The adjective under-stated perfectly describes both the music and the personality of Krishnankoil Venkadachalam Mahadevan , honored with the title “ Thirai Isai Thilakam” -Pride of Film music and known affectionately as “ Mama” by his fans. The peppy, foot-tapping song Mama Mama Mama, Yemma yemma yemma in the 1961 film Kumudham earned him this affectionate nickname.
Very strong classical base, tunes mostly composed to the lyrics already written, minimum orchestration that always enhanced the lyrics and the singers’ abilities ,a distinct rhythm pattern-these are some of the unique qualities of his music. It was his firm belief that any lyric has an inherent melody and it was up to the composer to discover it.
Many a times , listeners, including me, would mistake his tunes as that of his illustrious contemporary Vishwanathan-Ramamoorthy. This confusion and the usual stereotyping that goes in the film industry of associating his music mainly with mythological/devotional films always put him at a slight disadvantage. However, one gratifying fact is that unlike the shocking non recognition of Vishwanathan-Ramamoorthy for any major awards at the national level, KVM got this recognition twice. For the films Kandan Karunai in 1967 and his Telugu magnum opus, Shankarabharanam in 1980 he got the National award for best music direction . The very first National level award for best music direction in films was started in 1967 and he was the first recipient! Apart from these he was honored with Tamil & Telugu state awards, Filmfare (South) awards for best music direction.
His brief biography is appended at the end of this article.
If we observe his music , the most distinctive quality that comes out is his strong classical base, along with a nice blend of the folk style. He was one of the pioneers to bring the classical raagam based songs to the masses. Ably assisted by his intensely loyal and longtime companion, T K Pugazhendi ( born T K Velappan Nair) he had nurtured & gave chance to many new singers. Even the then struggling M S Vishwanathan was advised to pursue a career as independent composer rather than restricting himself to sing in chorus by KVM , thereby giving the world another great composer. Although SP Balasubramanian got the first chance to sing under the baton of M.S.Vishwanathan for Shanti Nilayam , it was the song Aayiram Nilave vaa composed by KVM for the film Adimai Pen which got released before Shanti Nilayam that made him an overnight sensation. Many other singers like Seerkazhi Govindarajan, TR Mahalingam, C S Jayaraman got to sing their best songs for KVM. In the year 1980, the Telugu film Shankarabharanam revived people’s interest in classical music with an outstanding music score by KVM. The film ran successfully in the other southern states without even being dubbed , mainly on the strength of the music. It was KVM’s firm belief in SPB ( who till that time was not known for singing songs with strong classical base) that made people realize that he could do full justice to the musical score of that film.
Very rarely we see film music composers having a career of almost half a century. He composed music from 1942 till 1993, with the latter period more devoted to Telugu films. As the cliché goes, it is an impossible task to select few songs from approximately 3000 songs for 600 films that he must have composed. Still , let me try to look at some selected songs composed by a very humble and generous music composer who always took care of his musicians like a family.
Songs listed in chronological order of the year of film with following sequence: Film/Year/ Song/ Singer(s) /Lyricist . Wherever possible, I have given the name of the raagam in which the song is based. A very honest disclaimer: Personally, I have almost zero knowledge about classical music, raagam and the information given on this is taken from various sources in the Internet.
A rough count of the various raagam on which the following songs are based ( either fully or a part of the song) , works out to 26!!! One can now understand why KVM was considered a master in the classical genre.
#1. Mudalali-1957/Yeri karaiyin mele poravale/TMS/Ka Mu Shariff; Raagam: Aarabhi.
This song is one of the early hits of KVM that appealed to the listeners with its lilting melody based on Aarabhi raagam ,with an innovative mix of a rich folk style. With superb lyrics by Ka Mu Sheriff and rendered effortlessly by the legend TM Soundararajan, this remains popular to this day, even after 65 years .
#2. Makkalai petra makarasi-1957/Ondru serntha anbu maruma/PB Sreenivas & Udutha Sarojini/Ka Mu Shariff.
This is a pleasing melody with a rare singer Udutha Sarojini. I tried to find out about this singer but could not dig out much information. The Hawaiian guitar sounds so nice in this and the tempo reminds one of the famous song Vinnodum mukhilodum vilayadum vennilave that was composed by Vishwanathan-Ramamoorthy.
Another interesting point is that it is so rare to see a young MN Nambiar singing a duet , who otherwise used to be a perennial villain on screen but a perfect gentleman off-screen!
#3. Sampoorna Ramayanam-1958/Veenai kudiyodaya vendane/Tiruchi Loganathan & CS Jayaraman/ A Maruthakasi. Raagmalika
A raagamalika that explains about various raagas to be sung for different moods, times, for specific literary compositions etc., this is a masterpiece from KVM with the legendary singers of yesteryears, Tiruchi Loganathan and C S Jayaraman.
The scene is interesting where Ravanan picks up a fault in the rendition of a singer visiting his court from another country. His brothers, sons and finally his wife Mandodari cajole him to play the veena and sing and reluctantly he sings. Some of the raagas that he then goes on to mention and give a brief glimpse of the same are :
Bhoopalam, Saranga,Vasantha ( Raagam to be sung at different times: Morning, noon and evening)
Neelambari , Dhanyasi , Gambira Nattai ( Raagam denoting various Moods : Compassion, Happiness, War)
Sankarabharanam, Thodi , Kalyani ( Raagan to be used for some poetic forms: Venba, Akaval paadal , Best suited for Veenai)
The song ends with the favorite raagam of Ravana which he sang to please Lord Shiva-Khambodi
#4.Thai pirandal vazhi pirakkum-1958/Amudum thenumyedarku/Seerkazhi Govindarajan/Suradha; Raagam-Mohana Kalyani
A classic song , difficult to sing , set in Mohana Kalyani raagam, this is a treat for the listener with three legends coming together: KVM, Singer Seerkazhi Govindarajan and Kavignar Surada . This film had other songs in light/folk style but KVM could not resist his temptation to offer a pure classical one .
The difficult alaap after the line “nilavin nizahalo un vadanam” is a typical Seerkazhi’s touch.
#5. Thai pirandal vazhi pirakkum-1958/Asaiye alaipole/Tiruchi Loganathan /Kannadasan
With a catchy rhythm that starts with a ghatam , this philosophical song summarizes life in three stanzas that only the great Kannadasan can do. It is said he wrote this song while waiting in a railway crossing , on the back of a cigarette pack!! KVM sets a light , folk based melody and utilized the apt , distinctive vocals of Tiruchi Loganathan, known for his perfect diction , for this song.
#6. Padikkadha Medhai-1960 /Yengirintho vandaan/Seerkazhi Govindarajan /Kannadasan basing on the lines from Mahakavi Bharatiyar’s poem
One more gem from KVM & Seerkazhi combination that made this immortal song that was adapted by Kannadasan from the original poem by the revolutionary poet Mahakavi Subramania Bharatiyar to suit the situation in the film. Keeping in mind the lyrics and emotion in the song, KVM as usual keeps the embellishment to the bare minimum and lets Seerkazhi’s superb rendition convey the full impact of the song.
#7. Sarada-1962/Oruthi oruvanai ninaithuvittal/PB Sreenivas & P Susheela/Kannadasan
This song shows how KVM was not restricted only to devotional or classical based songs but could excel in the romantic genre also. A lilting melody , with the usual mastery in words by the Kaviarasar Kannadasan , rendered equally in a soft , sublime way by P.B.Sreenivas & P Susheela.
#8. Vanambadi-1963/Gangai karai thottam/P Susheela/Kannadasan/Raagam-Abheri
Right at the beginning , Susheela just hums the first line with just a tanpura accompanying her and one can get a feel of what a great song this will turn out. With a divine rendition by her, she takes this song to great heights with KVM composing the outpouring of Kannan’s dasan so sublimely. When Susheela ends the line Kannan Varum naalil kanni Irupeno kaatril maraiveno..with a superlative alaap, no one can remain unmoved by the emotion conveyed in the song. Such songs will live for thousands of years!
#9. Vettaikaran/1964/Unnai arindhal nee unnai arindhal/TMS/Kannadasan
Thevar films and MGR combination mostly had KVM as the music composer. Once MSV himself narrated how his mother gave him a slap when he proudly boasted that he had snatched the opportunity to compose for Vettaikaran from KVM. She made him forego his chance as she felt KVM was his mentor and he should not be doing this to him. Those were the years when we had such humanity even in a tough, competitive film music industry.
KVM proved with this song that he can compose something different from the usual classic stuff that was jazzy and catchy. It is said that the famous producer Sandow Chinnappa Thevar was not having much knowledge about music, but would typically make common people from his staff, film crew listen to the tunes and get their pulse to finalize the song. No wonder they were mostly liked by the mass! Percussion used in this song was unique and has the stamp of KVM. Equally stylish enactment on screen by MGR and singing by TMS.
#10. Veera Abhimanyu/1965/Paarthen Sirithen pakkathil azhaithen/PB Sreenivas and P Susheela/Kannadasan; Raagam-Sahana
A record 65 times the word “ then” ( in Tamil honey) was used by the genius Kannadasan , apparently composed when his assistant requested him to compose a “ sweet song”!! KVM could compose the tune for any lyrics and if he gets such a sweet pot would he not just pounce on it! Selecting the raagam Sahana for a romantic song was a master stroke by KVM as this raagam is more known for pathos, compassion moods. The song required only few accompanying instruments like Veenai, Flute & Tabla , but being the compassionate gentleman KVM was , he insisted on having his entire orchestra for the recording so that the others also get paid. Can we see such gentle souls in today’s world??
When you listen to such words, you can only consider yourself to be blessed to know Tamil-a great language that is so sweet in various interpretations.
“Antha malaithen ivar ena malaithen”…same word malaithen refers to honey obtained in the hills and also for being surprised!
A subtle addition of one syllable between Malar then pol naanum malarnthen…elevates the lyrics of the song to a different level.
#11.Tiruvilayadal/-1965/Oru naal pothuma/M Balamuralikrishna/Kannadasan; Ragam: Raagamalika of Maand , Thodi, Darbar, Mohanam and Kanada
#12.Isai Tamizh nee seida arum sadanai/T R Mahalingam/Kannadasan ; Raagam-Abheri ( Originally known as Carnatic Devagandhari)
#13.Paatum naane bhavamum naane/T M Soundararajan /Kannadasan ; Raagam-Gowri Manohari
The film Tiruvilayadal that narrates the divine play by Lord Shiva who keeps testing his devotees proved to be a block buster that was known for great songs, the evergreen comedy by Nagesh and also probably for the first time the legendary Carnatic singer M Balamuralikrishna singing a film song.
The three songs selected here are interlinked with the episode wherein Lord Shiva helps his devotee ,Bana Bhattar the court singer of the Pandian king who is challenged by another singer , Hemanatha Bhagawatar
The song by Hemanatha Bhagawatar conveys the pride in him and is composed with a raagamalika -“ Oru naal poduma” rendered in style by M Balamuralikrishna. Oru naal poduma starts off in the raagam maand and subsequently moving on to thodi, dharbar, mohanam and kanada ragas, proved to be an all-time classic. The lyrics of Kannadasan beautifully brings out the arrogance of the singer Hemanatha Bhagavathar, playing with the words that are sung in the respective raagam “ yezhunthodi varuvaar andro” , yenakku inayaga darbaril evarum undo, Mohana suvai naan andro and Kanada ..yen paatu thenada, isai deivam naanada. The beauty of Tamil language is that it has so much of inherent different interpretations of same words and were beautifully written by the lyricist of those times.
The court singer, played on screen by renowned actor-singer T R Mahalingam , pleads with Lord Shiva to help him take up the challenge and sings “ Isai Tamil nee seida arum sadhanai” set in Abheri raagam. TR Mahalingam belonged to the era when acting & singing on stage went hand-in-hand and was trained to throw their voice to the wide audience even without a microphone. He had a unique voice and also could reach the highest octaves with so much of ease. It was said that he was one of the highest paid artists in the early 50’s but later on had fallen into difficult days.
Lord Shiva then assumes a simpleton’s appearance and sleeps outside the place where Hemanatha Bhagawatar is put up and starts off with a casual “ alaap” in a funny way . In order to teach a lesson and bring down the ego of Bhagawatar , he starts singing and for this situation, KVM uses Gowri Manohari raagam. TMS goes on to render , what one can say , one of his best ever song-Paatum naane bhavamum naane. With these lines, Kannadasan conveys the message very clearly to the arrogant Bhagawatar:
Edilum iyangum isayum naane
Ennisai nindral adangum ulage
Naan asaindal asayum akhilem ellame
Arivai manitha Un Aaanavam perida?
Aalavayanodu Aadavandadoru
Paadum vayai mooda vandhadhoru….
Within these three songs KVM takes us through a journey of some seven ragaas-no wonder he can be considered as one of the finest film music composers to be rooted so strongly in the classical genre. Three different songs with three different flavors and all with the stamp of classicism that KVM excels in.
#14.Idhaya Kamalam-1965/Unnai kanada kannum/P Susheela /Kannadasan
#15.Malargal Nanaindana paniyale/PS/Kannadasan-Raagam Mohanam
#16.Yennathan ragasiaymo idayatile/PS/Kannadasan
A hat trick by the nightingale P Susheela who keeps improvising with each song-what great compositions by KVM in this film Idhaya Kamalam that treats us to some of the best ever songs of her.
Unnai kanada kaanum is more popular and removes all misconceptions about KVM’s compositions being more of devotional or pure classic in nature. This one oozes with romance . The sitar and flute interludes give a subtle elegance to the song that has always been a trademark of KVM.
Malargal nanaindana paniyale, composed in Mohana raagam literally takes you into a garden filled with the morning dew drops. Having drenched the leaves and flowers the sweet voice of P Susheela and the lilting composition then cools our ears and hearts! The phrase under-stated elegance perfectly describes the music of KVM who never uses complex & elaborate orchestration .
If Unnai kanada kannum and Malargal nanaindana were very straight, soft, and subtle romantic melodies, the masterpiece from this film is definitely Yennathan ragasiyamo idayatile. Not heard much and not very popular, this is a hidden gem that makes you listen to it over and over . The song is about how the hero is caught between the memories of wife ( who is assumed to be dead) and another lady resembling her. The film is based on original Marathi movie Pathlaag which was remade into Idhaya Kamalam in Tamil and Mera Saya in Hindi ( which had fabulous music by another legend Madan Mohan).
The highlight of this song is the way KVM had composed it in a ghazal style, alternating among the two female characters with P Susheela singing for both with a subtle variation in the tone . In the charanam, when she sings for the wife which is picturized as the hero’s imagination , the tone becomes so soft and even the orchestration matches the same perfectly well.
#17. Thiruvarutchelvar-1967/Mannavan vandhanadi thozhi/PS/Kannadasan
Raagam- Kalyani
If a single song can identify a music composer , it should be the evergreen Mannavan vandanadi thozhi. This gem of a Kalyanai raagam made KVM and P Susheela immortal. A normally “not so appreciative” Veenai S Balachandar himself had commented that if one wants to identify the raagam Kalyani through a film song, this is the song one should listen to.
A separate blog can be written about this one song. Such a wonderful singing by P Susheela, scintillating dance by Padmini and how can one forget Kannadasan’s lines. I feel so much at a loss of words to write about this song.
Some of the unique aspects of this song are the use of veenai, konnakol ( the Bharatanatyam jathis in vocal form), imaginative inclusion of the swaram within the words by Kannadasan , which Susheela does it with so much ease.
Viraivinil nee…
Mana malar thaa dhaa…
Thirumaarp paa…
Thaamadhamaa maa…
Mayil enai paar gaa…
Viraivinil nee mana malar thaa
Thirumaarp paa thaamadhamaa
Mayil enai paar
Nee dhaa paa maa gaa
Needhaapaamaagaa nidhapamaga
Saa… sadhamadhu tharavaa
An epic song that one has to enjoy by listening again and again!! I give up my feeble attempts to write anything further about this!
#18. Kandan Karunai-1967/Arupadai veedu Konda/Seerkazhi/Kannadasan; Raagam- Raga malika set in seven different raagam: Kambojhi, Hindolam, Chakravaham, Kaanada, Hamsanandi, Natakurinji, Kapi
The Directorate of Film Festivals in India started the category of National award for Best Music Direction in the year 1967 only and it was indeed a great honor that K V Mahadevan was the very first recipient.
He got the award for the film Kandan Karunai that had some 16 songs! Some of the popular & very melodious songs from this film are: Solla solla inikudada Muruga, Manam padaithen unnai by Susheela, Thirupparankundrathil Nee sirithal Muruga by Soolamangalam Rajalakshmi -Susheela, Aarumugamana Porul by Soolamangalam Rajalakshmi-S Janaki-Renuka.
However, I selected this song Arupadai veedu Konda by Seerkazhi Govindarajan as I understand it was one of KVM’s own favorites among his compositions . A Raga malika set in seven different raagam: Kambodhi, Hindolam, Chakravaham, Kaanada, Hamsanandhi, Natakurinji & Kapi.
The beauty of this song is that it describes all the six abodes of Lord Murugan in six charanam and each one is composed in different raagam, sung in that typical “ temple bell-sounding voice “ for which Seerkazhi is renowned. The devotional fervor that he brings into in such songs is unique.
#19. Pesum Deivam-1967 /Nan anuppavadu kaditham alle/TMS/Vaali
It is relatively rare to hear a composition of lyricist Vaali in KVM’s music. This song is also having that typical rhythm of KVM for which he was also nicknamed “ Udukkai mannan” -the percussion stands out in a unique way. The word play of Vaali is simply superb.
#20.Thillana Mohanambal-1968/Maraithirunthu paarkum marmam yenna/ P Susheela/Kannadasan; Raagam-Shanmukhapriya
Thillana Mohanambal was an epic movie that is liked by people even today. Though the number of songs are relatively less , the two iconic songs Marainthirunthu paarkum marmam enna and Nalam thana are just enough to prove what a genius composer KVM was. Maraithirunthu paarkum is composed by in Shanmukhapriya raagam ( it is not a coincidence that the hero of this movie played by the one and only Sivaji Ganesan is known as Shanmukham in the film).
Some of the songs are meant only for the great Gana Saraswati P Susheela -she keeps excelling herself in song after song.
Again, the innovative usage of konnakol by KVM reaches a crescendo towards the end of the song and with Kannadasan chipping in with these lines, what more do we need?
Maanaada
Malaraada mathi aada
Nadhi aada mangai
Ival nadanamaada
Vaanaada
Mannaada kodi aada
Idai aada vanji ival kaigal aada
Suvaiyodu
Naanaada enai naadi
Ithuvelai viravinil
Thunaiyaaga odi varuvaai
thooyanae
Maalava maayanae
Velavaa enai aalum
Shanmuga vaa
#21. Thillana Mohanambal-1968/Nalam thana /P Susheela/ Kannadasan; Raagam-Neelamani ( closely resembles Shivaranjani)
This one is a duet between P Susheela and KVM’s favorite instrument-Nadaswaram. The classic Nadaswaram exponents MPN Sethuraman and MPN Ponnuswamy brothers had played this difficult instrument for the film and remains one of the greatest uses of the same apart from another evergreen classic by S Janaki for the film Konjum Salangai ( Singara Velana Deva song composed by S.M Subbiah Naidu). The climax of the song is just amazing with Susheela touching the highest octaves in perfect synchronization with the Nadaswaram.
# 22.Adimai pen-1969/Aayiram nilave vaa/ SPB & PS/ Pulamaipithan; Raagam-Dharmavati
The 1969 film Adimai pen got released before the film “ Shanti Nilayam”. The song Iyarkai yennum ilaya kanni was his debut song in Shanti Nilayama but this film got released later and so it was KVM’s Aayiram Nilave Vaa that launched SPB’s career in Tamil films, thereby giving us one of the most popular, loved and prolific playback singer S.P. Balasubrahmanyam. And what a sensation this song turned out to be, making him quite popular with a fresh voice that was completely of a different mold as compared to the singers who had ruled till then. Composed in a rare raagam called Dharmavati, this song will always be remembered whenever one thinks of SPB.
Later on KVM would hone his skills even further , placing huge confidence on him to render the classical songs of Shankarabharanam.
#23. Vietnam Veedu-1970 /Palakkatu Pakkathile/TMS& PS/Kannadasan
A fast-paced duet from the film Vietnam Veedu sung in a breezy style by both TMS & P Susheela. As a refreshing change from the usually sober interludes, KVM weaves together a scintillating orchestra with an ensemble of Sitar and a whole lot of percussion instruments -Mridangam, Ghatam, Kanjira, Morsing, conveying a mini-Carnatic classic katcheri effect!
# 24. Vasantha Maligai/1971/Mayakkamenna/TMS & PS/Kannadasan
In the films like Thillana Mohanambal, Thiruvilayadal etc were a classical feast, KVM got immense popularity with the light romantic and pathos filled songs of Vasantha Maligai that became a sort of jinxed lovers’ tragic anthem. With many popular solo songs by TMS like Irandu manam vendum, Yarukkage idhu yarukkage, P Susheela’s classic Kalaimagal kai porule , TMS-LR Eshwari’s Oru kinnathai yendugiren , Kudimagane etc this film had a different KVM , departing from his deeply rooted classic genre.
The song Mayakemenna has uncharacteristic long interludes and a rare usage of chorus by KVM.
# 25. Pallandu vaazhga/1975/Ondre kulam endru paaduvom/KJ Yesudass/Pulamaipithan.
By the time KJ Yesudas stormed into the Tamil film scene with his Deivam thantha veedu in the film Aval Oru Thodarkathai in 1974 and Athisaya Raagam in Apoorva Ragangal in 1975, KVM was already into the fag end of his career and so had very few films with him. This 1975 , MGR’s remake of the famous Hindi film Do Aankhen Barah Haath had few good melodies with KJY. The prayer song in the Hindi original Ae Malik Tere bandhe hum composed by Vasant Desai and sung by Lata became an iconic one. However the Tamil equivalent Ondre Kulam endru paaduvom is no less than that and became quite popular .
There were some good duets of KJY in this film like Poi vaa nadi alaye, Idhu sorgathin thirappu vizha .
#26. Antha ratirikku Saatchi illai-1982/Ethirparthen/SPB/Pulamaipithan
After 1975 , the music scene in TN had a complete upheaval with Ilayaraja bringing a totally different flavor of music. The yesteryear stalwarts like KVM and MSV were now old school. It was remarkable that MSV still gave hits after hits in his own style till late 80’s , even collaborating with Ilayaraja in 1986 for the film Mella Thiranthathu Kadavu that had evergreen hits. However, KVM’s style went out of style and he had also decided to gradually withdraw from the Tamil film music scene and focused more on Telugu films. After his phenomenal 1979 magnum opus Shankarabharanam, he went on to score many gems even as late as 1992 with the film Swati Kiranam fetching KVM his Filmfare Award for Best Music Direction in Telugu films.
In the 80’s, in Tamil films he still made a mark with the later period music , I found a hidden gem of KVM for the Tamil film Antha ratirukku Saatchi illai, with the songs Ethirpaarthen inankiliya kanalaye by SPB and a duet by him with S Janaki Mani Osaiyum bringing back the melody that reigned supreme in his golden days.
A brief Biography of Shri K.V Mahadevan
14 March 1918 – 21 June 2001
K. V. Mahadevan was born on 14th March , 1918 at Krishnankovil , Nagercoil, in present day Tamil Nadu but part of the Travancore princely state when Mahadeven was born in 1918, to Shri Venkadachalam Bhagavathar and Smt Pichaiyammal.
KVM had a very humble beginning. He had learnt music from one musician from the Kanyakumari district, Boothapandi Arunachala Annavi. As was the practice those days , he had a brief stint with stage plays and also had worked for the HMV gramophone company. Later on he joined the cine field as an assistant to T. A. Kalyanam and S. V. Venkataraman. Those days major cities of Tamil Nadu had their own film production companies and he started a career with Salem based Modern Theatres that provided him the encouragement he needed when he was just 20.
Soon he made his debut as a music director under the same banner for “Manonmani” (1942) in which he was credited as “ Kalyanam Orchestra” and since then has done about 600 films mainly in Telugu and Tamil. In a single year 1963, 22 films were released under his direction, a record of sorts then.
Around the time he was composing for “Swathi Kiranam” (1992) directed by K. Vishwanath and featuring Mamooty and Radhika and “Srinatha Kavi Sarvabhowma” (1993), he had a major stroke that left him speechless and sadly he had to leave the cine field.
The end came after about nine years on June 21, 2001. He left behind his wife, two sons and three daughters.
His music assistant known as T.K Pugazhendi ( born T.K Velappan Nair) was with him like a life partner throughout his life, scored few films on his own. Mahadevan-Pugazhendi music director duo scored music for a Telugu film starring N T Rama Rao-Srinatha Kavi Sarvabhowmudu.
Acknowledgements: I sincerely thank the publishers of following blogsites & Internet sources for the information that I could gather for this article:
- You Tube
- Wikipedia
- https://sureshs65music.blogspot.com/2007/04/k-v-mahadevan-and-carnatic-music.html
- Ms. Shubashree Thanikachalam’s videos in YouTube -Quarantine From Reality
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.
Music Unrestricted 
Superbly done! I am not a fan of old school music or many of the artistes involved in this collection of songs. But, there are some gems here. Thank you very much for bringing these back to my realization. Your writing style is truly ‘blessed’. Kept me engaged throughout, even given my dislikea mentioned above. Kudos!
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Thanks a lot Lakshman for your kind appreciation. Motivates me to keep improving my blogs.
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