot imagine this song without that superlative humming component! The musical genius of Mellisai Mannar is simply outstanding! Observe how he builds up the song from a slow pace to a brilliant tempo along with a charming variation in the tempo in between. Towards the end both TMS and PS do the humming accompanied by a beautiful saxophone piece. One would love to keep listening to this on a loop!

3. Unnai Thotta Kaatru-Navagraham-1970- V Kumar-Vaali-P Susheela -Humming by S P Balasubrahmanyam

Few years back I had written about the unsung genius V Kumar who came out with exceptional compositions, in the midst of tough competition with other legends like MSV, KVM etc. A very young SPB’s voice renders the humming component, complementing P Susheela’s main singing.

4. Thirumagal Thedi Vanthaal-Irulum Oliyum-1971-K V Mahadevan- Kannadasan-S P Balasubrahmanyam-Humming by B Vasantha

In the golden era of Tamil film music , there were two female singers who were somehow considered as specialists in humming and sadly that also restricted their career to a predominant humming role-they were B Vasantha and B S Sasirekha. In fact B Vasantha had been informally known as “humming’ Vasantha-in many songs she has done only humming.

5. Pottu Vaitha Mugamo-Sumathi En Sundari-1971- M S Vishwanathan-Kannadasan–S P Balasubrahmanyam-Humming by B Vasantha

This could be the “ top of the mind recall song” when it comes to a prominent humming. As much as the humming is popular, the same phrase played by sitar is also equally popular. When it comes to the intrinsic melody of a song , MSV was unparalleled! SPB had modulated his voice to suit Sivaji Ganesan so well that one would not miss the regular TMS voice in a Sivaji song! No wonder B Vasantha was called humming Vasantha-she does a superb humming in this song.

6. Veenai Pesum Athai Meetum-Vaazhvu En Pakkam-1976-M S Vishwanathan-Kannadasan-K J Yesudas-Humming by B S Sasirekha

True to the lyrics, Veenai literally ‘talks’ through out the song and adding to that charm is the humming employed by MSV through the vocals of B S Sasirekha. One of the early masterpieces of K J Yesudas. Please do not miss the exquisite humming by

7. Malai Rani Munthanai Sariya Sariya-Ore Vaanam Ore Bhoomi-1979-M S Vishwanathan-Vani Jayaram-Humming by Jolly Abraham

Jolly Abraham was a singer mainly in the Malayalam films and in Tamil film music he is prominently known for the uniqu humming in this song that was picturized on an American in the Tamil movie Ore Vanam Ore Bhoomi. Songs that have a male singer doing only a humming are relatively rare and this is one of the most popular ones in that category.

8. Metti Oli Kaatrodu En Nenjai-Metti-1982-Ilayaraja-Gangai Amaran-Ilayaraja -Humming by S Janaki

Ilayaraja is well known for numerous innovations in his compositions and I conclude my short blog with three of his great songs that have memorable humming component, As I have mentioned in my introduction , this list is just an indicative one and I may come out with “ sequels” to this as and when I keep remembering or discovering many songs in future. The song starts with the exquisite humming by both S Janaki and Ilayaraja, with the low notes of IR complementing the superb humming by SJ at higher notes. And what to say about IR’s orchestration that is always keep taking their trademark twists and turns.

9. Idayam Oru Kovil -Idaya Kovil-1985-Composed, written and sung by Ilayaraja-Humming by S Janaki

This song was rendered by both SPB and IR. Though my personal favorite is the one rendered by SPB, the version sung by IR has more humming part by SJ and so I have listed that here. This is also one of the rare songs that is composed , written and sung by Ilayaraja.

10. Kavithai Kelungal Karuvil Piranthathu-Punnagai Mannan-1986-Ilayaraja-Vairamuthu-Vani Jayaram-Humming by P Jayachandran

One of IR’s brilliant orchestration that has classical, western, and folk styles all beautifully synchronized together , sung excellently by Vani Jayaram with P Jayachandaran providing that memorable humming component.

I conclude this blog with a promise that I will try to come out similar ‘humming birds’ in future. Would really appreciate if readers can contribute by mentioning their favorite humming songs that have one singer exclusively acting as humming bird!

Acknowledgement & Disclaimer

I sincerely thank the publishers of following Internet sources for the information that I could gather for this article:

You Tube
Wikipedia

Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned and embedded here only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

Hindi film songs

The golden duo-Shankar-Jaikishan-Part 4

February 7, 2026 Sivanandam Palamadai Leave a comment

Shankar Singh Raghuvanshi (15^th October 1922 to 26^th Apr 1987)

Jaikishan Dayabhai Panchal (4^th Nov 1929 to 12^th Sep 1971)

Continuing from the Part 3 of my series on the Golden Duo music composers Shankar Jaikishan( SJ) , I am presenting the concluding part here. This is the concluding part of this particular series. SJ will keep appearing in many other themes or in combination with their prominent singers or in some other theme-based blogs in future. After all they have left behind more than thousands of songs to explore.

The year 1971 is particularly significant as it was the year Jaikishan passed away due to liver cirrhosis at a very young age of 42 . It is said that the iconic song Zindagi Ek Safar Hai Suhana , Yahan Kal Kya Ho Kisne Jaana , sung by Kishore Kumar was the last one composed by Jai. In his memory, the Gaylord restaurant in Churchgate , which was one of his favorite joints in Mumbai, had kept the table he used to occupy regularly, vacant for one month as a mark of respect. He lived life king size, was flamboyant and social and in a way just the opposite personality of Shankar . No one knows for sure why he became so addicted to alcohol that cased him his life at such a young age. Many stories float around and I generally do not wish to ponder much over these. He was brilliant in composing romantic melodies, background music , peppy tunes . Together with Shankar whatever he left behind is absolutely priceless.

After his demise , the quirky film world slowly started distancing away from Shankar so much that even Raj Kapoor signed the upcoming Laxmikant Pyarelal for his next venture Bobby after the dismal failure of Mera Naam Joker. Shankar was not the type to canvass for assignments and being the introvert, he became more and more reclusive. Few producers who still valued his work gave some films and he prodded along for another 16 years. The critics mostly write off the music of Shankar during this period , but I definitely like some of his songs that are truly memorable and I have listed them here. It is said that the trusted assistant and arranger for SJ, Sebastian D’ Souza also retired from film industry with the film Sanyasi in 1975 and for the last few films Enoch Daniels had assisted Shankar.

In this part, I have also listed few very rare non film music of SJ that may be known only to their ardent fans .

Let us look at these songs and enjoy the last works of the golden duo. Songs are in chronological order, with song , film, year, singer(s) and lyricist mentioned in that order.

Part 4

Good Times & Bad Times/ Bombay Talkie/1970/ Written and Sung by Usha Uthup

Everyone remembers Usha Uthup from Hare Rama Hare Krishna film and may be erroneously thinking that was her debut . But this film Bombay Talkie , a Merchant-Ivory production with whom Shashi Kapoor had many collaborations was actually the debut for her in Hindi films. A completely different style of SJ can be heard in this song. Absolutely sad that except in Internet and YouTube , this song is neither heard nor talked about anywhere.

2. Typewriter Tip Tip Tip/Bombay Talkie/1970/Kishore Kumar & Asha Bhosle/Hasrat Jaipuri

One more hidden gem from the same film Bombay Talkie , this one sung in their typical style by both Kishore and Asha. The some somewhat reminds one of another SJ’s tune Sachha Pyar to Ruk Nahin Saktha. This song is also totally unlike a typical SJ composition. Could be the only song dedicated to the humble ‘ typewriter’ !!

3. Jab Bhi Yeh Dil Udaas/ Seema/1971/ Rafi & Sharada/Gulzar

My personal favorite, mainly for the way in which SJ composed the tune in a haunting manner and also the innovation they made by making Sharada start off with just humming in the first antara and then gradually add few lines and finally to sing along with Rafi in the last antara. Also this film could be the only one collaboration of noted lyricist Gulzar with SJ.

4. Ek Thi Nindiya Do thhey Naina// Seema/1971/ Suman Kalyanpur/Gulzar

I heard this song for the first time while writing this blog! A sweet lullaby. There are sweeping statements by many stating melody started going down in SJ ‘s music even as early as the 60’s. Wish they listen to this song! A very brief song-just around 2 minutes only but I am sure it will linger in your memory .

5. Jeevan Bhar Dhoonda Jisko/ Naadan/1971/ Mukesh/ Hasrat Jaipuri

Most of the films SJ composed in this period were for lesser-known banners and not commercially successful ones. As I had mentioned in my Part 3, due to this fact , despite the music being good, the songs were forgotten. In this film Nadan, there are two other Mukesh solo songs that are good: Ae Badal Jhoom Ke Chal, Mehnat Hamare Jeevan and one by Asha-Bol Naadan Dil that were heard in radio for many years-only recently looks like these have been slowly vanished from our memories.

6. Re Man Sur Mein Gaa/ Lal Pathar/1971/ Manna Dey & Asha/ Neeraj

One of the best Kishore Kumar songs was from the same movie -Geet Gaata Hoon Mein that I had written about in my blog on KK. This classical song of Manna Dey and Asha that I have selected is a superb , but forgotten song. I have to keep repeating that SJ’s music quality never came down. Maybe in their peak every song in a film used to excellent; in the later years , the percentage came down , but still the creative spark was alive.

7. Cham Cham Baje Re Payaliya/ Jaane Anjane/1971/ Manna Dey/ S.H Bihari

A typical Manna Dey-SJ combination with a strong classical base. One unfortunate aspect is that I would like to only “ listen” to this song and not watch the picturization that , in my opinion , totally spoiled the excellence shown by Manna Dey and SJ. That is why I have given the link only to the audio version! Shankar gave Manna Dey most of his fabulous songs , which has been acknowledged by the singer himself.

8. Zindagi Ek Safar Hai Suhana/ Andaaz/1971/ Kishore/Hasrat Jaipuri

Post Aradhana wave , Rajesh Khanna and Kishore da came with many super hits, though most of them were not by SJ . In my humble opinion this one song of SJ is equal to many of those composed by others. Popular till today and as I mentioned in my introduction , the last one composed by Jaikishan. Yodeling of Kishore da at its best!

9. Tum Kitne Khubsurat Ho/ Jangal Mein Mangal/1973/ Kishore/ Neeraj

I find it strange that many Kishore Kumar fans generally do not talk about this masterpiece from him, in which he did a rare vibrato. Maybe the reason that it was composed by SJ made this a lesser-talked about song. I always found SJ-Kishore combination , though rare, had given us some brilliant songs.

10. Humko To Jaan Se Pyaari Hai/ Naina/ 1973/ Rafi/ Hasrat Jaipuri

Rafi sings this in his inimitable style, with the eternal romantic Hasrat Jaipuri , creating sheer magic with his words. The first part of the song as seen in this full version video link was new to me. The good old piano and string arrangement of SJ is in full flow in this song.

11. Chal Sanyasi Mandir Mein/ Sanyasi/1975/ Mukesh & Lata Mangeshkar/ Vishweshwar Sharma

After a long gap , Lata Mangeshkar sang for Shankar in the film Sanyasi, and that proved to be a great hit. Three duets of Lata and Mukesh, Chal Sanyasi Mandir Mein, Sun Baal Bramhachari and Bali Umariya Bhajan Karoon Kaise and a not-much-heard solo by Manna Dey “ Kya Maar Sakegi Maut Use” ( one more rare combination of Indeevar writing for Shankar) -all are good songs from this film.

12. Chalo Bhool Jayen Yahan Ko / Do Jhoot/1975/ Kishore Kumar & Lata Mangeshkar/ Vitthalbhai Patel

Among the later compositions of SJ this one is absolutely stunning. The tune is simply mesmerizing and one would like to listen to this multiple times. After a long gap one could hear those magnificent string arrangement of SJ along with that trademark accordion. Making full use of the extraordinarily strong vocals of Kishore da and the easy gliding over at higher octaves skill of Lata, Shankar creates a memorable song.

13. Naav Kaagaz Ki Gehra Hai Pani/ Duniyadari/1977/Mohammad Rafi & Lata Mangeshkar / Vishweshwar Sharma

One can say that the number of hits by Shankar had almost dried up by the year 1977 , but he could still come out with some great songs that had that typical melody and the exceptional tempo that made SJ evergreen. Of course , commercially, by the late 70’s , Lakshmikant Pyarelal, R D Burman and Kalyanji Anandji were ruling the charts, with new comers Ravindra Jain and Rajesh Roshan also chipping in with some good songs. But one has to remember it was almost 30 years since Shankar had started his career and he was still coming out some good songs , albeit once in a while. This aspect is conveniently forgotten by many when they criticize his music !

14. Tumhare Bin Guzaare Hai/Atmaram/1979/ Rafi & Lata/ Vishweshwar Sharma

The year is 1979 and Shankar had come a long way from his “ Barsaat” of lilting melodies. Still those magical fingers were playing on the piano to come out with a gem of a song like Tumhare Bin Guzare Hain . If we look at the lyrics they seem to be perfectly apt from Shankar’s perspective.

khabar kya thi ki apne bhi

sitare aise bigadenge

ki jo puja ke kabil hai

wahi log rang badalenge

( So many of his associates, including RK had ditched him by this time!)

15. Pardesiya Tere Des Mein/ Garam Khoon/1979/ Mohammad Rafi & Sulakshna Pandit/Singhar

Recently the actress-singer Sulakshana Pandit passed away and I had mentioned this song in a small tribute to her through my blog. She has sung this so well, matching the legend Rafi sahab equally. A highly under-rated song that many seem to have forgotten. Has all the ingredients of a typical SJ composition-superb orchestration and a brilliant tune. The lyrics is ascribed to Singhar , which, as I understand could have been a pseudonym of the singer Sharada.

16. Dekha Hai Tumhe Kahin Na Kahin/Chorni/1981/Kishore/Shaily Shailendra(?)

We are now looking at almost the end of Shankar’s career, but he has managed to come out with a pleasing and melodious song in Kishore’s vocals. I am not very sure about the lyricist as in some places it was credited to Shailendra but then I realized it could have been his son Shaily Shailendra.

17. Gori Hai Kalaiyan/ Gori/1991/Kavita Krsihnamurthy/ Sudhakar Sharma

Released almost 4 years after the passing away of Shankar in 1987 , this song has an interesting story. It is said that this was almost the last song composed by Shankar and as the producer , Sudhakar Sharma had financial issues and could release this only in 1991, the tune seems to have been adopted for another film by Bhappi Lahiri ( Aaj Ka Arjun-Gori Hai Kalaiyan -Lyrics by Anjaan-Sung By Shabbir Kumar and Lata; of course the antara tune and lyrics were changed but this was a clear inspiration from Shankar’s tune).

I also understand it was during the recording of the songs for the film Gori, Shankar passed away in total obscurity.

Few glimpses of Shankar Jaikishan’s non film tunes

Raag Jazz Style-Non Film Album-1968-Instrumental-Sitar by Rais Khan-Raag Shivaranjani & Bhairavi

Long before concepts like fusion in music became very popular, SJ did an album consisting of 11 tracks set to classical raagas with a touch of western style: Todi, Bhairav, Malkauns, Kalavati, Tilak Kamod, Mian Ki Malhar, Bairagi, Jaijaiwanti, Mishra Pilu, Shiv Ranjani & SJ’s most favourite Bhairavi. I am providing links to two of them here: Shivaranjani & Bhairavi

2. Title music of Films Division documentary on Mount Everest-1968

I do not know how many would be aware that SJ composed the title track and entire background score for an Indian Government’s Films Division documentary on the Mount Everest. The documentary was 77 minutes long and captures the preparations, approach, and summit, featuring music by Shankar Jaikishan and commentary by Zul Vellani. Here is just a glimpse of that -the title track of that documentary.

Twenty years after Shankar’s death and forty-two years after Jaikishan’s death a film called Love In Bombay was released in 2013! This was made in 70’s by Joy Mukherjee as part of his “ Love In” Trilogy-Love in Shimla and Love In Tokyo , but the film got shelved and was released much later by Joy Mukehrjee’s son in 2013. This could be the absolute last film of the emperors of Hindi film music , Shankar Singh Raghuvanshi and Jaikishan Dayabhai Panchal to be released.

Personal likes and dislikes may vary among music lovers , but one can never deny the great contribution of SJ to the Hindi film music who created some of the greatest film songs that would be etched in the golden letters of Hindi film music history. They could compose a sad song with a fast tempo and still it would create the right emotion while hearing, they could make a pure classical song appeal to the layman, they could give all hit songs in a film-a feat they repeated many times, they could make even a wooden-footed person get up and dance to some of their fabulous dance numbers, they got the highest remuneration -sometimes even higher than the actors! and at their peak just a letter from them that they are composing music for a film would open up finances without any hassles for the producer….I can go on and on….

Acknowledgement & Disclaimer

I sincerely thank the publishers of following Internet sources for the information that I could gather for this article:

You Tube
Wikipedia

Hindi Film Music Composers

The golden duo-Shankar-Jaikishan-Part 3

February 4, 2026 Sivanandam Palamadai Leave a comment

Shankar Singh Raghuvanshi (15^th October 1922 to 26^th Apr 1987)

Jaikishan Dayabhai Panchal (4^th Nov 1929 to 12^th Sep 1971)

When I started this blog in Dec 2021, I started writing about artists in no particular order or any theme etc. As and when I started writing about many artists, and when I looked at their year of birth, I realized many of the legends were born around 100 years ago. For Mohammad Rafi, I could remember and posted some articles commemorating his birth centenary year in 2024.

However I have not been able to do the same for many other artists. For example , Shankar Singh Raghuvanshi of the Shankar-Jaikishan duo ( SJ) had his birth centenary year in 2022 and it mostly went off without much publicity.

Most of the media , except very few of his ardent fans , must have forgotten this. Even I am guilty of this lapse. However in November 2024 I did post my blogs in two parts on the great Golden Duo music composers, and mentioned about Shankar’s centenary . In those two parts , I had covered their immortal songs composed till the year 1967. The year 2029 shall be the birth centenary of Jaikishan and so now we are somewhere in the middle of the birth centenaries of this great pair of music composers. I think it is apt to continue my series on the magical duo SJ and their great compositions later than the year 1967 , till the year I had covered in my Part 2.

In many books on the golden era of Hindi film music and in the Internet we find many articles, blogs in which SJ ‘s music in the later years , i.e mid 60’s , 70’s are described as relatively mediocre!. I personally believe in enjoying the music of all the great artists of the golden era of film music ( either Hindi or Tamil) and so do not like comparisons. But I would like to mention that most of these authors forget one very important fact. For many legendary music composers, their debut and few subsequent films were not so impressive and they had a late start . Those who keep harping about SJ’s so-called decline in music towards their end never talk about what a spectacular debut they had with Barsaat in 1949 that totally changed the Hindi film music template. Not only that , they could sustain that momentum for two decades continuously , with some of their films having all the songs as super hits. This is an achievement unparalleled , but most ignore this when they talk only about the deterioration in their music !. And it becomes more interesting to note that typically most of these films had 6-8 songs , or even more and rendering 100% hits in many films is no mean achievement. As noted lyricist and writer Javed Akhtar once said in a program, SJ made Hindi film music into a novel that was till their arrival a short story!

Most artists reach a creative peak and then there is a slump. But in the blogosphere and in books, SJ are singled out with remarks on their low point, some surprising and undeserving Filmfare awards , promoting a mediocre singer etc.

May be the extreme success of SJ triggered so much of envy and bitterness against them. Further they completely dismiss the music of Shankar that he independently composed after the sudden demise of Jaikishan in 1971 . Although if one compares these songs of Shankar with the ones he created along with Jaikishan at their peak, they may be not be perceived to be good, but one can find many good songs even during this period. In my selection , covered in Part 3 & 4 there will be many such songs and readers/listeners can make out for themselves what beautiful compositions Shankar composed independently also.

As such , Shankar was an introvert and after the death of Jaikishan, he had become even more reticent. Most of the producers, including Raj Kapoor, who totally depended on SJ’s music for his films , ditched Shankar and as a result he composed very few films that were mostly low budget and poorly made films. Hence even if some of the songs in those films were good , the film being a flop, its music also flopped. Fate had something even more cruel for Shankar. When he passed away on the 26^th April 1987, his family had not informed the film fraternity/media and so his funeral was attended by handful of close relatives, neighbors, and friends. The film world came to know about his death only on the next day! For a man who painted on a grand canvas , it was a sad , lonely final journey.

Normally I do not spend much time defending some artist or comparing one with another , but in case of SJ , after seeing so many adverse comments on them I had to deviate from my usual style.

Forget all these issues or controversies and let us immerse ourselves in their glorious music . For me they will always rank among the topmost music directors and somehow, like Rafi’s songs that have a great impact on me , I always felt SJ’s music has great passion, rhythm, energy, and a grandeur that is till now unmatched.

Statistically , SJ composed for approximately 180 films and of these two-thirds were before 1971, ie demise of Jaikishan. Rest one-third were composed between 1971 to 1987, mainly by Shankar. Not only post- 1971 , but even prior to that many songs were composed by Shankar. It is well-known that they used to compose independently all along but had never revealed who composed which song . Generally it is said that Shankar preferred to work with Shailendra and Jaikishan with Hasrat Jaipuri. That could give some clue and also the fact that most of the songs that either had a strong classical base or were based primarily dance numbers were composed by Shankar. The title songs of RK films were also composed by Shankar.

I realized once I listed their songs after 1967, that I may have to cover this blog in part 3 & 4. So the introduction will remain in Part 3 and I will cover the songs from 1967 to 1970 in Part 3 and 1971 till 1991 in Part 4.

Songs are in chronological order, with song , film, year, singer(s) and lyricist mentioned in that order.

Panchi Re O Panchi/ Hare Kanch Ki Choodiyan/1967/ Mohammad Rafi & Asha Bhosle/Shailendra

The prelude is trademark SJ , with those 50+ violins , the slightly fast paced waltz rhythm and that electronic organ/keyboard that features so prominently -all make this a delightful song. Rafi and Asha render this with their characteristic flair.

2. Aawara Ae Mere Dil/ Raat Aur Din /1967/ Lata Mangeshkar/ Shailendra

Raat Aur Din was a bonanza for SJ lovers-almost all the songs are superb. This was also the last film in which Nargis acted. I have selected three songs or rather I should say four as Aawara Ae Mere Dil has two versions-fast and a slower one. The reason why I consider SJ as great composers is apparent in this song. The basic tune is same in both the versions , but note the variation they have made in the orchestration . I have provided the links to both the versions( the uploaders have wrongly labelled the fast on as slow and vice versa!!)

The dance by Laxmi Chhaya in the fast version is simply out-of-the-world and in spite of the audio quality not being that good I have still posted the one that has her dance.

Once again the use of accordion, guitar, flute , trumpet , violins and not to forget the chorus in the slower version -all vintage SJ.

Fast version:

Slow version:

3. Dil Ki Girah Khol Do/ Raat Aur Din /1967/ Manna Dey & Lata Mangeshkar/ Shailendra

An eternal duet by Manna Dey and Lata-even after listening to this song a thousand times , one can never get bored of it. Like many SJ fans, I can identify an SJ song just by listening to few seconds of its prelude. They “ affix their signature” before their songs! Of course credit also goes to Sebastian D’Souza and Dattaram, SJ’s constant companions looking after the orchestration and percussion. And what to say about Shailendra-the great poet who was a rock solid support for SJ along with Hasrat.

4. Raat Aur Din/ Raat Aur Din /1967/Mukesh/ Hasrat Jaipuri

This is a tandem song, sung by both Mukesh and Lata. Both are excellent-I just selected Mukesh’s version at random. His voice always had a special touch whenever he sang for SJ! Contrary to one more myth , where people even used to credit Raj Kapoor for all the great songs , SJ composed excellent songs outside the RK banner proving the fact that all these myths somehow keep circulating!

5. Mein Gaaon Tum So Jao/ Brahmachari/1968/ Mohammad Rafi/ Shailendra

Remember songs like this one are from the late 60’s , whereas one more myth spread around was that SJ’s music lost its melody in later years! Sorry I keep emphasizing these points , but it is to highlight what sober songs they composed even in late 60’s. Note the subtle way in which SJ , keeping in mind this is a lullaby, create a soft-as-silk tone for the song but at the same time the orchestration still sounds so grand. This magic was created only by these golden duo.

6. Aajkal Tere Mere Pyaar Ke Charche/ Brahmachari/1968/ Mohammad Rafi & Suman Kalyanpur /Hasrat Jaipuri

Is there anything one has to write about this song?It is popular across the country even in those regions where Hindi is not the main language! Once again that absolutely mesmerizing prelude with guitar, violins and accordion is worth a ton of gold. Adding even more charm is that saxophone in interludes.

7. Sacha Hai Gar Pyaar / Jhuk Gaya Aasmaan/1968/ Mohammad Rafi/ Shailendra

Although the song Kaun Hai Jo Sapnon Mein aaya ( no doubt inspired from Elvis Prisley-but SJ elevated the song to a higher level despite being an inspired song) is more popular, I have listed a rarer song that is brilliant and sounds so melodious and grand; especially the interludes and antaras are simply superb. Rafi executes this in his inimitable style.

8. Likhe Jo Khat Tujhe/ Kanyadaan/1968/Mohammad Rafi/ Neeraj

I agree I might have repeated this song , now for the third time in my blogs but don’t you agree this is worth repeating even more? Popular among even today’s generation and I believe it will remain popular for centuries.

9. Janak Janak Tori Baaje Payaliya/ Mere Huzoor/ 1968/Manna Dey/Hasrat Jaipuri

When it comes to pure classical numbers , SJ relied mostly on Manna Dey and this remains one of the most memorable Darbari Kanada based song in Hindi films. Film music breaks away from the strict rules of classical music and that is why SJ knew the pulse of a common listener and could integrate superb orchestration in a classical based song. That , in my humble opinion , was one factor that made their music so popular.

10. Ruk Se Zara Naqaab/ Mere Huzoor/ 1968/Mohammad Rafi/ Hasrat Jaipuri

Romantic songs , generally were Jaikishan’s forte and this is one more gem from the romantic trio: Jiakishan-Hasrat -Rafi who have given us some of the most romantic songs in Hindi films. Do we see any reduction in melody even in 1968??

11. Parde Mein Rehne Do/ Shikar/1968/ Asha Bhosle/ Hasrat Jaipuri

It is said the producer-director were little hesitant to have this song as it was considered a bit bold for those times. But SJ always knew the pulse and stood firm and this song went on to become a super hit so much that the film Shikar is forgotten , but this song remains popular till today. Fetched Asha and award also!

12. Tumhe Mein Agar Apna Saathi/ Shatranj/1969/ Mohammad Rafi & Asha Bhosle /S.H. Bihari

After the sad demise of Shailendra , Shankar relied on many other lyricists and he always experimented with other singers and lyricists. Whereas Jaikishan firmly went with Rafi and Lata for most of his songs. We see S H Bihari ( normally paired with OP Nayyar for many fabulous songs) writing for SJ. Shankar’s theory was mostly to compose the tune first and then get the lyrics done , so that fresh tunes can come up as he felt if he has to compose to an already written lyric, that could restrict creativity. However there were many other composers who believed exactly the other way. Nothing is better or worse-it is because of this we get to hear so many great songs! Note how the piano follows through out the song. Vintage SJ!

13. Badan Pe Sitare Lapete Hue/ Prince/1969/Mohammad Rafi/ Hasrat Jaipuri

The freshness and youthfulness in a SJ tune is eternal. In today’s lingo this song still rocks , whenever it is played. If we observe the preludes and interludes of a SJ composition is worth to write about as a separate blog! Wait—this song as a fabulous postlude also with that trademark SJ’s electronic organ/keyboard.

14. Kal Ka Pahiya Ghoome Bhaiyya/ Chanda Aur Bijli/1970/ Mana Dey/Neeraj

Few months back when I wrote about the great poet-lyricist Neeraj , I had included this song. I have no hesitation to repeat this here. This is so under-rated that many do include it even in the top songs of Manna Dey. Once again I wish to emphasize how even in 1970 , there was no loss of melody in SJ’s compositions.

15. Aaya Na Humko Pyaar Jatana/Pehchan/1970/ Mukesh & Suman Kalyanpur /Indeevar

Piano, violins and shehnai-what a strange combination ! Mukesh and Suman Kalyanpur were a rare combination in duets and this song has one more rare association-Indeevar writing for SJ.

16. Tum Mujhe Yoon / Pagla Kahin Ka/1970/ Mohammad Rafi/ Hasrat Jaipuri

This song became sort of an anthem for Rafi , so prophetically written for him. The interludes have a mix of saxophone , piano and sitar , with the flute answering to every line of Rafi in the antaras.

17. Jane Kahan Gaye Who Din/Mera Naam Joker/1970/ Mukesh/Hasrat Jaipuri

The film flopped despite Raj Kapoor putting all his finance and energy into it. Irrationally people dismiss the music of Mera Naam Joker also just because the film flopped. For me , personally this was one the topmost album of SJ with many songs becoming immortal. Many songs were not included in the film and one of them by Rafi “ Sadque Heer Tujhpe” is one of the best “ heer” ever composed for films. However I have selected two Mukesh songs that can be said to be among his career best songs.

18. Jeena Yahan Marna Yahan/ Mera Naam Joker/1970/ Mukesh/Shailendra

Shailendra unfortunately passed away during the making of Mera Naam Joker in 1966 itself and his son Shaily Shailendra completed this song after Shailendra had written only the mukhda.

With this , I conclude Part 3, mainly for the sake of ease of reading and will continue with further songs of SJ in Part 4. We will look at those songs predominantly composed by Shankar alone, after the demise of Jaikishan in Part 4. That will include glimpses from a non-film album “ Raag Jaaz Style ” that had fusion of Indian classical presented in Jazz style through instrumental music and also a superb title instrumental music SJ composed for a Films Division of India ‘s documentary on mount Everest.

Acknowledgement & Disclaimer

I sincerely thank the publishers of following Internet sources for the information that I could gather for this article:

You Tube
Wikipedia

Hindi film songs

Vengala Kural ” Isaimani” Dr Seerkazhi Govindarajan

January 31, 2026 Sivanandam Palamadai Leave a comment

19th January 1933-24^th March 1988

Among the different voices that rendered evergreen songs in Tamil film, if there was one unique voice that resonated like a temple bell, it was that of “ Isaimani” Dr Seerkazhi S Govindarajan ( I will abbreviate as SG for the sake of brevity henceforth in this article).

I can only think of one more voice that had a similar timbre-the legendary Shamshad Begum in Hindi film music. It is said that when SG once performed at the famous Shanmukhananda Hall in Mumbai, among the audience , Lata Mangehskar and Naushad were so impressed by his rendition of Devan Koil Maniosai song and at the end of the concert met SG and appreciated his rendition and also asked for the meaning of the song-at that time it is said that Naushad had commented his voice really sounded like Devan Koil Mani Osai!

SG was born on 19 January 1933 at Sirkazhi , a small town in present-day Mayiladuthurai district, Tamil Nadu to Siva Chidambaram and Avayambal Ammal. Sirkali is also the birthplace of Thirugnanasambandar, one of the Samaya Naalvar and the 63^rd Nayanmar of the Saiva faith. The child prodigy SG started performing at the young age of eight at the Tirupurasundari Temple .

Though he learnt acting in the Devi Nataka Sabha as a Child Actor and later in Modern Theatres, Salem, his passion was music and so he started learning classical music under many gurus like ‘Pandithar’ P.S. Chettiar , Sri Thiruppampuram Swaminatha Pillai. He graduated from the Tamil Isai College in Chennai (Madras) in 1949 with the degree ‘Isaimani’ & ‘Sangeetha Vidwan’. Under the guidance of these gurus , he gained knowledge of the nuances and intricacies of Classical Carnatic Music. During the years period 1951–52, he won many competitions, conducted by the Sangeetha Vidwat Sabha (Music Academy) and the Rasika Ranjani Sabha. He also got the gold medals in three categories : Apoorva Krithis of Sri Thyagaraja swamigal, Ragam-Thalam-Pallavi, and Tamil Classical Songs.

His entry into Tamil film music started with the 1954 film Ponvayal in which he sang his first song “ Siripputhaan Varuguthaiyaa” under the music direction of Thuraiyur Rajagopal Sarma and R. Rajagopal. I am providing a link to the song-just observe what a skilful rendition he has done at the age of 21! ( Film : Ponvayal-1954-Music: Thuraiyur Rajagopal Sarma and R. Rajagopal-Lyrics- Swami Suddhananda Bharathi)

SG was preferred for many devotional songs in films and also those with a classical base. One more interesting aspect was that he got to sing many philosophical songs that were picturized as background songs and also as title songs. Although he is generally famous for his superb devotional and classical songs, once in a while he got the chance to show his versatility by singing songs with a comic tone like Kadalikka Neramillai. If one listens to his rare song that had a terrific tempo , tuned by the veteran T K Ramamoorthy ( in his solo venture after having split from his partner MSV) : Saattai Kayil Kondu, one can understand he was capable of singing different genres. As the main actors had top singers like TMS , PBS , AM Rajah etc singing for them , SG was generally restricted to a narrow category of songs . But whatever he sang were of high quality.

Apart from film songs, he had rendered many non-film songs and had performed numerous classical concerts and performances abroad. His devotional non film songs and classical songs are beyond my scope and hence I am restricting myself to his film songs only.

SG also acted in few films and was more known for the role of Agastya rishi in these films. He was a humanitarian and did many concerts for noble causes .

Apart from Tamil, SG had also done playback singing in Telugu, Kannada and Malayalam films. Madras University conferred a honorary doctorate on him in 1983. SG was married to Sulochana from Omalur, Tamil Nadu. and their son Sirkazhi G. Sivachidambaram is a Medical doctor and in his own right a Carnatic singer . Seerkazhi Govindarajan died on 24 March 1988 in Madras (now Chennai) due to a massive heart attack, at the age of 55 years. It is said that his last words were “ULAGAM VAAZHGA”–i.e., Long Live The World.

In the year 1983, he was awarded the ‘Padmashri’ by the Government of India . Apart from this he has been accorded the Kalai Maamani award in 1975 and innumerable accolades by various music associations in India and across the world.

As always, my own knowledge about such legendary artists of Tamil films music is quite limited and I have tried my best to list few memorable songs rendered by Seerkazhi Govindarajan. They are sequenced chronologically with the song, film, year , music director , lyricist and co-singers mentioned in that order.

Non-Film Devotional Song:

Vinayakane Vinai Theerpavane-D B Ramachandran- Ulundurpettai Shanmugam

In our culture we always begin any good work invoking the name of Lord Ganesha . Whenever we think of a song on Lord Ganesha, this one rendered by SG is always at the top. I do not think there can be anyone from Tamil Nadu who has not heard this song , but it was a discovery for me to know the music composer and the lyricist.

2. Amuthum Thenum Yedarku- Thai piranthal vazi pirakkum-1959-K V Mahadevan-Suradha

Set in Mohana raagam , this is one of the very early hits of SG in Tamil films. Picturized on the veteran Malayalam star of yesteryears, Prem Nazir, SG renders an immortal classic .

3. Maattukara Vela-Vannakili-1959- K V Mahadevan- A Maruthakasi

Both K V Mahadevan and SG were masters in the classic and folk genres. The song listed in # 2 and this one immediately after are superb examples of this. This song is also picturized on Prem Nazir!

4. Sivasankari Sivananda Lahari-Jagadala Prataban-1960-Pendyala Nageshwara Rao-( Original lyrics Pingali Nagendra Rao.-I am not sure who wrote the Tamil version)

This film was dubbed into Tamil from the original Telegu film Jagadekaveeruni Katha and the original song was sung by veteran Ghantasala in an absolutely brilliant manner. Not in any way less , SG renders the same song in Tamil with equal finesse, that is set in Darbari Kanad raagam.

5. Engirintho Vanthaan-Padikkatah Methai-1960-K V Mahadevan- Mahakavi Subrahmanya Bharathiyar

It is very rare to observe singers with a heavy voice and more of classical leaning , coming out with so much of emotions in their songs. SG does a marvellous job of bringing out the pathos in this song . The part in which he takes the song to its pinnacle is the line” Panbile Deivamai” that will give you goosebumps.

6. Kallile Kalai Vannam-Kumudam-1961-K V Mahadevan-Kannadasan

In the early years, K V Mahadevan has composed some of the best songs for SG.

7. Nenjil Uramindri Nermai Thiram Indri-Kappalottiya Thamizhan-1961-G Ramanathan- Mahakavi Subrahmanya Bharatiyar

Kappolattiya Thamizhan had some of the excellent songs of Mahakavi Subrahmanya Bharatiyar set to music by the legend G Ramanathan. SG rendered this solo and an evergreen Vellipani Malayin Meedulavuvom with Tiruchi Loganathan.

8. Odam Nathiyinile-Kathiruntha Kangal-1962- Viswanthan & Ramamoorthy-Kannadasan

SG was not only a master in the devotional, patriotic and classical genres, he was equally skilful in conveying the sadness through a song. This beautiful tune set by the Mellisai Mannargal is a perennial favourite of music lovers. With absolutely minimum orchestration, V-R rely totally on SG’s crystal clear voice that resonates with the emotion needed for the situation.

9 . Manithan Ellam ThrinthuKondan-Azhagu Nila-1962-K V Mahadevan-A Maruthakasi

I always discover some hidden gems while working on my blogs. This is one such song that I heard for the first time ! Superb rendition by SG in his own inimitable style, and picturized on an unlikely actor-Muthuraman.

10. Devan Koil Maniosai-Maniosai-1963-Vishwanathan & Ramamoorthy-Kannadasan

This is the song I mentioned in my introduction-truly SG’s voice sounds like a temple bell!

11. Ullathil Nalla Ullam-Karnan-1964-Viswanthan & Ramamoorthy-Kannadasan

It is impossible to find anyone not aware of this song-the one that one can say absolutely defines SG’s style. On the whole the film Karnan was a magnum opus by Vishwanathan-Ramamoorthy, with this song being one that shall be remembered for eternity.

12. Kathilkka Neramillai- Kathilkka Neramillai-1964- Viswanthan & Ramamoorthy-Kannadasan

Note the contrast in SG’s singing -doing away with all the seriousness in most of his songs, he comes out with a breezy number , singing for a character that attempts romance at an advanced age, of course in disguise! One more memorable song of SG that people remember even now.

13. Aadi Adangum Vaazhkaiyada-Neerkumuzhi-1965-V Kumar-Suratha

Although I had listed this song in my blog on music composer V Kumar, this is one song that I cannot ignore when I talk about SG’s immortal songs.

14. Sange Muzhangu-Kalangarai Vilakkam-1965-M S Vishwanathan-Bharatidasan-With P Susheela

Very unique composition in which the actual song starts almost 2 minutes after the start, with excellent orchestration by MSV. SG ‘s voice delivers the line “ Sange Muzhangu” with an intense power, true to the words that signifies blowing of a conch.

15. Puthiyathor Ulagam Seivom-Chandrodayam-1966-M S Vishwanathan-Bharatidasan

SG’s voice was used for many songs that used at the starting credits of a film. The same song was used in one more film of MGR -Pallandu Vaazhga that was sung as a duet by TMS & Vani Jayaram, composed by K V Mahadevan.

16. Kannan Vanthaan Ange Kannan Vanthan-Ramu-1966-M S Vishwanathan-Kannadasan- With T M Soundararajan

Whenever the two legends TMS & SG sang together , it was a great song. The film Ramu was a remake of the Hindi film Door Gagan Ki Chhaon Mein-though the Hindi film flopped commercially, Ramu turned out to be a hit.

17. Arupadai Veedu Konda-Kandan Karunai-1967-K V Mahadevan-Kannadasan

When K V Mahadevan composes an epic devotional song with a raagamalika , then what else can we expect other than a masterpiece. One of SG’s most famous devotional songs this one has each holy abode of Lord Muruga described so beautifully in just four lines by the great Kannadasan-Palani , Thiruttani, Swami Malai, Pazhamudircholai, Thirupparamkundram & Tiruchendur. The genius of K V Mahadevan was to use different raagas for each of the stanza, describing the six abodes: starting off with Kambodhi , going on to Hindolam, Chakravakam, Kaanada, Hamsanandhi, Natakurinji and Kapi. When the Indian central government started recognizing music direction as a separate category for the National awards , K V Mahadevan was the first recipient for this film.

18. Vettri Venduma Pottu Parada-Ethir Neechal-1968- V Kumar-Vaali

As I mentioned earlier , music directors turned to SG for their title songs most of the time! SG modulates his voice to render a song that is full of positive vibes.

19. Aandukku aandu thethikki-Shuba Dinam-1969-K V Mahadevan-Vaali

Long before one more song became a regular feature on the New Year day ( Ilamai Idho Idho) , this was the song that used to be aired on radio on that day.

20. Madurai Arasalum Meenakshi-Thirumalai Thenkumari-1970-Kunnakudi Vaidyanathan-Ulundurpettai Shanmugam-With L. R. Eswari and M. R. Vijaya

SG must have sung on almost all the deities -this one on the various names by which Amman is know across the prominent temples in Tamil Nadu and other places. SG also renders the song on screen as a classical singer with the noted violinist and music composer Kunnakudi Vaidyanathan playing the violin on screen.

21. Saattai Kayil Kondu-Kathal Jothi-1970-T K Ramamoorthy-Vaali

Many decades ago, when I must have been around 8 years of age, I listened to this song waiting for a train in a remote corner of Tamil Nadu. Some memories stay with us even after decades. The song has a terrific tempo , composed by the veteran T K Ramamoorthy in his rare foray as an independent composer after the split from MSV. Kudos to him for giving SG a completely different type of song-those who had not heard this earlier might like to listen to this again and again. The actor Ravichandran has enacted on screen so nicely. I only wish this song had at least three stanzas-simply scintillating rendering by SG!

22. Thirupathi Malaivaazhum- Thirumalai Thenkumari-1970-Kunnakudi Vaidyanathan-Ulundurpettai Shanmugam

Ulundurpettai Shanmugam wrote some of the best devotional songs . Teaming with Kunnakudi Vaidyanatahn & SG , they gave many such divine songs for us to cherish.

23. Vendriduven Unnai Vendriduven-Agastiyar-1972-Kunnakudi Vaidyanathan-Ulundurpettai Shanmugam-With T M Soundararajan

Now I come to a song that I feel I am not at all qualified to write about. It is once in a lifetime that such songs are composed. I had tried to describe this song in my blog titled “ A musical journey through fifty years of Tamil Film Music” in which I had covered 25 music directors. Both TMS & SG take this song to a level that one can just bow down to their talent. The poet Ulundurpettai Shanmugam had brilliantly written this with each line containing the raagam in which it was composed by the legendary Kunnakudi Vaidyanathan. I would request readers to go to the blog I have mentioned and look for this song in # 17.

24. Nadanthai Vaazhi Kaveri- Agastiyar-1972-Kunnakudi Vaidyanathan-K D Santhanam

The role of Agastiya rishi was tailor-made for SG and in many films he had performed the role of this rishi. This song describes the sacred river Kaveri, once again composed by Kunnakudi.

25 . Thiruchendoorin Kadalorathil Senthilnaathan-Deivam-1972-Kunnakudi Vaidyanathan-Kannadasan-With T M Soundararajan

Now both the legends -TMS & SG once again sing together and not only that they also enact the song on screen. A sheer delight to listen to these two singers complementing each other.

I conclude my humble tribute to the great singer Seerkazhi Govindarajan ; I know I had just touched upon very few of his immortal songs-his vast repertoire consisting of many devotional and classical concerts are beyond my scope.

Acknowledgement & Disclaimer

I sincerely thank the publishers of following blogsites & Internet sources for the information that I could gather for this article:

You Tube
Wikipedia
www.sirkali.org-official website of Seerkazhi Govindarajan
YouTube Channel: Isaimani Seerkazhi Govindarajan Family

Hindi film songs

Datta Naik ( N Datta) – and his superb compositions

January 25, 2026 Sivanandam Palamadai Leave a comment

12^th December 1927 – 30^th December 1987

The rich music of the golden era of Hindi film music was the creation of many artists. Some of them achieved great fame , were honoured and are remembered even today by a majority of music lovers. But there are equally many unsung artists who , despite being equally talented , neither got the recognition during their times , nor are they remembered much now.

Datta Naik or N Datta , as he was known , belongs to the latter category. Born on 12^th December 1927 ( there is some discrepancy in his place of birth -few sources attribute to Aroba , near Colvale , a small village in Goa but it is also said in other sources that he was born in Bombay( Mumbai) and then moved to Goa) . Unfortunately his father died when he was young and so he was brought up by his maternal uncle. Right from childhood he had a fondness for music but his uncle was against the same and like many other music directors of that era , the young Datta ran away to Bombay (as Mumbai was known then) to pursue his passion.

After some struggle, he could get some work in the orchestra of Ghulam Haider and even in the noted music composer duo Shankar Jakishan’s orchestra through his friend Chandrakant Bhosle who was already working for S-J. When the veteran music composer S D Burman noticed Datta’s talents, he took him as his assistant and worked with him in many of the early films of S D Burman, like Bahar(1951) , Sazaa, Ek Nazar (1951), Jaal (1952), Jeewan Jyoti (1953) and Angarey (1954), Datta played a key role . The Goanese flavour in many songs of S D Burman’s early compositions could have been the contribution of N Datta.

N. Datta started off as an independent composer with his debut film Milaap in 1955. Jaate Ho To Jaao Par Jaaoge Kahaan sung by Geeta Dutt became a popular song in this film. Then followed the film Marine Drive in the same year in which Rafi’s “ Ab wo karam karen ke sitam main nashe mein hoon” was a superb song. For many upcoming music composers, Rafi had always given his best to their early compositions, helping them in getting their break . In 1956 , N Datta came out with an immortal song that remains one of his best ( and also one of Rafi’s) -the epic Maine Chand Aur Sitaron Ki Tamanna Ki Thi-penned by Sahir Ludhainvi . Sahir and N Datta stuck a great association and had given us some of the best songs of HFM.

When B R Chopra teamed up with N Datta for many of his films like Sadhana, Dhool Ka Phool , Dharmaputra , the latter got a big break with a famous banner to help him in his career. Most of the memorable songs of Datta were for this banner. In his early thirties Datta had a heart attack and that created a constant fear in him on his health and affected his career to some extent. Of course he continued to compose very good songs in his later years also , but BR Films started off later on with Ravi as their main composer. Datta is also one of those few composers for whom Asha Bhosle remained the main female singer as compared to Lata. However Lata has rendered some evergreen songs and one can say even some of her career best songs were under the baton of N Datta like Aurat Ne Janam Diya Mardon Ko. Rafi and Mahendra Kapoor were the main male singers for N Datta and in my selection we shall be looking at some of the great songs of these singers along with others.

If we observe the songs of N Datta, it is difficult to bracket him with any unique style -he could compose an intensely sad song, a quirky one, a qawwali, a ghazal , a romantic one all with different orchestration and rhythm patterns unlike many other composers , in whose songs we can detect a unique pattern. This is something that is very difficult to explain and one can comprehend the underlying pattern in Naushad/Shankar Jaikishan/O P Nayyar/ C Ramachandra/ Madan Mohan/Roshan/ Ravi ( just to name a few) compositions only after listening to their songs for years. It is my personal opinion that in case of N Datta it is relatively difficult to identify immediately that it is his composition.

Apart from Hindi films, N Datta scored music for some Marathi films also with the lullaby “Nimbonichya jhaadaamaage chandra jhopala” sung by Suman Kalyanpur being one of the most popular.

Despite being so talented, N Datta spent his last years, fighting for his health and success and passed away in 1987. This is my humble tribute to N Datta who would definitely be counted among the top music composers of HFM.

I am listing out few memorable songs of N Dutta mainly from the 50’s and 60’s and a few from 70’s ; songs are listed chronologically, with the song, film,year, singer(s) and lyricist mentioned in that order.

I have to admit that for the sake of brevity , I had to leave out many other songs of N Datta.

Maine Chand Aur Sitaron Ki Tamanna-Chandrakanta-1956- Mohammad Rafi-Sahir Ludhianvi

Let me begin with N Datta-Rafi-Sahir masterpiece that remains the most recognized song of the composer. As usual Rafi enters into the soul of the song and despite being a song that stretches into almost 6 minutes , one can never get tired of listening to this.

2. Sambhal Ae Dil -Sadhna-1958-Mohammad Rafi & Asha Bhosle-Sahir Ludhianvi

The long association of Asha Bhosle with N Datta resulted in many great songs for her similar to the ones Ravi had composed for her . However, she strangely did not acknowledge this much. It is only appreciated by the listeners!

3. Kaho Jee Tum Kya Kya Kharidoge – Sadhna-1958-Lata Mangeshkar-Sahir Ludhianvi

For N Datta , Asha was always the main female singer but he did create some of the best songs for Lata .

4. Aaj Kyon Humse Parda Hai- Sadhna-1958-Mohammad Rafi & S Balbir-Sahir Ludhianvi

Qawwali is a genre that was mastered by the legendary composer Roshan in Hindi films, but it is to the credit of N Datta that he had also created some excellent and memorable qawwalis-you would find few in my selection here.

5. Aurat Ne Janam Diya Mardon Ko- Sadhna-1958-Lata Mangeshkar-Sahir Ludhainvi

In songs like this, I feel Sahit did not use a pen to write but a whiplash to show the society a mirror to its face. What a powerful song that every man should listen to -N Datta brings out the power in the words by keeping the composition so simple and what to say about Lata-the great singer. Like many myths created about the singers/music composers by many with a narrow mindset, people generally used to comment there is not much emotion in Lata’s singing. Obviously they must be those who might not have listened to this song!

6. Tora Manva Kyun Ghabraye-Sadhna-1958-Geeta Dutt-Sahir Ludhainvi

Geeta Dutt was one singer who could put in so much of emotion in her songs. N Datta creates a superb bhajan for her.

7. Tere Pyar Ka Aasra Chahta Hoon-Dool Ka Phool-1959-Mahendra Kapoor & Lata Mangeshkar-Sahir Ludhianvi

Dhool Ka Phool was N Datta’s magnum opus. All the songs were excellent in this film. Tere Pyar Ka is an eternal favourite of good old Vividh Bharati and even if the song is quite long, one can never get bored of this , with Mahendra Kapoor and Lata rendering a brilliant duet. Not to forget Sahir’s superb poetry.

8. Dhadakne Lage Dil Ke Taaron Ki Duniya – Dool Ka Phool-1959-Mahendra Kapoor & Asha Bhosle-Sahir Ludhianvi

The brilliance of this song lies in its orchestration with guitar and accordion set in a lilting melody.

9. Jhukti Ghata Gaati Hawa – Dool Ka Phool-1959-Mahendra Kapoor & Asha Bhosle-Sahir Ludhianvi

Compare this with Dhadakne Lage song and one can appreciate the skill of N Datta to come out two completely different duets in the same film.

10. Tu Hindu Banega Na Musalmaan – Dool Ka Phool-1959-Mohammad Rafi-Sahir Ludhianvi

It is said that Rafi had some issues with B R Chopra and hence sang only few songs in his banner-but Rafi being the legend he was, whatever he sang became gold. This is one of the top songs that talks about harmony , brilliantly composed by N Datta and penned by none other than the great shayar-Sahir.

11. Kase Kahoon Man Ki Baat-Dhool Ka Phool -1959-Sudha Malhotra-Sahir Ludhainvi

Each of the five songs that I have listed here from the film Dhool Ka Phool , amply demonstrate the mastery of N Datta with a versatility in his tunes. This is also one of the most memorable songs of Sudha Malhotra-a singer who was immensely talented but got only few opportunities.

12. Tu meri pyaar ka phool hai- Dhool Ka Phool-1959-Lata Mangeshkar-Sahir Ludhainvi

It is quite strange that some songs are never popularised by radio/ other media. I could listen to this masterpiece only while searching for top songs of N Datta for this blog.

13. Pyar Ka Jahaan Ho -Jaal Saaz-1959-Kishore Kumar & Asha Bhosle-Majrooh Sultanpuri

A rare N Datta & Kishore combination -quite a popular song.

14. Beta Dar Mat Dar Mat -Bhai Bahan-1959-Mohammad Rafi-Sahir Ludhianvi

This is one of those peppy songs that seem to have been designed perfectly for Rafi. He can render such type of songs with the same effect that he could breathe into an intensely pathos-filled song. The most versatile singer. N Datta’s proves he could come out with a fun-filled song with equal prowess.

15. Main Tumhi Se Poochti Hoon -Black Cat-1959-Mohammad Rafi & Lata Mangeshkar-Jan Nissar Akhtar

One of the most popular N Datta compositions for Lata , that she renders with her typical style.

16. Aye Dil Zubaan Naa Khol -Naach Ghar-1959-Lata Mangehskar-Sahir Ludhianvi

It is said that N Datta used to offer soulful numbers to Asha and peppy ones to Lata , which was just a contra in the industry!

17. Tum Mujhe Bhool Bhi Jao -Didi-1959- Mukesh & Sudha Malhotra-Sahir Ludhianvi

Mukesh had that uncanny ability to make even those few songs that were offered to him by some composers , who , otherwise preferred him to a lesser extent. The combination of Mukesh and Sudha Malhotra is also a rare one-this is a superb tune by N Datta.

18. Main Jab Bhi Akeli Hoti Hoon –Dharmaputra -1961-Asha Bhosle- -Sahir Ludhiyanavi

Dharmaputra was also from the banner of B R Chopra with somewhat similar story line as that of Dhool Ka Phhol and the songs by N Datta for this film were also equally good. Asha renders this so nicely.

19. Aaj Ki Raat Nahin Shikwa Shikayat -Dharmaputra -1961-Mahendra Kapoor-Sahir Ludhianvi

It is a sheer delight to hear Mahendra Kapoor sing with such a soft voice at lower notes, who usually can go to the highest octave with so much of ease. N Datta truly did lot of innovations in his approach to composing music.

20. Meri tasveer lekar kya karoge-Kala Samundar-1962-Mohammad Rafi, S Balbir & Asha Bhosle-Anand Bakshi

No one would have thought Anand Bakshi could come out with such an impressive qawwali-It is a rare combination of N Datta working with Anand Bakshi!

21. Ashkon Ne Jo Paya Hai-Chandi Ki Deewar-1964-Talat Mehmood-Sahir Ludhainvi

Talat Mehmood had a great innings during the 50’s but after 60’s he sang infrequently. This rare combination of N Datta and Talat is a superb ghazal and there is no doubt why he was always the ghazal king. The texture of Talat’s voice fits so aptly for this song. There is one more sang that he sang for N Datta even later-Yadon Ka Sahara Na Hota that is also a good song-for the sake of brevity I could include only this song.

22. Ishwar Allah Tere Naam -Naya Raasta -1970- Mohammad Rafi-Sahir Ludhianvi

After a long gap , when N Datta was having his health issues and a decline in his career, the film Naya Raasta came like a whiff of fresh air. Three songs from this film are simply outstanding-all sung by the one and only Rafi sahab. Sahir’s words are eternal.

23. Maine Pee Sharab Tune Kya Piya-Naya Raasta -1970- Mohammad Rafi-Sahir Ludhianvi

It is an amazing feat by Rafi that whenever he had to sing like an inebriated character on screen, he could do it with so much of ease, despite being a teetotaller all his life. The modulation in his voice is unbeatable.

24. Poch Kar Ashq Apni Aankhon Se-Naya Raasta -1970- Mohammad Rafi-Sahir Ludhianvi

Out of the three songs from this movie I had listed out here, two are full of positivity and one a typical Sahir’s angst towards the society-Main Pee Sharab. Poch Kar Ashq is a rare song that was earlier played frequently in radio, but now almost forgotten. Once again , Sahir’s pen drips with philosophy in a language everyone can understand, brilliantly composed by N Datta.

25. Tere Iss Pyar Ka Shukriya -Aag Aur Daag-1971-Mohammad Rafi-S H Bihari

I do not know how I had missed out this song for so many years! I always keep thinking my decision to write about the great artists of the golden era of Hindi film music was a great one for me personally-else I would have not been able to listen and appreciate so many gems.

With this song , I conclude my small tribute to the great music director Datta Naik who passed away at the age of 60 in 1987 leaving behind a great number of songs and sadly remained an under-recognized artist.

Acknowledgements and Disclaimer:

I sincerely thank the publishers of following Internet sources for the information that I could gather for this article:

You Tube
Wikipedia

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