Born: 13^th November , 1935

If I look at the blogs that I have so far published here, I should confess I am  guilty of being male-centric. Except for two blogs on Lata Mangeshkar , one published immediately after her demise on 6^th Feb 2022, followed by another on her 94^th birth anniversary in Sep 2023,  I have not written any blog on female artists. Having said that , I assure it is absolutely unintentional . One of the main reasons was that after Lata , if I had to write about another female playback singer , it was to be definitely on my most favourite singer , the living legend and evergreen nightingale , Pulapaka Susheela, always known as P Susheela. For attempting that, I honestly had apprehensions if I would be able to do any justice to that task. The monumental work that she has done in Tamil films alone is extra-ordinary, leave alone , her works in other languages. And at the outset , I have to clearly say here that any listing of her ‘top’ or ‘ best’ songs are just a fraction of her extra-ordinary songs.

Her official website states that as per Guinness world records, as of 28^th January 2016, her recorded songs were 17695 , consisting of solos, duets and chorus backed songs. Known for her exceedingly sweet voice, impeccable Tamil diction in spite of Telugu being her mother tongue, her ease of rendering any intricate tune and last but not least, the emotions she brought into the song-all these qualities make her one of  the greatest female playback singers of India.

Born on 13^th November , 1935 in Vizianagaram , Andhra Pradesh to her advocate father Pulapaka Mukunda Rao, she completed her education with a Diploma in music from Andhra University , She also learnt classical music from the well-known Dwaram Venkataswamy Naidu in the Maharaja Music College , Vizianagaram.

It was in the year 1952, when her talent was first spotted by veteran music director Pendyala Nageshwara Rao . She was selected among the few singers that All India Radio had sent to him for auditions. In  1952 , she had her first song -a  duet “ Yedukku azahaithai” with  A. M Raja for the film Petra Thai under the music direction of Pendyala Nageshwara Rao. Later on , the well-known film producer A.V Meyyappa Chettiar employed her in the famous AVM studios and had also arranged a tutor to improve her Tamil pronunciation. Soon , in the year 1955, her songs in the film Kanavane Kan Kanda Deivam ( Enthan Ullam Thulli Vilayadavathum, Unnai Kan Theduthe) followed by Missiamma ( Brindavanamum Nandakumaranum) brought her lot of fame. Gradually she became a sought-after singer in the entire decade of  60’s, stretching into early 70’s and it can be said that during that time , there was hardly any Tamil  movie that did not feature any of P Susheela’s songs. When she had started singing , Tamil film music was already enriched with legendary female playback singers like P Leela, Jikki, Jamuna Rani , actress-singer P Bhanumathi etc and even  singers with strong Carnatic classical training like M L Vasanthakumari . Slowly P Susheela created a unique position for herself and became the most sought-after singer. For the veteran music composers  Vishwanathan-Ramamoorthy and K V Mahadevan , she had sung the greatest songs of her career.

Only in the late 70’s ,  with fresh talents entering into Tamil film music, her  songs reduced. However , even in her 50’s , her voice had that same sweet melody and she rendered great hits even with the new crop of music directors. In 2008 , she started a Trust under the name P Susheela Trust that supports many needy musicians with monetary assistance. Many other legendary singers have also been conferred with Lifetime achievement awards , instituted by this trust.

It is really a blessing that the living legend continues to attend important musical events and even sings a few lines at the request of her fans even today . I am making a feeble attempt   to  write about  some of her best songs through two blogs-the first one with her solos and the next one  , which I may publish in near future , on her fabulous duets.

It is simply impossible to select few of her songs for a blog. I have made a humble attempt to list her 27 songs that are purely my personal favourites ( should be the favourites of many others also!). As it always happens when I write about great artists. there are bound to be many comments as to why missed out a particular song. My usual disclaimer: these are purely my own ‘top of the mind recall’ songs.

Listing is chronologically arranged based on the year of film with description in following sequence: Song/ Film/ Year of film/ Music director/Lyricist.

(For the sake of brevity, I shall refer to the melody queen as PS ).

1. Enthan Ullam Thulli Vilayadavathum /Kanavane Kankanda Deivam/1955/A.Rama Rao & Hemant Kumar/Ku. Ma. Balasubramaniam

Among the very early hits of PS, one can appreciate the maturity she has shown in this song that she must have rendered when she was just 20 years old. I am not sure as to who actually composed the music-it is credited jointly to A Rama Rao and the veteran music director-Hemant Kumar -popular in Bengali and Hindi film industry.

2. Unnazhagai Kanniyargal/Uthamaputhiran/1958/G Ramanathan/K.S.Gopalakrishnan

I have extensively covered the legendary G Ramanathan in my blog published here and it is said that it is always a challenge for any singer  to do full justice to his compositions . One can listen to a different style of PS in this song. The tempo of the song changes towards the last charanam and note the very intricate humming she does with so much ease at the end of the song.

3. Maalai pozhuthin mayakkathile /Bhagyalakshmi/1961/ Vishwanathan-Ramamoorthy/Kannadasan

That trademark high pitch of PS is discernible in this song-what a great composition, lyrics, singing and orchestration , especially  that soulful shehnai interludes.

Only the genius Kannadasan can compose such lines, only V-R can set them to such a poignant melody and only a PS can bring out the emotions so well.

4. Athaan yen athaan/Paava Manippu/1961/ Vishwanathan-Ramamoorthy/Kannadasan

An iconic song of PS that is so sublime in its treatment ;as the cliché goes, the greatest things in this world are the simplest. The brief pause that PS takes before the phrase “ yeppadi solvenadi” and throughout the song those honey-laced vocals…oh God , how can a singer be so melodious?!!

5. Sonnathu Neethana/Nenjil Or Aalayam/1962/ Vishwanathan-Ramamoorthy/Kannadasan

I would rate this song as my  perennial  favourite. Every time when I hear, this song just tears into the  heart. I would rank this song among the top ten songs ever composed in Indian film music. The  sarangi , sitar  & tabla that V-R used in this are simply out of the world. The way PS renders that “ sol…sol…yen uyire “ is extraordinary.

6. Ninaika therintha maname/Ananda Jothi/1963/ Vishwanathan-Ramamoorthy/Kannadasan

The superbly written lines of great poet Kannadasan come to life in PS’ vocals. The charanams show the brilliance of Kannadasan and PS breathes in life into those lines.

7. Mannavane azhalama/Karpagam/1963/ Vishwanathan-Ramamoorthy/Vaali

There are many singers, especially female playback singers who can reach the highest octaves with ease. However, my own personal view is that both Lata & PS could still sound so melodious in those highest notes and that is one quality that makes them so great. This song is a classic example of that.

8. Kanna Karumai nira kanna/Naanum Oru Penn/1963/R. Sudarshanam/Kannadasan

The helplessness felt by the character who sings her heart out for being discriminated due to her colour is brought out so nicely in this composition created by the veteran music director R Sudarshanam. It is said that P Susheela’s guru Dwaram Venkataswamy Naidu himself was moved to tears while listening to this immortal song of his disciple. That is the power of PS’ singing.

9. Gangai Karai thottam/Vanambadi/1963/K.V Mahadevan/Kannadasan

Music director  K V Mahadevan made a unique place for himself in the film music of the South with his very simple, elegant, but strongly classical rooted compositions. This song, based on the Abheri raagam remains one of the timeless classics from the golden combination of KVM, PS & the genius Kannadasan.

10. Kangal yenge nenjamum /Karnan/1964/ Vishwanathan-Ramamoorthy/Kannadasan

The film Karnan was a great musical feast for listeners. Each and every song remains in our memory to this day. It is said that Vishwanathan -Ramamoorthy had based most of the songs on Hindustani classical raagas. Even for  the orchestration , they had brought in musicians from Bombay -santoor, shehnai , sitar , dilruba  etc -all instruments can be heard in their full glory. And to complement these is PS’ magical vocals. If I have to use a Tamil word to describe this song , it would be “ brahmandam”-grandeur!!

11. Paartha gnyabagam/Puthiya Paravai/1964/Vishwanathan-Ramamoorthy/Kannadasan

One can hear a totally different tone in PS’ singing . The way she renders that “ gnyabagam illayo” in a stylish way is usually the trait we can hear in many male playback singers like TMS or Rafi. Proves the immense versatility in PS’ singing.

12. Chittukuruvi mutham/Puthiya Paravai/1964/ Vishwanathan-Ramamoorthy/Kannadasan

Puthiya Paravai film is well known for Sivaji Ganesan’s superb acting and also the extremely popular songs. PS had three superb solos-two of which I have included two in my listing. Only for want of brevity, I had to reluctantly exclude Unnai Ondru Ketpen. Chittukuruvi mutham koduthu is one more example of how PS can render a breezy romantic song with the same ease as that of a sad  or classically based song.

13. Yennai yeduthu /Padagotti/1964/ Vishwanathan-Ramamoorthy/Vaali

Padagotti is a musical bonanza-all songs are super hits. In Yennai yeduthu , it is PS all the way to shoulder the responsibility of conveying the pain of separation, with minimal orchestration.

14. Malargal Nanainthana Paniyale/Idaya Kamalam/1965/ K.V.Mahadevan/Kannadasan

Although I had written about this song in my blog on KV Mahadevan, I had to repeat this here also as it is a gem from the golden trio of KVM, PS & Kannadasan. When you listen to the first lines, you can actually feel the freshness of the flowers that are drenched in  morning dew. PS’s voice is as fresh as the morning dew.

15. Unnai kanaatha kaannum/ Idaya Kamalam/1965/ K.V.Mahadevan/Kannadasan

Idaya Kamalam is one more film in which all the solo songs of PS  are masterpieces ( Unnai kanaatha, Malargal Nanainthana & Yennathan ragasiyamo). PS touches the highest notes in the charanam and then after a brief pause,  starts ‘unnai kanaatha kannum…..’ It is really difficult to describe such gems-one has to get immersed in the soul of the song.

16. Unnai naan santhithen/ Aayirathil Oruvan/1965/Vishwanathan-Ramamoorthy/Vaali

Ayirathil Oruvan was the last film in which the great duo MSV & TKR collaborated and it was their magnum opus. One word that comes to my mind while listening to this is “ majesty.” What  a commanding style PS adopts while rendering this!!

17. Yennai maranthathen thendrale/Kalangarai Vilakkam/1965/M.S Vishwanathan/Panju Arunachalam

The first film that MSV composed after the breakup of the partnership with TKR. Maybe the underlying sadness that both of them and even PS might have felt, comes out in this song.

18. Yenna yenna varthaigalo/Vennira Aadai/1965/ Vishwanathan-Ramamoorthy/Kannadasan

A westernized tune that uses the piano so beautifully! We can even say this is a duet between PS & the piano, played by the long-time assistant of MSV, Joseph Krishna. One can hear a westernized tone in  PS’ voice.

19. Kalamithu kalamithu/Chitthi/ 1966/M.S Vishwanathan/Kannadasan

Kaviarasar Kannadasan, in his inimitable style describes how in the life of a woman , starting from childhood till old age, she struggles and convey that through an allegory of sleeplessness. And who else than PS to render the meaningful lines in such a melodious tone !

20. Oru Naal Yaro/ Major Chandrakanth/1966/ V Kumar/Vaali

V Kumar was one of the most unrecognised, but highly talented music composers. It is said that in most of the films for which V Kumar scored music, the first song appearing in the film would always be that of PS! This song is not only an audio treat, with a melodious tune rendered so smoothly by PS , but also a visual treat for the superb acting by the one and only Nagesh. One more important point about this song-the innovative use of instruments sounding like household articles and the manner in which it is picturized.

21. Mannavan vanthanadi Thozhi/Thiruvarutchelvar/1967/ K.V Mahadevan/Kannadasan

There are certain songs that can be repeated in many blogs-this is certainly one of them. I had included this in my blog on the legendary composer K.V.Mahadevan but if I leave this out here, while writing about PS, it would be a grave injustice. Such songs are created once in a millennium. The way KVM had structured the song right from the beginning till the end, is something out of this world. And what a scintillating rendition by the Gaana Saraswati P Susheela! This song is a classic example of Kalyani raagam used in film music and is said to be appreciated by the Veenai Vidwan S Balachandar.

22. Thedinen vanthathu/Ooty Varai Uravu/1967/M.S. Vishwanathan/Kannadasan

By sheer coincidence this song appears in my list after the magnum opus Mannavan Vanthanadi. What a complete shift in the style of PS. The variations that PS brings out in the beginning with a very soft “ thedinen vanthathu” and then slowly shifting to an emphatic “ pen yendraal deiva maaligai thiranthu kollatho” is epitome of  playback singing. The story behind this song must be known to many. The director C.V. Sridhar was not happy with the original tune composed by MSV that was far slower; then within half an hour MSV changed the tune & entire orchestration to suit what the director wanted. PS , who had thoroughly rehearsed the original tune had to redo the song and final recording was completed in the midnight! Can anyone believe she had sung this after having been totally exhausted! That is how legends are made!

23. Solla solla inikkuthada muruga/Kandan Karunai/1967/K .V Mahadevan/Kannadasan

One more example to prove what a versatility PS shows in her singing. This is one of her best devotional songs. The song talks about how sweet it is to keep chanting the name of Muruga-for us it is equally sweet to keep listening to the nectarine voice of PS.

24. Marainthirunthu paarkum/Thillana Mohanambal/1968/ K.V.Mahadevan/Kannadasan

Thillana Mohanambal was an epic movie that is liked by people even today. The two iconic songs by PS,  Marainthirunthu paarkum marmam enna and Nalam thana are considered evergreen .  Maraithirunthu paarkum is composed by in Shanmukhapriya raagam Some of the songs are meant only for the great  Gana Saraswati P Susheela -she keeps excelling herself in song after song.

25. Naalai intha velai/Uyarntha Manithan/1968/M.S.Vishwanathan/Vaali

Although the Indian government instituted the Best Male Playback singer awards in the year 1967, only in the next year, they started a separate award for the female playback singer. PS was the first recipient of this and the song was Naalai Intha Velai paarthu. A typical MSV composition , especially that rhythm pattern is trademark MSV. The way PS renders the charanam is out of this world-especially the second time when she repeats the lines , she reaches the highest octaves and then so beautifully ends the charanam with a  perfect landing. The very brief flute that plays immediately after lifts the song to another level. A timeless classic.

26.Poo pookum masam/Varsham 16/1989/Ilayaraja/Vaali

I do not know why I could not list any song in a long interval from 1968 till 1989. Maybe I did not research enough or the solo songs that PS sang during this period were not of the standard when one compares them to those I had listed so far. Maybe my own limited knowledge about the Tamil film songs could also be a  reason. By the time Ilayaraja arrived in the industry, PS’ career was slightly on the downside and there is some story about the initial discord between the two. However,  PS did sing few good  songs for IR later on , and I can list many duets. But among solos , I would rate this as one the best from this team. At the age of 54 , PS renders this , picturised on a teenage new comer Khushboo. There is no sign of any aging in PS’ voice that sounds as young as ever.

27. Kannuku Mai Azhagu/Puthiya Mugam/1993/ A.R Rehman/Vairamuthu

A.R Rehman, always considers P Susheela as the greatest singer. They could work together for very few songs only; I was surprised to come across  this gem of a song  that was sung by her when she was 58! To end this humble attempt of mine in showcasing some of the best solos of PS , taking a cue from the lines of this song , I have to say: Paatukku Susheela azahgu!

Those were some solos of PS that I could think of; I am sure readers would be able to list out many more that either I missed or could not include for the sake of brevity. In the next part , I shall write about her fantastic duets.

Acknowledgements and Disclaimer:
The songs mentioned are from the popular , public domain and  have been mentioned and embedded  here only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights. .I sincerely thank the publishers of following  Internet sources   for the information that I could gather for this article:

1. You Tube
2. Wikipedia
3. QFR  series in YouTube by Ragamalika TV
4. http://www.psusheela.org

The adjective under-stated perfectly describes both the music and the personality of Krishnankoil Venkadachalam Mahadevan , honored with the title “ Thirai Isai Thilakam” -Pride of Film music and known  affectionately as “ Mama” by his fans. The peppy, foot-tapping song Mama Mama Mama, Yemma yemma yemma in the  1961 film Kumudham earned him this affectionate nickname.

Very strong classical base, tunes mostly composed to the lyrics already written, minimum orchestration that always enhanced the lyrics and the singers’ abilities ,a distinct rhythm pattern-these are some of the unique qualities of his music. It was his firm  belief that any lyric has an inherent melody and it was up to the composer to discover it.

Many a times , listeners, including me, would mistake  his tunes as that of his illustrious contemporary Vishwanathan-Ramamoorthy. This confusion  and the usual stereotyping that goes in the film industry of associating his music mainly with mythological/devotional films always put him at a slight disadvantage. However, one gratifying fact is that unlike the shocking non recognition of Vishwanathan-Ramamoorthy for any major awards at the national level, KVM got this recognition twice. For the films Kandan Karunai in 1967 and  his Telugu magnum opus, Shankarabharanam in 1980 he got the National award for  best music direction . The very first National level award for best music direction in films was started in 1967 and he was the first recipient! Apart from these he was honored with Tamil & Telugu state awards, Filmfare (South) awards for best music direction.

His brief biography is appended at the end of this article.

If we observe his music , the most distinctive quality that comes out is his strong  classical base, along with a nice blend of the folk style. He was one of the pioneers to bring the classical raagam based songs to the masses. Ably assisted by his intensely loyal and  longtime companion, T K  Pugazhendi ( born T K Velappan Nair)  he had  nurtured & gave chance to  many new singers. Even the then struggling M S Vishwanathan was advised to pursue a career as independent composer rather than restricting himself to sing in chorus by KVM , thereby giving the world another great composer. Although SP Balasubramanian  got the first chance to sing under the baton of M.S.Vishwanathan for Shanti Nilayam , it was the song Aayiram Nilave vaa  composed by KVM for the film Adimai Pen which  got released before Shanti Nilayam that made him an overnight sensation. Many other singers like Seerkazhi Govindarajan, TR Mahalingam, C S Jayaraman got to sing their best songs for KVM. In the year 1980, the Telugu film Shankarabharanam revived people’s interest in classical music with an outstanding music score by KVM. The film ran successfully in the other southern states without even being dubbed , mainly on the strength of the music. It was KVM’s firm belief in SPB ( who till that time was not known for singing songs with strong classical base) that made people realize that he could do full justice to the musical score of that film.

Very rarely we see film music composers having a career of almost half a century. He composed music from 1942 till 1993, with the latter period more devoted to Telugu films. As the cliché goes, it is an impossible task to select few songs from approximately 3000 songs for 600 films that he must have composed. Still , let me try to  look at some selected songs composed by a very  humble and generous music composer who always took care of his musicians like a family.

Songs listed  in chronological  order of the year of film with following sequence: Film/Year/ Song/ Singer(s) /Lyricist . Wherever possible, I have given the name of the raagam in which the song is based. A very honest disclaimer: Personally, I have almost zero knowledge about classical music, raagam and the information given on this is taken from various sources in the Internet.

A rough count of the various raagam on which the following songs are based ( either fully or a part of the song) , works out to 26!!! One can now understand why KVM was considered a master in the classical genre.

#1. Mudalali-1957/Yeri karaiyin mele poravale/TMS/Ka Mu Shariff; Raagam: Aarabhi.

This song is one of the early hits of  KVM that appealed to the listeners with  its lilting melody  based on  Aarabhi raagam ,with an innovative mix of a rich folk style. With superb lyrics by Ka Mu Sheriff and rendered effortlessly by the legend TM Soundararajan, this remains popular to this day, even after 65 years .

#2. Makkalai petra makarasi-1957/Ondru serntha anbu maruma/PB Sreenivas & Udutha Sarojini/Ka Mu Shariff.

This is a pleasing melody with a rare singer Udutha Sarojini.  I tried to find out about this singer but could not dig out much information. The  Hawaiian guitar sounds so nice in this and the tempo reminds one of the famous song Vinnodum mukhilodum vilayadum vennilave that was composed by Vishwanathan-Ramamoorthy.

Another interesting point is that it is so rare to see a young  MN Nambiar singing a duet , who otherwise used to be a perennial villain on screen but a perfect gentleman off-screen!

#3. Sampoorna Ramayanam-1958/Veenai kudiyodaya vendane/Tiruchi Loganathan & CS Jayaraman/ A Maruthakasi. Raagmalika

A raagamalika that explains about various raagas to be sung for different moods, times, for specific literary compositions etc., this is a masterpiece from KVM with the legendary singers of yesteryears, Tiruchi Loganathan and C S Jayaraman.

The scene is interesting where Ravanan picks up a fault in the rendition of a singer visiting his court from another country. His brothers, sons and finally his wife Mandodari cajole him to play the veena and sing and reluctantly he sings.  Some of the raagas  that he then goes on to mention and give a brief glimpse of the same are :

Bhoopalam, Saranga,Vasantha ( Raagam to be sung at different times: Morning, noon and evening)

Neelambari , Dhanyasi , Gambira Nattai ( Raagam denoting various Moods : Compassion, Happiness, War)

Sankarabharanam, Thodi , Kalyani ( Raagan to be used for some poetic forms: Venba, Akaval paadal , Best suited for  Veenai)

The song ends with the favorite  raagam of  Ravana which he sang to please Lord  Shiva-Khambodi

#4.Thai pirandal vazhi pirakkum-1958/Amudum thenumyedarku/Seerkazhi Govindarajan/Suradha; Raagam-Mohana Kalyani

A classic song , difficult to sing , set in Mohana Kalyani raagam, this is a treat for the listener with three legends coming together: KVM, Singer Seerkazhi Govindarajan and Kavignar Surada . This film had other songs in light/folk style but KVM could not resist his temptation to offer a pure classical one .

The difficult alaap after the line “nilavin nizahalo un vadanam” is a typical Seerkazhi’s  touch.

#5. Thai pirandal vazhi pirakkum-1958/Asaiye alaipole/Tiruchi Loganathan /Kannadasan

With  a catchy rhythm that starts with a ghatam , this philosophical song summarizes life in three stanzas that only the great Kannadasan can do. It is said he wrote this song while waiting in a railway crossing , on the back of a cigarette pack!! KVM sets a light , folk based melody and utilized the apt , distinctive vocals of Tiruchi Loganathan, known for his perfect diction ,  for this song.

https://www.youtube.com/watch?v=GMNKHM9XCNA&list=PLNVIn_vng3poHbeeFkd7Ot5PGOrwgoyno&index=5

#6. Padikkadha Medhai-1960 /Yengirintho vandaan/Seerkazhi Govindarajan /Kannadasan basing on the lines from Mahakavi Bharatiyar’s poem

One more gem from KVM & Seerkazhi combination that made this immortal song that was adapted by Kannadasan from the original poem by  the revolutionary poet Mahakavi Subramania Bharatiyar to suit  the situation in the film. Keeping in mind the lyrics and emotion in the song, KVM as usual keeps the embellishment to the bare minimum and lets Seerkazhi’s superb rendition convey the full impact of the song.

#7. Sarada-1962/Oruthi oruvanai ninaithuvittal/PB Sreenivas & P Susheela/Kannadasan

This song shows how KVM was not restricted only to devotional or classical based songs but could excel in the romantic genre also.  A lilting melody , with the usual mastery in words by the Kaviarasar Kannadasan , rendered equally in a soft , sublime way by P.B.Sreenivas  & P Susheela.

#8. Vanambadi-1963/Gangai karai thottam/P Susheela/Kannadasan/Raagam-Abheri

Right at the beginning , Susheela just hums the first line with just a tanpura accompanying her and one can get a feel of what a great song this will turn out. With a divine rendition by her, she takes this song to great heights with KVM composing the outpouring of Kannan’s dasan so sublimely. When Susheela ends the line  Kannan Varum naalil kanni Irupeno kaatril maraiveno..with a superlative alaap, no one can remain unmoved by the emotion conveyed in the song. Such songs will live for thousands of years!

#9. Vettaikaran/1964/Unnai arindhal nee unnai arindhal/TMS/Kannadasan

Thevar films and MGR combination mostly had  KVM as the music composer. Once MSV himself narrated how his mother gave him a slap when he proudly boasted that he had snatched  the opportunity to compose for Vettaikaran from  KVM. She made him forego his chance as she felt KVM was his mentor and he should not be doing this to him. Those were the years when we had such humanity even in a tough, competitive film music industry.

KVM proved with this song that he can compose something different from the usual classic stuff  that was jazzy and catchy. It is said that the famous producer Sandow Chinnappa Thevar was not having much knowledge about music, but would typically make common people from his  staff, film crew  listen to the tunes and get their pulse to finalize the song. No wonder they were mostly liked by the mass! Percussion used in this song was unique and has the stamp of KVM. Equally stylish enactment on screen by MGR and singing by TMS.

#10. Veera Abhimanyu/1965/Paarthen Sirithen pakkathil azhaithen/PB Sreenivas and P Susheela/Kannadasan; Raagam-Sahana

A record 65 times the word “ then” ( in Tamil honey) was used by the genius Kannadasan , apparently composed when his assistant requested him to compose a “ sweet song”!! KVM could compose  the tune for any lyrics and if he gets such a sweet pot would he not just pounce on it! Selecting the raagam Sahana for a romantic song was a master stroke by KVM as this raagam is more known for  pathos, compassion moods. The song required only  few accompanying instruments like Veenai, Flute & Tabla , but  being the compassionate gentleman KVM was , he  insisted on having  his entire orchestra for the recording so that the others also get paid. Can we see such gentle souls in today’s world??

When you listen to such words, you can only consider yourself to be blessed to know Tamil-a great language that is so sweet in various interpretations.

“Antha malaithen ivar ena malaithen”…same word malaithen refers to honey obtained in the hills and also for being surprised!

A subtle addition of one syllable between Malar then pol naanum malarnthen…elevates the lyrics of the song to a different level.

https://www.youtube.com/watch?v=VkHdz5tlqyM&list=PLNVIn_vng3poHbeeFkd7Ot5PGOrwgoyno&index=10

#11.Tiruvilayadal/-1965/Oru naal pothuma/M Balamuralikrishna/Kannadasan; Ragam: Raagamalika of Maand , Thodi, Darbar, Mohanam and Kanada

#12.Isai Tamizh nee seida arum sadanai/T R Mahalingam/Kannadasan ; Raagam-Abheri ( Originally known as Carnatic Devagandhari)

#13.Paatum naane bhavamum naane/T M Soundararajan /Kannadasan  ; Raagam-Gowri Manohari                    

The film Tiruvilayadal that narrates the divine play by Lord Shiva who keeps testing his devotees proved to be a block buster that was known for great songs, the evergreen comedy by Nagesh and also probably for  the first time  the legendary Carnatic singer M Balamuralikrishna singing  a film song.

The three songs selected here  are interlinked with the episode wherein Lord Shiva helps his devotee ,Bana Bhattar the court singer of the Pandian king who is challenged by another singer , Hemanatha Bhagawatar

The song by Hemanatha Bhagawatar conveys the pride in him and is composed with a raagamalika -“ Oru naal poduma” rendered in style by M Balamuralikrishna. Oru naal poduma starts off in the raagam maand and subsequently moving on to thodi, dharbar, mohanam and kanada ragas, proved to be an all-time classic.  The lyrics of Kannadasan beautifully brings out the arrogance of the singer Hemanatha Bhagavathar, playing with the words that are sung in the respective raagam “ yezhunthodi varuvaar andro” , yenakku inayaga darbaril evarum undo, Mohana suvai naan andro and Kanada ..yen paatu thenada, isai deivam naanada. The beauty of Tamil language is that it has so much of inherent different  interpretations of same words and were beautifully written by the lyricist of those times.

The court singer, played on screen by renowned actor-singer T R Mahalingam , pleads with Lord Shiva to help him take up the challenge and sings “ Isai Tamil nee seida arum sadhanai” set in Abheri raagam. TR Mahalingam belonged to the era when acting & singing on stage went hand-in-hand and was trained to throw their voice to the wide audience even without a microphone. He had a unique voice and also could reach the highest octaves with so much of ease. It was said that he was one of the highest paid artists in the early 50’s but later on had fallen into difficult days.

Lord Shiva then assumes a simpleton’s appearance and sleeps outside the place where Hemanatha Bhagawatar is put up and starts off with a casual “ alaap” in a funny way . In order to teach a lesson and bring down the ego of Bhagawatar , he starts singing and for this situation, KVM uses Gowri Manohari raagam. TMS goes on to render , what one can say , one of his best ever song-Paatum naane bhavamum naane. With these lines, Kannadasan conveys the message very clearly to the arrogant Bhagawatar:

Edilum iyangum isayum naane

Ennisai nindral adangum ulage

Naan asaindal asayum akhilem ellame

Arivai manitha Un Aaanavam perida?

Aalavayanodu Aadavandadoru

Paadum vayai mooda vandhadhoru….

Within these three songs KVM takes us through a journey of some  seven  ragaas-no wonder he can be considered as one of the finest film music composers to be rooted so strongly in the classical genre. Three different songs with three different flavors and all with the stamp of classicism that KVM excels in.

#14.Idhaya Kamalam-1965/Unnai kanada kannum/P Susheela /Kannadasan

#15.Malargal Nanaindana paniyale/PS/Kannadasan-Raagam Mohanam

#16.Yennathan ragasiaymo idayatile/PS/Kannadasan

A hat trick by the nightingale P Susheela who keeps improvising with each song-what great compositions by KVM in this film Idhaya Kamalam that treats us to some of the best ever songs of her.

Unnai kanada kaanum is more popular and removes all misconceptions about KVM’s compositions being more of devotional or pure classic in nature. This one oozes with romance . The sitar and flute interludes give a subtle elegance to the song that has always been a trademark of KVM.

Malargal nanaindana paniyale, composed in Mohana raagam  literally takes  you into a garden filled with the morning dew drops. Having drenched the leaves and flowers  the sweet voice of P Susheela and the lilting composition then cools our ears and hearts! The phrase under-stated elegance perfectly describes the music of KVM who never uses complex & elaborate orchestration .

If Unnai kanada kannum and Malargal nanaindana were very straight, soft, and subtle romantic melodies, the masterpiece from this film is definitely Yennathan ragasiyamo idayatile. Not heard much and not very popular, this is a hidden gem that makes you listen to it over and over . The song is about how the hero is caught between the  memories of wife ( who is assumed to be dead) and another lady resembling her. The film is based on original Marathi movie Pathlaag which was remade into Idhaya Kamalam in Tamil and Mera Saya in Hindi ( which had fabulous music by another legend Madan Mohan).

The highlight of this song is the way KVM had composed it in a ghazal style,  alternating  among the two female characters with  P Susheela  singing for both with a subtle variation in the tone . In the charanam, when she sings for the wife which is picturized as the hero’s imagination , the tone becomes so soft and even the orchestration matches the same perfectly well.

https://www.youtube.com/watch?v=oFxEdoFxSJw&list=PLNVIn_vng3poHbeeFkd7Ot5PGOrwgoyno&index=14

#17. Thiruvarutchelvar-1967/Mannavan vandhanadi thozhi/PS/Kannadasan

Raagam- Kalyani

If a single song can identify a music composer , it should be the evergreen Mannavan vandanadi thozhi. This gem of a Kalyanai raagam made KVM and  P Susheela immortal. A normally “not so appreciative” Veenai S Balachandar himself had commented that if one wants to identify the raagam Kalyani through a film song, this is the song one should listen to.

A separate blog can be written about this one song. Such a wonderful singing by P Susheela, scintillating dance by Padmini and how can one forget Kannadasan’s lines. I feel so much at a loss of words to write about this song.

Some of the unique aspects of this song are the use of veenai, konnakol ( the Bharatanatyam jathis in vocal form), imaginative inclusion of the swaram within the words by Kannadasan  , which Susheela does it with so much ease.

Viraivinil nee…
Mana malar thaa dhaa…
Thirumaarp paa…
Thaamadhamaa maa…
Mayil enai paar gaa…

Viraivinil nee mana malar thaa
Thirumaarp paa thaamadhamaa
Mayil enai paar
Nee dhaa paa maa gaa
Needhaapaamaagaa nidhapamaga
Saa… sadhamadhu tharavaa

An epic song that one has to  enjoy by listening  again and again!! I give up my feeble attempts to write anything further about this!

#18. Kandan Karunai-1967/Arupadai veedu Konda/Seerkazhi/Kannadasan; Raagam- Raga malika set in seven different raagam: Kambojhi, Hindolam, Chakravaham, Kaanada, Hamsanandi, Natakurinji, Kapi

The Directorate of Film Festivals in India started the category of National award for Best Music Direction in the year 1967 only and it was indeed a great honor that K V Mahadevan was the very first recipient.

He got the award for the film Kandan Karunai that had some 16 songs! Some of the popular & very melodious songs from this film are: Solla solla inikudada Muruga, Manam padaithen unnai  by Susheela, Thirupparankundrathil Nee sirithal Muruga by Soolamangalam Rajalakshmi -Susheela, Aarumugamana Porul by Soolamangalam Rajalakshmi-S Janaki-Renuka.

However, I selected  this  song  Arupadai veedu Konda by Seerkazhi Govindarajan as I understand  it was  one of KVM’s own favorites among his compositions . A Raga malika set in seven different raagam: Kambodhi, Hindolam, Chakravaham, Kaanada, Hamsanandhi, Natakurinji & Kapi.

The beauty of this song is that it describes all the six abodes of Lord Murugan in six charanam and each one is composed in different raagam, sung in that typical “ temple bell-sounding voice “ for which Seerkazhi  is renowned. The devotional fervor that he brings into in such songs is unique.

#19. Pesum Deivam-1967 /Nan anuppavadu kaditham alle/TMS/Vaali

It is relatively rare to hear a composition of lyricist  Vaali in KVM’s music. This song is also having that typical rhythm of KVM for which he was also nicknamed “ Udukkai mannan” -the percussion stands out in a unique way. The word play of Vaali is simply superb.

#20.Thillana Mohanambal-1968/Maraithirunthu paarkum marmam yenna/ P Susheela/Kannadasan; Raagam-Shanmukhapriya

Thillana Mohanambal was an epic movie that is liked by people even today. Though the number of songs are relatively less , the two iconic songs Marainthirunthu paarkum marmam enna and Nalam thana are just enough to prove what a genius composer KVM was. Maraithirunthu paarkum is composed by in Shanmukhapriya raagam ( it is not a coincidence that the hero of this movie played by the one and only Sivaji Ganesan is known as Shanmukham in the film).

Some of the songs are meant only for the great  Gana Saraswati P Susheela -she keeps excelling herself in song after song.

Again, the innovative usage of konnakol by KVM reaches a crescendo towards the end of the song and with Kannadasan chipping in with these lines, what more do we need?

Maanaada
Malaraada mathi aada
Nadhi aada mangai
Ival nadanamaada

Vaanaada
Mannaada kodi aada
Idai aada vanji ival kaigal aada

Suvaiyodu
Naanaada enai naadi
Ithuvelai viravinil
Thunaiyaaga odi varuvaai

thooyanae
Maalava maayanae
Velavaa enai aalum
Shanmuga vaa

#21. Thillana Mohanambal-1968/Nalam thana /P Susheela/ Kannadasan; Raagam-Neelamani ( closely resembles Shivaranjani)

This one is a duet between P Susheela and KVM’s favorite instrument-Nadaswaram. The classic Nadaswaram exponents MPN Sethuraman and MPN Ponnuswamy brothers had played this difficult instrument for the film and remains one of the greatest uses of the same apart from another evergreen classic by S Janaki for the film Konjum Salangai ( Singara Velana Deva song composed by S.M Subbiah Naidu). The climax of the song is just amazing with Susheela touching the highest octaves in perfect synchronization with the Nadaswaram.

# 22.Adimai pen-1969/Aayiram nilave vaa/ SPB & PS/ Pulamaipithan; Raagam-Dharmavati

The 1969 film Adimai pen got released before the  film “ Shanti Nilayam”. The song Iyarkai yennum ilaya kanni was his debut song in Shanti Nilayama  but this film got released later and so it was KVM’s Aayiram Nilave Vaa that launched SPB’s career in Tamil films, thereby giving us  one of the most popular, loved and prolific playback singer S.P. Balasubrahmanyam. And what a sensation this song turned out to be, making him quite popular with a fresh voice that was completely of a different mold as compared to the singers who had ruled till then. Composed in a rare raagam called Dharmavati, this song will always be remembered whenever one thinks of SPB.

Later on KVM would hone his skills even further , placing huge confidence on him to render the classical songs of Shankarabharanam.

#23. Vietnam Veedu-1970 /Palakkatu Pakkathile/TMS& PS/Kannadasan

A fast-paced duet from the film Vietnam Veedu sung in a breezy style by both TMS & P Susheela. As a refreshing change from the usually  sober interludes,  KVM weaves together a scintillating orchestra with an ensemble of Sitar and a whole lot of percussion instruments -Mridangam, Ghatam, Kanjira, Morsing, conveying a mini-Carnatic classic katcheri effect!

https://www.youtube.com/watch?v=0bJtY1LwJRo&list=PLNVIn_vng3poHbeeFkd7Ot5PGOrwgoyno&index=23

# 24. Vasantha Maligai/1971/Mayakkamenna/TMS & PS/Kannadasan

In the films like Thillana Mohanambal, Thiruvilayadal etc were a classical feast, KVM got immense popularity with the light romantic and pathos filled songs of Vasantha Maligai that became a sort of jinxed lovers’ tragic anthem. With many popular solo songs by TMS like Irandu manam vendum, Yarukkage idhu yarukkage, P Susheela’s classic Kalaimagal kai porule , TMS-LR Eshwari’s Oru kinnathai yendugiren , Kudimagane etc this film had a different KVM , departing from his deeply rooted classic genre.

The song Mayakemenna has uncharacteristic long interludes and a rare usage of chorus by KVM.

# 25. Pallandu vaazhga/1975/Ondre kulam endru paaduvom/KJ Yesudass/Pulamaipithan.

By the time KJ Yesudas stormed into the Tamil film scene with his Deivam thantha veedu in the film Aval Oru Thodarkathai in 1974 and Athisaya Raagam in Apoorva Ragangal in 1975, KVM was already into the fag end of his career and so had very few films with him. This 1975 , MGR’s remake of the famous Hindi film Do Aankhen Barah Haath had few good melodies with KJY. The prayer song in the Hindi original Ae Malik Tere bandhe hum composed by Vasant Desai and sung by Lata became an iconic one. However the Tamil equivalent Ondre Kulam endru paaduvom  is no less than that and became quite popular .

There were some good duets of KJY in this film like Poi vaa nadi alaye, Idhu sorgathin thirappu vizha .

#26. Antha ratirikku Saatchi illai-1982/Ethirparthen/SPB/Pulamaipithan

After 1975 , the music scene in TN had a complete upheaval with Ilayaraja bringing a totally different flavor of music. The yesteryear stalwarts like KVM and MSV were now old school. It was remarkable that MSV still gave hits after hits in his own style till late 80’s , even collaborating with Ilayaraja in 1986 for  the film Mella Thiranthathu Kadavu that had evergreen hits. However, KVM’s style went out of style and he had also decided to gradually withdraw from the Tamil film music scene and focused more on Telugu films. After his phenomenal 1979 magnum opus Shankarabharanam, he went on to score many gems even as late as 1992 with the film Swati Kiranam fetching KVM his Filmfare  Award for Best Music Direction in Telugu films.

In the 80’s, in Tamil films  he still made a mark with the later period music , I found a hidden gem of KVM for the Tamil film Antha ratirukku Saatchi illai, with the songs Ethirpaarthen inankiliya kanalaye by SPB and a duet by him with S Janaki Mani Osaiyum bringing back the melody that reigned supreme in his golden days.

A brief Biography of Shri K.V Mahadevan

14 March 1918 – 21 June 2001

K. V. Mahadevan was born on 14^th March ,  1918 at Krishnankovil , Nagercoil, in present day Tamil Nadu but part of the Travancore princely state when Mahadeven was born in 1918, to Shri  Venkadachalam Bhagavathar and Smt  Pichaiyammal.

KVM  had a very humble beginning. He had learnt music from one musician from the Kanyakumari district, Boothapandi Arunachala Annavi. As was the practice those days , he had  a brief stint with stage plays and also had worked for the HMV gramophone company. Later on he  joined the cine field as an assistant to T. A. Kalyanam and S. V. Venkataraman. Those days major cities of Tamil Nadu had their own film production companies and he started a  career with Salem based Modern Theatres that provided him the encouragement he needed when he was just 20.

Soon he made his debut as a music director under the same banner for “Manonmani” (1942) in which he was credited as “ Kalyanam Orchestra” and since then has done about 600 films mainly in Telugu and Tamil. In a single year 1963, 22 films were released under his direction, a record of sorts then.

Around the time he was composing for “Swathi Kiranam” (1992) directed by K. Vishwanath and featuring Mamooty and Radhika and “Srinatha Kavi Sarvabhowma” (1993), he had a major stroke that left him speechless and sadly he had to leave the cine field.

The end came after about nine years on June 21, 2001. He left behind his wife, two sons and three daughters.

His music assistant known as T.K Pugazhendi ( born T.K Velappan Nair) was with him like a life partner throughout his life,  scored few films on his own. Mahadevan-Pugazhendi  music director duo scored music for a Telugu film starring N T Rama Rao-Srinatha Kavi Sarvabhowmudu.

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

1. You Tube
2. Wikipedia
3. https://sureshs65music.blogspot.com/2007/04/k-v-mahadevan-and-carnatic-music.html
4. Ms. Shubashree Thanikachalam’s videos in YouTube -Quarantine From Reality

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

If there was one singer who played a major role in the Tamil film playback singing in the 50’s to early 70’s it was definitely Thoguluva Meenatchi Iyengar Soundararajan, always popularly referred to as TMS. For a person who used to make fun of this singer’s nasal tone in childhood, I myself feel so bad what a great blunder I had made in under-estimating this legend…and so the first blog that I am writing about on Tamil film songs has to be on TMS as an atonement! Similar to our food taste that takes a drastic turn from childhood to the time we reach our 40’s and 50’s, it is my personal experience that our music taste also changes as we age. 

The ever so perfect diction of his Tamil, the extra-ordinary pitch, the masterly play of emotions in the singing (I can only compare him with another legend in the manner of “emoting” a song to perfection-Mohammad Rafi) and last but not least the versatility …. all these make TMS the legend that he is.

In addition to the above, his ability to adapt his singing to the actor on whom the song is picturized was extra-ordinary. I will give an example of this that actually happened few days back when I was thinking of writing this article and so was listening to many of his songs. I was having my morning walk and was listening to “Ullathin kadavugal kangalada, inge uravukku karanam pengalada” (only audio). I could make out that it was definitely not for MGR or Sivaji but someone else. Then I visualized on whom it might have been picturized and then guessed it could be Jaishankar…and then when I searched the video of the song I was absolutely right!

That is TMS’s adaptability!!!

When someone wants to select the top 10 or 20 or even 50 or 100 songs of a legend who must have sung thousands of songs through many decades, it is really a difficult task. My choice may definitely not be the same as yours and hence there is always bound to be discussions or even arguments as to why some song/songs were left out. So, it is with a clear disclaimer I am going to write that the 20 songs in this blog are purely from my personal choice. Also hoping that at least most of them would be the popular choice also. One more clarification is that this blog is only about his film songs; his devotional /non film songs may need a separate blog as those are a class apart. Few examples of his non film songs like Karpagavalli Nin Porpathangal , Ullam Urugudayya etc may be heard even hundred years from now.

#1 Muthai tharu pathi thiru nagai  Film –Arunagirinathar, Music-T R Pappa, Lyrics-Saint Arunagirinathar.

The milestone song of TMS, which even in very recent time many singers have rendered nicely but the version by TMS remains eternal and is outstanding example of his Tamil mastery. When I was collecting information to write this blog, I learnt that he just took a day to rehearse this and completed the recording in a single take!!! Not only the ease with which he had sung this great composition of Saint Arunagirinathar, his skilful rendition at his trademark high pitch adds to the charm. For those who may not be aware, he has also acted in the titular role in this film. After many years, when he would have been more than 70 years of age , in an interview he had sung this without any accompanying music with the same energy.

#2 Agara muthala ezhutellam ariya vaithai devi-Film -Saraswathi sapatham; Music -K V Mahadevan, Lyrics -Kannadasan.

A very unique composition that has all the Tamil “Uyir ezhutukkal”, i.e., alphabets a, aa, e, ee etc as the starting letters of the Pallavi of the song. And who else to do full justice to this language but TMS?

The genius of Kannadasan is reflected in the way he had composed this song with each of the line starting off with Tamil “Uyir ezuthu” alphabets like “Agaramuthala ezhuthellam ariyavaithai devi, Aadhi bhagawan mudhalendre unaravaithai devi, Iyal isai nadaga deepam yetri vaithai, Eendravar nenjai kulira vaithai….and then ends with Omkaara Isai thandhu
Uyara veiththaai devi. This was composed by  another genius -K V Mahadevan who excelled in such classical compositions.

TMS had not only rendered this with perfect diction, but modulated his voice wherever required like “oomayin vai thirandu pesavaithai amma”. note how he adds that subtle emotion when he says “amma”.

But the highlight of the song starts when TMS ‘mastery over Tamil literally flows like a river “Pottraveithu pugazh saatraveithu….and goes to astronomical heights with “Utraar suttram uravinar maandhar
Yaaani senai padaiyudai veendhar”.

# 3 Vasantha Mullai pole vandhu asaindhu aadum: Film Sarangadhara; Music G Ramanathan; Lyrics A. Maruthakasi. Composed in the Charu kesi raagam by the legend G Ramanathan, this is one of the best classical songs of TMS. That “Indira vil neeye. chandira oli neeye” is vintage TMS pitch. In the lines “eedilla unaye yennnnnn manam nadude” the beauty in yennnnn adds so much charm to the song.

# 4 Yerikkarain mele poravale pen mayile : Film: Mudalali; Music -K V Mahadevan Lyrics- Ka Mu Sharif

Composed in the Aarabhi raagam this is a typical KVM song that has a beautiful blend of the classical and folk flavours. The way TMS brings out the beauty of the word “mayile” with different styles, the alapanai after “thennai mara cholayile chittu pola “, his pleading tone with “nillu konjam naanum varen” -all these marks the highlights of this song.

A special mention must be made on the lyrics and the lyricist Ka Mu Sharif—note the similes on birds and animals- “annam pola nadai nadandhu sendridum mayile, thennai mara cholayile chittu pola pore penne, kobam konda maanai pole odalamo …. etc.

And not to forget the beautiful use of morsing throughout the song by KV Mahadevan that lends a special charm.

# 5 Vantha naal muthal; Film- Paava Mannippu; Music Vishwanathan & Ramamoorthy; Lyrics -Kannadasan

This is a superb melody composed by the Mellisai mannargal Vishwanathan-Ramamoorthy with absolutely minimum orchestration, and only the voice of TMS having prominence. An iconic song that talks about how mankind has created divisions in the society with the lyrics remaining as relevant today as it was when composed in 1961 by the great Kannadasan. It starts off with a beautiful whistling and has only 3-4 instruments like a guitar, a violin before the 2^nd charanam and the trademark bongos. The usage of bongos by MSV itself may merit a separate article! 

# 6 Satti suttadada, kai vittadhada; Film Aalayamani; Music Vishwanathan & Ramamoorthy; Lyrics – Kannadasan

It is very difficult to choose between the trio of “Satti suttadhada”/ Ponaal pogattum poda/ Veedu varia uravu as all these three songs are excellent and almost with same under lying theme about  human frailties. When TMS renders these lines, you can clearly feel the various emotions like : repentance in the lines “budhi kettadhada, nenjai thottadhada; peace in “amaidhi deivam muzhu manathil koyil kondadhada; futility in “erumbu tholai urithu parka yaanai vandadhada.

#7 Paatum naane bhavamum naane: Film-Thiruvilayadal; Music – K V Mahadevan; Lyrics-Kannadasan

An iconic classical song that remains as popular today as it was more than 50 years ago when it was composed. TMS’ mastery in the classical genre is in full flow. The ease with which he goes to the heights of octave with “edhilam iyangum iyakkamum naane, yen isai nindraal adangum olage…e…e…e…e is just amazing. I happened to watch a live performance of this song in You Tube which happened in 80’s at Singapore. At the age of 60+ he had sung with same energy.

Hats off!!

#8 Malarndum malaraadha paadhi malar pola: Film-Pasa Malar; Music – Vishwanathan & Ramamoorthy; Lyrics-Kannadasan

I am sure every Tamilian must be knowing this song -needs no introduction at all. Till today there are various renditions of this song, many with lots of technical mastery in terms of orchestration, recording and even the artist’s own improvisations. With due respect to all, the feel that the original song rendered so soulfully by TMS and P Susheela can never be matched. Even a rock will melt listening to this song. What a powerful combination of lyrics, composition & singing! When you listen to the lines: Athai magalai manamkondu, Ilamai vazhikandu, vaazha pirandaiyada. The pathos in TMS’ voice is so intense. And equally matched by P Susheela in her lines also: Maman thangai magalana mangai unakkaga ulagai vilai pesuvaar. The lullaby that TMS sings after the lines: Uravai pirika mudiyaathada…is ultimate. Whenever I listen to this song, eyes become moist. Probably it was some divine power that entered the minds of MSV-TKR, TMS-PS, Kannadasan when they composed and created this evergreen melody.

#9 Yenge Nimmadhi, yenge nimmadhi: Film: Pudiya Paravai; Music – Vishwanathan & Ramamoorthy; Lyrics-Kannadasan.

Always considered THE BEST ever by TMS, this song doesn’t need any introduction at all! There has been n number of blogs/videos on the making of this epic by the MSV-TKR-Kannadasan-TMS team with some hundreds of musicians in the orchestra -an unheard-of event for that time. Any write up on the orchestration part of this song may need a separate blog and so I restrict myself to the topic of this blog, which is TMS. The song begins with the anguish of the thespian Sivaji Ganesan’s character in the movie, to the stress on the word ‘anggey’ in the lines “anggggey yenakkor idam vendum, the lament in the word ‘ohhhhhh’ in “iraivan kodiyavane ohhhhhhh”. TMS literally provides an encyclopaedia for play back signing.  At the end, “indru mattum amaidhi thanthaal uranguven thaaye…uranguven thaaye” …TMS’ voice almost breaks down with pathos. No write-up can do justice to this song. One has to just listen and get into the soul of the song.

While researching for this song, I came to know that this song was finally recorded after some 17 takes, with some 200 + musicians!! Imagine what an effort would have gone into the making with all involved in this?!!

#10 Neeye unakku endrum (popular as “Mama-Mapillai” song); Film -Bale Pandiya; Music -Vishwanathan & Ramamoorthy; Lyrics- KannadasanWhen I first heard this song, I was completely floored by this!

With only percussion instruments -may be mridangam and ghatam as accompanying instruments this is a very unique song with no other orchestration at all. Set in Suddha Dhanyasi raagam this song is not only a treat to listen to but also to watch with superb expressions by the legends Sivaji Ganesan and M R Radha, with Balaji also lending equal support with his on-screen ghatam. I am not very sure about the person who had lent the voice for M R Radha (what a great versatility by that person!) but from search in Internet I understand it is one M Raju. After starting off with pure classical tone, towards the end TMS brings about so much humour in the song with his modulations, equally matched by Sivaji with his acting. Incidentally this song is very popular in the singing talent shows in TV. I can only compare TMS’ beautiful mixture of a humorous song in a pure classical style with some of the songs in similar combinations in Hindi films done by Manna Dey.

#11 Yaar andha nilavu, yen indha kanavu; Film -Shanthi; Music -Vishwanathan & Ramamoorthy; Lyrics- Kannadasan

From the classical to  pathos, from the humorous to  jazz  in “Yaar andha nilavu”. What a versatility in TMS’ singing repertoire!! This is an epic song that has been discussed in various blogs and vlogs. One can hear a completely different TMS in this song with a westernized tone. Special touches at “ingu naaaaaan vandha varavu”, “koil deepam maariyadai neeeeee arivayo” make the song more enjoyable. How can we ignore the innovative use of the instrument Sarangi in the prelude and also before the first charanam? I read in many blogs that Sivaji took few days to think how to enact this song on screen after having complimented TMS, MSV-TKR and Kannadasan on creating this immortal song.

#12 Enna than nadakkum nadakattume; Film -Panathottam; Music -Vishwanathan & Ramamoorthy; Lyrics- Kannadasan.

Now we come to another style of TMS -yes you guessed it -who else but Puratchi Thalaivar M G Ramachandran. In this song that “HA” summarizes the style of MGR and also TMS! It is a well-known fact that TMS had completely different styles for Sivaji and MGR, with most of the songs also written and composed in different ways for both these leading actors. In his own words he had said that for Sivaji he used to sing from deep within and for MGR more from the throat.

When TMS sings “thannale velivarum tayangadhe, oru thalaivan irukkiran mayangadhe” we can very well visualize MGR waving his hand in his trademark style.

The philosophical songs (Thattuva padalgal in Tamil) of MGR and Sivaji that TMS had sung with equal fervour can be a separate article in its own merit. The list is endless.

#13 Oru pennai paarthu nilavai paarthen: Film-Deiva Thai; Music -Vishwanathan & Ramamoorthy; Lyrics- Vaali

After the different genres that we have discussed so far, we now come to romance genre. For any playback singer to be successful for decades, versatility is one of the main reasons. And what other song than this to start off the topic? Right from the beginning, the foot tapping drums and bongos set the tone for the song. Note the seamless “avalillamal naan illai, naan illamal avalillai” sung without any break. Also, the question at the end of each charanam “naalai yen seivalo???”

#14  Pavalakodiyile muthukkal poothal punnagai endre: Film: Panam Padaithavan; Music – Vishwanathan & Ramamoorthy; Lyrics-Vaali

A haunting duet with excellent humming by L R Eshwari, brilliantly composed by MSV-TKR with an Arabian style melody. The way TMS stretches each word on the pallavi is simply great.

#15 Tharai mel pirakka vaithan: Film: Padagotti; Music – Vishwanathan & Ramamoorthy; Lyrics- Vaali

A sad song generally doesn’t have a catchy rhythm pattern, but this is one amazing composition by MSV-TKR that has such a beautifully rhythm and orchestration, but with an underlying pathos, that is brought out in TMS’ voice.

Vaali’s lyrics are a perfect reflection of the plight of fishermen’s life; with Padgotti film Vaali became a force to reckon with in Tamil film industry, breaking the near monopoly of Kannadasan.

The charanam ascends gradually with each line and reaches a peak to come to a brief pause with a beautiful flute piece taking over. A special mention on the excellent use of Shehnai; MSV -TKR were masters in using this predominantly North Indian instrument.

#16 Kan pone pokkile kaal pogalama: Film: Panam Padaithavan; Music – Vishwanathan & Ramamoorthy; Lyrics-Vaali

Another MSV-TKR+Vaali+TMS+ MGR combination that is an evergreen melody.

Set to a waltz rhythm so beautifully by the mellisai mannargal MSV-TKR duo with an excellent piano-violins-accordion-flute orchestra arrangement and also an added chorus to give a total westernized feel, this song is really a class apart.

When TMS says “manidhan pona padaiyai marandhu pogalamaaaa?”, the question is already conveyed in his singing. This remains a personal favourite for me forever.

#17 Naan aanaittal adhu nadanduvittal: Film: Enga Veetu Pillai; Music – Vishwanathan & Ramamoorthy; Lyrics- Vaali

A peppy number, conveying the political message of MGR in his inimitable style.

Starting off in the trademark pitch, TMS matches with the energy of MGR’s performance of the song on screen.

#18 Or aayiram paarvaiyile un paarvaiyai naan ariven: Film: Vallavanukku Vallavan; Music – Vedha; Lyrics- Kannadasan

Although this song was the Tamil version of the original Hindi “Sau baar janam lenge” composed by Ravi and sung by Rafi, TMS had rendered this with equal, if not even more emotions.

# 19 Andha naal gnyabagam nenjile: Film: Uyarntha Manithan; Music – M S Vishwanathan; Lyrics-Vaali.  A one-of-a-kind song that swings between dialogue and song a, this is indeed a masterpiece in singing by TMS. The situation of the song is when two men from different social strata meet – the character played by Sivaji Ganesan is a rich man, who talks about his childhood days with his friend, who is now his driver (played by Major Sundararajan).

The ease with which TMS shifts from a happy tone at the beginning of the song to pathos is truly remarkable. Also, when we watch the song the seamless merging of Sivaji’s acting and TMS ‘voice is a classic example of play back singing. Vaali’s lyrics are on the best ever from him for a Sivaji film. Towards the last charanam, the song goes into almost prose form: ‘periyavan siriyavan, nallavan kettavan…and then “Thavarugal seidhavan evanume azhugiran”. If anyone else other than TMS had sung, it would have just sounded like a dialogue and not a song.

One can convincingly say that this song was not “sung” by TMS but “enacted” off screen by him, complimenting the legend Sivaji’s on screen acting to the tee.

# 20 Ennadi rakamma pallaku nelippu: Film: Panam Padaithavan; Music – M S Vishwanathan; Lyrics- Kannadasan. A cult classic now, if the word “viral” would have been applicable in the year 1972, it would have been very apt. Those days there might not have been a day in which this song was played in radio or in some function or the other. A rocking, folksy, peppy number from TMS that completes his repertoire in this blog.

Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned 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.