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Neeraj-the poet & lyricist –who said so much with so less

December 9, 2025 Sivanandam Palamadai 6 Comments

4^th January 1925 – 19^th July 2018

Even during my very young days, I used to be fascinated with one song that normally one may not like at that age. More so, it was in chaste Hindi and I had spent my entire childhood in Chennai and despite being unable to understand the lyrics fully at that age, I used to like that song very much. Of course one reason was that it was sung by my favourite singer – Mohammad Rafi, who had rendered with so much passion that I used to listen spell-bound. It was only much later , when I understood the meaning of the lyrics, I knew it was written by one of the great but relatively less-talked about lyricists -Gopaldas Saxena ‘ Neeraj ’. Few lines from this song that were so innovative :

नींद भी खुली न थी कि हाय धूप ढल गई ( I had not even woke up, alas, the day had passed)

पाँव जब तलक उठे कि ज़िन्दगी फिसल गई (By the time I took my steps, life had slipped away)

उम्र के चढ़ाव का उतार देखते रहे ( I kept watching the decline of rising age)..

These extra-ordinary lines were from the song Swapn Jhare Phool Se, Meet Chube Shool Se …Carvan Guzar Gaya Gubar Dekhte Rahe written by Gopaldas Saxena -known by his nom-de-plume Neeraj.

The year 2025 happens to be Neeraj’s birth centenary year and this is my humble tribute to Neeraj who was poet first and then became a lyricist for films. He had worked for very few films but most of the songs he wrote were great hits , but ironically a majority of them were for films that flopped commercially!

He was born on 4^th January 1925 , in the village of Puravali, near Mahewa in Etawah district of Uttar Pradesh, India. He lost his father when he was just six years old. Though he passed his high school in first class , he had to take care of his family and so could not pursue his education at that time. In 1942 he got a job as a typist in Supplies department of government in Delhi . He also did some odd jobs and somehow completed his M.A degree later. He was initially associated with a college in Meerut , teaching Hindi but later became a Professor of Hindi Literature in Dharma Samaj College, Aligarh

In 1944 his first collection of poems “Sangharsh” was published , which he dedicated to the noted poet Harivanshrai Bachhan . He has said that Harivansh Rai Bachchan was his inspiration to become a poet right from the time he was studying in school. In the year 1960 there was a program in which he had recited his poems in a program in Bombay ( as Mumbai was called then) to celebrate his birthday in the presence of the then chief minister of Maharashtra Y B Chavan. Among the audience was producer R Chandra who had produced the famous film Barsat Ki Raat. R Chandra approached Neeraj to write for his next venture Nai Umar Ki Nai Fasal ( this phrase was also from Neeraj’s poem) . At that time Neeraj was not willing to write for films and instead told Chandra that he can give some of his already published poems.

The immortal song that I mentioned at the beginning of this article was for that film and made him so famous. Apart from this there were two other songs that were taken from his poems for the same film. However since this film Nai Umar Ki Nai Fasal got delayed and was released only in 1966 , the other movie that brought him great recognition , Cha Cha Cha got released in 1964 itself. Subah Na Aayee Shaam Na Aayee and Woh Hum Na Theh from Cha Cha Cha brought him fame.

Many of his songs were written earlier and then set to tune by music directors , but few like Likhe Jo Khat Tujhe were written for the tune by Neeraj. Neeraj’s important songs were mostly till the early 70’s and although he wrote some songs even in the later years , they were not having that special touch like those he wrote in his peak .

After the change in music style in 70’s Neeraj went back to his teaching profession and continued to be active in many Kavi sammelan and breathed his last in 2018 , at the ripe age of 93. He was awarded the Padma Shri in 1991 and Padma Bhushan in 2007 ; he also got the Filmfare award for best lyrics for the song Kal Ka Pahiya Ghoome Bhaiyya in 1970 for the film Chanda Aur Bijli

I heard him saying in one of his interviews that he tried to use completely different words that were usually not used by other lyricists in film songs and that really made his songs stand out. I will try to write about such usage with the very limited knowledge that I have on the Hindi and Urdu languages while listing out the songs.

I have listed out few memorable songs of Neeraj here. Usually I organize them in chronological order , but for this blog , I am categorizing them first into three main groups. Usually Neeraj is associated with S D Burman and Shankar Jaikishan , but one would be surprised to note he had written some great songs for other composers also and so I am starting off with that category first, followed by those with S D Burman and Shankar Jaikishan.

I have mentioned the film , year , song title and singers also.

Neeraj’s songs for Other Music Directors

Cha Cha Cha-1964-Music by Iqbal Quereshi

Neeraj’s Swapn Jhare Phool Se was the first song that was taken from his earlier poem that he had written sometime in 1954-55, but due to the delay in the release of the film Nai Umar Ki Nai Fasal, the songs from Cha Cha Cha gave him his initial fame. Both these songs were composed so beautifully by Iqbal Quereshi and sung in an extra-ordinary manner that was possible only by Rafi.

Woh Hum Na Theh-Mohammad Rafi

It would be a very long blog if I have to provide the lyrics of all the songs listed here , but at the same time I have to convey the uniqueness of his poetry; so I will try to briefly mention the mukhda and maybe one or two antara with their meaning , wherever possible. Only for few iconic songs I am providing the full lyrics. One has to listen to his songs many times and enjoy the lyrical beauty and the way he conveyed his thoughts with his distinctive usage of words.

2. Subah Na Aayee Sham Na Aayee-Mohammad Rafi

Neeraj starts off with these great lines

खुशी जिसने खोजी वो धन लेके लौटा, हंसी जिसने खोजी चमन लेके लौटा

मगर प्यार को खोजने जो चला वो, न तन लेके लौटा न मन लेके लौटा

सुबह ना आई, शाम ना आई, जिस दिन तेरी याद ना आई, याद ना आई

सुबह ना आई, शाम ना आई

Nai Umar Ki Nai Fasal-1966-Music by Roshan

3. Carvan Guzar Gaya-Mohammad Rafi

Epic is the only word that can describe this great poetry by Neeraj—a poem written by him that was later on taken for the film. Knowing the immense power of the poetry, Roshan kept the orchestration and tune to the bare minimum and Rafi infused so much of life into each and every word. There are four stanzas with some 290 words in the entire song. This could be one of the most voluminous songs in Hindi films.

No doubt , Roshan’s immense respect for the lyrics made him compose this so brilliantly and anyone else other than the one and only Rafi could not have put so much emotion into the song, but still when we listen to this song the hero of the song is definitely the lyricist-Neeraj!! This is one of the few songs where the words simply dominate song…who can forget the last lines of each of the four antaraas:

और हम झुके झुके, मोड़ पर रुके रुके, उम्र के चढ़ाव का उतार देखते रहे।

और हम लुटे लुटे,वक्त से पिटे पिटे,साँस की शराब का खुमार देखते रहे।

और हम डरे डरे,नीर नयन में भरे,ओढ़कर कफ़न, पड़े मज़ार देखते रहे।

और हम अजानसे,दूर के मकान से,पालकी लिये हुए कहार देखते रहे।

I am providing the link to the entire lyrics of this epic song- One can say this is truly one-of-a-kind song that ever appeared in Hindi films.

https://geetmanjusha.com/lyrics/10919-karwan-guzar-gaya-gubar-dekhte-rahe

4. Aaj Ki Raat Badi Shok-Mohammad Rafi

It is really unfortunate that songs like this have remained less heard and appreciated. One of the gems rendered by Rafi in his inimitable style, with a voice dripping with romance. Neeraj’s imagination is mind-boggling. I am reproducing the full lyrics here. One has to just immerse oneself into the beauty of this poetry.

आज की रात बड़ी शोख बड़ी नटखट है, आज तो तेरे बिना नींद न आयेगी

अब तो तेरे ही यहाँ आने का ये मौसम है, अब तबीयत न ख़यालों से बहल पायेगी

देख वो छत पे उतर आयी है सावन की घटा, दे रही द्वार पे आवाज़ खड़ी पुरवाई

बिजली रह रह के पहाड़ं पे चमक उठती है, सूनी आँखों में कोई ख़्वाब ले ज्यों अंगड़ाई, कैसे समझाऊँ?, कैसे समझाऊँ कि इस वक़्त का मतलब क्या है

दिल की है बात, हो दिल की है बात न होंठों से कही जायेगी

आज तो तेरे बिना नींद नहीं आयेगी…

ये भटकते हुए जुगुनू ये दिये आवारा, भीगते पेड़ों पे बुझ-बुझ के चमक उठते हैं

तेरे आँचल में टके सलमें सितारे जैसे,मुझ से मिलने को बिना बात दमक उठते हैं

सारा आलम..सारा आलम है गिरफ़्तार तेरे हुस्न में जब

मुझसे ही कैसे..हो, मुझसे ही कैसे ये बरसात सही जायेगी

आज तो तेरे बिना नींद नहीं आयेगी, रात रानी की ये भीनी सी नशीली खुशबू

आ रही है के जो छन छन के घनी डालों से,

ऐसा लगता है किसी ढीठ झखोरे* से लिपट, खेल आयी है तेरे उलझे हुए बालों से

और बेज़ार..और बेज़ार न कर, मेरे तड़पते दिल को

ऐसी रंगीन..हो, ऐसी रंगीन ग़ज़ल रात न फिर गायेगी

आज तो तेरे बिना नींद नहीं आयेगी …

* ढीठ झखोरे -metaphor for obsessive longing-like a partridge for moon

5. Isko Bhi Apnaata Chal-Mohammad Rafi

If “Aaj Ki Raat badi shok” was a lesser heard song, this one is almost unheard-I just came to know about this only while looking for all the songs of Neeraj for this blog. It is a simple tune , almost in a narrative style -once again Rafi weaves a magical rendition around the powerful words of Neeraj, with Roshan, as usual giving full importance to the lyrics and keeping the orchestration embellishment to the bare minimum.

Tu Hi Meri Zindagi-1965-Music by Rono Mukherjee

6. Maayus na ho ai mere vatan-Mohammad Rafi

I have written this in my earlier blogs but would like to keep repeating-my hunt for rare songs for my blogs have always rewarded me very richly! Who would expect that the film that had a peppy, Arabic style Jidhar Bhi Mein Dekhoon Udhar Tu Hi Tu Hai would have such a soulful song with the typical hard-hitting lyrics of Neeraj! Rono Mukherjee was the son of famous film producer Sasadhar Mukherjee and brother of Joy & Deb Mukherjee.

Sati Naari-1965-Music By Shivram

7. Tum Nacho Ras Barse-Mahendra Kapoor

One more surprise-a beautiful classical song by Mahendra Kapoor , tuned by Pt Shivram Krishna who scored mostly for mythology-based films.

8. Chal Re Chal Musafir Chal-Mukesh

When I started categorizing Neeraj’s songs music director-wise I thought at the most I would find Iqbal Quereshi and Roshan for the two films I had listed here. It was a pleasant surprise to note many such gems for relatively lesser-known music directors like Shivram. A delightful Mukesh song.

Reshma Aur Shehra-1971-Music by Jaidev

9. Jabse Lagan Re Lagayi-Asha Bhosle

Jaidev was always known for composing intricate tunes for the poetry already written and so I was just trying to search if there was any song that Neeraj would have written for him. And once again I was surprised to know this song, though familiar to me was written by him. The other two famous songs from this film were written by relatively lesser-known lyricists Balkavi Bairagi ( Tu Chanda Mein Chandini) and Uddhav Kumar ( Ek Meethi Si Chuban) , both sung by Lata.

Majhli Didi-1967-Music by Hemant Kumar

10. Nadiyon Ki Bhari Bhari God Jahan -Sung by Hemant Kumar

Who would have expected a Hemant Kumar song with Neeraj?! Title song of an obscure film directed by the veteran Hrishikesh Mukherjee, Majhli Didi was critically acclaimed but commercially flopped . Hemant Kumar’s voice perfectly fits the song . Neeraj uses very simple words, but describes the village life so succinctly :

बड़ा ह्रदय है छोटा घर है, कपडे मैले साफ़ नज़र है

सरल ज़िन्दगी कठिन सफर है, वो मेरा गाँव है

वो मेरा गांव है वो तेरा गाव है

Neeraj’s songs for Sachin Dev Burman

Neeraj’s association with Sachin Dev Burman was the most successful one followed by that with Shankar Jaikishan. Dev Anand spotted Neeraj in one of the Kavi Sammelan and invited him to write for his directorial venture Prem Pujari. Though Burman da was initially a bit apprehensive, when he got Neeraj’s lyrics for Rangeela Re ( it is said Burman wanted the song to start with Rangeela , maybe his old Bengali Rongeela Rongeela Re song was very close to his heart!). Prem Pujari, Tere Mere Sapne, Gambler , Sharmeelee-all these four films had fantastic songs that need no introduction. Of course many would have enjoyed listening to these songs without knowing the lyricist behind them.

Prem Pujari-1970

Prem Ke Pujari Hum Hai- sung by S D Burman

Although Burman da sang a handful of songs in Hindi films, all were too good. Listen to the title song of Prem Pujari. The small alaap at the beginning of the song sounds like Rafi’s voice-if I am not mistaken.

2. Shokhiyon Mein Ghola Jaye-Kishore Kumar & Lata Mangeshkar

Neeraj had initially written Chandini Mein ghola Jaaye Phoolon Ka Shabab , but when Dev Anand told him the song was being picturized during the day, he changed to Shokiyon Mein.

शोखियों में घोला जाये, फूलों का शबाब

उसमें फिर मिलायी जाये, थोड़ी सी शराब

होगा यूं नशा जो तैयार

हाँ…होगा यूं नशा जो तैयार, वो प्यार है

Listen to Neeraj himself narrating his original poem which was later tweaked for the film!

3. Phoolon Ke Rang Se- Kishore Kumar

One of the best Kishore Kumar -S D Burman songs that I like. Quite a popular song also, picturised in beautiful Switzerland. Neerja always used unusual words and imagination to describe romance:

Saanson Ki Sargam, Dhadkan Ki Beena, Sapnon Ki Geetanjali Tum, Man Ki Gali Mein Mehke Jo Har Dam….

4. Rangeela Re Tere Rang Mein- Lata Mangeshkar

A masterpiece of Neeraj , with S D Burman coming out with an outstanding composition , rendered in a manner that only Lata can, this is among the topmost songs of Hindi films. The orchestration done by Burman da was far ahead of its time.

रंगीला रे, तेरे रँग में, यूँ रँगा है मेरा मन

छलिया रे, न बुझे है, किसी जल से यह जलन

ओ रंगीला रे…दुःख मेरा दुल्हा है बिरहा है डोली, आँसू की सड़ी है आहों की चोली

आग मैं पियूँ रे जैसे हो पानी, नारी दिवानी हूँ पीड़ा की रानी

मनवा यूँ जले है, जग सारा छले है, साँस क्यों चले है पिया

वाह रे प्यार वाह रे वाह, रँगीला रे …

Sharmeelee-1971

5. Khilte Hain Gul Yahan- Kishore Kumar

All the four songs from Sharmeelee are so popular that I do not think I need to write anything about them. My favourite is Megha Chaaye Aadhi Raat and Kaise Kahen Hum Pyar Ne Humko..

6. O Meri Sharmilee- Kishore Kumar

7. Kaise Kahen Ham-Kishore Kumar

8. Megha Chhaye Aadhi Raat- Lata Mangeshkar

S D Burman creates a song based on classical raag but with orchestration in western style. Sung beautifully by Lata. Neeraj , in his typical style uses Megha instead of the usual word Badal, and it is indeed rare to hear the word “ shool”…many such innovative words always embellish Neeraj’s lyrics.

Gambler-1971

9. Dil Aaj Shayar Hai-Kishore Kumar

Personally , I consider this song as one of the best by Kishore Kumar. Though the entire song is written so beautifully by Neeraj, lines like these are simply out-of-the world!

चाहत की महफ़िल में गम तेरा लेकर , क़िस्मत से खेला जुआ

दुनिया से जीते पर तुझसे हारी, यूँ खेल अपना हुआ

हम तो मुसाफिर है कोई सफर हो, हम तो गुज़र जाएगी ही

लेकिन लगाया है, जो दाव हमने, वो जित कर आएगी ही.

10. Choodi Nahin Mera-Kishore Kumar & Lata Mangeshkar

This is one more evergreen duet of Kishore & Lata, with Burman da using the accordion, saxophone, banjos so well in the orchestration. Neeraj comes out with innovative ways , comparing the fragile heart to the glass bangles and goes on to say they are more valuable than gold , silver etc and only love is their price. Simple , catchy words , that would enable us to remember the song !

11. Mera Man Tera Pyasa-Mohammad Rafi

In a film , if all songs are sung by others and Rafi gets just one , he always makes his mark and comes out with a rendition that makes the song so nice. Written almost in a conversational style, it is Rafi’s skill to make it sound so beautiful.

Tere Mere Sapne-1971

12. Hey Maine Kasam Li- Kishore Kumar & Lata Mangeshkar

Shot entirely with Dev Anand and Mumtaz riding a humble bicycle . One can easily detect how Kishore modulated his voice to suit Dev Anand perfectly. I find Neeraj was very fond of the word “ Madir” -used it in many songs” Saans Teri Madir-Madir”…Neeraj used very simple words in this song, but the tune and the very simplicity of the words make this so pleasant to hear again and again.

13. Jeevan Ki Bhagiya Mehkegi- Kishore Kumar & Lata Mangeshkar

Most would have heard the interesting story of how this song was completed with just the flute, played by Hariprasad Chaurasia, Santoor played by Shiv Kumar Sharma table by Maruti Rao. There were heavy rains and due to heavy flooding , most of the musicians couldn’t reach the studio. Burman da did a superb innovation by using three instruments. The superb lyrics by Neeraj describing the happiness of a couple who are expecting their child to come into their life are so nice to hear. One of the melodious duets of Kishore & Lata.

Neeraj’s songs for Shankar-Jaikishan

For Shankar Jaikishan, all through their career, mostly Shailendra and Hasrat Jaipuri wrote their songs. Though it was never openly said by them, it was generally believed that Shankar preferred working with Shailendra and Jaikishan with Hasrat Jaipuri. One major difference between SJ and the other two music director duos-Laxmikant Pyarelal and Kalyanji Anandji was that Shankar and Jaikishan independently composed the songs whereas it was mainly Laxmikant and Kalyanji who were the composers and Pyarelal and Anandji looked after the arrangement and orchestration. Their music was always grand, outstanding, catchy and popular. Somehow many talk only about Neeraj’s association with S D Burman only , ignoring his work with SJ. And if at all anyone mentions his association with SJ, they talk about how after JaIkishan’s death, Neeraj did not work much with SJ. In fact in some of the interviews , Neeraj himself mentions about his working with Shankar. After the demise of Shailendra in 1966, Jaikishan might have continued to work with Hasrat till his own sudden demise in 1971. Shankar worked with many other lyricists in his later solo innings also like Neeraj, M G Hashmat, S H Bihari, Vitthalbhai Patel, Vishweshwar Sharma etc.

Let us look at some of the memorable songs of Neeraj under the baton of the emperors of Hindi film music-Shankar-Jaikishan.

Kanyadan-1968

Likhe Jo Khat Tujhe -Mohammad Rafi

This is not only one of the most popular songs of Neeraj, but is considered among the top songs of Rafi and Shankar Jaikishan also. For many years I was not aware this was written by Neeraj!

The magnificence in SJ’s orchestration, Rafi’s ever-youthful voice and Neeraj’s words dripping with romance-all come together to create a masterpiece.

Chanda Aur Bijli-1969

2. Kal Ka Pahiya Ghoome Bhaiyya-Manna Dey

A superb song that conveys the story of an orphaned child that appears throughout the film , with each stanza placed at appropriate situations and is written by Neeraj with profound meaning. Unfortunately , this song is never talked about much anywhere. For me this is one great rendition by Manna Da, with SJ going all-out in composing a classic number and above all Neeraj conveying in just four stanzas, life’s philosophy with simple but very powerful words. I have reproduced the entire lyrics here.

काल का पहिया घूमे भैया, लाख तरह इन्सान चले

ले के चले बारात कभी तो, कभी बिना सामान चले

राम कृष्ण हरि …

जनक की बेटी अवध की रानी, सीता भटके बन बन में

राह अकेली रात अन्धेरी, मगर रतन हैं दामन में

साथ न जिस के चलता कोई, उस के साथ भगवान चले

राम कृष्ण हरि …

हाय री क़िस्मत कृष्ण कन्हैया, स्वाद न जाने माखन का

हँसी चुराये फूलों की वो, कंस है माली उपवन का

भूल न पापी मगर पाप की, ज्यादा नहीं दुकान चले

राम कृष्ण हरि …

अजब है कैसी प्रभु की माया, माला से बिछुड़ा दाना

ढूँढे जिसे मन सामने है वो, जाये न लेकिन पहचाना

कैसे वो मालिक दिखे तुझे जब, साथ तेरे अभिमान चले

राम कृष्ण हरि …

कर्म अगर अच्छा है तेरा, क़िस्मत तेरी दासी है

दिल है तेरा साफ़ तो प्यारे, घर में मथुरा काशी है

सच्चाई की राह चलो रे, जब तक जीवन प्राण चले

राम कृष्ण हरि …

Mera Naam Joker-1970

Neeraj , somehow got the tag as the “unlucky” lyricist as most of the films that he had written for turned out to be flops even though the songs themselves were so good and if at all the film was remembered , it was only due to his songs! Mera Naam Joker had one of the best ever songs by SJ , but this was one of those rare flops for Raj Kapoor, though the film later became a cult-classic.

Two songs of Neeraj stand out-Kehta Hai Joker in which he describes life from the perspective of a joker and Ae Bhai Zara Dekh Ke Chalo, that compares life to a circus. Just for the sake of Neeraj’s words and SJ’s outstanding music these two songs remain evergreen.

3. Ae Bhai Zara Dekh Ke Chalo-Manna Dey

Initially , Shankar was not able to set a tune for this song as Neeraj had written them in a conversational style. Later Raj Kapoor requested Neeraj himself to recite the poem and it is said that the way he recited gave the cue for Shankar to set the tune!

The full song is worth reproducing , but due to the fact that my blog is already quite lengthy , I am giving the highlight of the song-where Neeraj compares life to a three-part circus.

हाँ बाबू, यह सरकस है शो तीन घंटे का

पहला घंटा बचपन है, दूसरा जवानी है

तीसरा बुढ़ापा है

और उसके बाद – माँ नहीं, बाप नहीं

बेटा नहीं, बेटी नहीं, तू नहीं,

मैं नहीं, कुछ भी नहीं रहता है

रहता है जो कुछ वो – ख़ाली-ख़ाली कुर्सियाँ हैं

ख़ाली-ख़ाली ताम्बू है, ख़ाली-ख़ाली घेरा है

बिना चिड़िया का बसेरा है, न तेरा है, न मेरा है

4. Kehta Hai Joker Sara Zamana-Mukesh

Look at how in just two lines in the mukhda, Neeraj summarizes life!

कहता है जोकर सारा ज़माना, आधी हक़ीकत आधा फ़साना

चश्मा उठाओ, फिर देखो यारो, दुनिया नयी है, चेहरा पुराना

Lal Pathhar-1971

5. Re Man Sur Mein Gaa-Manna Dey & Asha Bhosle

The reason I wrote that it was mostly Shankar who must have worked with Neeraj is that songs with a pure classical base were always Shankar’s forte. Same logic applies to the next song I have selected from the same film-Sooni Sooni Sans Ke Sitar Both these songs are inexplicably not heard much but are definitely top class. Songs from Lal Pathar , in 1971, prove that SJ had never lost their creativity as the myth that is always spread around everywhere.

6. Sooni Sooni Sans ke sitar-Asha Bhosle

Jungle Mein Mangal-1972

7. Tum Kitni Khoobsurat Ho-Kishore Kumar (With Hasrat?)

I could not find out exactly who wrote this song as in most places , it is credited jointly to Hasrat & Neeraj-could not understand how both of them would have contributed to this..yet I have included this just for the sheer beauty of the composition that once again proves SJ’s( rather Shankar’s!) creative juices never dried even in 1972. The vibrato in Kishore’s voice is unique-very rarely we come across this style of singing by him. Once again strangely , even Kishore fans rarely talk about this gem!

Patanga-1971

8. Jhoom Ke Gaa Yun Aaj Mere Dil-Mohammad Rafi

This song is always special to me personally as I started my debut as a blog writer with this song for a blogsite dedicated to Rafi. Many years back I wrote about the use of oxymorons so effusively by Neeraj and the excellent rendition by Rafi , once again, in a superbly orchestrated song by SJ.

I end this article with Neeraj’s own definition of Kavita and Kavi:

Kavita Kya Hai, Kavi Kaun Hai?…

Aatma Ka Soundarya Ka Shabdroop Hai Kavya

( Poetry is the beautiful expression of the soul)

Manav Hona Bhagya Hai, Kavi hona Sowbhagya

( To be born a human is destiny but to be a poet is good fortune!)

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
geetmanjusha.com
HindiLyrics4U.com

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

‘Sangeethayya’ S.M Subbaiha Naidu-A pioneer in Tamil film music

November 26, 2025 Sivanandam Palamadai Leave a comment

15^th March 1914 -26^th May 1979

In the recent past, twice I started writing about this music director who was a pioneer in the Tamil film music world. My own lack of exposure to many of his songs made me procrastinate. A simple, unassuming man, with equally simple music , but many of his songs have a great impact , mainly due to that simplicity! One extra-ordinary aspect of his music was that the powerful lyrics in his songs make them immortal to this day. Who can forget his songs like Ethanai Kalanthan Yematruvar Intha Nattile , Thoongathe Thambi Thoongathe , Kasethan Kadavulappa and many more. Not to forget his one song that would remain etched forever in our memories for its intricate use of the Karakurichi Arunachalam’s Nadaswaram and also giving S Janaki one of her early breaks-Singare Velane Deva in the film Konjum Salangai.

Subburayulu Munuswami Subbaiah Naidu (S M Subbaiah Naidu or just SMS going forward in this article ) was born on 15^th March 1914 in Kadayanallur , Tenkasi District of Tamil Nadu. With a caveat that I had to rely extensively on available information in the Internet and after searching for his songs, I am attempting to write about this great composer. He had mentored the legend Mellisai Mannar M S Vishwanathan , who took care of the childless S M Subbaiah Naidu in his later years like how one would take care of a parent. SMS is credited with having composed the first song of the great Kaviarasar Kannadasan -Kalangathiru Manamey Un Kanavellan Nanavagum Oru Dinamey” for Kanniyin Kathali sung by K. V. Janaki in 1949. He had also pioneered playback singing in Tamil films with Tiruchi Loganathan singing along with K.V Janaki , Kattinile Nangal Vazhvade”, picturized on M. N. Nambiar.

In his young days , SMS was drawn towards music and started working in drama troupes of Jagannatha Iyer and Nawab Rajamanickam Pillai. He learned music from masters such as Rajagopala Iyengar and Subramaniya Bagavathar. When the play Baktha Ramadas was made into a movie, SMS worked on the music for the movie. He initially worked jointly with other composers in few movies in the early 1940s. He got his first independent assignment for the movie Rajakumari in 1947 in which MGR played the hero . His association with MGR would later turn out to be most successful and MGR also supported him in many of his film . The decade of 1950’s was most creative for SMS and films like Ezhai Padum Padu (1950), Malaikkallan (1954) , Nadodi Mannan ( 1958) , Thirumanam ( 1958) , Annayin Aanai ( 1958) helped him to consolidate his place as one of the leading composers of that period.

Those days the studio system prevailed and most of the artists were employed on a monthly salary basis. SMS was associated with the Central Sudios, Pakshiraja Studios and Jupiter Pictures. S M Sriramulu Naidu was initially working with the Central Studios partnering with certain prominent industrialists of Coimbatore and later started his own Pakshiraja Studios .Those days Coimbatore was a major hub for film production. Interestingly the names of Sriramulu and Subbaiah seem to be related but I understand they were not relatives. Some sources in the Net mention them as brothers but that is not correct I believe.

My own observation after listening to some of the famous songs of SMS is that he relied more on simple tunes, that brought out the power of the lyrics, used bare minimum orchestration and generally avoided too much of western influence in his music, and depended on our classical raagas or folk tunes and adapted them into the grammar of a film song that would appeal to the layman. One very striking feature of his music was the very prominent percussion arrangement.

Till the mid 60’s he was very active but as trends changed , he slowly faded away. I could not find any information about his later years , but he was well taken care by MSV and had passed away on 26^th May 1979.

With my limited knowledge I have tried to list out few excellent songs of SMS . Arranged in chronological order of the year of the film , I have given the song , film , year, lyricist and singer(s) in that sequence.

Yauvanamae Aahaa Yauvanamae -Ezhai Padum Padu-1950-V A Gopalakrishnan- M. L. Vasanthakumari

A typical song from the early 50’s , melodious with a tune that has intricate movements , with the great M L Vasanthakumari rendering in her inimitable style.

2. Ethanai Kaalanthaan Emaatruvar- Malaikkallan -1954-Thanjai N Ramaiah Das-T. M. Soundararajan

This was the first song that TMS sang for MGR and what a popular one it turned out to be! Till today used by many to create memes with a satire on the political parties, the lyrics by Thanjai N Ramaiah Das sounds so true even after 70 years!

3. Thoongathey Thambi -Nadodi Mannan-1958-Pattukottai Kalyanasundaram-TMS

Nadodi Mannan was a turning point in the career of MGR and SMS’ music , coupled with the hard-hitting lyrics of Pattukottai Kalyanasundaram helped in the immense success of the film. The simple rhythm used by SMS is typical of his style.

4. Kannil Vanthu Minnal Pol-Nadodi mannan-1958-Suratha-TMS & Jikki

Note the unique percussion arrangement at the beginning of the song-typical SMS style. SMS uses the instruments like mandolin, flute only at those places required , letting TMS & Jikki to take us through the song with their sheer vocal skills.

5. Summa Kidantha-Nadodi Mannan-1958- Pattukottai Kalyanasundaram-TMS & P Bhanumathi

A superb folk style song set in a tremendous pace , enacted brilliantly on screen by MGR and Bhanumati, SMS proves that one needs to keep things as simple as possible to create great music. The entire song consists of questions and answers and Pattukottaiyar conveys the emotions of farmers toiling their entire life time with his typical socialistic message.

6. Yennamellam Or Edathaye -Thirumanam-1958-Suradha-TMS

I was fortunate to know about this song while searching for SMS’ top songs and understood that this was set in the Sahana raagam and is supposed to be a classic example of this raagam. And what a great rendition by TMS, especially at those high octaves that he glides through with a mastery for which he is well-known.

7. Thanga Nilavil – Thirumanam-1958-( With T.G. Lingappa)- Kannadasan-AM Rajah & Jikki

I found both SMS and T G Lingappa are credited for this song. A nice melody , rendered by the legendary husband-wife team of A M Rajah and Jikki.

8. Kanavin Maaya Logathile – Annayin Aanai-1958- Ku Ma Balasubramaniam-T M S & P Susheela

A very popular song that used to be played in radio when I was growing up in Chennai. The fast-paced tabla , use of guitar, flute and clarinet by SMS , coupled with superb singing by the evergreen pair TMS and P Susheela and not to miss the graceful enactment on screen by Sivaji and Savithri-all create an timeless classic.

9. Neeye Gathi Eashwari- Annayin Aanai-1958-A Maruthakasi-P Leela

I had included this song in my blog on P Leela, but would definitely like to repeat it here also . One of the most soulful songs of SMS , rendered so well by Ganamani P Leela Amma, set in Charukesi raagam.

10. Annaiyai Pol Oru Deivamillai -Annaiyin Aanai -1958-Ka Mu Sharif-TMS

In any album or playlist that has songs about Mother, this song will always have a place. Written with passion by Ka Mu Sharif and as usual rendered so soulfully well by TMS , this song would move anyone with the sheer intensity of its emotion.

11. Kunguma Poove – Maragatham- 1959-Ku Ma Balasubramaniam- J. P Chandrababu & Jamuna Rani

There is an interesting story about this song. T G Lingappa was the original composer of this tune for the film Sabash Meena; but due to some reason it was not used in that film. Later the comedian-singer J P Chandrababu ( who was supposed to have originally sung in Sabash Meena) conveyed this tune to SMS while working on the film Maragatham and SMS , who never knew the background agreed and completed the orchestration and recording of this song. It became a super hit and even today , the way Chandrababu and Jamuna Rani rendered this song is appreciated by everyone! Many years later T G Lingappa revealed the story behind this-SMS , obviously was so apologetic , as most of the legendary artists of those days were so humble.

Even if the tune was not his own, SMS did embellish the song with a unique orchestration and could be considered one among his super hit songs .

12. Maalai Mayangukindra Neram -Maragadham-1959-Shuddhananda Bharati- Radha Jayalakshmi

For me songs like this are truly eye-openers as I have not heard this in so many years and only my hunt for songs of a particular artist revealed such gems. I am sure this song must be based on a classical raagam or even a raagamalikai. I am not sure about that but it is definitely a very pleasing melody.

13. Kannukkulle Unnai Paaru -Maragadham -1959-Ra. Balu-TMS & Radha Jayalakshmi

One more hidden gem-a delightful duet by TMS and Radha Jayalakshmi. Actually Jayalakshmi was her name and she used to sing in stage concerts with her cousin Radha and somehow the combined name Radha Jayalakshmi stuck to her! Both were accomplished classical singers and had even trained many students .

14, Thirudathey Paappa – Thirudathe-1961- Pattukottai Kalyanasundaram-TMS

MGR had, on becoming the chief minister of Tamil Nadu , had famously said that one of the four legs on which he was seated in power was the powerful lyrics of Pattukottai Kalyanasundaram. Simple words that a laymen could easily understand with SMS respecting the words, composed many such songs with bare minimum orchestration and maximum emphasis to the words and the singer’s vocal skills.

15. Singaara Velane -Konjum Salangai-1962-Ku Ma Balasubramaniam- S Janaki

One more song that I am repeating, having covered this in my blog on S Janaki. A masterpiece in Tamil film industry, with a recording technique that was innovatively done for those times. The noted Nadaswara vidwan Karakurichi Arunachalam could not travel to Mumbai due to some reason and all the songs of this film were recorded there only. So, S Janaki’s vocal part was recorded separately and the Nadaswaram part was recorded in Chennai . A recording engineer called Raju had brilliantly edited these and made it into the single song that has been evergreen since 1962! The film producer M V Raman did many more innovative things in this film like the first Tamil film in Technicolor, dubbing into multiple languages with sub titles in English as this was shown in many film festivals.

With so many challenges , the basic idea of SMS to create a song that had, for the first time a voice and Nadaswaram together, got completed and what a masterpiece it turned out to be. Sadly many would not be knowing the name of music director of this song , although the song itself is iconic.

Unfortunately I am unable to get the YouTube link that has both visuals and audio of good quality and hence providing the link to the audio version only.

16. Enathu Raja Sabayile – Kalyaniyin Kanavan-1963-Kannadasan-TMS & P Susheela

SMS uses an innovative idea of providing a brief pause after each line in the Pallavi. Not only that, he uses that pause so effectively throughout the song, and with his typical simplicity , creates a lilting tune.

17. Ethanai Selvangal Vandhaalume ( Thayin Madiyil Thalai Vaithirunthal) Thaayin Madiyil-Vaali- 1964- TMS

If the song Annaiyai Pol Oru Deivam Illai was for Sivaji, this one for MGR is an equally soulful one . TMS starts off in a pitch that is his trademark and then renders the entire song with a passion that he is well-known for.

18. Ethanai Periya Manithanukku -Aasai Mugam-1965-Vaali-TMS

One of these days , I have to write about the lyricist Vaali. Many-a-times his songs are mistaken for those written by his illustrious peer-Kaviarasar Kannadasan. As I had mentioned earlier , SMS had the uncanny ability to bring out the best lyrics in his songs . If one can observe closely the interlude music in this song , could have inspired MSV to compose his “ Ranga Rangayya Enge Ponalum” song for the 1980 film Varumayin Niram Sivappu.

19. Kasethan Kadavulappa -Chakkaram-1968-Vaali-TMS

I think SMS may have the record for creating so many songs that have become philosophical statements! I was pleasantly to note this song has around 2.5 crore views !

20. Vennila Vaanil Varum – Mannipu-1969-Vaali-TMS & P Susheela

SMS was not only known for his philosophical songs , but for such light, romantic ones too. TMS, when he sings for Jaishankar, had a different tone as compared to that he used for MGR & Sivaji Ganesan.

21. Nee Engey En Ninaivugalangey from Mannippu -1969- Vaali- TMS

From the same film Mannippu, this is one more famous song of SMS from his later years. Note how SMS has changed his orchestration style with a western touch , but at the same time retaining his core simplicity and melody.

22. Kuyilosayai Vellum – Mannipu-1969-Vaali- P. Suseela & A. P. Komala

I conclude my selection of 22 songs with one more hidden gem that I came across only while searching for the sweet songs of SMS. A very rare duet of Susheela with the yesteryear singer A P Komala who must have sung this after a long gap in Tamil.

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

Hansraj Behl-A composer who strode along with the giants

November 18, 2025 Sivanandam Palamadai Leave a comment

19 November 1916 – 20 May 1984

Whenever we take a closer look at the music composers who enriched the golden era of Hindi films, we find many such forgotten composers who, despite coming out with superb melodies, mostly remained in the shadows of the other famous legends. One main reason was that such music composers were mostly ignored by the big banners and stars of those times and hence , although their music was of high quality, the films for which they worked were not equally great and so their work, unfortunately, did not get the recognition they deserved.

Even those not very familiar with his name , will know the songs Jahan daal daal par sone ki chidiya, Mohabbat zinda rehti hai , Nain dwar se man mein who aake , Bheega bheega pyaar ka sama etc. This blog is a small tribute to the music composer Hanraj Behl, who had composed these and many more hidden gems like these.

As always I randomly pick up an artist for my blog and it so happens that when I check his birth date or anniversary , it is close to the time of my blog! By the time I finish this blog it would be close to the 109^th birth anniversary of Hansraj Behl!

Born on 19 November 1916 in Sheikhupura, near Rawalpindi then in British Punjab , now in Punjab, Pakistan, Hansraj received his early education in music from Pandit Chunnilal and later from Pandit Acharay Chiranjivilal ‘Jigyasu’. His father, Nihal Chand Behl, was a zamindar in his area.

After composing some non-film songs and starting his own music school in Lahore , like many other artists , he landed in Bombay as Mumbai was known at that time in the year 1944. His brother Gulshan Behl and friend Varma Malik also joined him . He got a break with the film Pujari (1946) directed by Ardesher Irani .

For any music director in the late 40’s and 50’s there was always a tough competition from stalwarts like Naushad, C Ramachandra, Shankar Jiakishan, O P Nayyar , S D Burman in the late 40’s and 50’s , continued by others like Madan Mohan, Roshan , Chitragupta, Ravi, Sajjad Hussain, Vasant Desai, S.N TRipathi etc who were all greatly talented. So , for Hansraj Behl, it was mostly lesser-known banners and within that constraint, he came out with some exceptional songs in films like Raat Ki Raani ( 1949-Jin Raaton Mein Neend Ud Jaati Hai by Rafi), Chengez Khan ( 1957-Mohabbat Zinda Rehti Hai by Rafi) , Milan ( 1958-Haye Jiya Roye by Lata) , Sikandar-E-Azam( 1965- Jahan Daal Daal Par Sone Ki by Rafi) just to name a few. He is credited with introducing Asha Bhonsle in Hindi films , with the song Sawan Aaaya Re that she sang alongwith Geeta Dutt & Zohrabai Ambalewali for the 1948 film Chunariya. He was also instrumental in giving the lyricists Varma Malik & Naqsh Lyallpuri their first film songs in the film Jaggu ( 1953).

Totally , Hansraj Behl might have composed around 500+ songs in around 65-70 films. He had experimented with some unique concepts like having no interludes in the song “ Us Chand Se Pyaare Chand ho tum” in the film Raat Ki Raani or take the song ” Nain Dwar Se Man mein woh aake” in which Mukesh sings at lower notes in a slow pace whereas Lata starts off at very high octaves and at a faster pace. He used the similar technique in the Talat & Lata duet Bhool Ja Sapne Suhane Bhool Ja in the 1956 film Rajdhani .

It is purely my own personal view that music directors like Hansraj Behl could not maintain a consistency in their music and if you take a single film , one or two songs would have been outstanding but rest of them may not have been that good and that aspect differentiated the stalwarts who were more consistent in their quality and an entire film would be embellished with gems. However this , in no way , takes away their talent , and maybe if big banners had supported them and extracted their best talent, they also might have become quite successful.

Hansraj Behl ‘s best was for the film Sikandar-E-Azam in 1965 with the song Jahan Daal Daal Par Sone ki becoming a sort of an anthem and played in all the Republic day and Independence day celebrations . Though he remained active till the end 60’s in Hindi films and even till 80’s in Punjabi films , his best was mostly in the 50’s and 60’s.

He passed away due to liver cancer on 20 May 1984.

Since I am not very familiar with the music of 40’s , I am listing out few memorable songs of HB ( Hansraj Behl) mainly from the 50’s and 60’s. These are , as per my usual practice , sequenced in chronological order with the song, film , year , lyricist, and singer(s) mentioned in that order.

Jin raaton mein neend ud jaati hai-Raat Ki Rani-1949-Arzoo Lucknowi-Mohammad Rafi

One of the early songs of HB and also for Rafi , that was quite popular those days and even now among Rafi fans searching for his rare songs. This is well-remembered even now, almost 75 years later! With minimum orchestration , this ghazal is so simple but the tune by HB is captivating.

2. Us Chand Se Pyaare Chand ho tum-Raat Ki Raani-1949-Darbari Lal-Rafi & Lata

HB does an innovative technique in this song , with no properly defined interludes, and depends only on very brief instrumental bits separating the lines sung so sweetly by young Rafi and Lata.

3. Haye Chanda Gaye Pardes Chakori Yahan-Chakori-1949-Mulkraj Bhakri-Lata

It seems Lata placed this song among her favourites , with HB coming out with an intricate tune . As was the norms in the 40’s the interludes and orchestration were minimal and the strength of the song was in its intricate tune.

4. Raste pe hum khade hain dil-e-beqaraar lekar -Rajput-1951-Kaif Irfani-Suraiya

Suraiya may not have sung many songs for HB ,but as usual she renders a melodious song with her sweet voice . This song is in no way lesser in its melody quotient and orchestration as compared to to those composed by stalwarts of those years like Naushad or Khemchand Prakash or Husanlal Bhagatram .

5. Aye zamane bata do dilon ki khata-Dost-1954-Asad Bhopali-Talat & Madhubala Jhaveri

I knew about the singer Madhubala Jhaveri only while working on my blogs-strangely the good old Vividh Bharati had never played her songs much and so she remained an unknown entity for me. I was also pleasantly surprised to learn that it was HB who gave her maximum number of songs. This is a pleasing duet of Talat and Madhubala Jhaveri. Once again HB relies purely on the strength of his tune and uses minimal orchestration.

6. Bhool Jaa Sapne Suhane Bhool Jaa-Rajdhani-1956-Qamar Jalalabadi-Talat Mehmood and Lata Mangeshkar

One of the excellent compositions of HB , just observe how he comes out with an outstanding beginning in low notes by Talat , followed by higher notes by Lata. The interludes and orchestration are also exceptional, in league with any stalwart music director of the golden era. That is why I used the tag line “ A composer who strode along with the giants”!

7. Mohabbat zinda rehti hai-Changez Khan-1957- Qamar Jalalabadi-Mohammad Rafi

Now we come to that one song that almost every music lover would have definitely heard , but many might not have known this was composed by HB! A masterpiece that can be rendered only by Rafi!

Rafi had that magical power to give a great boost to the careers of many actors and even to many music composers by pouring his heart into the songs. The way he ends the song with the lines “ Chalee Aaa…Chalee Aaa…” would send goosepimples! The link below provides the complete song that must have appeared in many situations in the film and is a bonus which we usually do not hear in the radio version.

8. Jab raat Nahin kat-ti-Chengez Khan–1957- Qamar Jalalabadi-Lata

This song must have been overshadowed by the more popular Rafi’s Mohabbat Zinda Rehti Hai, and I must have heard this Lata’s solo very rarely in the past. HB somehow seems to brought out the best from Lata and it is a surprise to note that his name is never taken when we think of best songs of Lata!

9. Zindagi bhar gam judai ka mujhe-Miss Bombay-1957-Asad Bhopali & Prem Dhawan-Rafi

Normally I avoid repeating the same song in multiple blogs -I had included this in my blog about “ Zindagi”. But I am making an exception as this is too good a song to miss out in a blog on HB. Rafi once again at his best! I am not very familiar with classical raagas , but I think this could be based on Raag Malkauns and is this song in anyway lesser than the more famous Malkauns based-Aadha Hai Chandrama Raat Aadhi?

10. Le chala jidhar ye dil nikal pade-Miss Bombay-1957-Prem Dhawan-Rafi

From the same film Miss Bombay, HB comes out with a lilting light-hearted song

11. Din ho ya raat, hum rahein tere saath- Miss Bombay-1957- Prem Dhawan-Rafi & Suman Kalyanpur

This is one of the most popular songs of HB , that is played in radio even today. This film and many such films were produced by HB along with his brother under the N C Films banner. Miss Bombay was a musical film with many songs becoming famous. Observe how HB has constructed this song at such high notes and a superb pace.

12. Haaye Jiya Roye-Milan -1957-Prem Dhawan-Lata

Now we come to one of HB’s masterpieces that can definitely be placed among the best songs of Lata! What a great song, full of pathos and rendered exceptionally well by the one and only Lata! I understand this is based on Raag Darbari, though may not be in strict classical norms( which is understood for film songs) and can be considered as good as the top Darbari raag based songs composed by other maestros of the golden era . The string arrangements , sarangi , flute used by HB are top-notch!

( The uploader in YouTube has wrongly put a banner of the 1967 Milan instead of the 1957 Milan!)

13. Nain dwar se man mein woh aake-Sawan-1959-Prem Dhawan-Mukesh and Lata

Personally I consider this as one of the best songs of HB and also a very unique song. Mukesh starts off at the lowest notes and a slow pace ( in which he is a true master) and Lata bursts off at highest octaves with a frenetic pace! What an imaginative composition by Masterji HB( in Hindi film world only two composers were called Masterji-HB and Ghulam Haider!).

14. Bheega bheega pyar ka -Saawan-1959- Prem Dhawan- Rafi and Shamshad Begum

It is my view that most songs that have a horse-hoof beat become great hits-maybe something to do with the rhythm of nature! And when we have Rafi & Shamshad to come out with full-throated singing , we get an evergreen duet. HB proves he is no less than the ‘ master of horse-hoof beat rhythm’ O P Nayyar!

15. Meri pasand hai ke mujhko-Ek Din Ek Badshah-1964-Prem Warbartani-Rafi

The films for which HB composed may have been mostly obscure ones , but he scored superb songs for them. This is a rare Rafi gem, with a tune & lyrics intricate , and an equally obscure lyricist!

16. Jahan daal daal par sone-Sikandar-E-Azam-1965-Rajendra Krishan-Mohammad Rafi

I conclude this blog with a song that almost all Indians would have heard in their lifetime, with a majority not knowing who composed this! Just as the patriotic songs like Kar Chale Hum Fida, Apni Azaadi Ko Hum, Mere Desh Ki Dharti , Ae Mere Watan Ke Logon , this one is played on all Independence and Republic day celebrations .Personally I consider the top among the best patiotic songs ever composed in Hindi films, with Rafi starting with a chaste Sanskrit shlok and then puring out his heart into the song that he always does.

A superb composition by the Master Ji and in all probability this was his last major hit song. Though he continued to compose for few years , the power of this song alone would etch his name in the annals of Hindi film music. Not to forget Rajendra Krishan for his immensely powerful lyrics.

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

Hindi film songs

Sulakshana Pandit-a singer we forgot!

November 9, 2025 Sivanandam Palamadai Leave a comment

12^th July 1954 -6^th November 2025

Sometimes we tend to completely forget about an artist who had been quite popular just around 3-4 decades ago. I was shocked to note that I had not even included her name in my long list of artists that I am supposed to cover in my future blogs. Today (7^th Nov’ 2025) when I read about the sad demise of this actor-singer , I thought I should at least prepare a small tribute to her and write about some of the memorable songs she has left behind.

Born in an illustrious musical family , her father was Pratap Narain Pandit and was the elder brother of legendary Pt Jasraj, noted classical vocalist. She had three brothers , Mandheer Pandit, and the famous Jatin-Lalit music composer duo and three sisters-Maya Anderson, Sandhya Singh and the famous actor Vijayta Pandit. Noted music composer Adesh Shrivastava married Vijayta Pandit. It is very rare to come across a family with so many musical artists. But at the same time it is equally poignant to note that except for Pt Jasraj , others had a relatively brief career. Of course Jatin-Lalit were successful as music composer duo before they split up after the film Fanaah. Adesh Shrivastava unfortunately died of cancer just a day after his 51^st birthday.

Sulakshana Pandit was one of the rare artists in the later period of Hindi films , who was an actor and singer , which was more prevalent in the vintage era. She had started singing even at the age of nine ( Pappa Jaldi Aa Jana with the legendary Lata Mangeshkar and other young singers Ila Desai & Meena Patki , for the 1967 film Taqdeer composed by Laxmikant Pyarelal). She accompanied her eldest brother Mandheer Pandit for performing many music shows.

Her father was a great influence in her life and had even tutored her and honed her musical skills. Her first major hit was with the great legend-Kishore Kumar for the film Door Ka Rahi -Bekaraar Dil Tu Gaaye Ja , composed by KK himself. However her next break came after almost four years , but with a bang that fetched her lone Filmfare award for best playback singing with the soulful Tu Hi Sagar Hai Tu Hi Kinara for the film 1975 film Sankalp , with music composed by Khayyam.

In the same year she had her break as an actor in the film Uljhan that had Sanjeev Kumar and Ashok Kumar along with her in the lead. This film was much talked about suspense thriller and also impacted her personal life. She adored Sanjeev Kumar and even proposed to him for marriage but he had refused. It is said this deeply affected her and she remained unmarried throughout her life. It is a strange twist of fate that she passed away of cardiac arrest on 6^th November , 2025 , the same day when forty years back Sanjeev Kumar had passed away on the same date.

I have seen only very few films in which she acted , but as a singer I always liked her voice and she could carve out a niche for herself in the midst of tough competition from legends like Lata , and Asha. Her repertoire might have been limited but she did leave behind few evergreen songs that would be remembered for a long time. Her training in music made her sing quite well and she also had a voice that did not resemble Lata or Asha and hence had a distinct tone. It is truly unfortunate that she did not get the recognition she deserved.

I am listing few of her superb songs that provide a glimpse of her versatility and her strong musical grounding. These are arranged in chronological order , with song, film, year , music director, lyricist and co-singer mentioned in that order.

Bekaraar Dil Tu Gaye Jaa-Door Ka Rahi-1971-Kishore Kumar-A Irshad-Duet with Kishore Kumar

One of the best piano songs, Kishore proved he was a great music composer as well and gave Sulakshana Pandit her first hit song, that remains her all-time best till date. It is interesting to note KK singing for his brother Ashok Kumar .

2. Tu Hi Sagar Hai Tu Hi Sahara-Sankalp-1975-Khayyam-Kaifi Azmi

This song shows what a superbly gifted singer Sulakshana Pandit was and is famous for its meaningful lyrics and soulful tune composed by Khayyam. It is rare to see any singer getting an award for the very early songs in their career.

3. Bandhi Re Kahe Preet-Sankoch-1976-Kalyanji Anandji-M.G Hashmat

Rendered by SP on screen also, this is a song that does not sound like a typical Kalyanji-Anandji tune and is a hidden gem.

4. Jana Kahan Hai Pyaar Yahan-Chalte Chalte-1976-Bappi Lahiri-Amit Khanna-Duet with Bappi Lahiri

Bappi Da as a singer may not be everyone’s liking but he composed some lilting and peppy tunes that were very popular during the 70’s and 80’s. I had heard this song many times but never realised SP had sung this!!

5. Somwar Ko Hum Mile-Apnapan-1977-Laxmikant Pyarelal-Anand Bakshi-Duet with Kishore Kumar

One of the most popular duets of SP , this is a typical L-P & Anand Bakshi style composition that caught the attention of public due to the simplicity and catchy lyrics and tune.

6. Ghadi Milan Ki Aayee Aayee Tu Chutti Lekar-Ek Baap Chhe Bete-1978-Rajesh Roshan-Majrooh Sultanpuri-Duet with Rafi

During those days this song was very popular and was played frequently in radio. SP had many such hit duets with Rafi sahab.

7. Jab Aati Hogi Yaad Meri-Phaansi-1978-Laxmkant Pyarelal-Gulshan Bawra-Duet with Rafi

One more popular duet of Rafi and SP , with SP acting out the song on screen as well.

8. Boliye Surili Boliyaan-Grihapravesh-1978-Kanu Roy-Gulzar-Duet with Bhupendra

Kanu Roy was the famous singer Geeta Dutt’s brother and remained an unsung and unrecognised music director. Most of his songs were too good . This is a classical gem from him and sung very well by Bhupendra and SP. She demonstrates her classical singing ability so nicely and it is unfortunate that she did not get much opportunity to render songs like this.

9. Kajare Ki Baati-Sawan Ko Aane Do-1978-Raj Kamal-Maya Govind-Duet with K J Yesudas

The film Sawan Ko Aane Do was a musical hit with the new comer music composer Raj Kamal scoring many super hit songs like the title song, Chand Jaise Mukhde Pe, Teri Tasveer Ko, Bole To Bansuri, Tujhe Dekh Kar, mostly rendered by the veteran K J Yesudas and few by Jaspal Singh.

This duet of SP with KJY is relatively lesser known but not in any way lesser in quality .

10. Pardesiya Tere Des Mein-Garam Khoon-1980-Shankar Jaikishan-Singhar-Duet with Rafi

It is a common myth , spread by many, that the music of Shankar that he independently composed was mediocre. I could never understand how someone could say that. Just listen to this superbly orchestrated song in the year 1980 that , in my humble opinion, was as good as those masterpieces SJ composed in the 60’s. The string arrangement, solo violin, sitar, accordion, guitar all are vintage SJ! SP has matched Rafi’s versatility throughout the song. One of my all-time favourites of late SJ compositions.

11. Mana Teri Nazar Mein-Ahista Ahista-1981-Khayyam-Naqsh Lyallpuri

One more very soulful ghazal from the team of Khayyam and SP. I find that Khayyam has composed some of the best solo songs for SP.

12. Mausam Mausam Lovely Mausam-Thodisi Bewafaai-1981-Khayyam-Gulzar-Duet with Anwar

Of all the singers who came up after the sad demise of Rafi, trying to sing like him, I find Anwar was the best. Somehow he got very limited chances. This is a peppy number from Khayyam in a film that is otherwise known for the evergreen Kishore-Lata’s Hazar Rahein Mudke Dekhi..

13. Jiske Liye Sab Ko Chhoda-Sajan Ki Saheli-1981-Usha Khanna-Majrooh Sultanpuri-Duet with Rafi

One of the very last films for which the great Rafi sang before he left us, this was a very popular song, probably his last for Usha Khanna and also for Rajendra Kumar. SP’s collaboration with Rafi was a successful one with many of their duets becoming very popular.

14. Prabhu tum antaryami-Non Film Song-Khayyam

Khayyam composed many memorable Non film songs that were mostly bhajans or ghazals. Many of them were rendered by Rafi and this particular bhajan by SP was quite popular those days and somehow totally vanished from everyone’s memory later.

I end this small tribute with this soulful and superb bhajan.

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

Hindi film songs

Paliyath Jayachandran – and his honey-laced vocals

October 28, 2025 Sivanandam Palamadai Leave a comment

3^rd March 1944-9^th January 2025

In the late 70’s and during most of the 80’s , Tamil film music saw a plethora of new music directors, singers, lyricists , with trend-setting music styles that gave listeners a completely new way of experiencing film music. Although the legends TMS, PS , MSV , Kannadasan were still holding out despite strong competition, it was the time of K J Yesudas, S P Balasubrahmanyam, Vani Jayaram, S Janaki , Ilayaraja, Shankar-Ganesh, T Rajendar, Vairamuthu, Gangai Amaran just to name a few. The complete list will be covered in my future blogs! But among the new singers , there was a singer from Kerala , who had the unique ‘ midas’ touch-whatever he sang became a super-hit ! There was not a single day without his song Rasathi Unne Kaanatha Nenju being aired . With a voice that closely resembled his illustrious peer from the same state, K J Yesudas , with a softer tone, Paliyath Jayachandran or P Jayachandran was known for having maximum percentage of hits . His association with Ilayaraja was one of the most successful combinations during the 80’s.

P Jayachandran had a great career in the Malayalam film industry but his repertoire in Tamil is also equally rich. Jayachandran was born in Bhadralayam, Ravipuram, Ernakulam, to Thiripunithura Ravivarma Kochaniyan Thampuran, a member of the Cochin Royal family, and Subhadra Kunjamma . He was the third among the five children his parents had. Jayachandran graduated in Zoology from Christ College, Irinjalakuda. He had his schooling at the Irinjalakuda National High School from where he received many prestigious prizes for playing the Mridangam and light music in the State School Youth Festival. He completed his graduation in Zoology from the Christ Church college , Irinjalakuda.

Music was in his blood, his father Thiripunithura Ravivarma Kochaniyan Thampuran being a learned musician, though not a professional singer. His mother Subhadra Kunjamma was also a great music lover and encouraged him to learn the notes of Mridangam. In a young age , with his mother’s encouragement , he became well-versed with the mridangam.

Although he had not learnt any sort of classical music, his musical insight and his genuine love for music had helped him in winning many music contests he had participated. His elder brother Sudhakaran, was a close friend of Yesudas, and was instrumental in helping Jayachandran become a professional singer. Jayachandran used to sing the songs taught by his brother in school functions.

Jayachandran got married to Lalitha in the year 1973, who was also an ardent lover of music and always encouraged him. They had a daughter named Lakshmi and a son called Dinanath. His daughter and son are also singers .

Jayachandran was also a great lover of Hindi songs in his young days. I have seen some of his interviews in which he has talked about his admiration for the great Mohammad Rafi who had inspired many other great singers of South like SPB, Yesudas .

Like few other singers, in his case also the song he had recorded first was released later ! His song for the 1965 Malayalam film Kunjali Marakkar , Oru Mullappo Malayumai ( music composed by B.A Chidambaranath) got released later and his Manjalayil Mungithorthi song, composed by G. Devarajan in the film Kalithozhan (1966) came earlier. Later on, his song in the 1967 film Udhyogastha , ‘ Anuragaganam pole’ became a famous one followed by some more that fetched him great fame like the M S Vishwanathan composed Neelagiriyude (‘Suprabhaatham’) for the film Panitheeratha Veedu in 1973 for which he got the Kerala State award for best playback singing.

Music composer M B Sreenivasan was well-known for his intricate and off-beat compositions and his song Ragam Sreeragam for the film Bandhanam fetched Jayachandran another Kerala state award . He was the recipient of the national award in the year 1985 for Sivasankara Sarva Saranya Vibho in Sree Narayana Guru composed by G. Devarajan.

Since my blogs are about Tamil and Hindi film songs, let us turn to Jayachandran’s Tamil film career. His first Tamil film song was Thanga Chimizh Pol , composed by the veteran M.S Vishwanathan for the 1973 film Manipayal. However he got noticed first in Tamil films with his song Manthara Malare, Manthara Malare for the film Naan Avan Illai that was composed by MSV. Though this song became popular , his major hit came with the two duets he sang for the 1976 film Moondru Mudichu, Aadi Velli Thedi Unnai and Vasantha Kala Nadigalile , composed by MSV. In the year 1978, Ilayaraja’s songs for Jayachandran started a long & successful association between them , like Vazhkaiye Vesham for Aarilinthu Arubaduvarai and Chitira Chevvanam Sirikkakanden & Oru Vanavil Pole for Kaatrinile Vraum Geetham.

Jayachandran continued his glorious innings with Ilayaraja till 90’s but the peak was in 80’s with many super hits in this decade. Jayachandran had sung some memorable songs with many other music directors also and I have tried to organize my song selection into 3 categories. His songs with MSV, Ilayaraja and Other composers.

Jayachandran won a National Award, five Kerala State Awards and four Tamil Nadu State Awards. In the year 2001, he was honoured with the Swaralaya Kairali Yesudas Award. In 2020, he was awarded the J. C. Daniel Award, the highest award in Malayalam cinema, for his outstanding contributions to Malayalam cinema. He is widely regarded as one of the greatest expression singers in South India.

Jayachandran died from liver cancer in Thrissur, Kerala, on 9 January 2025, at the age of 80. He was cremated with full state honours at his ancestral home in Chendamangalam, North Paravur, Kerala on 11 January 2025.

His songs for MSV

Manthara Malare Manthara Malare- Naan Avan Illai-1974-Kannadasan & Bhaskaran-Duet with L R Eashwari

With a Tamil-Malayalam mix of lyrics, this is a very unique song , with the Tamil lyrics having a Malayalam touch and Malayalam lyrics having a Tamil touch. Jayachandran brings out the expressions so well in his very first major hit song.

2. Adi Velli, Thedi Unnai-Moondru Mudichu-1976-Kannadasan-Duet with Vani Jayaram

I had written about the other famous song from this movie, Vasantha Kaala Nadigalile in my earlier blogs and so included this here. A classic Kannadasan’s anthathi style lyrics, composed so beautifully by MSV and rendered equally well by both, Jayachandran and Vani Jayaram

3. Paalabhishekam Seiyavo-Muthana Muthallavo-1976-Vaali-Duet with P Susheela

I think many would have forgotten this song-a rare , pleasant melody by MSV . Jayachandran’s Tamil diction was a great strength for him, coupled with his melodious voice and a soft, silky rendition.

4. Swing Swing Unathu-Vanakkathukuriya Kathaliye-1978-Vaali-Duet with Vani Jayaram

I have observed that some songs become rare as they are forgotten after the time in which they were released. I heard this sweet melodious duet after a long time. A rare occasion when Jayachandran sang for the Superstar Rajinikant!

5. Kalai Magal Alaimagal-Velli Ratham-1979-Vaali-Duet with P Susheela

That rhythm pattern is trademark MSV…one more song that must have been forgotten . Vaali’s powerful lyrics add so much meaning to the song beautifully rendered by Jayachandran and Susheela.

6. Kavithai Arangerum Neram-Antha Ezhu Naatkal-1981- Kuruvikkarai Shanmugam-Duet with S Janaki

Out of the many songs composed by MSV for Jayachandran, this must be the most popular one. It is said that the lyricist Kuruvikkarai Shanmugam learnt how to play the harmonium in order to do full justice to this song! Jayachandran renders a power-packed song.

7. Neeril Oru Thamarai-Nenjatai Alli Thaa-1984-Vaali

One more rare song that I discovered only while searching for this blog. Usually actor Mohan always had SPB doing the playback for him and had innumerable hits with him, but this is one has Jayachandran singing for him.

His songs for Ilayaraja

Vazhkaiye Vesham-Aarilirinthu Arupathu Varai-1978-Panchu Arunachalam

The long and successful association of Ilayaraja and Jayachandran started off with the song Poonthendrale Nalla Neram from the 1977 film Bhuvana Oru Kelvijuri and they together are said to have worked for around 90+ songs, with a huge percentage of them being super hits. This song , a pathos for Rajinikant in an off-beat role is sung with so much of expression by Jayachandran.

2. Chitarai Chevvanam-Katrinile Varum Geetham-1978- Panchu Arunachalam

Ilayaraja creates a perfect ‘ boat’ song and Jayachandran complements perfectly with his expressive singing.

3. Mancholai Kilithano-Kizhakke Pogum Rail-1978-Muthulingam

One of the most popular , but so-difficult-to-sing songs from the team of Ilayaraja and Jayachandran . The prelude is one of the best ever by IR and not only the prelude, even the interludes are simply outstanding. Jayachandran does full justice to the song that is truly difficult to sing. When this film was released , this song became one of the greatest hits!

4. Manjal Nilavukku Indru-Muthal Iravu-1979-Kannadasan- Duet with P Susheela

It was the time when whatever IR composed turned out to be pure gold! This one with the rhythm of a train is well known for the excellent orchestration

5. Thalattuthe Vaanam-Kadal Meengal-1981-Panchu Arunachalam-Duet with S Janaki

IR used to innovate in each one of his songs with something unique. This song is always remembered for that peculiar percussion. This is also a ‘boat’ song but note the difference between this and Chittira Chevvanam.

Jayachandran comes out with a softer tone for this romantic number and make it so sweet to hear.

6. Poonthendral Kaatre Vaa-Manjal Nila-1982-Gangai Amaran- Duet with P Susheela

It is amazing to note that Jayachandran has sung excellent duets with all the main female playback singers like P Susheela, S Janaki and Vani Jayaram. And added to that some of the superb solos as well!

7. Kalidasan Kannadasan-Soorakottai Singakutti-1983-Vaali-Duet with P Susheela

This was one more song of Jayachandran that was so popular during the 80’s just like Rasathi Unne. Hardly a day passed without hearing this song , those days!

8. Indraiku Yen Intha Ananthame-Vaidehi Kathirunthal-1984-Gangai Amaran-Duet with Vani Jayaram

A superb Aabhogi raagam based composition of IR, this is a true masterpiece from Jayachandran and Vani Jayaram. I personally would rate this among the topmost songs of Jayachandran.

9. Rasathi Unne Kaanatha Nenju- Vaidehi Kathirunthal-1984-Vaali

The song that is immediately identified with Jayachandran. A simple tune that was rendered with full expressions by Jayachandran that remains evergreen to this day. I came across an article that said in a place called Cumbum in Tamil Nadu , a herd of wild elephants used to wait near a theatre in which this film was running and the elephants listened intently to this particular song and would disperse once the song was over!

10. Kathirunthu Kathirunthu- Vaidehi Kathirunthal-1984- Vaali

I was surprised to read about how all the three super hit songs from the film Vaidehi Kathirunthal were recorded in a single day! What a great team IR and Jayachandran were!

11. Kodiyile Mailliaypoo-Kadalora Kavithaigal-1986-Vairamuthu-Duet with S Janaki

One of my all-time favourites and definitely among the outstanding compositions of IR that were the pinnacles of his orchestration skills. The typical multi-layered instrumental arrangement, coupled with an outstanding singing by both Jayachandran and S Janaki…a song that will last forever.

12. Mayanginen Solla Thayanginen-Naane Raja Naane Manthiri-1986-Vaali- Duet with P Susheela

Those vintage flute notes of IR, Jayachandran’s soft romantic touch in his voice, Susheela going strong even in her 50’s -all make this one more evergreen song.

13. Poova Eduthu Oru Maala-Amman Koil Kizhakala-1986-Gangai Amaran-Duet with S Janaki

Vijayakant and Jayachandran were a hit pair and the last few songs and this one are classic examples.

His songs for other music directors

I myself was all along thinking that Jayachandran’s top songs were composed by either MSV or Ilayaraja. So it was a pleasant surprise to note he has rendered some great songs with many other composers . Although a major part of his repertoire in Tamil films consisted of songs composed by Ilayaraja, M S Vishwanathan and Shankar-Ganesh, there were at least some 40 other music directors for whom he has sung. Of course for most of them it could have been just in a single digit.

Pennalla Nee Oru Bommai-Sonthamadi Nee Enakku-1977-V Kumar-Vaali-Duet with P Susheela

I had written about the composer V Kumar in this blogsite-a great composer but was not so lucky in getting the recognition he richly deserved. This is a rare gem from one the early years of Jayachandran.

2. Ennodu Ennenavo Ragasiyam-Thoondil Meen- 1977-V Kumar-Vaali- Duet with Swarna

V Kumar’s wife Swarna was a good singer and it was truly great of him not to impose her in his compositions-he had mostly composed with other leading female playback singers only. This is a superb song, with the unique orchestration style of V Kumar evident throughout.

3. Poovannam Pola Nenjam- Azhiyada Kolangal-1979- Salil Chowdhury-Gangai Amaran-Duet with P Susheela

The great legend from Bengal , who had given some of the most intricate and melodious songs in Bengali, Hindi and in his later years , in Malayalam , Salil Chowdhury worked for a handful of Tamil films also. This one from Azhiyada Kolangal was a super hit and is a lilting , trademark Salil da composition that , at the time of its release , came as a whiff of fresh breeze.

4. Vasantha Kalangal-Rail Payanangalil- 1981-Music & Lyrics-T Rajendar

T Rajendar was known for his unique style and out-of-the-box thinking in terms of tune and lyrics. Among Jayachandran’s top songs , this one will always be featured.

5. Kannil Vanthai Nenjil Nindrai-Lottery Ticket-1982- L Vaidyanathan-Muthulingam

L Vaidyanathan had composed music for few films only and is known for his unconventional tunes. One more song that Jayachandran sang for Mohan .

6. Malaro Nilavo Malai Magalo- Raaga Bandhangal-1982-Kunnakkudi Vaidyanathan-Kannadasan

Kunnakudi Vaidyanathan, a legend in playing the violin , had a successful innings in composing for Tamil films. Many of his songs have been brilliant. This Hindolam based song is somehow forgotten and it is truly sad. Jayachandran has rendered this classical number with so much of expression and perfection.

7. Sangeethame En Deiveegame-Kashmir Kadali-1983- G K Venkatesh-Pulamaipithan-Duet with P Susheela

Mentor of Ilayaraja , G K Venkatesh was a genius , and was a legend in the Kannada film music. He composed for few Tamil films and whatever he composed were great songs. This song deserved much better recognition , but like it happens for many good songs, got into the rarely-heard category.

8. Mounamulla Mayakkam-Azhagu-1984-G K Venkatesh-Vairamuthu- Duet with S Janaki

One more rare gem from the great G K Venkatesh. The string arrangement is something great , for which GKV was well-known. A soft and pleasing romantic duet.

9. Paal Nilavu Kaynthathen-Yaro Azhaikiraragal-1985-Shankar Ganesh-Vaali

Shankar Ganesh came out with some very good songs now and I was surprised to note Jayachnadran had sung a good number of songs for them. Hoiwever I could observe very few were popular or good. This one stands out for excellent guitar and Jayachandran renders a soulful number.

10. Thirunaalum Varumo Swaami-Isaikku Oru Koil-1987-K V Mahadevan-??- Duet with P Susheela

This was a Tamil dubbed version of the Telugu film Shrutilayalu. This could be the only film in which Jayachandran sang for K V Mahadevan. The original Telegu version had K J Yesudas singing the same song. I tried my best to find out the lyricist for this song , but could not find !

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
http://www.tamil2lyrics.com

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

Mahendra Kapoor

October 4, 2025 Sivanandam Palamadai 2 Comments

–A singer who made his mark amidst giants

9^th January 1934 -27^th September 2008

Before I begin , a big thanks to all those who have viewed my blogs -this year in just 9 months it has crossed 10,000 views!

One may wonder why such a long tag line in the title of this blog! When the Hindi film industry had legendary male playback singers Rafi, Talat, Kishore, Manna Dey and Mukesh , with each one having their unique voice and style , we can imagine how difficult it might have been for Mahendra Kapoor to create a name for himself. He left behind some evergreen songs like Chalo Ek Baar Phir Se , Neele Gagan Ke Tale, Aadha Hai Chandrama , Ankhon Mein Qayamat Ke Kajal , Hai Preet Jahan Ki Reet, Mere Desh Ki Dharti etc.

If we look at the followers of male playback singers of the golden era of Hindi film music , we find a majority of them either adoring Rafi or Kishore , then to some extent a niche group who love Mukesh , Talat Mehmood. For Manna Dey and Mahendra Kapoor , although many like their songs , we do not see an intense , passionate fan-base. Between the two we may even find many who like Manna Da’s classicism , but finding an ardent fan for Mahendra Kapoor is relatively rare. This is not to generalize but at a glance this seems to be the reality. But , of course , there would definitely be many who like his songs and I am one of them! In fact I can say with humility that I like all these singers and …ooops I forgot one more name-Hemant Kumar-though for me his name comes first as a great composer . The most charming aspect of the golden era of HFM is that we had such a huge variety of singers , complemented with even more diverse music composers and their equally competent lyricists. That is why I find it strange that even many learned music lovers and writers keep comparing these legends and come out with their own biased opinions, extolling some to a very great extent, and putting down others !

In my blogs , I like to celebrate the music of all! Sometimes even those , whom I may personally not be listening that much. For me music till the early 70’s was filled with so many gems to keep discovering and enjoying. In this blog , let us look at some of the great songs Mahendra Kapoor(MK) left behind for us. I had mentioned some time back in my blogs that pure coincidence makes me take up an artist for my blogs and I find that I am writing about him or her close to their birth or death anniversary. As I publish this , the 17^th death anniversary of MK just passed by last week, on 27^th September.

Mahendra Kapoor was born in Amritsar on 9 January 1934 but was brought up in Mumbai ( then Bombay) , where his father had a business of garments. From an early age he always considered the great Mohammad Rafi as his inspiration . MK graduated from the St Xaviers College, and his interest in music was evident from those days. His training on music started with B.M. Vyas and Ustad Meharji. He also got trained in classical music from Pt Husnlal of the famous musical duo Husanlal Bhagatram , Ustad Niaz Ahmed Khan, Ustad Abdul Rehman Khan and Pt.Tulsi Das Sharma. Of course the great Mohammad Rafi was always his idol and had even mentored him to some extent.

He started singing from the year 1953 with songs in films like Madmast, Lalkaar (1956) , Diwali Ki Raat (1956), Heer (1956) etc. He was also part of the qawwali Unhe dekh le to in the film Madhmast composed by V Balsara. However all these songs did not give any major break for him. Fortune favoured him when he got selected as the best singer in Metro-Murphy All India Singing Competition, the judges being the topmost music directors: Anil Biswas, Naushad, C Ramchandra, Vasant Desai and Madan Mohan. The contest had a benefit for the winner that the judges were to offer a chance to sing in their composition. Naushad, honoured that condition , and gave him his major break by offering the song Chand Chupa Aur Tare Toothe in the film Sohni Mahiwal (1958). It so happened that this song got released earlier although as per MK’s own interview in Vividh Bharati , the song Aadha Hai Chandrama Raat Aadhi was recorded earlier ( composed by C Ramchandra for the film Navrang) but was released after the Sohni Mahiwal film song. CR also gave a major boost to his career in Navrang with other songs like Shyamal Shyamal Baran & Yeh Maathi Sabhi Ki Kahani Kahegi that made MK a singer to be noticed.

MK started getting more success in BR Chopra’s films , with the music director Ravi giving him his all-time hits like Chalo Ek Baar , Neele Gagan Ke Tale, Kisi Pathar Ki Moorat Se and many more . Other music directors like N Dutta, O.P Nayyar , Kalyanji Anandji also composed some of the best songs for MK. One of the main strengths for MK was the effortless ease he used to reach the high notes and stay there for some time! The song Na Mooh Chupake Jiyo is one such example. Despite having a strong and deep voice , he could render a soft ghazal . And when it comes to patriotic songs , he was at the top. Peppy numbers like Aankhon Mein Qayamat Ke Kajal or Lakhon Hai Yahan Dilwale were also a cake-walk for him.

He had sung many popular songs in Marathi and of course in his native Punjabi , apart from many other languages like Gujarati, Bhojpuri etc. He also had the unique distinction of collaborating with the famous band Boney-M to render some of their famous songs with Hindi lyrics for an album M-3 that had Mahendra Kapoor singing with singer Mussarat. MK’s best output was in the 60’s and 70’s ; however even in 80’s he rendered some great songs . In the year 1988 , B R Chopra’s TV adaptation of the epic Mahabharat became a very popular program and every Sunday people across the country were able to listen to the stirring rendition of MK’s title song for this TV series.

The government of our country recognized his contribution by conferring the Padma Shri award in the year 1972 ; he had also won the National award for best playback singing for his iconic Mere Desh Ki Dharti in the film Upkaar -1968. He also got the Filmfare Award thrice -in 1964 for Chalo Ek Baar Phir Se from the film Gumrah; in 1968 for Neele Gagan Ke Tale from the film Humraaz and in 1975 for the song Aur Nahin Bas Aur Nahin in Roti Kapda Aur Makaan. He was also honoured with other awards like the Mian Tansen award, Life Time Achievement award by the Maharashtra state government and Lata Mangeshkar award by the Madhya Pradesh state government.

He passed away on 27th September , 2008 due to cardiac arrest, leaving behind his wife, children, and grandchildren. His son Rohan Kapoor is also an actor and play back singer.

I have selected around 33 songs here , organized them into his great works with the music directors Ravi & O.P Nayyar who had given him the best songs of his career and then another category that has songs composed by many other music directors. I have selected 11 songs for each category , with an aim to cover the variety in MK’s singing and tried to include different music directors in the last category. I have also tried to put together a list that has many popular songs and some rare, not-heard-much ones.

As I am completing the blog, I realise , maybe in future one more blog may be required to do a proper justice to MK’s songs with few other music composers and duets with other singers. I have mentioned the song/film/year/ lyricist and any co-singers in that order.

Songs composed by Ravi Shankar Sharma ( Ravi)

If there are two music directors who were instrumental in giving a major boost to MK’s career , it is Ravi & O P Nayyar. For Ravi , Rafi was always the first choice, but in most of the B R Chopra films, it was mostly MK. Like many of the anecdotes that go around in the film world, they say B R Chopra had some rift with Rafi and that is how MK got many opportunities, but I find that Rafi has also sung in many of the B R Chopra films! Whatever it is , we are more interested in the music than these stories! The team of Ravi-MK-Sahir created some of the best ever songs of HFM . I have tried to list some of them here, though some of them are from non B R Chopra films.

Chalo Ek Baar Ajnabee-Gumraah-1963-Sahir Ludhianvi

Any talk about MK’s songs has to start from this masterpiece. MK was lucky to lend his vocals to one of the most famous lines written for a Hindi film song by the great Sahir Ludhianvi-Woh afsana jise anjaam tak laana nah o mumkin, Use ek khubsurat mod dekar chodne achha!

2. Aap Aaye To Khayal-E-Dil-E-Nashaad-Gumrah-1963- Sahir Ludhianvi

Starting off with a slow pace and in low notes, MK travels to the higher octaves with his typical ease in the antara.

3. Yeh hawa yeh fiza- Gumraah-1963-Sahir Ludhianvi

Ravi composes a superb song with guitar providing the main rhythm and a nice mandolin , flute taking us through the cool hills and MK rendering a soulful number .

4. Husn aur ishq ke takraae ki raat ayi hai -Sagaai-1966- Rajendra Krishna

Relatively a rare song for a non-B R Chopra film, this song shows the softer vocal skills of MK. A melodious one that appears a bit different from Ravi’s usual style.

5. Neele Gagan Tale-Hamraaz-1967-Sahir Ludhianvi

After Gumraah, it was Hamraaz that had MK’s career best songs. This one will remain eternal-whenever we listen to this we are taken to a beautiful, scenic place under the blue sky -somehow many of MK’s songs were picturized with beautiful hills or such similar scenery around. That is why his songs caresses us like a gentle breeze.

6. Kisi Pathar Ki Moorat- Hamraaz-1967-Sahir Ludhianvi

Once again the intense Urdu lyrics of Sahir come to life with MK’s mellifluous singing. Those days , a piano song is bound to be a super hit. Ravi’s trademark dholak, banjos elevate the song to a different level. MK has sung this with the right intonations, just like his idol, Mohammad Rafi. And who can forget the words of Sahir-Har ek beja takalluf se bhagawat ka irada hai?

7. Na mooh chupa ke Jiyo- Hamraaz-1967-Sahir Ludhianvi

Many singers of the golden era could reach the higher notes with ease, but MK had the unique ability to not only reach those high notes , but could “stay” there for a while with enormous lung power. The sheer force of this song is simply mind boggling and this remains one of my all-time favourites. Once again the exceptional lyrics of Sahir and the thundering dholak of Ravi , alongwith the vocals of MK create an evergreen song.

8. Tum agar saath dene ka- Hamraaz-1967-Sahir Ludhianvi

God only knows what chemistry Ravi, Sahir and MK had when they worked for Gumrah and Hamraaz films-looks like whatever they touched turned gold ‘a la Midas’!

9. Ae Jan-E-Chaman Tera Gora Badan-Anmol Moti-1969-Rajendra Krishan

One may not be too impressed with the picturization of this song , but the tune and MK’s rendition make this a good one.

10. Sansaar Ki Har Shay Ka-Dhund-1973– Sahir Ludhianvi

The film , Dhund was based on Agatha Christie’s story ‘The unexpected Guest’ and is one of the good films in Hindi. This title song is rendered by MK in his inimitable style.

11. Beete huye lamhon ki kasak saath -Nikaah-1982- Hasan Kamaal

Music director Ravi was well known for his melodies and when the music tastes started becoming different, he had almost withdrawn from Hindi films and instead made a very good name for himself in the Malayalam film industry. After a long gap , when B R Chopra signed him for this film , he proved that he still had those creative juices flowing. MK had this soulful ghazal along with few other memorable songs like Dil Ki Yeh Aarzoo thi koi -a duet with Salma Agha. MK’s voice had the same texture that he had when he sang those great songs for Ravi 16-17 years ago in Gumrah and Hamraaz.

Songs composed by O. P Nayyar

After Ravi, it was in O P Nayyar’s music that MK could some out with his best songs. Once again there was the infamous spat between OPN and Rafi in 1968 who till then had worked so well together , and were also very close friends. I would not like to ponder much about these stories as no one knows exactly what happened! The result was that MK got great opportunity to sing for OPN and that is how we got all those superb songs. Ultimately Rafi being the supreme gentleman that he always was , patched up with OPN by taking the initiative solely from his side , and they did work together , but by that time OPN ‘s creativity had come down and he was not able to create the magic like before. O P Nayyar’s music till the time he was at the top , guaranteed success even for those films that did not have anything much to talk about except for the music. His name used to be prominently displayed in the film posters and that was enough to draw the audience! His foot-tapping rhythm , superb tunes and orchestration are loved even today.

Mera Pyar Woh Hai -Yeh Raat Phir Na Aayegi-1965-S.H Bihari

One of the early songs of MK with OPN much before the OPN-Rafi rift. Many of the golden era music directors had a great team work with their favourite lyricists. Just like Ravi & Sahir , OPN & S H Bihari created some of the great songs that were rendered by MK. In fact in this blogsite I had written in detail about many such teams.

2. Badal Jaaye Agar Maali-Baharen Phir Bhi Aayengi-1966-Kaifi Azmi

A classic guitar-based OPN’s rhythm , this is the only song by MK in the film.

3. Badi Mushkil Se Kaboo-Humsaya-1968-Hasrat Jaipuri-Duet with Asha Bhosle

It is said that this was the film during which OPN stopped working with Rafi . Though all the songs are great, somehow the film flopped commercially.

4. Aankhon mein Qayamat Ke Kajal-Kismat-1968-S.H Bihari

Quintessential OPN songs in this film are this one and the next I have listed. These two are my personal favourites also. Whenever we think of MK’s song with OPN this comes to our mind first. Superb rendition by MK and of course who can forget those guitars ?! The way in which MK had rendered both the songs of this film showcase the pop-singer in him.

5. Lakhon Hai Yahan Dilwale- Kismat-1968-S.H Bihari

Though this one might seem to be similar to Ankhon Mein Qayamat song the way MK comes out with those modulations makes this one of his career-best!

6. Kamar Pathli Nazar Bijli-Kahin Din Kahin Raat-1968-S.H Bihari

One of the rarer songs from the team of OPN-S H Bihari and MK. The antara is unusual and not the typical style of OPN-MK had pulled it off so well.

7. Yaaron Ki Tamanna Hai- Kahin Din Kahin Raat-1968-Aziz Kashmiri

It is indeed very rare to see any other singer apart from Rafi singing for the noted actor-comedian Johnny Walker. The typical horse-hoof beat of OPN is in full play and adds to the charm of the song.

8. Haath Aaya Hai Jab Se -Dil Aur Mohobbat-1968-Shewan Rizvi- Duet with Asha Bhosle

The lyricist Shewan Rizvi mostly wrote for O P Nayyar and this song could be one of the best by him. I always liked this song mainly for these lines:

Ungaliyaan jab zamaana ki mujh par uthhe

Kho na jaana kahin aisi haalaat main

Roshani zindagi men mohabbat se hai

Warana rakha hai kya chaandani raat main

Although the song has Asha singing a major part, MK does make his mark with the lone antara that he gets to sing.

9. Kahan Se Layee Oh Jan-E-Man-Dil Aur Mohobbat-1969-S.H Bihari-Duet with Asha Bhosle

MK does a superb ‘ harkat’ while singing the line in the first antara, especially in the line “yahi wo chehra hai poojte hain”:

yahi wo aankhe hai jinke moti

chamak rahe hai samundro me

yahi wo chehra hai pujte hai

OPN used to refer to his favourite lyricist S H Bihari as Shayar-E-Azam meaning the great among the lyricists. Asha does a superb humming throughout the song; not to forget the superb santoor that OPN uses in the orchestration.

10. Andhere Mein Jo Baithe Hain-Sambandh-1969-Kavi Pradeep

The two songs from Sambandh would rate among the top 10 songs of MK . He has breathed life into these two songs, with the song Jo Diya Tha Tum Ne having the unique feature of Hemant da singing in an OPN composition.

11. Jo Diya Tha Tum Ne-Sambandh-1969-Kavi Pradeep-Duet with Hemant Kumar

Songs composed by Other music directors

Among the other music directors in whose compositions, MK had his best songs were C Ramachandra, N Dutta, Kalyanji Anandji . I have included some of his best songs from these 3 composers and also five others like Naushad who gave his first hit song -Chand Chupa Aur Tare Toote, Pt Ravi Shankar-a rare duet with Geeta Dutt , two songs from Madan Mohan , one from my eternal favourite composers-Shankar Jaikishan, and one from Lakshmikant Pyarelal’s Roti Kapda Aur Makan that fetched MK one more Filmfare award. All these songs give a glimpse of the variety in MK’s singing and hope those who listen to these would like them.

Chand Chupa Aur Tare-Sohni Mahiwal-1958-Naushad-Shakeel Badayuni

The songs that made MK famous after years of struggling. Wish Naushad had given few more songs to him!

2. Aadha hai chandrama-Navrang-1959-C Ramachandra-Bharat Vyas-Duet with Asha Bhosle

Whenever we think of top songs composed in the raag Malkauns, this would be on the top of the mind-a superb by the great C Ramachandra-Navrang had some of his fabulous songs and MK had totally 4 songs in this film.

3. Shyamal Shyamal Baran- Navrang-1959-C Ramachandra-Bharat Vyas

CR innovates orchestration by using musical instruments for mimicking everyday sounds in a household! Note the richness in MK’s voice texture in this song.

4. Aaj ki raat nahi shikwa shikayat ke liye -Dharmaputra -1961- N Datta -Sahir Ludhiyanavi

I had not listened to this song for decades and was delighted to discover this while researching for the blog. Just like Ravi & Sahir, N Dutta and Sahir had a great chemistry and had given numerous masterpieces. This one shows the softer side of MK’s singing.

5. Kho Gaya Hai Mera Pyar-Hariyali Aur Rasta-1962-Shankar Jaikishan-Hasrat Jaipuri

The film Hariyali Aur Raasta had great songs by SJ , that were msostly rendered by Mukesh and Lata; this solo by MK is one of the rare ones that SJ had composed for him and is quite a popular one.

6. Dhoonde Nazar Nazar-Dilli Ka Dada-1962-N Dutta-Jan Nissar Akhtar- Duet Asha Bhosle

A nice melody by N Dutta , rendered beautifully by MK & Asha.

7. O Bedardi Kyon Tadpaaye-Godaan-1963-Pt Ravi Shankar-Anjaan-Duet with Geeta Dutt

The veteran classical Sitar maestro Pt Ravi Shankar composed a handful of songs for few films , but all were simply outstanding. This rare duet of MK & Geeta must have been forgotten by many. Note the use of predominantly Indian classical instruments by the maestro in the orchestration.

8. Chodkar Tere Pyar Ka Daman-Woh Kaun Thi-1964-Madan Mohan-Raja Mehdi Ali Khan-Duet with Lata Mangeshkar

When Rafi & Lata did not sing together for few years, MK got the opportunity to sing some duets with her. One of the typical sweet romantic melodies by the ghazal king Madan Mohan.

9. Dil Laga Kar Hum Yeh Samjhe-Zindagi Aur Maut-1965-C Ramachandra-Shakeel Badyuni

A rare association of CR with Shakeel Badayuni, that tabla pattern is vintage CR!. One of MK’s great songs …

10. Ari Oh Shok Kaliyon Muskura -Jab Yaad Kisi Ki Aati Hain-1967- Madan Mohan- Raja Mehdi Ali Khan

When I heard this song after a long time , I could not guess the music director correctly as it had shades of SJ in the first prelude and also reminded me of OPN -it was only after listening to that distinct string arrangement that I guessed correctly it was Madan Mohan. A superb ghazal by MK.

11. Hai Preet Jahan Ki Reet Sada-Purab Aur Paschim-1970-Kalyanji Anandji-Indeevar

Readers may find it strange that I have included this and not the most popular song of MK -Mere desh ki dharti! It is just because everyone must have listened to that ‘n’ number of times in all our National days. This is rare and personally I like this song for MK’s superb rendition , K-A superb orchestration, and the powerful lyrics of Indeevar. I could not get the original video link embedded here due to technical issues and so this is from a live performance of MK. I am providing a link to the original song as a hyperlink< https://www.youtube.com/watch?v=TdmUuRELfWI&list=RDTdmUuRELfWI&start_radio=1>

12.Aur Nahi Bas Aur Nahin-Roti Kapda Aur Makaan-1974-Laxmikant Pyarelal-Santosh Anand

I conclude the blog with this pathos by MK that may not be that popular , but is a complex tune that was composed by L-P with MK getting his third & last Filmfare award.

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

Hindi film songs

Vani Jayaram and her mesmerizing singing

September 19, 2025 Sivanandam Palamadai Leave a comment

Part 2-Her excellent duet songs

30^th November 1945 -4^th February 2023

I had covered Vani Jayaram’s superb twenty solo songs in my Part1 of the blog on her. Now let us look at some of the equally excellent duets that she had sung with many leading singers . Vani Jayaram should have deserved more solos but somehow she sang relatively lesser number of solos compared to duets.

One aspect of VJ that I forgot to mention in Part1 was that she had many other talents like writing poetry in Tamizh , drawing, painting which she had revealed in some of her interviews. In fact, in her school days , she had even acted ! Her parents had named her rightly Kalaivani. Whenever I watched her interviews and also tributes to her by her contemporaries, she comes across as a very humble human being, soft-spoken and a punctual, disciplinarian . Also a delight for all the music directors she worked with as she used to grasp the tune immediately and render them with least number of takes. In the days when entire song had to be done as many times as someone makes a mistake, this was a great blessing for everyone.

VJ had a tough competition with the legend P Susheela still going strong , S Janaki being supported by Ilayaraja to a great extent but despite this , she had fabulous duets with all the leading male playback singers like TMS, SPB, KJY , Jayachandran, Malaysia Vasudevan etc.

As much as her solos were excellent, Vani Jayaram’s duets had a charm of their own. When she started singing in a big way, the veteran T.M Soundararajan was slowly getting replaced by others and so we have very few duets of her with him. In Tamizh , she had some excellent duets with K J Yesudas , with both being masters in the classical genre. In other languages like Kannada, Telugu, she had many duets with S P Balasubrahmanyam. I have tried to list , to the best of my ability, some of her fabulous duets with the leading male playback singers and few rare ones with her contemporary female playback singers also. I could discover a rare triad-maybe the only one song that all the three legends of South Indian female playback singers had sung together-P Susheela , S Janaki & Vani Jayaram-although I would not say it is a great song, for the sheer rarity, I have included it at the end.

Duets with T M Soundararajan

Many-a-times songs by a particular combination of singers may be less in numbers but they leave behind memorable songs. TMS & VJ is one such combination. Whenever we talk of duets of TMS it was all along with the legend P Susheela , and few with S Janaki and L R Eashwari . I do not know how many duets he had sung with VJ but I have tried to select three great duets by these two gifted singers.

Aandavan Illa Ulagamethu-Oru Oothaapoo Kan Chimittugirathu-1976-V Dakshinamurthy-Ra. Pazhanisami

V Dakshinamurthy was a much-revered music director in South, mainly in Malayalam films . In Tamizh he had composed for very few films , but whatever he composed had a different tone and evergreen melodies. Both TMS and VJ start off at their trademark high notes. I do not know much about the lyricist Ra Pazhanisami , but he seems to have written with innovative imagination like , Nadi irunthal meen irukkum, Vidhi irunthal sernthirukkum….kaalam , athan kolam, yengo , yengo.

2. Ammanai Azhagu Migum Kanmanai-Avan Oru Sarithiram-1977- M S Vishwanathan -Kannadasan

Set in a relatively rare raagam Dharmavati, this is one of the most famous duets from this pair. TMS starts with his usual magnificent tone , followed by VJ’s adding her intricate touches . When we have two legendary singers and two immortal music director-lyricist MSV and Kannadasan , we can only expect a masterpiece.

3. Ethhanai Malargal-Oru Nadigai Nadagam Paarkiral-1978-M S Vishwanathan-Jayakanthan

In my part 1 , among the great solos of VJ, I had included her Veru Idam Thedippovaalo from the film Sila Nerangalil Sila Manithargal. From the same film maker Jayakanthan , there was one more offbeat film Oru Nadigai Nadagam Paarkiral , with MSV somehow creating very different style of songs for his films-these films had just a couple of songs only but are vintage MSV. Once again TMS and VJ come out with their great skills in rendering the intricate alaapanais that MSV ‘s tunes invariable have.

The only duet with P B Sreenivas

4. Oru Paarvai Pothum-Vadamaalai-1979-M.S.Vishwanathan-Lyrics(?)

Just as I was concluding that there was no duet in Tamizh films by P B Sreenivas and Vani Jayaram, I was lucky to come across a video in YouTube in which VJ was being felicitated in the presence of the veteran singer PBS and he himself reminded VJ that they had sung this only duet in Tamizh. I tried my best to find out about the lyricist for this song, but could not get any information. Nothing is known about this film also, except for meagre details in the IMDB site that states this was directed by one Maruthi Valli-in all probability the film never got released is my guess.

But leave all that aside-what a great tune by MSV -note the special tabla pattern towards the end of the song-trademark MSV! One really wishes PBS and VJ had sung more songs together.

Duets with K J Yesudas

5. Swargathin Thirappuvizha-Pallandu Vazhga-1975-K V Mahadevan-Pulamaipithan

Surprisingly , KV Mahadevan , who had enabled two National awards for VJ by way his Sankarabharanam and Swati Kiranam in Telugu, seems to have composed relatively few songs for her in Tamizh. This film ,a remake of the famous Hindi Do Ankhen Barah Haath that did not have any place of romance , had this famous duet in the Tamizh version. A typical KVM tune , with KJY and VJ providing a breezy duet. Personally I would rate the duets of VJ with K J Yesudas as among her best ever. I have selected seven here and all are true gems.

6. Gangai Yamunai Inguthan-Imayam-1979-M S Vishwanathan-Kannadasan

One of the most popular duets from this golden pair, along with Antha Maanai Paarungal azhagu. By the late 70’s music style in Tamizh films had changed dramatically with the entry of Ilayaraja and his excellent orchestration. However our dear Mellisai Mannar stood firm with the inherent strength of the great, eternal melody in his tunes that would keep alive his songs even after decades.

7. Anthamanai Paarungal Azhagu-Andaman Kadali-1978- M S Vishwanathan- Kannadasan

Is there anything needed to be written about this masterpiece. For MSV, a simple guitar was enough , ably supported by two great singers to come out with a song that sings so melodious even after more than four decades.

8. Ninaivale Silai Seidu- Andaman Kadali-1978- M S Vishwanathan- Kannadasan

The fortunes were turning among the singers, with the new taking over form the old. Andaman Kadali had two songs by the veteran TMS but the two duets of KJY-VJ are popular to this day. Of course this is not a comparison as all great artists also go though a time when the new takes over. That typical rhythm pattern of MSV , the exceptional high notes through which both KJY & VJ glide over so effortlessly-all make this a great song.

9. Thendralil Aadum Koonthalil-Maduraiyai Meeta Sundarapandian-1978-M S Vishwanathan- Pulamaipithan

The film Maduraiyai Meeta Sundarapandian was last film of MGR as was already the Chief Minister of Tamil Nadu by the time this movie was released. Although the film was not a big commercial hit, as usual the songs were too good as MGR always had the great ability to select the best among the best tunes . A superb raagamalika by MSV , starting off with Suddha Saveri, then progressing into Abheri and Charukesi raagas, he rightly chose the two legends KJY and VJ , masters in the classical genre.

10. Gangai Nadi Oram-Varaprasadam-1976- R Govarthanam-Pulamaipithan

This could be among the early duets of KJY and VJ , with R Govarthanam composing a superb melody. It is said that Ilayaraja had composed the background score for this film-could be his first background score and also did the arrangement of music .

11. Thangathil Mugameduthu- Meenava Nanban-1977-M S Vishwanathan-Muthulingam

There are no limits to the innovations that MSV did in his compositions . The rhythm pattern , including that beat that is played after VJ does a small alaapanai is something that we wait with bated breath! Throughout the song the intricate alaap done by both KJY and VJ elevates the song to a different level.

Duets with S P Balasubrahmanyam

12. Bharati kannamma-Ninaithale Inikkum-1979-M S Vishwanathan-Kannadasan

S P Balasubrahmanyam and Vani Jayaram is another successful pair. Who can forget their classical masterpieces in the Telugu film Shankarabharanam . That film fetched VJ her second National award. Ninaithale Inikkum was a musical bonanza and this song is one of the most popular duets of this pair.

13. Ore Naal Unai Naan-Ilamai Oonjaladugirathu-1978-Ilayaraja-Vaali

As I had mentioned in my Part 1 on VJ’s solos, although she sang relatively lesser songs for Ilayaraja, whatever she sang for him turned out to be great hits.

14. Ilakkanam Marutho-Nizhal Nijamaagiradu-1978- M S Vishwanathan-Kannadasan

There were few songs in the noted director K Balachandar’s films , that were composed by MSV and written by Kannadasan that would summarize the entire film in just three stanzas . This is one great example of that. SPB & VJ breathe in life to the great lyrics and tune of Kaviarasar and the Mannar.

15. Madanorchavam Rathioduthan-Sadurangam-1978-V Kumar-Vaali

While writing about the most under-rated music director V Kumar in my blog , I realised what great tunes he had composed. This is one of the most memorable duets of SPB & VJ. The song reminds me strongly of Mana Ho Tum Behad Haseen sung by K J Yesudas for the Hindi film Toote Khilone by Bappi Lahiri. Both the films were released in 1978 ; difficult to make out who inspired whom. But leaving that aside , it is superbly rendered by SPB & VJ in Tamil and KJY in Hindi! Of course V Kumar’s orchestration is more innovative and ahead of its time.

16. Anbu Megame Ingu Odiva-Engamma Sabatham-1974- Vijay Bhaskar-Kannadasan

This is the first duet of SPB & VJ in Tamizh, composed by the famous music director from the Kannada film industry, Vijay Bhaskar. Many-a-times we observe that there is a total freshness in the tunes composed by music directors who are not from the mainstream in a particular language. Vijay Bhaskar had composed some brilliant songs and one can appreciate the absolute freshness in both SPB & VJ’s voices.

17. Kalam maralam nam kadal maruma-Vazhkai-1984-Ilayaraja-Vairamuthu

The alaapanai at the very beginning of the song sets the base for a great song. IR’s orchestration at its best , coupled with SPB’s and VJ’s crystal clear singing.

18. Naana Paaduvathu Naana-Noolveli -1979-M S Vishwanathan-Kannadasan-With SPB & L R Anjali

Vintage MSV composition , with that trademark tabla taking through the songs with so many twists and turns. An intricate composition that SPB and VJ make it seem so easy to sing! L R Eashwari’s sister , Anjali adds those peppy parts of the song.

Duets with P Jayachandran

19. Aadi Velli Thedi Unnai-Moondru Mudichu-1974- M S Vishwanathan-Kannadasan

The contemporary of K J Yesudas from the Malayalam film industry ,P . Jayachandran had the great ability to come out with hits after hits in Tamizh films. Almost all the songs he sang in Tamizh were super hits. The two songs from the film Moondru Mudichu are amazing for the ‘ anthathi’ style lyrics of the one and only Kaviarasar Kannadasan, composed brilliantly by MSV and sung by Jayachandran and VJ.

20. Vasantha Kaala Nadigalile- Moondru Mudichu-1974- M S Vishwanathan-Kannadasan-With Jayachandran & MSV

An unconventional song in the sense that it starts off as a gentle romantic one , with the main characters of the movie having a leisurely boat ride. The twist comes when the character played by Kamal Hassan falls into the river accidentally and does not know swimming-the character played by Rajinikant watches menacingly , without rescuing him and a hapless heroine Sreedevi pleads him to save her lover, but he intentionally lets him drown. The menacing vocals of MSV takes the song to a different tone and Kaviarasar ends the anthathi with Vithi vagaiyai mudivu seyyum vasantha kaala neeralaigal. An iconic song by Vani Jayaram with Jayachandran, that remains in our memory forever.

21. Kavithai Kelungal-Punnagai Mannan-1986-Ilayaraja-Vairamuthu

There are very few duet songs in which the male singer contributes only by humming or just few ‘alaapanais.’ This is one such song and I was in two minds whether to include this in my list. But this is just a superb rendition by VJ and without any doubt Jayachandran makes his mark with those alaapanais in the interludes. VJ essays those terrific charanams in her characteristic flair.

Duets with Malaysia Vasudevan

22. Oru Kaathal Enbathu-Maatran Thottathu Malligai-1984-Shankar Ganesh-Pulamaipithan

While searching for best duets of Malaysia Vasudevan and VJ, I was lucky to discover this rare gem. MV had a distinct voice that one can say had some similarity with TMS but still he could chart his own unique place among the male playback singers. The number of duets with VJ may be less in numbers but the two songs I have listed are definitely worth listening to .

23. Enni Irunthathu eedere-Antha Ezhu Naatkal-1981-MSV-Vairamuthu

Duets with other female singers

24. Kelviyin Nayagane- Aboorva Raagangal-1975-M S Vishwanathan-Kannadasan-Duet with B S Sasirekha

In film music , duet songs between female singers generally revolve around two characters who are both friends , sisters and sometimes even two heroines loving the same hero! It is rare to see a song that is sung by a mother and daughter and that too an estranged one and if you add the situation that summarizes the entire film, you have almost only one song and what a masterpiece we got from the harmonium of MSV, pen of Kannadasan and the impeccable vocals from VJ and B.S Sasirekha. Kannadasan’s memorable words “illatha medai ondril ezhuthatha nadagathai ellarum nadikkindrom , naame ellorum paarkindrom,” the way MSV composed this brilliantly starting off with Darbari Kanada , then shifting to Brindavani and at the end Madyamavathi, Vani Jayaram and B S Sasirekha’s reaching those Mt Everest-high notes with their out-of-world singing …no one can describe such songs-we have to immerse ourselves in its beauty and wonder at these artists!

Songs like this must be one in a million-I wish that future generations well into the next centuries must listen to this and wonder at with limited technology , the legends were able to create music that remain eternal.

One last word but not the least-the way the song was picturized by the legendary director K Balachandar is something we should not forget to appreciate, and so is the acting by lead actor Sreevidya.

25. Intha Pennodu Piranthathu Nadanam- Samayalkaran-1974-M S Vishwanathan-Vaali-Duet with S Janaki

I keep discovering more and more rare songs while hunting around for songs for my blogs and that is my greatest reward! When we have two great singers who are well known for the ease with which they travel through the intricate notes , then what more do we wish for! The film must have been long forgotten and it is a pity that such a nice song was lost in an obscure film!

26. Kollaiyittavan Neethan-Ninaithathai Mudippavan-1975-M S Vishwanathan-Pulamaipithan

We have one of the greatest female singers of our country, P Susheela pairing with VJ in this duet from one of MGR’s last films before he entered into politics in a big way. The song has many references to his political views . There is one more famous duet of PS with VJ in the film Paritchaiku Neramachu-Malligai Poocharam . I just selected one -both these songs may not do justice to the talents of these two legendary singers but they are worth listening to just for the sake of rarity .

27. Vanthale thekku seemaiyile -Pondatti Sonna Kekanum-Chandrabose -Vaali- A rare triad of P Susheela, S Janaki and Vani Jayaram

I conclude this blog with a very rare triad by all the three legends-P Susheela, S Janaki & Vani Jayaram. Although one wishes that someone could have composed a better song with the immense talent of all the three great female singers , still this one has that unique rare quality.

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
Ms Subashree Thanikachalam’s QFR series in YouTube

Hindi film songs

Vani Jayaram and her mesmerizing singing

September 7, 2025 Sivanandam Palamadai Leave a comment

Part 1-Her excellent solo songs

30^th November 1945 -4^th February 2023

In a family of six daughters and three sons, she was born as the fifth daughter. As per the traditional practice the child is given a name on the eleventh day from birth, but as her mother was not well on that day, the naming ceremony got postponed and it was only later on , her father consulted an astrologer for a suitable name. The astrologer apparently informed the father that the baby had done lot of good deeds in the previous birth , like performing abhishekam ( sacred ritual of pouring a liquid on a deity’s idol) of honey at the famous Murugan temple at Palani and so will be a very great singer and advised the baby to be named as Kalaivani. Kalaivani in Tamil denotes Goddess Saraswati , who is the deity for knowledge, wisdom, speech , music and arts.

This is the story of Vani as Kalaivani was called by her parents and after her marriage to Mr Jairam, became the legendary singer Vani Jayaram . She herself narrated this in one of her interviews and so I have reproduced this anecdote here. How prophetic the words of that astrologer turned out! When she sang it was flawless, like a pristine river flowing along smoothly and with a diction that was perfect in whatever language she sang. She has sung in almost 19 languages, approximately 20,000 songs in a career that started in 1971 and continued for almost five decades!

Vani was born in a classically trained musicians family in Vellore , Tamil Nadu. Her parents, Duraisamy Iyer and Padmavathi, trained her under Ranga Ramunaja Iyengar and enrolled her in his classes, where he taught her a few Muthuswami Dikshitar kritis. Later she continued her formal Carnatic training under the guidance of Kadalur Srinivas Iyengar, T. R. Balasubramanian, and R. S. Mani.

Like many child prodigies , she had a passion towards music from a very young age and was glued to the Radio Ceylon channel and was attracted to Hindi film songs to the extent that she used to memorize and reproduce the entire orchestration of the songs . At the age of 8, she had the opportunity to give her first public performance at All India Radio, Madras.

Vani did her schooling at Lady Sivasamy High School, Chennai and then graduated from the Queen Mary’s College, Chennai. After her studies, Vani was employed with the State Bank of India, Madras, and later in 1967, she was transferred to the Hyderabad branch. Her marriage with Jairam brought her to Mumbai and seeing Vani’s musical skills, Jairam encouraged her to get trained in Hindustani classical music under the tutelage of Ustad Abdul Rehman Khan. She had rigorous training under the Ustad , many-a-times for 12-16 hours in a day. She decided to resign her job and devote full attention to music. Her husband , Jairam was a pillar of support in her career. Later, her guru , Ustad Abdul Rehman Khan introduced her to the well-known musical genius Vasant Desai .

Thanks to him and the director Hrishikesh Mukherjee, she was selected to sing three songs for the film Guddi that was made in 1971. Her song Bole Re Papihara took the entire country by storm and she became famous overnight! As the cliché goes, there was no looking back for her in her musical career. Of course , her stint in Hindi films was short and there were stories about how she was prevented from getting more songs ,but let us not delve upon that. In a short period , she sang duets with the leading male playback singers in Hindi like Rafi, Kishore Kumar, Mukesh, and Manna Dey. What was loss for the Hindi film music , turned out to be a great bonanza for the South Indian film music.

VJ ( I will henceforth Vani Jayaram as VJ for brevity) , entered the Tamil film with her first song for a Tamil film “ Thayum Seyum” for which music was composed by the veteran S M Subbiah Naidu but unfortunately the film and the song remained unreleased. Then came an obscure film Veettukku Vanda Marumagal and she had a duet with T M Soundararajan “ Or Idam Unnidam” that was nothing to write home about. Again , her solo ‘ Malrapol Sirippathu Pathinaru’ in Sollathan Ninaikiren in 1973 was drowned under the all-time great “ Sollathan Ninaikiren Ullathal Thudikkiren ” composed and sung by M S Vishwanathan and S Janaki.

But fate had something better in store for her and with the immortal “ Malligai En Mannan Mayangum” in the 1974 film Deerga Sumangali, she had arrived with a bang. This song , even after 51 years sounds as fresh as it was when we heard it first. Then came her masterpiece that fetched her the first National award for best female playback for the song Ezhu Swarangalukkul in the film Aboorva Ragangal. This song along with Kelviyin Nayagane are examples of VJ’s stunning singing abilities.

The 70’s decade saw lot of churning in Tamil film music, with the old order slowly giving way to the new artists, in all aspects-music director Ilayaraja stormed with his Annakili in 1976, singers K J Yesudas, SP Balasubrahmanyam, S Janaki and Vani Jayaram were singing along with the legends T.M Soundararajan and P Susheela . VJ had some of her best songs during this decade as the song list that I have selected reveal.

Apart from her great training in classical music, VJ had a crystal-clear voice that could reach the higher octaves so comfortably . Her pronunciation was always perfect and the way she could emote according to the genre of the song. Example-just listen to her Nitham Nitham Nellu Choru and Naane Naana Yarothana-these are not her typical styles but she could render the folksy Nitham Nitham and an intoxicated Naane Naana perfectly like she rendered Ezhu Swarangalukkul . Even the relatively rare genre of ghazal in Tamil film music sounded so easy when Shankar -Ganesh , taking inspiration from the famous ghazal singer Jagjit Singh’s Tum Nahin Gam Nahin Sharaab Nahin, composed one of VJ’s masterpiece Megame Megame Paal Nila Theyuthe.

She was the choice of veteran Pandit Ravi Shankar for his immortal compositions in Meera -Hindi film made in 1979. Similarly the classical genius K V Mahadevan made the Thyagaraja kritis popular among the masses with his Shankarabharanam , Telugu film, ably assisted by VJ and SPB. She has the distinction of getting three National awards for best singing -all accorded to her for film songs with a strong classical base: Ezhu Swarangalukkul for Tamil film Aboorva Ragangal, her songs in two Telugu films Shankarabharanam & Swati Kiranam ( Aanathi Neeyara is something from the heavens!).

Although she was very actively singing in the 70’s & 80 ‘s in Tamil films, but later on had sung lesser . To some extent she chose to sing only those songs that were to her liking and in the later years the lyrics had turned more unpalatable for her and she preferred to focus in other south Indian languages and more devotional songs.

If I have to do a proper justice to her vast repertoire , I have to divide this blog into two parts-one for her ‘out of the world’ solos and second for the exquisite duets that she sang with almost all the male singers of that time.

Here is my part 1 that has some of her great solo songs-many are quite famous but I have also tried to include few rarely heard gems , that I could discover while researching for this blog. They are listed in chronological order , with song-film-year-music director -lyricist mentioned in that order.

Malligai Yen Mannan Mayangum-Dheerga Sumangali-1974-M S Vishwanathan-Kannadasan

What a sensation this song created in 1974 and even now after 5 decades, whenever I hear this it always creates a pleasant feeling. MSV’s tunes always had that intrinsic melody that are timeless. Although VJ sang few before this , it is this song that made everyone sit up and notice the new singer in Tamil films. Of course by this time, her debut Bole Re Papihara in the 1971 Hindi film Guddi had made her popular throughout the country.

2. Malligai Mullai Poopanthal-Anbe Aaruyire-1975-M S Vishwanathan-Vaali

Somehow the word Malligai turned out to be a good omen for VJ and this one also , coming in the next year , became quite famous. The way she takes up the first charanam in those typical high octaves and does that little jugglery with the line at the end “ Amarndhiruppaal indha mana magalae” is something outstanding.

3. Muthamizhil Paada Vanthen-Melnatu Marumagal-1975-Kunnakudi Vaidyanathan-Ulundurpettai Shanmugam

Kunnakudi Vaidyanathan, apart from being a wizard with the violin , composed music for many films and had his own unique style. One of VJ’s greatest strengths was her perfect Tamizh diction and the lyrics of the song complement this. Written by Ulundurpettai Shanmugam, who , in his early years was a staunch atheist, but after a severe illness , got cured after having prayed to Lord Muruga ( as advised by someone close to him) and became a great devotee and later wrote hundreds of devotional songs. He had even translated many hymns , bhajans from Sanskrit to Tamil .VJ also excels in the devotional genre and so we have a gem of a song.

4. Yen Ullam Azhagana Vellithirai-Cinema Paithiyam-1975-Shankar-Ganesh-Kannadasan

For VJ , it must a unique thing that after her immensely successful Bole Re Papihara in Hindi , she got the opportunity to sing its Tamizh equivalent when the Hindi film Guddi was remade as Cinema Paithiyam. The music directors Shankar-Ganesh . Actually Shankar and Ganesh started off as a duo , but after the sudden demise of Shankar, Ganesh carried forward with Shankar’s name always prefixed and were known for some of their brilliant compositions. Ganesh had VJ as one of their most prominent female playback singers. Their tunes were sometimes brilliant , but at times they used to compose forgettable tunes also. However this one does a great justice to the original Bole Re Papihara , though not an exact imitation of the tune.

5. Ezhu swarangalukkul-Aboorva Raagangal-1975-M S Vishwanathan-Kannadasan

Can someone ever do any justification in describing this song? This is one song that will remain forever as long as there is music in this world. VJ got her first National award for best playback singing , though MSV , as usual gets left out. In terms of composition, lyrics(need a separate blog to write about Kannadasan’s master work!-I had done a humble tribute to him in my blog about Kannadasan) and singing, this remains a masterpiece. In spite of being relegated to a title song (cannot understand why K. Balachandar who usually does great picturization of songs decided like this!), with no situation to enhance the mood of the song, it is sheer genius of MSV, VJ & Kannadasan that elevates this song to its great heights. The classical training of VJ provides the strong foundation to this song . I can go on and on…better listen to this and get yourself immersed in the sheer delight of this song.

6. Nadamennum Kovilile-Manmatha Leelai-1975-M S Vishwanathan-Kannadasan

One more gem from the same trio-MSV , Kannadasan and VJ and if we add K Balachandar it becomes a quad! However, once again, I am personally disappointed with the picturization of this song , that seems a bit out of place , considering the excellent lyrics by the Kaviarasar. Especially , the class seen in the composition , lyrics and singing is so superlative that the visuals are a big let-down. VJ renders a stunning Sri Ranjani raagam based number with the play of swarams , and when we have MSV’s wizardry in the orchestration, it is just bliss. I have consciously provided the link to the audio of the song as the picturization doesn’t do any justice at all to this masterpiece and in fact spoils it in my humble opinion.

7. Sugam Aaaiyarm En Ninaivile-Mayangukiral Oru Madhu-1975-Vijay Bhaskar-Panchu Arunachalam

In the 70’s decade, there were many music directors trying to create their own space and Vijay Bhaskar was one among them. A veteran of the Kannada film world , he had composed few great songs for Tamizh films also. Many of his tunes were different from the prevailing styles and he had composed some wonderful songs for VJ. Compared to the heavily classical based songs of VJ , this showcases her style in a lighter music.

8. Paadum Vande Parthathunda—Kalangalil Aval Vasantham-1976-Vijay Bhaskar-Kannadasan

My selection has 3 songs composed by Vijay Bhaskar and all are rare gems. I was fortunate to come across this rare song after ages, while looking at best songs of VJ.

9. Manamagale Un Manavaraikolam– Kalangalil Aval Vasantham-1976-Vijay Bhaskar-Kannadasan

Vijay Bhaskar proves his mastery in composing an intricate tune and VJ executes it with a skill that is truly amazing. It is amazing to observe VJ matching the pitch of the nadaswaram step by step just like that famous song of S Janaki from Konjum Salangai-Singara Velane Deva. Pity that songs like this have remained mostly unheard and appreciated.

10. Pongum Kadal Osai-Meenava Nanban-1977-M S Vishwanathan-Vaali

Personally I would rate this among the top 5 songs of VJ. What a scintillating composition by MSV and how beautifully she has rendered it. Right at the beginning , the way she starts off with the line “ Pongum Kadalosai” shows her mastery and MSV , uniquely sets the tone with a distinct rhythm pattern. If I am not mistaken the vibraphone is used prominently in this along with tabla and not to forget the flute. The clarity , flow like a mountain stream and the sweetness in voice at higher notes-all make this VJ’s priceless gem.

11. Veru Idam Thedi Povalo-Sila Nerangalil Sila Manithargal-1977-M S Vishwanathan-Jayakanthan

An unconventional and bold theme , this film had just two songs-one rendered by the master MSV himself-Kandathai sollugiren Ungal Kathaiyai sollugiren and this song by VJ. Superbly written by Jayakanthan himself , the song depicts the struggle of a woman, who has an unfortunate incident when a stranger offers her a lift on a rainy day and summarizes her the story at the end of the film. MSV’s tune and VJ’s emotive singing brings forth the pain of the heroine.

12. Aalamarathu Kili-Paalabhishegam-1977-Shankar-Ganesh-A Maruthakasi

As I mentioned earlier, Shankar Ganesh could come out with some brilliant tunes now and then and for VJ they always created something magical. One interesting fact about this song is that the legendary lyricist A Maruthakasi , who had worked mainly in the 50’s and 60’s had written this . As usual VJ starts off at a pitch that she pulls off with an apparent ease that seems unbelievable.

13. Nitham Nitham Nellu Choru-Mullum Malarum-1978-Ilayaraja-Gangai Amaran

Although Ilayaraja had few songs for VJ as compared to other music directors, he had given her some iconic songs that gave opportunity to showcase her versatility. Till this song happened, no one could believe that VJ can sing a typical folk song. For Ilayaraja, known for using a grand orchestra , a simple morsing and ghatam was enough to create this “ ultimate foodie” song. The way VJ makes a sound that one would while relishing a tasty food is fabulous!

14. Ennullil Yengo Yengum Geetham-Rosaappu Ravikkaikari-1979-Ilayaraja-Gangai Amaran

The four songs of Ilayaraja that I have selected here are iconic and brings out the immense variety in VJ’s singing. If Nitham nitham nellu choru was folksy, Ennullil Yengo had a touch of a ghazal coupled with a Hindustani classical feel. The picturization , though crucial to the movie, somehow spoils the song’s pristine quality and personally I always prefer to listen to rather than watch ( like how I enjoy almost 95% of my favourite songs!).

15. Naane Naana Yarothana-Azhage Unnai Aardikkiren-1980-Ilayaraja-Vaali

If someone had any doubts if VJ can sing songs like this, she proved them all wrong! This was not her regular style at all , but just look at the way she rendered a song that comes to everyone’s mind when her top songs are listed out. Ilayaraja , as usual , comes out with a great tune and orchestration, with the guitar, violins, saxophone all creating an evergreen song.

16. Yen Kalyana Vaibogam- Azhage Unnai Aardikkiren-1980-Ilayaraja-Vaali

From the same film Azhage Unnai Aardikkiren, Ilayaraja creates another masterpiece for VJ , this time more in line with her strong points. The charanams are simply outstanding.

17. Megame Megame-Paalaivana Cholai-1981-Shankar-Ganesh( Jagjit Singh) -Vairamuthu

Ghazals are usually rare in Tamizh films and when Shankar Ganesh took inspiration from the famous ghazal xomposed by Jagjit Singh ( Tum Nahin Gam Nahin) , it was natural they opted for VJ. Having been well trained in the genre and also with her strong Hindustani classical music, VJ, if I may take the liberty to say, matched the rendition of the ghazla maestro Jagjit Singh and had even surpassed in few places with her intricate alaapanai. One should credit lyricist Vairamuthu for writing to a preset tune with so meaningful words and Shankar Ganesh for the superb orchestration.

18. Muthu Muthu Therottam Ennai-Aaniver-1981-Shankar Ganesh-Vaali

One is reminded of the legendary music composer O P Nayyar , with the guitar used as part of rhythm . A delightful , lilting rendered by VJ so beautifully.

19. Yaarathu Sollamal Nenjalli Povathu-Nenjamellam Neeye-1983-Shankar Ganesh-Vairamuthu

The journey of SG with VJ continues even into the 80’s and this is a very rare gem and a sweet melody . This song also has a feel of a ghazal and VJ does a great job once again.

20. Ulagengum Nam Veedu-Pathini Pen-1993-M S Vishwanathan- Pulamaipithan

I came to know of this song that many would not have heard thanks to an interview of VJ for a TV channel. VJ narrated in that interview that once the recording was over , MSV complimented her stating that he had composed the tune with so much of effort and time and she had rendered that with so much of ease. Great compliment from a genius composer to a legendary singer. I have not seen the visuals of this song but it appears that the actor starts off singing in Hindi and then once the crowd demands she must sing in Tamizh, switches over to Tamizh. The alaapanais in this song are just out of the world!

I will continue Part 2 soon , with some of her excellent duet songs….

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
Ms Subashree Thanikachalam’s QFR series in YouTube

Hindi film songs

S N Tripathi- a composer who deserved more

August 23, 2025 Sivanandam Palamadai Leave a comment

14^th March 1913-28^th March 1988

Whenever we look at the list of the most popular and well-remembered music directors of the Hindi film golden era, the name of Shri Nath Tripathi will mostly be an after-thought! Even I am guilty of this omission as I am writing about him after having covered around 14 other music directors earlier.

Known more for his devotional and classical-raag based songs , he did not have any distinct style of orchestration like many others that made it relatively difficult to recognize his composition immediately after listening to few strains of his songs. However he had the uniqueness of coming out with intensely melodious songs and extracted the maximum from a raag or a tune that he composed. He is definitely one among the music directors who were recognized for their strong rooting in classical raaga-based compositions, like Naushad, Vasant Desai and to some extent C Ramachandra.

S. N. Tripathi, was born in Varanasi, Uttar Pradesh, to one Pt. Damodar Dutt Thakur, was a school principal. He obtained his BSc degree from Allahabad, and got his training in classical music from the famous Morris College of Music in Lucknow founded by the Pandit V. N. Bhatkhande, later known as Bhatkhande Music Institute. Like numerous other artists, he also moved to Bombay , as it was known then, in 1935 and worked as a violinist for the veteran music director Saraswati Devi.

He got his first opportunity to work as an independent music composer for the film Chandan in 1941. After having composed for many films either mythological or historical ones, he ultimately achieved for the superb compositions in films like Janam Janam Ke Phere(1957), Rani Roopmati (1957), Lal Qila ( 1960) and Sangeet Samrat Tansen ( 1962) .

A lesser-known facet of this talented composer was that he had acted in many films ( roughly at least 50 odd films!) and was also a film director , having directed approximately 15 films. His role as Hanuman in the film Ram Bhakt Hanuman ( 1948) brought him many such assignments, mainly in mythological films. He had a well-built physique that suited the role of Hanuman in many films. He also directed few successful Bhojpuri films , with Bidesiya ( 1963) being the most popular.

While gathering details of some of his best songs, I was pleasantly surprised to listen to two songs that appear in the film one after the other in the film Rani Roopmati -Ud Jaa Bhanwar Maya Kamal Ka by Manna Dey and Aaja Aaja Bhanwar by Lata. These two songs alone are enough to place him among the topmost composers of the golden era. More about these two songs in my song listing below. His two compositions in the film Lal Quila are without any orchestration and rely only on the pristine vocals and the singing skills of the legend Mohammad Rafi. One of these songs is quite famous-Na Kisiki Aankh Ka Noor Hoon, but the other one is very rarely heard- Lagta Nahin Hai Dil Mera Ujde Dayaar Mein.

I should definitely mention a word about the great lyricist Bharat Vyas ( who ( about whom I shall dedicate a blog in the near future) who had a great association with S. N Tripathi ( for brevity I shall refer as SNT in this article) . In this selection of 22 songs , 10 of them were written by him. Shows what a great team they were. Bharat Vyas was well-renowned for writing mostly in chaste Hindi as compared to many of his contemporaries who used lot of Urdu shayari.

As a humble tribute to this multi-faceted music composer who was also an actor and director , I have selected 22 songs that showcase his immense composing skills. The songs are listed in chronological order of the year in which the film was released . The song-film-year-singer(s) and lyricist are mentioned in that order.

Jhumti Hai Nazar, Jhumta Hai Pyar-Hatimtai-1956-Mohammad Rafi & Asha-Raja Mehdi Ali Khan

It was a sheer pleasure for me to listen to this song , literally after decades. I do not know why this song is never played in radio now-a-days ; I remember few years ago at least once in a while we used to hear this. A delightful duet and that is not in the typical classical style of SNT, but one with a westernized touch.

2 Parwar Digar-E-Aalam-Hatimtai-1956-Mohammad Rafi-Akhtar Romani

One of the famous devotional songs of Rafi, he has given his heart to this song. SNT’s skill in composing songs that have a historical/mythological/religious flavour was unmatched. One should not forget to compliment the excellent lyrics of Akhtar Romani , more famous for his ghazals .

3 . Aa Laut Ke Aaja Mere Meet-Rani Roopmati-1957-Mukesh-Bharat Vyas

One of the most popular songs from the film Rani Roopmati, and also one can say one of the top songs of Mukesh that he sung for music directors other than Shankar-Jaikishan, Roshan and Kalyanji-Anandji who are usually associated with his best songs.

4. Baat Chalat Nahin Chunri Rang Dal- Rani Roopmati-1957- Mohammad Rafi & Krishnarao Chonkar-( Credited to Bharat Vyas but this is a traditional classical bandish)

The film Rani Roopmati was based on the legendary love between Rani Roopmati of Mandavgarh ( Mandu) and the ruler of Malwa kingdom , Baaz Bahadur ( Baazid Khan). The film was also directed by SNT and was one of his major works in terms of music , along with Sangeet Samrat Tansen.

5. Ud Jaa Bhanwar-Rani Roopmati-1957-Manna Dey-Bharat Vyas

The two songs Ud Jaa Bhanwar and Aaja Aaja Bhanwar appear in the film one after the other and are the superb examples of SNT’s mastery in the classical genre. The first one is based on Raag Darbari Kanada and the second , Brindavani Sarang ; I have not watched the film , but understand from the visuals that in the first song , Manna Dey renders an outstanding Darbari Kanada and the ‘bhanwar’ ( bee) flies away , having been trapped inside a flower. Then comes the nightingale , Lata , who also gives out a superfluous song , that makes the bee come inside and settle itself inside the flower! Both songs have a philosophical connotation-escaping from the world of illusion and getting attracted towards it .

It is really sad to note that these two songs are not heard popularly in radio/any playlist . These are as good , if not , even better than many other songs that are usually considered among the best film songs based on classical raagas.

6. Aaja Aaja Bhanwar- Rani Roopmati-1957-Lata -Bharat Vyas

7. Jhanan Jhan Jhan Baaje Payaliya- Rani Roopmati-1957-Mohammad Rafi & Lata -Bharat Vyas

One more song that is strangely ignored by the popular media -it is really incomprehensible why SNT’s many such masterpieces have slowly become totally forgotten. A super duet by Rafi & Lata, both show their prowess in rendering a classical gem. The frenetic pace towards the end of the song is an icing on the cake!

8. Janam Janam Ke Phere- Janam Janam Ke Phere-1957-Mohammad Rafi -Bharat Vyas

Rafi had rendered so many title songs , that are usually picturised during various stages of the film’s story. SNT was known for his purity in the compositions, avoiding any extra-ordinary ornamentation in orchestration and let the tune speak for itself. This song takes us through the various stages in the film’s story.

9. Zara Saamne To Aao Chaliye- Janam Janam Ke Phere-1957-Mohammad Rafi & Lata-Bharat Vyas

One of the most popular songs composed by SNT, the usage of Shehnai is something that SNT mastered in most of his songs.

10. Un Par Kaun Kare Vishwas-Kavi Kalidas-1959-Mohammad Rafi & Lata-Bharat Vyas

My observation after listening to many songs of SNT that he got stereotyped into composing only for mythological/historical films and so the style must have got restricted. Branding an artist into a strict stereotype has always been the bane of our film producers and directors , thereby depriving of a variety of music that we could have otherwise enjoyed. As usual Lata & Rafi both render this high-pitches emotional song in their usual style.

11. Lagta Nahin Hai Dil Mera Ujde Dayaar Mein-Lal Quila-1961-Mohammad Rafi-Bahadur Shah Zafar

When it comes to experimentation, SNT was equally adept. The film Lal Quila has two songs that are , what is called in musical term, Senza Misura – It indicates that a piece of music, or a section within a piece, should be performed without a strict tempo or time signature. Essentially, it signifies free rhythm or tempo. Both the songs Lagta Nahin Hai Dil Mera ( surprisingly not heard much) and Na Kisiki Aankh Ka Noor Hoon( more popular) are truly masterpieces by SNT, ably helped by Rafi, who always elevated such songs to a level that maybe even the composer would not have imagined.

Lagta Nahin Hai Dil Mera ends with the poignant line:

कितना है बद-नसीब ‘ज़फ़र’ दफ़्न के लिए

दो गज़ ज़मीन भी न मिली कू-ए-यार में

12. Na Kisiki Aankh Ka Noor Hoon- Lal Quila-1961-Mohammad Rafi-Bahadur Shah Zafar/Muztar Khairatabadi? ( there is a controversy as to who had actually written this-Muztar Khairatabadi ‘s son is Jan Nissar Akhtar and grandson Javed Akhtar)

13. Nigahon mein tum ho-Jadoo Nagari-1961-Lata-Hasrat Jaipuri

It is really sad to note that many such gems of SNT got relegated to films that were relatively obscure , with no major actors to give them a boost. He very rarely worked for the top heroes or banners and thus his music remained unsung. Normally Lata is always associated with songs that are set in higher octaves, which is one her major strengths , but this is one of those rare ones in which she sounds very sweet in lower notes. Also a rare teaming up of SNT with Hasrat Jaipuri.

14. O Pawan veg se udne wale ghode-Jai Chittaud-1961-Lata-Bharat Vyas

The historical-mythological theme keeps running for SNT. This song however is one of the more popular ones and the horse-hoof rhythm is not a sober trot but a fast one befitting the legendary Chetak that was the horse in which the great warrior Maharana Pratap rode.

15. Man ki gagariya mein tu chamka-Piya Milan Ki Aas-1961-Mohammad Rafi & Lata-Bharat Vyas

At last we see a prominent hero -Manoj Kumar in one of SNT’s films! This is again a sober melody by his , with Lata and Rafi rendering it with perfection. Note the variation in the tempo of the song as it progresses.

16. Badli Badli Duniya Hai Meri-Sangeet Samrat Tansen-1962-Lata & Mahendra Kapooor-Shailendra

I have selected 6 songs from this career-best work of SNT. The film has totally 13 major songs and is definitely the best ever work by SNT. I could have included few more songs like the Raag Deepak Deepak Jalao, Jyoti Jagao by Rafi , but due to brevity sake , restricted myself to just 6 songs . Badli Badli Duniya is a delightful duet by Lata & Mahendra Kapoor.

17. Jhoomti Chali Hawa- Sangeet Samrat Tansen-1962-Mukesh-Shailendra

In a film that was dominated by Manna Dey , Rafi and Mahendra Kapoor, Mukesh , like in many other instances, steals the show with just one song and turns it into one of the most popular one. SNT must have selected Mukesh for this song as it has some low octaves which was definitely Mukesh’s forte. Shehnai is mostly very prominent in SNT’s compositions and this song is one of the classic examples.

18. Sapt Suran Teen Gram- Sangeet Samrat Tansen-1962-Manna Dey-Swami Haridas

19. Raag Bhairav Pratham Shant Ras Jake- Sangeet Samrat Tansen-1962-Manna Dey -Swami Haridas

Sapt Suran Teen Gram and Raag Bhairav Shant Ras are true gems that have been very sadly ignored by the mainstream media and the radio stations , including good old Vividh Bharati who have never played these songs to the best of my knowledge.

Raag Bhairav Pratham Shant Ras Jake is a raagamalika with many major raag like Bhairav, Malkauns, Hindola, Deepak, Megh Malhaar, mentioned with their main characteristics in terms of swar in aaroh and avaroh. Truly a masterpiece rendered by Manna Dey along with a chorus that is equally adept , classically.

20. Sudh Bisar Gayi Aaj- Sangeet Samrat Tansen-1962-Manna Dey & Mohammad Rafi-Shailendra

A superb duet rendered by two legends-Rafi & Manna Dey . Note the part when Rafi starts off with a masterly low octave, matching step by step with Manna Dey-one can almost hear him sing like Manna Dey-the scene depicts Swami Haridas and Tansen singing together

21. Hey Natraj Gangadhar Shambu Sangeet Samrat Tansen-1962-Kamal Barot & Mahendra Kapoor-Traditional bhajan

Kamal Barot had a very distinct voice and SNT seems to have utilised her vocals so well that this song always comes to one’s mind whenever we think of her best songs. This superb bhajan in high octaves is tailor-made for Kamal Barot and Mahendra Kapoor. The link provided below has the full audio version .

22. Mohammad Shah Rangeele – Nadir Shah -1968-Rafi & Suman Kalyanpur – Majrooh Sultanpuri

I end the blog with an absolutely stunning composition by SNT that was sung by Rafi and Suman Kalyanpur ( in the film version it was Suman and the audio record had Lata !) . What a complex composition that shifts between different tempo !

Mohammad Shah was among the last Moghuls and was called “ rangeela” due to his penchant for the arts -music and dance -rather than the duties of governance! Thanks to YouTube , I could listen to this song that was never heard in radio-reasons known only to them and God! I have given the links to both the versions-first one has Suman and second Lata-once can never tell the difference at first-only discerning music lovers would be able to differentiate their voices.

Although he was active in his career as a music director and director of films till the late 70’s , his memorable musical works was till the late 60’s . He passed away on 28^th March 1988, at the age of 75 in Mumbai . His trusted assistant Chitragupta branched off as an independent music composer and was known for his very sweet melodies that must have been imbibed into him by the veteran S N Tripathi .

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

Hindi film songs

Kaviarasar Kannadasan-The play of words in his songs-Part 2

August 8, 2025 Sivanandam Palamadai Leave a comment

24 June 1927 – 17 October 1981

Around two years back I had posted the Part 1 of my blog on this genius lyricist , Kaviarasar Kannadasan with a promise that I will keep writing about him further blogs. I could write only about five songs from the almost 5000+ songs he had left behind for us. I had mentioned in that blog it may be a life-long effort to cover his works.

Since I had already given a brief introduction about him earlier , let me straight away come to the theme of this blog. This is about few unique songs in which he had created masterpieces with his unique play of words. I think there could be some particular word to describe this properly as per Tamizh literature-maybe “சொல் வண்ணம் ?? Unfortunately I am not an expert in Tamizh literature -I only know to listen to those songs, enjoy their beauty and try writing about them to the best of my ability.

With Kannadasan , there will never be any dearth of topics to write about. We can keep admiring at some amazing aspect of his writing and so with the promise that this will be an ongoing series , let me try to list ten songs that I have picked up at random.

I had covered the most famous அத்திக்காய் காய் காய் ஆலங்காய் வெண்ணிலவே in my Part 1 blog on Kannadasan. I shall be writing more about the word play in the lyrics-that does not imply in any way that I am ignoring the musical and singing aspect -all these are absolute masterpieces in composition and rendition .

The songs are arranged in chronological order of the year of the film and mention , in that order, the song/film/year/music director and singers.

அத்தான், என்னத்தான், அவர் என்னை தான்( Athhaan Enathhaan Avar Ennaithaan) -Paava Mannippu-1961- Vishwanathan-Ramamoorthy -P Susheela.

One of the iconic songs from the team of Vishwanathan-Ramamoorthy-Kannadasan and P Susheela, when we listen to this song , we are in a great , but sweet dilemma -whether to appreciate the composition , the singing, or the superb word play of Kaviarasar!

His imagination seems to have no bounds at all-just look at the lyrics with most words ending with ‘தான்’!!

The sublime , but superb orchestration of V-R coupled with one of her career best rendition by P Susheela- no one knows for how many songs we can say this about her- all make this song an immortal classic!

அத்தான் என்னத்தான் அவர் என்னை தான் எப்படி சொல்வேனடி

அவர் கையை தான் கொண்டு மெல்லத்தான் வந்து கண்ணை தான் எப்படி சொல்வேனடி..

ஏன் அத்தான் என்னை பார் அத்தான் கேள் அத்தான் என்று சொல்லித்தான் சென்ற பெண்ணைதான் கண்டு துடித்தான் அழைத்தான் பிடித்தான்,அணைத்தான் எப்படி சொல்வேனடி….

மொட்டுத்தான் கன்னி சிட்டுத்தான் முத்துத்தான் உடல் பட்டுத்தான், என்று தொட்டுத்தான்

கையில் இணைத்தான் வளைத்தான் பிடித்தான் அணைத்தான் எப்படி சொல்வேனடி….

2. அன்று ஊமை பெண்ணல்லோ ( Andru Oomai Pennallo) -Paarthal Pasi Theerum-1962- Vishwanathan-Ramamoorthy -A L Raghavan & P Susheela

Starting with the hero teaching a tribal girl the Tamizh alphabets, this one has Kannadasan writing in his typical imaginative style . That folksy touch ending most of the words with the sound ‘அல்லோ, is something very rarely heard.

This song also is also one that made A L Raghavan famous and to this day it is identified with him. The immortality of such songs lies not only in the Kaviarasar’s word plays but the manner in which Mellisai mannargal complement with a tune that brings out the lyrical beauty . Check out that metallic sound they created and also that solo violin in a typical folk style.

3. பால் வண்ணம் பருவம் கண்டு வேல்( Paal Vannam Paruvam Kandu) -Paasam- 1962- Vishwanathan-Ramamoorthy -P B Sreenivas & P Susheela

It is indeed very rare to see PBS singing for MGR and this is one such evergreen composition. Here Kannadasan uses the word ‘vannam’ to mean different things-literally color and to describe “ like that” . Tamizh language itself is so rich and full of multiple interpretations to the same word or phrase and when a genius like Kannadasan decides to play with the words, it is a sheer delight for listeners.

4. காற்று வந்தால் தலை சாயும்( Kaatru Vanthal Thalai Sayum) -Kathiruntha Kangal-1962- Vishwanathan-Ramamoorthy – P B Sreenivas & P Susheela

Written in a ‘question and answer’ format, this is one more example of Kaviarasar’s mastery in creating so many varieties in his songs.

காற்று வந்தால் தலை சாயும்- நாணல்; காதல் வந்தால் தலை சாயும் – நாணம்

ஆற்றினிலே கரைபுரளும்- வெள்ளம்; ஆசையிலே கரை புரளும்- உள்ளம்

The entire song is written with such beautiful ‘riddles’ ; one more brilliant aspect of Kannadasan’s word play is that it is never about playing around with words just to prove his mastery-each and every word is fully relevant to the situation and conveys the mood of the song perfectly. That is why he is honoured with the title King among poets-Kaviarasar!

5. கட்டோடு குழல் ஆட ஆட( Kattodu Kuzhal Aada Aada) -Periya Idathu Pen-1963- Vishwanathan-Ramamoorthy -T M Soundararajan, P Susheela & L R Eashwari

With the words ‘ஆட, ஆட’ repeated so many time, the fabulous team of V-R, Kannadasan TMS, Susheela and L R Eashwari -create a lilting song that brings the flavour from a typical village life’! Look at the way in which Kannadasan not only played with the words , but brings in the two characters’ names in the film , வள்ளி and தில்லை in the line: பச்சரிசி பல் ஆட பம்பரத்து நாவாட, மச்சானின் மனமாட

வட்டமிட்டு நீ ஆடு , வள்ளி மனம் நீராட தில்லை மனம் போராட ரெண்டு பக்கம் நான் ஆட சொந்தமே நீ ஆடு, சொந்தமே நீ ஆடு…..

6. பனி இல்லாத மார்கழியா ( Pani Illatha Margazhiya) -Ananda Jothi-1963- Vishwanathan-Ramamoorthy -T M Soundararajan & P Susheela

Kannadasan not only wrote songs that had prominence to a particular word or phrase or sound getting repeated , but also in a question & answer format and in this song it is all along only questions-‘ this’ without ‘that’ . Entire song has so many of them :

பனி இல்லாத மார்கழியா படை இல்லாத மன்னவரா

இனிப்பில்லாத முக்கனியா இசை இல்லாத முத்தமிழா

அழகில்லாத ஓவியமா ஆசை இல்லாத பெண் மனமா

மழை இல்லாத மாநிலமா மலர் இல்லாத பூங்கொடியா

தலைவன் இல்லாத காவியமா தலைவி இல்லாத காரியமா

நிலை இல்லாமல் ஓடுவதும் நினைவில்லாமல் பாடுவதும்

பகைவர் போலே பேசுவதும் பருவம் செய்யும் கதை அல்லவா

7. நினைக்க தெரிந்த மனமே உனக்கு மறக்க( Ninaika Therintha Maname)-Ananda Jothi-1963- Vishwanathan-Ramamoorthy – P Susheela

From the same film Anand Jothi, see how he has come up with one more song that has both questions and answers!

நினைக்க தெரிந்த மனமே உனக்கு மறக்க தெரியாதா, பழக தெரிந்த

உயிரே உனக்கு விலக தெரியாதா, உயிரே விலக தெரியாதா

மயங்க தெரிந்த கண்ணே உனக்கு உறங்க தெரியாதா மலர தெரிந்த அன்பே உனக்கு மறைய தெரியாதா அன்பே மறைய தெரியாதா….

எடுக்க தெரிந்த கரமே உனக்கு கொடுக்க தெரியாதா, இனிக்க தெரிந்த கனியே உனக்கு கசக்க தெரியாதா, படிக்க தெரிந்த இதழே உனக்கு முடிக்க தெரியாதா படர தெரிந்த பனியே உனக்கு மறைய தெரியாதா…

கொதிக்க தெரிந்த நிலவே உனக்கு குளிர தெரியாதா, குளிரும் தென்றல் காற்றே உனக்கு

பிரிக்க தெரியாதா, பிரிக்க தெரிந்த இறைவா உனக்கு இணைக்க தெரியாதா, இணைய தெரிந்த தலைவா உனக்கு என்னை புரியாதா ,தலைவா என்னை புரியாதா…

Can there be any other example of his mastery over the words and also how to string these pearls in a golden necklace!

With the extra-ordinary rendition by Susheela and scintillating music by the mellisai mannargal, songs like these defined the golden era of Tamizh film music.

8. பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன் ( Paarthen Sirithen Pakkathil) -Veera Abhimanyu-1965-K V Mahadevan -P B Sreenivas &P Ssuheela

Inspired from the 12^th century poet Kavichakravarty Kambar’s works, Kannadasan once responded to one of his assistants , when he asked him what was the sweetest poem he had ever written, by saying he had not done that yet and then came out with this song. Composed in the Sahana raagam by the musical genius K V Mahadevan, it is a song filled with honey!

Though I had covered this song in my blog on K V Mahadevan , this is one rare exception where I can repeat it . There is no need for me to describe anything further-just look at the lyrical beauty of this immortal classic!

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்

அன்று உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இதுவென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

அன்று உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இவரென மலைத்தேன்

கொடித் தேன் இனியங்கள் குடித்தேன் என

ஒரு படித் தேன் பார்வையில் குடித்தேன்

துளித் தேன் சிந்தாமல் களித்தேன்

ஒரு துளித் தேன் சிந்தாமல் களித்தேன்

கைகளில் அணைத்தேன் அழகினை இரசித்தேன்

மலர்த் தேன் போல் நானும் மலர்ந்தேன்

உனக்கென வளர்ந்தேன் பருவத்தில் மணந்தேன்

எடுத்தேன் கொடுத்தேன் சுவைத்தேன்

இனித் தேன் இல்லாதபடி கதை முடித்தேன்

நிலவுக்கு நிலவு சுகம் பெற நினைந்தேன்

உலகத்தை நான் இங்கு மறந்தேன்

உலகத்தை மறந்தேன் உறக்கத்தை மறந்தேன்

உன்னுடன் நான் ஒன்று கலந்தேன்

9. தோள் கண்டேன் தோளே கண்டேன் ( Thol Kanden Thole Kanden)-Idhaya Kamalam-1965- K V Mahadevan -P B Sreenivas &P Susheela

Once again Kannadasan took inspiration from the lines of Kambar and composed this song.

தோள் கண்டேன் தோளே கண்டேன், தோளில் இரு கிளிகள் கண்டேன்

வாள் கண்டேன் வாளே கண்டேன், வட்டமிடும் விழிகள் கண்டேன்

The best part of this song is this:

தேடி வந்த திங்கள், திங்களில் செவ்வாய்

செவ்வாயின் வெள்ளி, சேர்த்தெடுத்தேன் அள்ளி

Although these words apparently seem to refer to planets/days of the week, in my humble interpretation , he is comparing the lady love as ‘moon’ ( திங்கள்) , and then goes on to compare her lips and smile that are ‘செவ்வாய்’ and ‘வெள்ளி’….

10. அன்பு நடமாடும் கலைக் கூடமே-Avanthan Manithan-1975-M Vishwanathan -T M Soundararajan &P Ssuheela

The anecdote behind this song must be known to many. The producer, director and MSV were following up with Kannadasan to complete this song , pressurizing him to complete soon as possible since they had planned to complete the shooting by the month of May. And mischievously , he composed this , in his inimitable style , ending all lines with ‘மே’!

அன்பு நடமாடும் கலைக் கூடமே, ஆசை மழை மேகமே

கண்ணில் விளையாடும் எழில் வண்ணமே, கன்னித் தமிழ் மன்றமே

மாதவிக் கொடிப் பூவின் இதழோரமே, மயக்கும் மதுச் சாரமே

மஞ்சள் வெயில் போலும், மலர் வண்ண முகமே

மன்னர் குலத் தங்கமே, பச்சை மலைத் தோட்டம் மணியாரமே

பாடும் புது ராகமே

வெள்ளலை கடலாடும் பொன்னோடமே, விளக்கின் ஒளி வெள்ளமே

செல்லும் இடம் தோறும், புகழ் சேர்க்கும் தவமே

தென்னர் குல மன்னனே

இன்று கவி பாடும் என் செல்வமே, என்றும் என் தெய்வமே

மாநிலம் எல்லாமும் நம் இல்லமே, மக்கள் நம் சொந்தமே

காணும் நிலமெங்கும், தமிழ் பாடும் மனமே, உலகம் நமதாகுமே

அன்று கவி வேந்தன், சொல் வண்ணமே

யாவும் உறவாகுமே

There cannot be a better way to end this blog than the last lines that describes the word play – சொல் வண்ணமே -sol vannam -Kannadasan had created in his numerous songs!

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
Ms Subashree Thanikachalam’s QFR YouTube series

Music Unrestricted

Category Archives: Hindi film songs

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