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

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

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

Hindi film songs

Few songs of Rafi where he takes the lyrics to a next level !

July 29, 2025 Sivanandam Palamadai Leave a comment

24^th December 1924-31^st July 1980

Just like the way in which Rafi could elaborate a particular word or phrase in multiple ways in a song, we can write about his songs by looking at them from different aspects. That is why there cannot be any limitation to blogs on Rafi. I keep writing about various artists throughout the year but when it comes to 24^th December and 31^st July, it always has to be about Rafi.

On his 45^th death anniversary , I thought of looking at some of his songs that are written beautifully and with his exceptional singing he elevates these songs to an even higher level . Rafi sahab must have sung around 5000+ songs and the number of music directors who had composed these runs into hundreds with equally hundreds of lyricists who wrote them. Among the most prolific lyricists who wrote the songs of Rafi are : Majrooh Sultanpuri, Anand Bakshi, Rajendra Krishan, Hasrat Jaipuri and Shakeel Badyuni. One day I may write a blog taking up the best songs from these and few other lyricists. Even for some obscure lyricists , he had made their songs immortal by his exceptional singing ! For this blog, I am not applying any criteria and just selected ten songs that came to my mind due to their inherent lyrical beauty and Rafi rendering them in a brilliant manner.

Rafi’s uniqueness was in his dedication to give his best to each song , irrespective of whether they were for big banners or lesser-known banners. Also, his diction was always superb , with no difficulty for us in understanding the words of the songs. Crystal clear pronunciation of Hindi and Urdu words was his strong point. Added to the clarity, he used to add his special touch , emphasizing few words, singing the same phrase in different ways in different stanzas , even rendering the entire song in a tone that suits the emotion of the song.

This blog is specifically about those songs , in which Rafi sahab enhances the beauty of the song by the way he picks up few words and phrases and embellishes them in his inimitable style. I have restricted myself just to ten such songs that are purely my personal favourites. Of course in all these songs one common factor is that the lyrics are also outstanding.

The songs listed her are mainly my personal likes; I am sure any other Rafi fan would have an entirely different list ! One more important note that I would like to add is that many of his top songs that became epics for having some of the best lyrics ever written , like Jinhe Naaz Hai Hind Par and Yeh Mehlon Yeh Takhton ( Sahir Ludhianvi for Pyasa), Bichde Sabhi Bhari Bhari( Kaifi Azmi for Kagaz Ke Phool) , Caarvan Guzar Gaya ( Neeraj for Nayee Umar Ki Nayee Fasal) etc were already covered by me in an earlier blog “ Few extraordinary songs of Rafi sahab” . Those were songs, which if anyone else had sung would not have made any impact . Since I had covered those songs elaborately in that blog , I am not including them here.

The songs are listed in chronological order of their film’s release with details of song viz, Lyricist -song title-film-year- music director mentioned in that order. Giving the entire lyrics for each song would make the blog too lengthy and so I have tried to highlight the best part of the song or the best part where Rafi sahab had enhanced the lyrical value of the song to the best of my ability.

Many songs in YouTube that have visuals sometimes have an issue of not enabled for playing in an embedded form and so in such cases, I have linked only the audio version of the song.

Kaifi Azmi-Jane Kya Dhoondti Rehti Hai Yeh Aankhen-Shola Aur Shabnam-1961-Khayyam

Kaifi Azmi wrote some of the most memorable songs , immortalized by the sheer singing power of Rafi sahab. In his early days, Khayyam composed some of his best songs with the help of Rafi .

Aarzu jurm, wafa jurm, tamanna hai gunaah

Ye wo duniya hai yahaan pyaar nahin ho sakata

Kaise baazaar ka dastur tumhe samajhaaun

Bik gaya jo wo kharidaar nahin ho sakata

Starting off with a leisurely pace , Rafi goes to the high notes at the end , conveying the softness of the lyrics in the beginning and the frustration towards the end. How superbly he breathes life to the hard-hitting lines of Kaifi Azmi with “bikh gaya jo wo khareedar nahin ho sakta ”in a way that only he can do.

2. Raja Mehdi Ali Khan-Mein Nigahen Tere Chehre Se Hataoon-Aap Ki Parchhaiyan-1964-Madan Mohan

Madan Mohan & Raja Mehdi Ali Khan were a great team. And if we add a romantic song , rendered by the master in that genre , then what else do we need! RMAK wrote many such beautiful ghazals for Madan Mohan.

Just that one word ‘ tauba tauba…tauba taubaaa’ is enough to make this song immortal. And in the line “tujhse nibh jaayegi, mein inse nibhaoon kaise” , one can sense the helplessness in his tone.

3. Sahir Ludhianvi-Mehfil Se Uth Jaane Walo-Dooj Ka Chand-1964-Roshan

Sahir is the superstar among lyricists and it is very difficult to choose one song written by this genius. As I had mentioned in my introduction, I have already covered his landmark songs. Mehfil se uth jaane walon is a hidden gem, not heard much and is one of the best by Rafi among the hundreds of songs that he had rendered in an ‘ intoxicated’ manner ( figuratively – everyone knows he was an absolute teetotaller , but rendered the best songs for an on-screen sharabi!!). Watch out for that ‘Mere Sathi’ each time he sings – it is sheer delight to listen . Also the hollow laughter after “ achha khasa khel raha” , which he repeats again in the last stanza. Rafi’s mastery lies in adding these special touches with a razor-sharp precision: a more-than-required exaggeration will make it over-powering and anything less would not make any impact. He knew exactly how to do those ‘ harkats’!!

Do din tumne pyaar jataya , do din tum se mel raha

Achha khasa waqt kata aur achha khasa khel raha

Ab us khel ka zikr hi kaisa, waqt kata aur khel tamaam

4. Shailendra-Aaj Kal Mein Dhal Gaya-Beti Bete-1964-Shankar Jaikishan

Long back, I had written about this song for a different blogsite dedicated to Rafi sahab and that was my very first blog! One of the best lullabies ever sung by a male playback singer, Shailendra’s mastery was in conveying profound philosophy in simple words that even a common man could understand.

Shankar- Jaikishan create a soulful melody and Shailendra’s imagination is at its height:

So gaya chaman-chaman, so gayee kali-kali

So gaye hain sab nagar, so gayee gali-gali

Nind kah rahi hai chal meri baahen thaam

Note how Rafi brings his voice almost to a whisper in the line ‘So gaye hain sab nagar, so gaye gali-gali’

Again, in the last stanza, the sorrow in these lines is so beautifully brought out by Rafi in a way that only he can.

Kaun ayega idhar, kiski raah dekhe ham

Jinaki ahaten suni, jaane kisake the kadam

5. Hasrat Jaipuri-Yeh mera prem patra padhkar -Sangam-1964-Shankar Jaikishan-last few lines by Vyjanthimala

Hasrat Jaipuri wrote some of the best romantic songs in Hindi film music and this could arguably be his best ever. The very beginning of the song shows the class of Hasrat:

Mehrbaan likhoon, Haseena likhoon, Ya Dilruba likhoon?

Hairan hoon ke aapko is khat mein kya likhoon?

Rafi’s special touch: In the very first line, he comes out with a softer ‘ ya dilruba likhoon ‘ , and at the end ‘ is khat mein kyaa likhoon , he perfectly conveys the dilemma of the hero as to what he should write to his lover! In many songs Rafi did almost 90% of the job of the on-screen actor!

Watch out how he goes to a high note till the word ‘bhatkegi’ in the line Agar mar jaaun ruh bhatkegi tere intezaaar main and then rapidly glides down in a silky tone with ‘ tere intezaar mein ’.

6. Majoor Sultanpuri-Janewalon Zara Mudke Dekho Mujhe-Dosti-1964-Laxmikant Pyarelal

The film Dosti had unknown actors, but had one of the best ever scores by Laxmikant Pyarelal for whom this was a major springboard to fame. What great songs Rafi had rendered-wish I could include all of them here! Majrooh weaved magic with his immortal compositions in all the songs.

Can there be any other better way of conveying the emotions of a differently-abled person than these lines?

Is anokhe jagat ki main taqdeer hoon ,

Main widhaata ke haathon ki tasveer hun, ek tasveer hun

Is jahaan ke liye, dharti maa ke liye

Shiv ka waradaan hun, main tumhaari tarah

Throughout the song one can hear how Rafi conveys the earnest plea of a differently- abled person asking the society to consider him as one among them only and not different from them. And his special touch comes with those subtle variations every time he sings “ mein tumhari tarah”

7. Gopaldas Neeraj-Aaj Ki Raat Badi Shok Badi Natkhat -Nayee Umar Ki Nayee Fasal-1966-Roshan

Gopaldas Neeraj was a well-known Hindi poet long before he entered the film world. Roshan immortalized him in the hall of fame with his masterpiece Swapn Jhare Phool Se Meet Chube shool se. I rate this as one of the best ever lyrical composition in Hindi film music. However as I had already covered this song in an earlier blog, I have picked up one more hidden gem from the same film. Dripping with romance , Neeraj’s sublime description of the hero’s lover is brought to life with Rafi’s vocals that seem to be drenched in honey. Though the entire song is a masterpiece in poetry, the last stanza is something magical! Note how Rafi renders the “ aur bezaaar” and also that special tone he lends to the line “ Ho…aisi rangeen ghazal raat na phir gaayegi”.

The last stanza lyrics goes like this:

Raat rani ki yeh bheeni si nasheeli khushboo

Aa rahee hai ke jo chan chan ke ghani dhalon se

Aisa lagta hai kisi dheet jhakore* se lipat

Khel aayee hai tere uljhe hue baalon se

Aur bezaar….aur bezaar na kar mere tadapte dil ko

Aisi rangeen..ho aisi rangeen ghazal raat na phir gaayegi

Aaj to tere bina neend nahin aayegi

Dheet jhakore meaning-a stray or wanton gust of wind

8. Shakeel Badayuni-Kal Raat Zindagi Se Mulakat Ho gayee-Palki-1967-Naushad

Naushad and Shakeel Badayuni are inseparable. While there are many articles about the great lyrics of Sahir, Shailendra, Kaifi ( absolutely no doubt they richly deserve that and I am myself a great fan of their lyrics ) but Shakeel is somehow is not talked about much. He has written some of the best Urdu shayari that were immortalized by the venerable Naushad and when Rafi teams up with them , it is sheer magic.

The tune is simple and more so the orchestration is minimal like most of Naushad’s songs. At around 6 minutes, this song is quite an unusually long song with just three stanzas only. Each stanza is lengthy and note how Rafi breathes life into each and every word, emphasizing few here and there. The basic idea of my blog is to showcase such songs, which sound so great due to the sheer power of the lyrics and how Rafi renders them to a perfection.

9. Prem Dhawan-Allah Hi Allah Kar Pyare Bhai-Pavitra Papi-1970-Prem Dhawan

Everyone must be aware of the anecdote about the young Rafi , who as a child used to be enthralled by a fakir’s singing in his village and he used to just follow him . It is my own imagination that he might have remembered this fakir when he sang this song and one can get the feel as if a fakir is singing it.

Prem Dhawan is one the rare artists who could compose music , lyrics and he was also a choreographer-truly multi-faceted artist. The song appears in the film at various situations and Rafi has sung this in a totally different tone.

This particular stanza seems to have been written for the farishta Rafi who has given us so much pleasure through his immortal songs :

Kabhi kabhi is duniya mein yaro

Aise farishte bhi aate hai

Kisi ko apna sab kuch deke

Khali hath chale jate hai

Jaise sukh ki chhaya deke

Badal jaye bikhar pyare

Bhai allah hi allah

Allah hi allah kar pyare bhai

10. Anand Bakshi-Mehbooba Teri Tasveer-Ishq Par Zor Nahin-1970- S D Burman

The song that is most popular from this film Ishq Par Zor Nahin, is Yeh Dil Deewana Hai . But in this song , Anand Bakshi, well known for his romantic songs, comes out with superb poetry to describe the hero’s mehbooba ( lover) and her beauty.

Observe how Rafi plays with the words “ Kis tharah” , and an ‘extended’ “tasveer” and that special touch to that “ suna hai” in the line tere jaisa koi kahin dekha na suna hai.

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

Geeta Dutt-Waqt Ne Kiya Kya Haseen Sitam

July 12, 2025 Sivanandam Palamadai Leave a comment

23^rd November 1930-20^th July 1972

A voice that can convey varied emotions like an intense pathos , the ebullience of a girl in love, a devotional fervour , the carefree tease of a cabaret dancer etc. It is really difficult to describe the voice of Geeta Dutt (born Geeta Ghosh Roy Chowdhuri). When we observe the different female playback singers of Hindi film music, we have sweet-as-nectar Lata Mangeshkar, Suman Kalyanpur and at the other end , powerful , ringing metallic voices like Shamshad Begum, Noorjahan . Somewhere in-between Geeta could find a niche for herself , with a combination of a commanding voice that can also sound so melodious. So we could hear the pain in her Waqt Ne Kiya Kya Haseen Sitam, the peppy Mera Naam Chin Chin Chu or Babuji Dheere Chalna and also a mellifluous Koi Chupke Se Aake Sapne that she sang in her last film before fate snatched her away cruelly at the young age of 42.

Like it happens purely by chance, the time I am publishing this blog is close to the anniversary of Geeta Dutt that falls on 20^th July and just few days back, on 9^th July , it was the birth centenary of her husband and noted film producer-writer-actor-director Guru Dutt.

Like the intense films that her husband used to make , their personal lives were also entangled in many twists and turns. Both were great artists and unfortunately except for few years , their married life was not a happy one with Guru Dutt very sadly passing away in 1964 at the age of 39 and Geeta Dutt followed eight years later , when she was just about to complete 42 years. There are many articles in the Internet about their personal lives and it must be known to many also and hence I will not elaborate further on that and instead focus more on her fabulous songs.

Geeta was one of 10 children born to a wealthy zamindar family in a Faridpur district in East Bengal, that is now Bangladesh. Her family moved to Calcutta and Assam in the early 1940s, leaving behind their land and properties. In 1942, her parents moved to an apartment in Bombay. Geeta was twelve and continued her schooling at the Bengali High School.

During her days in East Bengal , she trained as a singer under her music teacher, Hirendranath Nandy before her family settled in Bombay. The composer K. Hanuman Prasad heard her singing in her house when she was in Bombay and was impressed by her voice . He gave her the first opportunity to sing in the mythological film Bhakta Prahlad. She was given two lines to sing for two songs. Though she sang for few movies subsequently , it was the 1947 film Do Bhai that gave her the much-needed breakthrough, with the popular song “Mera Sundar Sapna Beet Gaya” scored by S. D. Burman becoming a hit. There was no turning back for her and soon she started singing for more than a dozen films in the next two years. Despite one more legend, Lata Mangeshkar storming the music industry in 1949, with Barsaat , Mahal etc , Geeta had her own place and was well established as a leading female playback singer.

In 1951, the film Baazi turned the career of many artists apart from that of Geeta Dutt- S D Burman the composer , Guru Dutt for whom this was his debut as a director and also for Sahir Ludhianvi, the great lyricist. Her songs in the Hindi film Baazi, with music composed by S. D. Burman, were highly well-received with the song “Tadbeer se bigdi hui taqdeer bana le” being an eternal favourite. It was also during the song recording for this film that she met and fell in love with Guru Dutt .

Apart from Hindi she was also well received in Gujarati films despite not knowing the language, and of course in her native Bengali films. After their marriage, she sang in all of Guru Dutt’s subsequent films with songs from films like Mr. & Mrs. ’55, C.I.D., Pyaasa, Kaagaz Ke Phool, and Sahib Bibi Aur Ghulam being etched in our memory.

There was a time when Guru Dutt did not want her to continue her singing career and coupled with the personal turmoil she faced in her married life with Guru Dutt , she turned to alcohol and slowly her career started declining in the late-1950s. The music composers who gave her immortal songs , S D Burman and O P Nayyar drifted towards Lata Mangeshkar and Asha Bhonsle respectively. Unfortunately she could not even take the opportunity of the spat between Burman da and Lata for few years as he had started preferring Asha .

Fate brought in a severe blow to her when Guru Dutt’s passed away in 1964 ( was it suicide or an accidental overdose of sleeping pills with heavy drinking-it is still debated). She performed even more infrequently in films. After a long hiatus , for composer Kanu Roy, she recorded three superb songs for Basu Bhattacharya’s film Anubhav in 1971. Just like a lamp that burns the brightest just before fading out , these songs show how she was still able to render classic masterpieces.

In all , over a 25-year career, Geeta Dutt recorded over 1,400 songs in various languages , mostly in Hindi, Bengali and Gujarati, few in languages like Marathi, Maithili, Bhojpuri, Punjabi, and Nepali. With Guru Dutt, Geeta Dutt had two sons, Tarun (1954-1985), Arun (1956-2014) and a daughter, Nina (b. 1962). She died on 20 July 1972 due to liver cirrhosis aged 41, in Mumbai, Maharashtra.

Geeta Dutt had a voice that can convey various emotions with an intensity that was unique to her. Compared to her other illustrious contemporaries, she was relatively less trained in the techniques of singing , but could compensate that with the intensity and emotions she brought out in her singing.

I have tried my best to list out 25 songs -some very popular and few that are relatively rare. Listing is in chronological order of the year of the film, with song-film-year-music director-lyricist and any co-singer mentioned in that order. The usual disclaimer -these are purely my personal favourites and it is very difficult to capture that huge variety of songs she had rendered in a short article.

Mera Sundar Sapna Beet Gaya -Do Bhai-1947-S D Burman-Raja Mehdi Ali Khan

Geeta Dutt would have been just 17 years old when this song was recorded-what a maturity in her voice and the emotions she had conveyed became one of her greatest strengths.

2. Ghunghat Ke Pat Khol re tohe piya-Jogan-1950- Bulo C Rani-Meera Bai

This Meera bhajan composed so nicely by one the legends of the vintage era of Hindi film music, Bulo C Rani ( for a long time I was under the wrong impression this was a female music director but it was actually a male Bulo Chandiram Ramchandani!). The devotional genre was one more feather in her cap for Geeta Dutt.

3. Tadbir Se Bigdi Hui Taqdeer-Baazi-1951-S D Burman-Sahir Ludhianvi

It was a unique strength of Geeta Dutt that she could render a song full of pathos or a devotional one with as much skill as the fun-filled , peppy numbers like this one. It is said that people used to watch the movie Baazi only for this song, repeatedly! That ‘hey hey heyyyyy’ by her makes this song immortal.

4. Suno gajar kya gaaye-Baazi-1951- S D Burman-Sahir Ludhianvi

Burman da composed this with a grand orchestration that was rare in those days. A fast paced, combination of Spanish gypsy and Arabian music styles , Burman da truly excelled in this composition. The way Geeta Dutt sings the second antara-Husn bhi faani aur Ishq bhi faani hai marks her distinct style.

5. Yeh kaun aaya Baazi-1951- S D Burman-Sahir Ludhianvi

The film Baazi had both Geeta Bali and Kalpana Kartik and note how Geeta Dutt renders this song , picturized on Kalpana in a different tone when compared to those she sang for Geeta Bali.

6. Jai Jagadish Hare -Anand Math-1952-Hemant Kumar- Composed By Sanskrit Poet Jayadeva Circa 1200 AD-With Hemant Kumar

One of the masterpieces from Hemant da, Anand Math was his debut film in Hindi as a composer. This could be one of the rarest songs of HFM in which a Sanskrit shloka was taken from the 13^th century work ‘Geeta Govinda’, by a Sanskrit poet Jayadeva . It is amazing to note that way back in 1952 , Hemant da had conceptualized this with two contrasting tunes. He recites the main shloka and Geeta Dutt follows him , repeating the lines Keshava dhrut meena shareera jaya Jagadeesh hare, Keshava dhrut wamana roopa jaya jagadeesh hare, Keshava dhrut Rama shareera jaya jagadeesh hare, Keshava dhrut Budhha shareera jaya jagadeesh hare and Keshava dhrut Kalki shareera jaya jagadeesh hare in a different tune. Imagine in the year 1952, with primitive recording technology and maybe just one mike for both the singers , they created such magical compositions.

The baritone of Hemant da contrasted with the intense devotional fervour in Geeta’s voice is something that remains in our mind long after the song is over.

7. Na Yeh Chand Ho Ga-Shart -1954-Hemant Kumar-S H Bihari

This song has two solo versions, one by Hemant da and one by Geeta Dutt . Both are classics in their own way.

8. Babuji Dhire Chalna-Aar Paar- 1954- O P Nayyar-Majrooh Sultanpuri

Contrast this with the Na yeh chand hoga that you might have just heard. Apart from S D Burman, it was O P Nayyar who gave maximum number of hits for Geeta Dutt. One can say this was the signature style of Geeta! The way she adds that special charm in the word “ Chalna” -simply superb!

9. Hoon abhi mein jawan ae dil- Aar Paar- 1954- O P Nayyar-Majrooh Sultanpuri

Continuing on similar lines to that of Babuji Dheere Chalna, this is one more delightful song by the magical team of OPN-Geeta -Majrooh. One difference is that Geeta renders this in a fantastic intoxicated tone. All the songs from this film could be included! I had to sacrifice them for the sake of brevity- Geeta’s fabulous duets with Rafi- Mohobbot Kar lo ji bhar lo, Arrey na na na tauba tauba, Sun sun sun zaalima pyar humko are simply outstading! Geeta’s solo Ye lo mein haari piya and the sad version Ja ja ja bewafa kaise pyar …those days all the songs from a film used to be super hits!

10. Aan Milo Aan Milo -Devdas- 1955- S D Burman- Sahir Ludhianvi-

Duet with Manna Dey

This is one genre that was absolutely Geeta’s forte! The devotional songs that she rendered were evergreen classics. Manna da adds more charm to this with his inimitable style .

11. Jaane Kahan Mera Jigar Gaya Ji Mr. & Mrs. ’55 – 1955- O P Nayyar-Majrooh Sultanpuri-Duet with Rafi

One of the iconic songs of Johnny Walker- Rafi and Geeta at their playful best! And when we have the foot-tapping rhythm of Nayyar sahab, what more do we want?!

12. Jaata Kahan Hai deewane-CID -1956- O P Nayyar-Majrooh Sultanpuri

Those days the censor board officials were strange! They had this song removed from the film due to the words “ phi phi…kuch tere dil mein phi phi…kuch mere dil mein phi ..phi!!! They thought the words phi phi was gibberish. Fortunately we have the audio! And what a scintillating performance by Geeta Dutt-note that extra drawl she added to the word ‘ kasam….aaaa’ as they say in today’s lingo-she just rocked!

13. Aye Dil Mujhe Bata De-Bhai Bhai- 1956-Madan Mohan-Rajendra Krishan

The normally staid and melodious Madan Mohan comes out with one more rocking number for Geeta Dutt. I do not have the statistics with me , but I think there must be very few songs he had composed for her. But legends, when they get even one song, grab the opportunity and make it an immortal classic.

14. Aaj Sajan Mohe Ang Lagalo-Pyaasa-1957-S D Burman- Sahir Ludhianvi

The character played by Waheeda Rehman conveys her unrequited love through this song that is composed as a bhajan – a classic example of Burman da’s superb composing skill. That dhol , a typical percussion used in Bengal , coupled with Geeta Dutt’s voice that brings out the pain sets the tone for this evergreen song. Pyasa had some of the best ever songs by Rafi like Yeh mehlon yeh takhton, Sar Jo tera chakraye, Jinhe Naaz hai Hind par woh kahan hai but in the midst of all those , this one by Geeta has its own place in Hindi film music. Of course there is another famous duet Hum Aaapki aankhon mein is dil ko …but sometimes radio, and almost all the albums have repeated this song so many times that I have not included that here.

15. Tum jo mil mere humsafar-12 ‘O’ Clock-1958-O P Nayyar-Majrooh Sultanpuri-Duet with Rafi

A soft and subtle romantic duet by OPN that brings out the voice of both Rafi and Geeta so nicely.

16. Mera Naam Chin Chin Chu-Howrah Bridge- 1958-O P Nayyar-Qamar Jalalabadi

The quintessential rock and roll style that was in vogue for most of the 50’s and 60’s , I think this song doesn’t need any thing to be written about. An eternal classic that describes the music of OPN and also the style of Geeta Dutt for whom this has become almost a signature song. This is equally popular with today’s generation as it was around six decades ago.

17. Mujhko tum jo mile yeh jahaan-Detective-1958-Mukul Roy-Shailendra-Duet with Hemant Kumar

Mukul Roy was brother of Geeta Dutt and a music composer too. During the stressful times that Geeta had in her personal life and even after her death, he took care of her and her children. The film Detective had some of the best scores by Mukul Roy. This is a delightful melody.

18. Nanhi Kali Sone Chali Hawa Dhire Aana -Sujata -1959-S D Burman-Majrooh Sultanpuri

One of the most famous lullabies of HFM. Caresses you as a gentle breeze.

19. Waqt Ne Kiya Kya Haseen Sitam-Kaagaz Ke Phool- 1959-S D Burman-Kaifi Azmi

My title for this blog has the lines from this song-tragically Geeta’s best song describes how fate brought in a tragic end to both Guru Dutt and herself. The way she has sung this is something that no one can replicate. That pangs of separation is conveyed so well but at the same time in an understated way. Considered as a cult classic movie now, Kagaz Ke Phool was a commercial disaster for Guru Dutt and he never directed a movie after this. Though he made few films afterwards that had his distinct touch , officially he credited the title to others.

His trusted photographer of the black & white era V K Murthy’s artistry is apparent in the way this song has been shot. Each frame is a painting.

20. Na mein dhan chahoon na ratan -Kala Bazaar-1960- S D Burman-Shailendra-Duet with Sudha Malhotra

One of the most beautiful bhajans ever composed in HFM ( some say this was Jaidev’s creation who was assisting S D Burman at that time) , this is a rare combination of Geeta with Sudha Malhotra.

Shailendra , as usual comes out with gems of wisdom with few words.

21. Na Jao Saiyaan Chhuda Ke Baiyaan -Sahib Bibi Aur Ghulam-1962-Hemant Kumar-Shakeel Badayuni

The three songs from Sahib Bibi Aur Ghulam that I have listed here do not need any description. Words will simply fail to explain them. Just close your eyes and get yourself immersed in them. The music of Hemant Kumar, lyrics of Shakeel Badayuni and last but not least Geeta Dutt’s out-of-the world rendition transport you to another world.

22. Piya Aiso Jiya Mein Samaye Gayo- Sahib Bibi Aur Ghulam-1962-Hemant Kumar-Shakeel Badayuni

23. Chale Aao Chale Aao- Sahib Bibi Aur Ghulam-1962-Hemant Kumar-Shakeel Badayuni

24. Mujhe Jaan Nah Kaho Meri Jaan-Anubhav- 1971- Kanu Roy-Gulzar

The last two songs in my blog is from the film Anubhav that was directed by Basu Bhattacharya , part of the trilogy by him on marital discord -Gharonda & Avishkar . Though Geeta sang in one more film after this, but this was her swan song. With almost nil orchestration , the immensely talented but sadly sidelined music director Kanu Roy brought out the best in Geeta Dutt’s voice in the three songs from this film. I have excluded Mera Dil Jo Mera Hota just for the sake of having the traditional 25 number of songs in my blogs!

25. Koi Chupke Se Aake- Anubhav- 1971- Kanu Roy-Gulzar

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

The gentle melodies of A. M Rajah

June 28, 2025 Sivanandam Palamadai 4 Comments

1^st July 1929 -8^th Apr 1989

Sometimes it so happens , purely by coincidence , that when I select an artist for my blog, his/her birth anniversary falls to close to the date I may complete it. It gave me immense pleasure to note that this blog will be published close to the 96^th birth anniversary of a unique music composer and singer who was well known in the 50’s & 60’s and gave some immortal melodies with his honey-laced vocals and equally melodious tunes.

Aemala Manmadharaju Rajah, popularly known as A. M. Rajah (1929–1989 ) was born on 1 July 1929 in Ramapuram village, Chittoor District, Andhra Pradesh. His father died when he was just three months old and the family later moved to Renukapuram, Chittoor District , A.P. He completed his graduate studies from the famous Pachaiyappa’s College with a Bachelor of Arts degree. Music was always his passion and he used to win many prizes in the college music festivals.

Whilst studying , Rajah wrote, composed, and sang two songs in Telugu with the instrumental support of the music director K. V. Mahadevan for His Master’s Voice. These songs were broadcast by All India Radio and caught the attention of S. S. Vasan, noted film producer. After listening to these songs, Vasan, with the approval of his music director Emani Sankara Sastry, booked Rajah for his upcoming film, Samsaram. The song Samsaram Samsaram Samsaram, sakala dharma saram was well received by the listeners and he had made his mark. Slowly he started singing in his mother tongue Telugu and other languages like Malayalam and Kannada.

He even acted and sang in Pakkinti Ammayi (1953), which was a precursor to the famous film Padosan in Hindi and Adutha Veetu Pen in Tamil. Those days many Hindi films used to be dubbed in Tamil and one such film “ Aah” was released as “ Avan” in Tamil. In 1953, Rajah and Jikki were chosen by the leading composers Shankar- Jaikishan and Raj Kapoor to render the songs in the Tamil version and it is said they were the first pair from South to go to Mumbai and sing . Rajah also sang in a few Sinhala films produced in Chennai and Sri Lanka with Jikki and K. Jamuna Rani.

In the early years as a singer he had sung for the leading actors of those time like M G Ramachandran & Sivaji Ganesan in Tamil, N T Rama Rao & A Nageshwara Rao in Telugu, Prem Nazir and Satyam in Malayalam. Later on , in Tamil films, T M Soundararajan became the voice for both MGR and Sivaji and Rajah had his voice perfectly matched as the voice of another leading actor Gemini Ganesan. Only with the rise of P B Sreenivas as voice of Gemini, Rajah became less preferred. There are many stories about his stubbornness and short-tempered nature that made him a misfit in the whimsical film industry. I find some similarities between these stories to that of another such genius music composer in Hindi films Sajjad Husain. We do not know what happened exactly and hence I will not dwell upon them. Many artists have such strong individual principles or beliefs that they do not compromise with and hence they are often misunderstood , especially in the commercially driven film industry.

As listeners , our loss is that due to this trait, most of the leading composers of Tamil films, M.S Vishwanathan and K V Mahadevan did not have many songs for him and hence we can only wish we had more from these greats. Never-the-less whatever Rajah sang , they are hits and are with a sublime melody that one would like to listen now, even after 60-70 odd years they were composed. His voice had a very soft feel , almost one can say a feminine touch that suited intensely romantic songs, pathos and those with a classic base. He would also surprise us with a peppy “ Oho Enthen Baby Nee Vaarai Enthen Baby” and “ Paatu Padava Paarthu Pesava” that shows his versatility.

Rajah’s debut as music composer was for Sobha , a Telugu film made in 1958. Later his close friend and noted producer-director-writer C. V. Sridhar gave him the second break as an independent music director, in his own debut film as director-Kalyana Parisu. He fulfilled his promise that the day he directed his first film, Rajah would be its music director. Rajah received the Madras Film Fans Association award of Best Music Director in 1959 for this film. This film was a roaring success for both C V Sridhar and Rajah.

In the year 1958, Rajah married Jikki ( Pillavalu Gajapathy Krishnaveni) with whom he had earlier sung many duets, They were blessed with six children and some are still associated with music . It is commendable that despite Jikki being his wife, Rajah had sung many memorable songs with other singers like P Susheela and S Janaki in his own compositions . Of course many duets of Rajah & Jikki are evergreen.

Due to his own difficult ways, he slowly withdrew himself from the film industry after the mid-60’s and focused on his tourist car business in which he was successful. Also he did lot of music shows with Jikki in India and abroad and kept himself active with his music. Many years later , in 1971, the unassuming , genius composer V Kumar coaxed Rajah out of his self-imposed exile and gave him an opportunity to sing “ Mutharame Un Oodal Yennavo” song for the film Rangarattinam and it became a hit. Music duo Shankar-Ganesh came up with one more evergreen number Senthamaraiye Senthen Ithazhe for the film Puguntha Veedu in 1972. Later Rajah also composed for few films in the early 70’s but they were not so popular except for few like Raasi Nalla Raasi for Veetu Mapillai in 1972.

On the 8th of April, 1989, while travelling for a music show in Kanya Kumari, Rajah got down from the train in the Valliyur station as he was concerned about a boy from his troupe missing. Unfortunately when the train started moving , he tried to board , but slipped in the gap and got crushed by the train . A very sad and unfortunate end to a great genius. To the best of my knowledge one more genius music director Vasant Desai had a similar unfortunate fatal accident , slipping in an elevator shaft in his own apartment block in Mumbai.

When one more Raja from Pannaipuram , Tamil Nadu entered the film industry with his musical hit Annakili in 1976, the film maker Panju Arunachalam added the prefix Ilaya to differentiate from A M Rajah and he was subsequently known as Ilayaraja. It is interesting to note that for a very brief period , Ilayaraaja had worked as a guitarist for A M Rajah also !

I have listed 30 songs , and arranged them in two parts: first part has A M Rajah as a singer in other music directors’ compositions , second part has Rajah as a music director with songs that he had sung solo/ with other singers.

Since the number of songs are higher than my usual list that has 20-25 songs, I am keeping the description minimum for the sake of brevity.

Part 1-A M Rajah singing for other music composers (Song/ Film/ Year of film/ Music director/ Co-singer/ Lyricist/)

Samsaram Samsaram-Samsaram-1951- Emani Shankara Sastry-A M Rajah-Kothamangalam Subbu

Rajah’s debut film as a singer and note how at the young age of 22 , his voice and singing had so much of maturity!

2. Sirpi sethukkatha porchilaiye-Ethir Parathathu (1954)-C N Pandurangan-A M Rajah -K.P Kamatchi Sundaram

I had never heard this song till the time I started writing this blog-what a superb tune, depth, pathos in Rajah’s singing and not to forget the legend Sivaji’s expressions in enacting the song on screen. While researching for my blogs I came across this composer C N Pandurangan-and do not know much about him. I should try to explore more of his music-appears to be one more unrecognized artist in the film world.

3. Mayakkum Maalai Pozhude-Gul-E-Bakavali-1955-Vishwanathan-Ramamoorthy ( Originally composed by KVM for Koondukili)- A M Rajah with Jikki

I learnt that this tune was originally composed by K V Mahadevan for the film Koondukkili but was not included and later it was taken for this film , with the credit accorded to Vishwanathan-Ramamoorthy who had composed all others songs in this film. In his early days, Rajah had sung for both Sivaji and MGR and those were popular ones too.

4. Vaarayo Vennilave-Missiamma-1955- S Rajeshwara Rao-A M Rajah & P Leela-Thanjai N Ramaiah Das

With immortal songs like this , Rajah became the de-facto voice of Gemini Ganesan. This one is so popular even today with that superb mandolin-could be one among the best songs that used this instrument. My recent blog on P Leela also included this song-two legends singing together!

5. Brindavanamum Nandakumaranum- Missiamma-1955- S Rajeshwara Rao- A M Rajah & P Susheela -Thanjai N Ramaiah Das

It is interesting to note that this song alone was taken as it is for the Hindi version of this film ( Miss Mary -1957 ) by Hemant Kumar, whereas other songs were originally composed for the Hindi version. It is said Rajah was always inspired by the singing of Mohammad Rafi and Tlaat Mehmood and one can find that gentle, ghazal-like feel in many of his songs and compositions. Interestingly the Hindi version Brindavan Ka Krishna Kanhaiyya was sung by Rafi & Lata.

6. Then Unnum Vandu-Amara Deepam-1956-T Chalapati Rao- A M Rajah &P Susheela -K.P Kamatchi Sundaram

A lilting melody by the vetran music director in Telugu films, T Chalapati Rao-Rajah and P Susheela had sung many such sweet romantic duets.

7. Masilla Unmai Kathale-Alibabavum 40 Thirudargalum-1956-S Dakshinamurthy-1956-A M Rajah & Bhanumathi-A Maruthakasi

It is my own observation that when female singers with a powerful voice like Bhanumati sing along with a gentle -voiced male singer , those songs have their own unique charm. One more example of Rajah with a super-hit song for MGR.

8. Kanmudum Velayilum Kalai-Mahadevi-1957-Vishwanathan -Ramamoorthy- A M Rajah & P Susheela -Kannadasan

Songs like these are simply gentle breeze that caresses us while we get immersed in their inherent melody and in the honey-laced voice of Rajah.

9. Thendral Uranguya Pothum-Petra Maganai Vitra Annai-1958-Vishwanathan Ramamoorthy- A M Rajah &P Susheela – A Maruthakasi

There must be few songs like this that have so many words in the lyrics . One of the most popular songs of Rajah , this can be heard multiple times without getting bored simply because of the impact of lyrics, tune, and exceptional singing by the two legends-Rajah and Susheela .

10. Aadada Manamum-Kalathur Kannamma-1960-R Sudarsanam- A M Rajah & P Susheela -Ku Ma Balasubramaniam

R Sudarshanam was always referred to as Sudarshanam Master-and he proves that he is a real master with this composition and the next one in my list. Note those fast-paced rhythm with table, dholak and bongos and that exquisite accordion! Rajah’s voice literally feels like a rose petal when he sings that second charanam-Roja-Puthu Roja-Azhagu Roja , fully enhancing the tune beautifully thought out by Sudarshanam master with a change of pace!

11. Kangalin Vaarthaigal- Kalathur Kannamma-1960-R Sudarsanam-A M Rajah &P Susheela-Kannadasan

I was under the impression that only TMS-P Susheela gave excellent duets, till I listened to so many from Rajah-Susheela pair. Though these may be lesser in number, many of them are evergreen and still sound so fresh.

12. Thuyilatha Pen Ondru Kanden- Meenda Sorgam-1960-T Chalapathi Rao- A M Rajah & P Susheela -Kannadasan

Any song that has the good old waltz rhythm is always a hit! And when you have the gentle vocals of Rajah , a superb piano , excellent orchestration , including that special touch of Chalapati Rao towards the end of the song with a delightful piano replacing the usual question and answer “ yaaro-neethan” , what else do we want!

13. Kalaiye Yen Vazhkaiyin Thisai-Meenda Sorgam-1960-T Chalapathi Rao-A M Rajah & P Susheela-Kannadasan

Rajah proves in this song what a great command he has on the classical genre. This superb Bhageshri raagam based melody is an absolute delight with that innovative humming of P Susheela. The alaap at the very beginning of the song is something to cherish -Rajah is simply superb in this.

14. Mutharame Un Oodal Yennavo-Rangaraattinam-1971-V Kumar-A M Rajah & L R Eashwari-Vaali

As mentioned in my intro , it was after a long hiatus Rajah was coaxed out of his self-imposed hibernation that V Kumar gave him a second innings with his song. A unique combination of Rajah with L R Eashwari. V Kumar had his own distinct style and he used to experiment with different pairs of singers-Rajah’s voice in the 70’s had a slightly different texture.

15. Senthamaraiye Senthen Ithazhe-Pugunda Veedu-1972-Shankar-Ganesh-A M Rajah & Jikki-Vaali

The duo Shankar-Ganesh started off as a team but due to the unfortunate demise of Shankar who was the younger brother of noted music director C R Subbaraman. Later Ganesh continued with the title Shankar -Ganesh and created his own niche. This song is one of the most popular after Rajah’s come back.

Part 2- A M Rajah as a music composer (Song/ Film/ Year of film/ Co-singer /Lyricist)

A M Rajah got his first break to compose music in Tamil films with C V Sridhar’s Kalyana Parisu. Both the film and its music were well received and this set the stage for Rajah to compose music for many films. However I have selected three of his major works as they contain some of his best compositions-Kalyana Parisu, Then Nilavu and Aadi Perukku. Among his works in the 70’s I could find one song that stood out-from the film Veetu Mappillai.

Vaadikkai Maranthathum-Kalyana Parisu-1959- A M Rajah & P Susheela -Pattukottai Kalyanasundaram

What a terrific fast paced interlude Rajah had thought of in this song, with those beautiful string arrangements! Not to miss that superb humming by Susheela and Rajah…

2. Kathalile Tholviutral Kanni- Kalyana Parisu-1959- A M Rajah & P Susheela-Pattukottai Kalyanasundaram

This film was known for the lead pair’s failure in their love and this song became sort of an anthem . The intense pathos in both the composition and singing stand out.

3. Thullatha Manamum Thullum -Kalyana Parisu-1959-Jikki-Pattukottai Kalyanasundaram

Jikki was known for her exceptional vocal skills and had sung for many other composers also, apart from her husband Rajah’s tunes.

4. Kaalaiyum Neeye Maalaiyum neeye-Then Nilavu-1961- A M Rajah & S Janaki -Kannadasan

One more example of Rajah’s command over the classical genre similar to Kalaiye En Vaazhvin . Was it a co-incidence that one had P Susheela humming throughout the song and the other one S Janaki? There are conflicting ideas about the raagam in which this is based-Hamsanandi or Basant-I am not an expert and I would just like to close my eyes and listen to this scintillating rendition.

5. Oho Enthan Baby- Then Nilavu-1961-A M Rajah & S Janaki-Kannadasan

Then Nilavu was without any doubt the magnum opus of Rajah with all the songs being super hits. And this song and Paatu Padava are the most famous of his songs.

6. Nilavum Malarum- Then Nilavu-1961- A M Rajah & P Susheela -Kannadasan

One more example of my theory-any song that has a waltz-based rhythm will always be a mega hit! Both Rajah and Susheela render such a great romantic melody!

7. Paattu Padava- Then Nilavu-1961-A M Rajah -Kannadasan

For many this could be one of the most popular songs of Rajah. I find shades of O P Nayyar’s typical tonga-rhythm ( horse hoof beat) and even his typical orchestration style in this but one should really appreciate that Rajah had not taken any specific song but just took the essence of OPN’s style . That mandolin , flute and violin arrangement is absolute class!

8. Chinna Chinna Kannile- Then Nilavu-1961- A M Rajah & P Susheela -Kannadasan

This song is picturized with the lead actors Gemini Ganesan and Vyjanthilamala in a Kashmiri style costume and Rajah composes a superb lilting melody that is in perfect sync with that.

9. Malare Malare Theriyatha- Then Nilavu-1961- P Susheela-Kannadasan

When it comes to solo songs , especially with a touch of pathos , then who else but the great legend P Susheela to render it. This film also has an excellent solo-Oorengum Thedinen Oruvarai Kanden- by Jikki but I had to exclude that -already my blog has crossed its usual length!

10. Thanimayile Inimai Kaana-Aadiperukku-1962- A M Rajah & P Susheela -K D Santhanam

After Kalyana Parisu and Then Nilavu, if there was one film that had superb songs composed by Rajah , it was Aadi Perukku. This one is also one of the well-known songs of Rajah.

11. Pengal Illaatha-Aadiperukku- 1962- A M Rajah & P Susheela -Kothamangalam Subbu

Qawwali is a genre that is very rarely heard in Tamil films. Rajah shows his mastery even in this genre.

12. Kannizhantha Manithar Munney Oviyam- Aadiperukku-1962-A M Rajah & P Susheela-Kannadasan

Kannadasan as usual comes out with so many similes to describe the story in his inimitable style , superbly composed by Rajah , sung by him along with Susheela.

13. Puriyathu Vaazhakaiyin Ragasiyam Puriyathu-Aadiperukku-1962-P B Sreenivas -Suratha

I had never heard this song and also never thought there could be a song composed by Rajah but sung by P B Sreenivas, whose voice also somewhat sounds like Rajah’s. In fact PBS later on became the de-facto voice of Gemini Ganesan. Though picturised as a background song, this is a very rare song and has some excellent lyrics by the lesser-known poet Suratha , tuned in with an intense pathos by Rajah.

14. Kaveri Oram Kavi Sonna Kaathal-Aadiperukku-1962-P Susheela -K D Santhanam

Apart from the superb singing by Susheela and a beautiful westernized orchestration by Rajah, do not miss the superb dance by Chandra Babu. One can keep admiring Rajah’s vast repertoire in composing so many genres. I really cannot understand why songs like these were never heard much.

15. Rasi Nalla Rasi-Veetu Mappilai-1972-A M Rajah & Jikki-Vaali

A M Rajah made a comeback as a singer and composer in the 70’s but by that time music trend was slowly changing . Still he did come out with some memorable songs like this one, singing along with his life-companion Jikki.

Whenever I try to write about those artists , whose songs I had not heard much till the time I start writing my blog, I am fully aware that I am not doing a good job as one should have immersed oneself for a long time in that artist’s music. However , personally for me it has been a great experience to listen to such a huge variety of music and it shows how many such legends had enriched our film music with their incredible talent.

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
Quarantine from reality series in YouTube by Ragamalika TV

Hindi film songs

Ghulam Mohammad -A great composer

June 14, 2025 Sivanandam Palamadai 2 Comments

…If only fate had been more kind to him…

?? 1903 -17^th Mar 1968

“है और भी दुनिया में सुखनवार बहुत अच्छे

कहते हैं कि ग़ालीब का है अंदाज़-ए-बयाँ और”….

There are many good poets in this world

But they say the style of Ghalib is unique

Can we not borrow these lines from the famous poet Mirza Ghalib and take the liberty of saying this about the legendary music composer Ghulam Mohammad himself who had tuned these lines so beautifully for the film Mirza Ghalib . Not only this song, all the songs from this 1954 film were composed so exquisitely by the composer , who , as luck would have it, remained on the sidelines and his name is never remembered by most of us , except those who are seriously into the golden era of Hindi film music. It is a small consolation that when our government first decided to include the award for best film music at National level, Ghulam Mohammad was the first recipient and he got it for this film.

If we look at the music of just two of his films, Mirza Ghalib and Pakeezah, they can be counted among the best in Hindi films, that was in the league of the top composers. But, sadly the man remained one among the many such music composers who were unsung and forgotten . Fate was so cruel to him that it snatched him away around four years before his magnum opus Pakeezah got released. He could not see the adulation its music had received at that time and continues to be appreciated even today.

Ghulam Mohammed’s exact date of birth is not known , but the year was 1903. Born in a village , Naal, Bikaner, Rajasthan, into a family of musicians, his father, Nabi Baksh, was an accomplished tabla player. He learnt the dholak and tabla from his father in childhood. He got further training in the tabla, dholak and pakhavaj from Hyderabad’s Ghulam Rasool Khan. At the young age of six , he was paid a salary of Rs 25 per month in Lahore’s New Albert Theatre Company and Bikaner’s JB Company. In 1924, his father took him to Bombay, where after a struggle of eight years, in 1932 he got the chance of playing tabla in Saroj Movietone’s Productions’ “Raja Bharthari”. Thereafter, he assisted Anil Biswas, and later Naushad, with whom he had a long association , from 1943 (Sanjog) to 1952 (Aan). Ironically , Naushad was around sixteen years junior to him!

Like few other music assistants and arrangers like Dattaram for Shankar -Jaikishan, G.S Kohli for O.P Nayyar , Ghulam Mohammad also composed music independently even while assisting Naushad. However, unlike others, Ghulam Mohammad’s music had a distinct style , much different from that of Naushad. It is said he had composed independently for around 30 films. There is some confusion as to what was his first film that he composed independently . Some mention Mera Khwab (1943) as his first film, while Doli (1947) and Tiger Queen (1947) are also attributed as his first films. Making a debut as an independent composer at the age of 40 is quite late in film industry. However GM ( as I will refer to him henceforth for the sake of brevity) pursued diligently and with the film Amber made in 1952 , his songs started getting good attention. One of the songs from this film, Hum Tum Yeh Bahaar -a duet by Rafi & Lata sounds so fresh today as it was around 73 years ago!

This was followed by great songs in films like Dil-E-Nadaan (1953), Laila Majnu ( 1953), Rail Ka Dibba (1953-maybe the first rap song of Hindi films?) etc. In 1954 , he established his name among the great stalwarts of Hindi film music by his evergreen compositions for the film Mirza Ghalib that were based on Ghalib’s ghazals. Almost all the songs from this movie are masterpieces. He even won the 1955 National Film Award ( it was known as State Award then) for Best Music Direction for this film.

But inexplicably , he did not get the opportunities despite the excellent music in Mirza Ghalib; few films like Do Gunde in 1959 & Shama in 1961 had good songs , but Ghulam Mohammad continued to be on the sidelines .

The noted film maker Kamal Amrohi signed him up for his magnum opus, Pakeezah , a film that was started in 1956 and ultimately released in 1972! There were many reasons for the delay, primarily the separation of the film maker Kamal Amrohi and his wife , the well-known actress Meena Kumari and her deteriorating health because of her unfortunate addiction to alcohol. During its release the film was initially having a lukewarm response but the demise of Meena Kumari a month after the release made the film a box office hit. Not to deny the most important fact that its music is considered one among the best scores in Hindi films.

As luck would have it, Ghulam Mohammad had left this world in 1968, four years before the film’s release and could not experience the great accolades for his compositions. Naushad, had completed the back ground score and it is said , few songs also. In all there were some 15 songs originally composed by Ghulam Mohammad for the film but only six were retained in the film. Later , HMV released an album Pakeezah Rang Barang that had rest nine songs.

If we have to describe Ghulam Mohammad’s music, it was an eclectic mix of tunes based on classical raagas, a deep understanding and importance to the lyrics that were tuned in perfectly as evident from his songs based on Ghalib’s ghazals, excellent percussion arrangements (as he himself was a master of many percussion instruments) , an orchestration that used mostly Indian instruments like Sitar , Sarangi , Shehnai , but at the same time integrated beautifully western instruments like different types of guitars, piano etc.

I have tried to compile his best songs and grouped them film-wise as in some of his films almost all the songs are great compositions. They are arranged chronologically , with the song name, singer(s) and lyricist mentioned.

Amber (1952)

Hum Tum Yeh Bahaar Dekho-Rafi & Lata-Shakeel Badayuni

A lilting , romantic melody that has a fast-paced rhythm and when it is sung by the eternal pair of Rafi & Lata , then it is bound to be pleasing to the ears. One of the earlier hits of Ghulam Mohammad. Also a rare occasion when Rafi sang for Raj Kapoor!

Dil-E-Nadaan (1953)

2. Zindagi Denewale Sunn, Teri Dunya Se Dil Bhar Gaya-Talat Mehmood-Shakeel Badayuni

One of the best songs of Talat , for whom Ghulam Mohammad had composed so many great songs. The opening notes with a guitar strumming sets the tone and then the velvet vocals of Talat, the sublime lyrics of Shakeel and intoxicating melody of the tune take you into a different world.

3. Jo Khushi Se Chot Khaye, Woh Jigar Kahan Se Laaun- Talat Mehmood-Shakeel Badayuni

Instead of guitar , it is the sarangi that sets the sober mood for this ghazal. The velvet vocals of Talat were extensively used by Ghulam Mohammad in his various songs. Like many songs of GM, the importance to lyrics is paramount and Shakeel Badayuni was a solid support to him in many such songs.

Laila Majnu (1953)

4. Chal Diya Caarvaan – Talat Mehmood-Shakeel Badayuni

The ‘caarvaan’ of GM with Talat & Shakeel continues in this 1953 version of Laila Majnu, with one of the career best songs of Talat. Observe how GM used a typical waltz -like rhythm for a ghazal. The violins are simply haunting and tug at your heart.

5. Aasmaan Wale Tere Duniya Se -Talat & Lata- Shakeel Badayuni

Lata joins the ‘caarvan’ in this song and GM keeps the orchestration to bare minimum as the raag Bhimpalasi on which it he had composed it conveys the mood of the song so effectively.

Rail Ka Dibba (1953)

6. La De More Baalma Aasmani Chidiyan-Rafi & Shamshad- Shakeel Badayuni

If someone thinks GM was mostly composing very sober , serious songs , here is a delightful , absolutely rocking number.

Can we say this was the first ever rap song in Hindi films?!!

And when those yesteryear masters compose even a rap song , observe how melodious and delightful it sounds. Not the terrible ear shattering modern versions! The lung power of Shamshad is even greater than that of Rafi and she simply shines through the song. Just watch out from 1.45 mins in this clip-for 15 seconds she sings breathless!

Mirza Ghalib (1954)-All Lyrics by Mirza Ghalib

We now come to a masterpiece of an album by GM and I had mentioned in the beginning of my article, songs from just these two films- Mirza Ghalib and Pakeezah are enough to record the contribution of GM to Hindi film music in golden letters. Each song that I have listed here is a gem . GM had composed for Talat and Suraiyya some of their career-best songs. Ghalib’s best ghazals have been brought to life by the excellent tunes of GM ; there may be some other composers also who might have set these ghazals to tune but GM ‘s compositions stand out. Those who are going through this blog are requested to listen to all these songs in the links provided below -someone has been kind enough to provide English translation for the immortal poetry of Ghalib .

Among the songs that I have listed here, Aah Ko Chahiye Ek Umr is truly mesmerizing with a fast-paced tune and do I have to say anything about the great Ghalib’s lines-“ Khaak ho jaayenge hum , tumko khabar hone tak”! ( I will not be there by the time you realize my love). And Rafi, as usual gets just one song that is picturized on a fakir and in that , he leaves his inedible mark! The opening lines of this blog are from this. Suraiyya renders three solo gems- Aah Ko Chahiye , Nukta Cheen Hai & Yeh Na Thi Hamari-the last one is absolutely stunning with the high notes at the end . Talat’s intensely emotional Phir Mujhe Deeda-E-Tar and Ishq Mujhko Na Sahi show us why he was called the King of Ghazals.

Each song mentioned here is a gem to be listened to again and again and I am sure listeners will agree with me when I say GM is no less a composer than the stalwarts who got their fame in Hindi film music.

7. Dil-E Naadan Tujhe Hua Kya Hai-Talat and Suraiyya

8. Phir Mujhe Deeda-E-Tar- Talat

9. Aah Ko Chahiye Ek Umr-Suraiyya

10. Hai Bas Ke Har Ek Unke-Rafi

11. Nukta Cheen Hai Gam-E-Dil-Suraiyya

12. Ishq Mujhko na Sahi Vehshat hi Sahi- Talat

13. Yeh Na Thi Hamari Qismat- Suraiyya

Kundan (1955)

14. Aao Hamare Hotel Mein-S.D. Batish & Sudha Malhotra-Shakeel Badayuni

Similar to the peppy song from Rail Ka Dibba , enjoy a lighter mood with GM ‘s song. These songs show GM’s skill in composing a variety of genres.

Maalik (1958)

15. Man Dheere Dheere Gaye Re-Talat Mehmood & Suraiyya-Shakeel Badayuni

One more example of how GM could bring out the best from both Talat & Suraiyya. A romantic song with that typical understated melody that has been the hallmark of GM’s style.

Do Gunde (1959)

16. Bheegi Palken Utha-Rafi & Lata-Majrooh Sultanpuri

GM creates the same magic with another eternal pair- this time with Rafi & Lata. An intensely moving song , with superb sitar and sarangi that can easily be considered as good as having been composed by any of the stalwart composers who are considered as the “top ten”.

Shama (1961)

Apart from Mirza Ghalib and Pakeezah , if there was another film in which all the songs were too good, it was Shama. It had excellent songs rendered by Suraiyya ( who had acted along with Nimmi ) , Suman Kalyanpur & Rafi. Suraiyya’s Dhadkte Dil Ki Tamanna can be considered as one of the best from GM , a rare but intensely emotional Dil Gam Se Jal Raha by Suman , a lively romantic solo by Rafi-Who Saadgi Kahe Ise and once again Suraiyya surprises us with Mast Ankhon Mein Shararat.

Dhadakte Dil Ki Tamanna has a superb combination of Sitar , Sarangi & Guitar , with that brief pause in the last line of each anatara. One should not forget the superb lyrics by Kaifi Azmi—woh gam haseen hai jis gam ke zimmedaar ho tum!

Note how GM had used Suman Kalyanpur to traverse the high notes in Dil gam se jal raha . Note how GM had structured of the antaras in “Mast ankhon mein shararat” with a sudden shift in notes from a high to low, executed superbly by Suraiyya.

17. Dhadakte Dil Ki tamanna-Suraiyya-Kaifi Azmi

18. Aap Se Pyaar Hua Jata Hai- Suraiyya-Kaifi Azmi

19. Dil Gam Se Jal Raha-Suman Kalyanpur- Kaifi Azmi

20. Wo Saadgi Kahen Ise Deewangi-Rafi- Kaifi Azmi

21. Mast Ankhon Mein Shararat- Suraiyya – Kaifi Azmi

Pakeezah (1972)

I come to the last but the most important work of Ghulam Mohammad. Each song from Pakeezah will continue to enthral the generations to come. There are very few films in which we see each song a classic masterpiece . When we listen to a particular one , we would like to say this is the best among all, then we tend to think the same about the next one we listen ..and the next one….

The percussion in Chalte Chalte is something simply out of the world and personally , I like this song so much that I can listen to this multiple times on a loop! Apart from being a treat for the ears, just observe the camera work in Inhi Logon Ne Li Le-one can see the dancers in buildings far away, at multiple locations-so meticulous picturization. A word about the principal photographer Josef Wirsching who was a German but settled and worked in India for around 20 films, with Mahal( 1949), Dil Apna Aur Preet Parayee( 1960) being other famous films apart from Pakeezah. Unfortunately, like GM, he also passed away before the release of Pakeezah, in 1967.

The intensely classical Thade Rahiyo, the complex percussion arrangement in Aaj Hum Apni Duaon ka , the cool-as-a-breeze Chalo Dildar Chalo are songs that can be made only once in a decade!

The raagamalika in Mausam Hai Aashiqana has one of the best orchestration by GM with each antara is set in different raag. It is difficult to describe the songs of Pakeezah in one or two paragraphs-maybe one day I will try to write an exclusive blog on them.

Among the unreleased songs, I have included just one here-a solo by Rafi .

22. Chalte Chalte Yuhin Koi Mil Gaya -Lata-Kaifi Azmi

23. Inhi Logon Ne Le Li Na Dupatta-Lata-Traditional

24. Thade Rahiyo Oh Baanke Yaar- Lata-Majrooh Sultanpuri

25. Aaj Hum apne duaon ka-Lata-Kaif Bhopali

26. Chalo Dildar Chalo-Rafi & Lata- Kaif Bhopali

27. Mausam Hai Aashiqana-Lata- Kamal Amrohi

Not included in film :

28. Yeh Kiski Aankhon Ka-Rafi-Majrooh Sultanpuri

There are conflicting versions about exactly how many songs were totally recorded for Pakeezah film -some say 15 , some 20! Also there is a controversy whether Naushad completed only the back ground score or even composed 3-4 songs that were not included in the film. I am not an authority on these and would like to avoid getting into controversies. For me the music of Pakeezah is something that I can keep listening multiple times . As a token of good faith to the composer, Kamal Amrohi compiled the tracks that were not included in the film and had them released by His Master’s Voice as ‘Pakeezah Rang Barang’.

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

Ganamani P. Leela- a singer very few may remember now

May 29, 2025 Sivanandam Palamadai Leave a comment

19^th May 1934 -31^st Oct 2005

When someone takes the name of noted playback singer P Leela today, I think a majority may not be knowing her or even confuse her with the more popular P Susheela. True to the main idea behind this blogsite, I am trying to write about all such forgotten artists so that at least in future their names and contribution to film music will always be remembered.

P Leela had a different voice that was both melodious and had a majestic ring that suited Carnatic classical , folk, and of course the light music genres for films. She has sung around 5000 songs in all the south Indian languages -her native Malayalam, Tamil , Telugu , Kannada and in other regional languages of India. She was given the titles Ganamani, Ganavarshini, Kalarathnam etc among many others.

In the 1950’s & 60’s she had sung extensively in Tamil films and of course in other languages also , but my knowledge is restricted to the Tamil film songs and so I will try to make a humble attempt to write about some of her great solos and duets. It has indeed been a great experience for me, mostly ignorant about many great artists of the golden era of Tamil music , to discover their songs.

Porayath Leela was born in Chittoor, Palakkad district of Kerala to V K Kunjanmenon Menon and Porayath Meenakshi Amma. She was the youngest among three daughters-Sharadha, Bhanumathi and Leela. Her father was a teacher in Ramavarma Higher Secondary School , Ernakulam . It was her father who inspired her to learn music and her first guru for Carnatic classical music was Thiribuvana Manibhagavadhar, the uncle of musician T. V. Gopalakrishnan. Later on she was trained by many other vidwans like Chembai Vaidyanatha Bhagawathar, Paththamadai Krishna Ayyar, Maruthuvakudi Rajagopala Iyer, and Rama Bhagavathar. On the advice of the headmistress of the school where Leela was studying , her father took her to Madras ( as it was known at that time) in the year 1944 and she learnt music like in a gurukulam under the tutelage of Vadakkancheri Ramabagavathar in Mylapore.

In the year 1948 , Leela got her first break as a playback singer in the film Kanganam that had music composed by Padmanabha Sastry. In the same year she also sang in the Malayalam movie Nirmala . By the 50’s she started singing in almost all the south Indian languages.

In an era when stalwarts well-versed in Carnatic classical music like M S Subbalakshmi , M L Vasanthakumari & D. K. Pattammal were singing for films also, it was P Leela’s immense talent and versatility that enabled her to create a name for herself. Leela could sing a song that had pure Carnatic classical base -Kathiruppan Kamala Kannan , a folk song with the right accent and intonation- Thazhayam Poo Mudichu) , a westernized tune- Raja Magal Roja Malar that had an Arabian feel, a folk and classical touch all in one song , an intensely moving female version of Endru Thaniyum Intha Suthantira dagam etc. For almost 20 years , starting from the late 40’s till late 60’s she was active in Tamil films. Of course in Malayalam she was one of the most prolific singers and was quite active till the late 70’s.

When the Guruvayoor Dewaswom decided to bring out the album Narayaneeyam (Bhagavata Purana in poetic form composed by Melpathur Narayana Bhattathiri, a celebrated Sanskrit poet of Kerala in 16^th century) , names of several musicians like M.S. Subbalakshmi , M.L. Vasanthakumari were considered and finally the Dewaswom approved P Leela to sing Narayaneeyam. “I got the chance to sing Guruvayarappan Narayaneeyam which I consider as an honour…”said Leela.

Known for her humility , in spite of being a very successful singer in all southern language films , she spent her later years with her nephews and nieces and focused more on classical concerts and light music programs. Unfortunately her marriage with a lawyer was not successful. During her lifetime she got many awards from various southern states , including the Kalaimamani award from Tamil Nadu, but as it always happens , the government of India awarded her the Padma Bhushan , posthumously in 2006.

An example of her humility and kind-heartedness was her gesture of suggesting the name of S Janaki, who was at that time still trying to make it big in Tamil films , for the masterpiece Singara Velana Deva in the film Konjum Salangai -a song that warranted matching the high octaves of Karakurichi Arunachalam’s nadaswaram. Very few in the music world would help a competitor!

The former Chief Minister of Tamil Nadu , Jayalalitha had paid a glowing tribute to her after her demise:

“One of the greatest vocal musicians of India, who made a name for herself by singing exquisite songs in her mellifluous voice in Malayalam, Tamil, and Telugu both for the film industry, as well as in Carnatic music. She had also rendered melodious devotional songs. Though she had been decorated with a number of awards including the Kalaimamani Award of the State Government for 1991-92, she was the epitome of humility and considered her contributions in the field of music a humble service to humanity and an offering to the Lord. In her passing, we have lost a great singer, leaving a great void in the world of music.”

With the limited knowledge that I have about her repertoire , I have selected 25 best songs by her , arranged in chronological order with the song , film , year, co-singers, music director and lyricist mentioned in that order.

Amaidiyillatha Maname Yen Maname-Pathala Bhairavi-1951-Duet with Ghantasala-Ghantasala-Thanjai N Ramaiah Dass

A lilting romantic melody, with that typical majestic voice of Leela complementing Ghantasala , with whom she had sung so many songs in Telugu. The tunes of the 50’s had their own sweet charm.

2. Perinbame Vaazhvile Endrume-Devaki-1951-Duet with Tiruchi Loganathan-G Ramanathan-A Maruthakasi

I tried to get a good quality link to this song, but was unable to do so. A song that has so much energy bursting forth, composed by the veteran G Ramanathan, who had given so many memorable songs for P Leela. And what to say about Tiruchi Loganathan-whatever he sang were superb!

One interesting thing about this film is that , it is picturized on V M Janaki, who was the wife of late M G Ramachandran and was the heroine in the film.

3. Ellaam Inbamayam-Manamagal-1951-M.L Vasanthakumari & P Leela-C.R Subbaraman-Udumalai Narayanakavi

C R Subbaraman was a legendary composer who had nurtured one more genius in Tamil film music-our own Mellisai Mannar MSV! The song Ellam Inbamayam is a great classical composition by C R Subbaraman, sung by M L Vasanthakumari and P Leela , and picturised on Padmini , in her debut film and her sister Lalitha. It is rare to see a song picturized with so many shots . It is said that the veteran actor-comedian , N S Krishnan who had produced and directed this film , had introduced all the technicians involved at the end credits of the film-definitely a unique concept for 1951! Note how P Leela has rendered this so well , singing with an established Carnatic classical singer like M L Vasanthakumari. Such songs will remain for posterity and it was truly a great experience for me to listen to this song after so many years.

4. Yaanai Thandham Pole-Amarakavi -1952-Duet with M.K. Thyagaraja Bhagawathar-G Ramanathan-Suratha

After the infamous Lakshmikanthan case , the legendary M K Thyagaraja Bhagavathar did act in few films , but unfortunately they were not super successful ones as compared to the 40’s which was the zenith of his career. However when listen to this song, we wonder why songs like this did not become famous. A superb composition , composed by G Ramanathan , sung so well by P Leela and MKT. Note the innovative counter-melody created by G Ramanathan at the end of the song when P Leela does a humming that goes counter to the main song.

5. Konji Pesum Kiliye- Amarakavi -1952-Duet with MKT-G Ramanathan-Suratha

One more hidden gem from the same film -note how P Leela matches the high octaves of MKT so effortlessly. The song sounds deceptively simple but if you listen carefully , you can discover what intricate notes have been weaved in by GR and how both the singers have rendered them so well.

6. Vaaranam Aayiram Soozha Valam Seidhu -Thooku Thooki-1954- Duet with M.L. Vasanthakumari – G Ramanathan- Nachiyar Thirumozhi by Aandal

Thooki film is known for bringing together the two legends -Sivaji Ganesan and TMS together. Although the song Sundar Soundari Nirandariye is more popular, I have selected another song as the former is sung together by Leela & A. P Komala whereas the Vaaranam Aayiram Soozha Valam Seidhu has once again MLV and P Leela rendering a superb song in their typical classical style. The lyrics are from the literary works of Aandal , a devotee of Vishnu, composed in the 8^th century. She is the only woman Aalwar among the twelve great devotees of Lord Vishnu.

7. Vaarayo Vennilaave -Missiamma-1955-Duet with AM Rajah-S Rajeshwara Rao-Thanjai N Ramaiah Das

Among the songs in this list, I think this one must be known to most of the readers. An evergreen melody composed by S Rajeshwara Rao with that mandolin being supreme in the orchestration. Beautifully picturized on Gemini Ganesan and Savitri, songs like this will remain evergreen for centuries.

8. Therinthu Kollanum Penne-Missiamma-1955- S Rajeshwara Rao-Thanjai N Ramaiah Das

This song is surprisingly not that much popular in spite of having a superb piano playing throughout the song ( I understand that Piano was played by one Ramachandran Diwakar). It is very rare to see a song picturized with the leading lady playing a piano in our films.

9. Mayame Naan Ariyen- Missiamma-1955- S Rajeshwara Rao-Thanjai N Ramaiah Das

The film Missiamma and Vanjikottai Valiban had some of the best songs from P Leela. Only after listening closely to P Leela’s songs, I realized how she was able to mould her voice to different genres. It is really a pity that she was not utilized more in Tamil films ; of course I do not have anything against her illustrious contemporaries like P Susheela & S Janaki who are great artists without any doubt. This is only a longing that we could have enriched the treasure of the golden era with more of P Leela’s songs also.

10. Vaanga Machan Vaanga-Madurai Veeran-1956-Solo & Duet versions (with TMS) -G Ramanathan- Thanjai N Ramaiah Das

If one listens to this song immediately after listening to the one in S. No 9, my observation must be ringing true. The way she adapts to a folk style in Vaanga Machan Vaanga is something truly amazing. There are two versions -the first one has P Leela dominating the first part only to handover the baton to another legend, TMS who elevates the song to an even higher level. The second link has a solo version by Leela.

11. Aaha Inba Nilavinile Oho Jagame -Maya Bazaar-1957-Duet with Ghantasala- Ghantasala- Thanjai N Ramaiah Das

One of the most entertaining films from the yesteryears, May Bazaar also had superb music. Although S Rajeshwara Rao was originally signed up , he left the film after composing 4 songs due to some differences , it was Ghantasala who completed the major part of the film. A soothing melody, with a scenic boat ride on a moonlit ride , the gentle voices of Ghantasala and P Leela take you into a tranquil world.

12. Kannudan Kalandhidum Subadhiname- Maya Bazaar-1957-Duet with Ghantasala- S Rajeshwara Rao- Thanjai N Ramaiah Das

One more duet by the P Leela and Ghantasala that has a pleasing melody from the blockbuster film Maya Bazaar.

13. Neeyegadhi Eeswari-Annayin Aaanai-1958- S.M Subbaiah Naidu-A Maruthakasi

Although I am not an expert in identifying the classical raagas, I understand this song is set on Charukesi raagam. An excellent rendition by P Leela , with so much of devotion and emotion that she has given to the song , especially at the high octaves in the charanam .

14. Thai porantha vazhi porakkum-Thai Piranthal Vazhi Pirakkum-1958- T. M. Soundararajan, P. Leela, S. V. Ponnusamy & L. R. Eswari-K.V Mahadevan-A Maruthakasi

Almost everyone in Tamil Nadu would be familiar with this song that is invariably played in radio on Pongal festival , the beginning of the Tamil month “ Thai.” No one would ever believe that P Leela’s mother tongue was not Tamil, when we listen to her songs-she sang with a perfect accent , more so when singing such folk songs that give a flavour of the rural life in Tamil Nadu.

15. Kathiruppan Kamala Kannan-Uthamaputhiran-1958-G Ramanathan- T K Sundara Vadyar

Right at the beginning of the song, by hearing that typical beat of tabla , we can understand it is the legendary G Ramanathan’s composition. And who else to render a classic raagamilka song other than P Leela . Her mastery is evident throughout the song. It is a raagamalika consisting of Saramati, Tilang and Mohanam raagas.

16. Kondattan Mansukkule Kondattam-Uthamaputhiran-1958-G Ramanathan- K.S Gopalakrishnan

You can discover the versatility of Leela’s singing when you listen to this this song. Effortlessly she renders this fast -paced peppy number, with so much of energy!

17. Kannun Kannum Kalanthu-Vanjikottai Valiban-1958-Duet with Jikki -C Ramachandra-Kothamangalam Subbu

I had covered this song in detail in my blog “ A musical journey-Tamil film music” and in that I had focused more on the music director C Ramachandra and his outstanding orchestration . P Leela brings the right classicism to Padmini’s dance while another legend , Jikki ( P Krishnaveni) provides an equal counter-point by lending her vocals to Vyjanthimala’s dance. One can write pages about this song that is well known to every one interested in old Tamil songs, but I do not know how many would be remembering the singers who gave us this wonderful song.

18. Raja Magal Roja malar- Vanjikottai Valiban-1958-C Ramachandra-Kothamangalam Subbu

From the same film , here is one hidden gem , that somehow remained a distant second to Kannum Kalanthu . While the latter was a duet with Jikki, in this song it is all the way P Leela who has rendered one of her all-time great songs. The song consists of three different parts with each one in a different genre that only a genius like C Ramachandra can think of. Starting off with an Arabian style , the song in the next part shifts to a typical folk genre and then moves on to a sort of westernized classical waltz and finally comes back to Raja Magal Roja Malar. P Leela proves her prowess in all the three styles and comes up with an immortal song. Those who are listening to this for the first time are bound to listen repeatedly in a loop!

19. Vennilave Thanmathiye- Vanjikottai Valiban-1958-C Ramachandra-Kothamangalam Subbu

One more gem from Vanjikottai Valiban , this time a sober and soft melody that caresses you with a mellifluous P Leela’s voice.

20. Thazhayam Poo Mudichu- Bhaga Pirivinai-1959- Duet with TMS -Vishwanathan Ramamoorthy-Kannadasan

It is surprising that we have a popular song of P Leela under the music direction of Mellisai Mannargal Vishwanathan-Ramamoorthy only in the year 1959 ! Although she had been singing for them right from Genova film (1954) and then in few films also in between, to the best of my research , I could not find any popular song in this combination. But what a great song this is! With just 3-4 instruments V-R composed a masterpiece of folk song that would always be listed at the top whenever one tries to make a list of best Tamil film songs in the folk genre. P Leela’s diction is so perfect to suit a typical village girl , with the veteran TMS adding his own charm.

21. Aanai Mugathone-Pillayar Kovilukku- Bhaga Pirivinai-1959- Duet with TMS -Vishwanathan Ramamoorthy-Pattukottai Kalyanasundaram

Honestly, I listened to this song for the first time only while working on this blog. Many songs from the film Bhaga Pirivinai were quite popular but somehow I had not listened to this earlier. A friendly teasing between the hero , Sivaji Ganesan, and a group of village girls, beautifully written by Pattukottai Kalyana Sundaram and superbly rendered by TMS & Leela. Not to miss the enactment on screen by the legend Sivaji.

22. Konjum Salangai Olikettu- Konjum Salangai-1962-S.M Subbaiah Naidu-Kannadasan

Although S Janaki’s life-time best song Singara Velane deva is the most popular song from this film, this one is equally mesmerizing. A scintillating dance number composed by the veteran S M Subbaiah Naidu and rendered by Leela in her typical style.

23. Nilave Nee Intha-Pattinathar-1962-Duet with TMS-G Ramanathan-T.K Sundara Vathyar

I keep discovering so many unheard gems while working on my blogs. That is the greatest reward for me! Note when TMS sings for himself on screen, the voice sounds so different from his songs for MGR or Sivaji! And what to say about Leela? She has moulded her voice to suit the mood of the song , proving that she was one of the foremost playback singers.

24. Mugam Paarthathu Pothatha-Tiruneelakandar-1972- C.N Pandurangan-Kannadasan

By the 70’s , the number of songs by Leela in Tamil films had reduced drastically, with MSV mostly composing songs with P Susheela or L R Eashwari and rarely S Janaki. The music composer C N Pandurangan is relatively lesser known , but I understand he had composed for 40 films in a career spanning 30 years. Despite being immensely talented commercial success evaded him and hence he is almost unknown today. This rare song in 1972 has P Leela singing with the same fervour. Once again a classical melody.

25. Sree Shiva Sutha -Karpoora Mullai-1991-Ilayaraja-Ilayaraja(?)

I was totally surprised to note that Leela had sung for Ilayaraja! Knowledgeable readers may comment if there was any other song in Tamil from these two. This song is from an obscure film Karpoora Mullai that was a remake or rather dubbed version of the Malayalam film Ente Suryaputhriku ( the link to the song also mentions that film only) . Even more surprising to note is that the song is mostly in Sanskrit and lyrics has been credited to Ilayaraja. It is supposed to be based on a very rare raaga-Rukumambari. Note how at the age of 57 , Leela has rendered this so nicely.

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

The very “ Life ” of Hindi film music-Zindagi!

April 30, 2025 Sivanandam Palamadai Leave a comment

After having covered many legendary music composers, lyricists, and singers in my blogs , both in Hindi & Tamil films, I thought of breaking the monotony of organizing my blogs artists-wise and start a separate section on “ theme” based songs. Of course , I have a huge list of artists yet to be covered , but I thought it is good to do something different .

And when we think of one theme or word that has been the most common one in many songs in Hindi films , right from the vintage era to the present times, it is Zindagi-literally meaning life .

If one starts listing out songs that have Zindagi as the core theme , it will run into hundreds or maybe thousands! I will try using some filter to work out a list that may help in fine tuning the selection of songs. Initially I thought of selecting one song that had Zindagi in the mukhda of the song , from each of the prominent male and female playback singers. But on second thoughts , I felt selecting them lyricist-wise might be a better way. So here we go with 20 selected songs that are primarily about Zindagi. I have covered almost all the major lyricists and few relatively less-known.

The word Zindagi is basically derived from the Persian language and has been extensively used in Urdu and Hindi. The Hindi equivalent is Jeevan. Many decades ago , when I was staying in hostel during my graduation , in a small town deep south in Tamil Nadu, I was one of the very few guys to listen to Hindi songs. Many of my friends were not familiar with Hindi and they used to comment “ most of the Hindi songs have Zindagi or Duniya”! True to some extent, but when I started searching for songs composed by each lyricist that has Zindagi in the mukhda, I could not find any popular song by some of the lyricists! For example , despite extensive searching, I could not find any popular song by the lyricist Gopaldas Neeraj who had written some of the most philosophical songs! Maybe my own poor top-of-the-mind recall and research could have resulted in leaving out some of the lyricists or even some of the popular songs!

Zindagi is a word that was used by our lyricists to denote many things. Sometimes it is literally life, sometimes it may refer to one’s love or lover, in other situations it can even refer to the struggles one undergoes in life etc. I am not an expert on poetry/literature/etymology etc and so will restrict myself to how I enjoy listening to these film songs and briefly touch upon the salient part of the lyrics to the best of ability.

Since I have gone by the rule of one song per lyricist, the music directors and singers covered may not be extensive, but to my own surprise , I find many of the major ones covered. Of course repetitions are bound to be there. Also I have selected those songs that have the word Zindagi in the mukhda of the song. Mostly it appears in the first line itself , some starting with that word , but in very few songs it appears in the second line of the mukhda. Also the entire song need not be as such describing Zindagi. With that disclaimer , let me take you through 20 songs that I could list out .

These are arranged in the chronological order of the year of the film, with the lyricist name mentioned first, followed by , in that order-song, film, year, singer(s) and music director. Also some of the songs may be relatively unknown -I have selected their song purely for the excellent lyrics that talks about Zindagi. As I always mention , my selection may not be everyone’s selection. Readers can enrich the blog by mentioning their own favourites in the comments section !

Shakeel Badayuni : Yeh Zindagi ke mele-Mela-1948-Rafi-Naushad

Shakeel Badayuni’s name is known mostly to those who love the songs of golden era. Although he is identified as Naushad’s trusted shayar, he had written many memorable songs for Hemant Kumar and Ravi also . In this song look at the way in which he condenses the philosophy of life in so simple words:

ye zindagi ke mele,ye zindagi ke mele,

duniya me kam na hoge, afsos hum na honge

duniya hai mauj-e-dariya, katre ki zindagi kya

paani me mil ke paani, anjaam ye ke faani

and further…

Ek din padegaa jaana, kya waqt kya zamana

Koi Na saath dega,sab kuch yahin rahega

Jayenge hum akele , yeh Zindagi ke mele

Naushad’s simple orchestration is carried through by the exquisite poetry of Shakeel Badayuni and Rafi’s evocative singing.

2 Rajendra Krishan-Yeh Zindagi Usiki Hai-Anarkali-1953-Lata-C Ramachandra

If Shakeel painted a sad reality and ephemeral nature of life , Rajendra Krishan captures Anarkali’s ode to love by stating that Zindagi is for that person who falls in love. He goes on to say Zindagi hai bewafa …Loot pyaar ka maaza

This song also has a sad version , when Anarkali’s love is not accepted by Jahangir’s father , Emperor Akbar, and she is supposed to be buried alive…note how Rajendra Krishan comes out with these superb lines:

jo dil yahan na mil sake

milenge us jahan me

khilenge hasrato ke phool

ja ke aasman me

ye zindagi chali gayi

jo pyar me toh kya hua

ye zindagi usi ki hai

jo kisi ka ho gaya

And he ends the song with these touching lines…

ai zindagi ki sham aa

tujhe gale lagaoon mein

tujhi me doob jaun mai

jahan ko bhul jau mai

bas ek nazar mere sanam

alvida alvida…..

3. Shailendra-Zindagi Khwab Hai-Jagte Raho-1956-Mukesh-Salil Chowdhury

Shailendra, one of the greatest poet-lyricists , had the knack of conveying profound philosophy in absolutely minimum words. Taking off with the popular doha from Kabir, he compares life to a dream…where there is no difference between truth or false .

Rangi ko naarngi kahe, bane dudh ko khoya

Chalati ko gaadi kahe, dekh kabira roya

Zindagi khwaab hai

Khwaab men jhuthha akya aura bhala sach hai kya

Sab sach hai

Dil ne ham se jo kaha, ham ne waisa hi kiya

Fir kabhi furasat se sochenge, bura tha ya bhala

Ek katara maya aka jab patthar ke honthon par pada

Us ke sine men bhi dil dhadka, ye us ne bhi kaha

The last stanza is the best one…

Ek pyaali bhar ke mainne gam ke maare dil ko di

Zahar ne maara Zahar to murde men fir jaan aa gayi

4. Qamar Jalalabadi-Aye Meri Zindagi Tujhe dhoondhoon kahan-Adil-E-Jahangir-1956-Talat -Husnlal Bhagatram

In this Qamar Jalalabadi’s song , Zindagi refers to the hero’s lover who has been separated from him. This song also has a female version sung by Lata , with different anatara. I came to know about the Urdu word ‘ mehmil’ -literally means a camel’s saddle and figuratively ‘ that by which anything is supported.

Qamar sahab has used it so beautifully in these lines:

Ae meri zindagi tujhe dhoondhoon kahaan

naa to mil ke gaye naa hi chhodaa nishaan

Naa wo laila rahi naa wo mehmil rahaa

paas manzil pe aake lutaa kaarwaan

ho lutaa kaarwaan

ae meri zindagi tujhe dhoondhoon kahaan

5. Jan Nisar Akhtar-Mere Zindagi Ke Humsafar-Shrimati 420-Geeta Dutt-O P Nayyar

While selecting the major lyricists for this blog, I almost forgot this great lyricist who had penned some of the most memorable songs. Also , while my focus was mainly on the lyricists, somehow my listing included all the main singers , excluding Geeta Dutt, till I discovered this song. Here the word Zindagi is used in close association with a partner who travels with one’s life . Jan Nisar Akhtar had a great collaboration with O P Nayyar and this is a rarely heard song . In the early years, OPN had used Shamshad Begum and Geeta till he discovered Asha .

meri jindagi ke humsafar

dekhna yaha bhin ek najar

tera mera raz kya

is kadar bhi naz kya

thoda thoda pyar kar le

kal ki kuch nahi khabar

6. S H Bihari-Yeh Hansta Hua Carvan Zindagi Ka-Ek Jhalak-1957-Hemant & Asha-Hemant Kumar

I discovered this song while searching for songs to be included in this blog and what delightful discovery it turned out to be! As one may observe while going through these 20 songs, many of them are pathos , but some like this one is a delightful , happy one. S. H Behari has written it so well.

ye hansta huaa karavaa zindagi kaa

naa puchho chalaa hai kidhar

tamannaa hai saath chalate rahe ham

naa bite kabhi ye safar

zami se sitaaro ki duniya me jaaye, haan haan
wahan bhi yahi geet ulfat ke gaaye…

Asha only keeps responding with one or two words in between, but the way Hemant da has composed this song , it is truly delightful. It was truly a pleasant surprise for me to know that this song has a cover version sung by Mukesh…I think Mukesh must have sung very few songs in Hemant da’s composition and both these versions have their own unique charm. I am giving the link to both of them here.

7. Asad Bhopali & Prem Dhawan-Zindagi bhar gham judaiyee ka -Miss Bombay-1957-Rafi-Hansraj Behl

I could not find any reason why there were two lyricists for a song-it is absolutely rare in film songs. Set in Malkauns raag by Hansraj Behl and sung superbly by Rafi this is a very rare song and is made immortal by Rafi’s emotional singing.

Badlaa to aise badlaa hai kuchh rang-e-gulsitaan

ik phuul pe bahaar hai ik phuul pe Kizaan

zindagii bhar gam judaai ka mujhe tadpaayegaa

har nayaa mausam puraanii yaad lekar aayegaa

From the lyrics it appears to be picturized on a lover conveying his pangs of separation . The line ‘har nayaa mausam puraanii yaad lekar aayegaa ‘ sums up the essence of the song-even as time flows with changing seasons, he is still haunted by the old memories of his love.

8. Kavi Pradeep -Gaa Rahi hai Zindagi-Anchal-1960-Mahendra Kapoor & Asha Bhonsle-C Ramchandra

For every song that talks about the struggles in life or separation brought into one’s life by failure in love life , there is an equally cheerful one also.

Here Kavi Pradeep says life is a song that seems to blossom like spring after the hero and heroine fall in love.

Ga rahi hai zindagi har taraf bahar me kis liye

char chad lag gaye hai tere mere pyar me

is liye

zindagi bhar ke liye tu baanh meri tham le

jab talak ye sans hai har sans tera nam le

ek nayi duniya khadi apane itezar me kis liye

char chad lag gaye hai tere mere pyar me

is liye

9. Prem Dhawan-Mujhe Pyar Ki Zindagi denewale-Pyar Ka Sagar- 1961-Rafi & Asha-Ravi

Prem Dhawan was a lyricist, music director and a choreographer and even acted in two films. Mostly known for his soul stirring patriotic songs , in this song he gets into a romantic mood . Although the hero is happy that he got his life through the love from his lover , he has lot of apprehensions whether it will last, whether she will turn away from him in future and even if the world may conspire to separate them! However she assures him that she has totally surrendered herself to his love and even asks him to test her!

Mujhe Pyar Ki Zindagi denewale

Kabhi gam na dena Khushi denewale

Mohabbat ke waade bhula to na doge

Kahin mujhase daaman chhuda to na loge

Mere dil ki duniya hai tere hawaale

Mujhe pyaar ki jindagi denewaale

10. Shiv Kumar Saroj -Khamosh Zindagi Ko awaaz de rahe ho-Naag Mandir-1966-Rafi-Lakshmikant Pyarelal

Very few might have heard this rare song from an obscure film called Naag Mandir, written by an unknown lyricist Shiv Kumar Saroj. He was an announcer in the famous Radio Ceylon and written a handful of film songs. When there is Rafi to sing, even such obscure songs become eternal melodies.

khamosh zindgi ko aawaj de rahe ho

tute huye haatho mein kyu saaz de rahe ho

benur meri aankhe aur dur kaa safar hai

uthate hain paanv lekin gir jane ka bhi dar hai

gir jane ka bhi dar hai

par kaat ke kisi ke paravaj de rahe ho

11. Majrooh Sultanpuri-Hui shaam unka khayal aa gaya wohi Zindagi ka sawaal aa gaya-Mere Hum Dum Mere Dost-1968-Rafi-Lakshmikant Pyarelal

While searching for popular songs written by Majrooh one of the most prolific lyricists, I could not find any song that immediately came to my mind .I could only dig out this song, that is no doubt very popular but has the word Zindagi appearing in only the second line of the mukhda!

Hui shaam un ka khyaal a gaya

Wahi zindagi ka sawaal a gaya

12. Kaifi Azmi -Zindagi Hai Kya Bolo Zindagi Hai Kya -Satyakam-1969-Kishore Kumar, Mukesh & Mahendra Kapoor-Lakshmikant Pyarelal

My search for one more famous lyricist , Kaifi Azmi also turned out to be almost futile like that of Majrooh , till I came across the film Satyakam. The film is considered as one that had a career best performance of Dharmendra in the role of a person who tried to tread the path of truth in his life despite numerous hurdles. There are two songs in this film that talk about Zindagi and both are superb ones; however I selected this one for the excellent lyrics that not only talks about Zindagi but ‘ aadmi’, ‘ dosti’ and that too in a very interesting manner. The three singers , Mukesh , Kishore and Mahendra Kapoor singing together is one more rarity! Kishore and Mahendra Kapoor give comical interpretations for Zindagi, Aadmi, Dosti etc whereas Mukesh comes out with a sober meaning for the same. Superbly composed , written and sung.

The other song from the same film is Do din ki Zindagi Kaisi Hai Zindagi, by Lata which is also too good.

13. Sahir Ludhianvi-Zindagi Ke Rang Kayee Re-Aadmi Aur Insaan-1969-Asha-Ravi

When one thinks of Sahir’s songs with ‘Zindagi’ the top of the mind recall will always be Mein Zindagi Ka Saath Nibhata from Hum Dono and Zindagi bhar nahin bhoolegi woh barsaat ki raat . However I had covered these two songs in detail in my earlier blogs and so I have selected a less popular but no doubt a masterpiece by the great combination of Ravi & Asha -who gave so many good songs that were unfortunately never acknowledged by the singer herself.

Zindagi ke rang ki re, saathi re

Zindagi ke rang ki re

Zindagi dilon ko kabhi jodati bhi hai

Zindagi dilon ko kabhi todati bhi hai

Zindagi ke rng ki re

Zindagi ki raah men khushi ke phul bhi

Zindagi ki raah men gamon ke dhul bhi

Zindagi ke rang ki re

Zindagi kabhi yakin, kabhi gumaan hai

Har qadam pe tera mera imtihaan hai

Zindagi ke rang ki re

14. Indeevar -Zindagi Ka Safar Hai Kaisa -Safar-1970-Kishore-Kalyanji Anandji

Indeevar pleads his inability to comprehend life-he goes on to say no one has understood it nor known it well. The film Safar has the hero struck with a terminal illness and so the song captures his mood .

Zindagi ka safr, hai ye kaisa safr

Koi samajha nahin, koi jaana nahin

Hai ye kaisi dagar, chalate hain sab magar

Koi samajha nahin, koi jaana nahin

Zindagi ko bahut pyaar hamane diya

Maut se bhi mohabbat nibhaayenge ham

Rote-rote zamaane men aye magar

Hnsate-hnsate zamaane se jaayenge ham

Jaayenge par kidhar, hai kise ye khabar

Koi samajha nahin, koi jaana nahin

15. Hasrat Jaipuri -Zindagi Ek Safar Hai Suhana-Andaaz-1971-Kishore-Shankar Jaikishan

One of Kishore Kumar’s iconic songs, and also my eternal favourite for the superb lines written by Hasrat Jaipuri , the out-of-the world yodelling by Kishore da and a peppy rhythm and orchestration by …who else…the great Shankar Jaikishan. Though Hasrat shares Indeevar’s thoughts partly-that is , he also agrees no one knows what will happen in our life tomorrow, but paints a brighter, optimistic picture .

Many-a-times we tend to dismiss film songs as not class, but it is to the credit of lyricists and poets like Hasrat who convey profound philosophy in a language that anyone can understand.

Zindagi ek safar hai suhaana

Yahaan kal kya ho kisane jaana

Chaand-taaron se chalana hai age

Asamaanon se badhna hai age

Pichhe rah jaaega ye zamaana

Hansate gaate jahaan se guzar

Duniya ki tu parwa n kar

Muskuraate hue din bitaana

Maut ani hai aegi ek din

Jaan jaani hai jaaegi ek din

Aisi baaton se kya ghabaraana

16. Yogesh -Zindagi Kaisi hai paheli-Anand-1971-Manna Dey-Salil Chowdhury

Yogesh wrote excellent songs for Salil da in addition to few other composers. The film Anand had two songs by him -Zindagi Kaisi hai paheli and Kahin door jab din dhal jaaye.

Yogesh talks about life as a riddle that sometimes makes you laugh and sometimes cry. And unwillingly we get caught in the race to run behind our dreams and ultimately a day comes when we go beyond our dreams into the other world.

Zindagi kaisi hai paheli haae

Kabhi to hnsaae, kabhi ye rulaae

Kabhi dekho man nahin jaage

Pichhe pichhe sapanon ke bhaage

Ek din sapanon ka raahi

Chala jaaye sapanon se age kahaan

Jinhon ne sajaaye yahaan mele

Sukh-duhkh sng-sng jhele

Wahi chunakar khaamoshi

Yun chale jaaen akele kahaan

17. Anand Bakshi -Zindagi Ae Zindagi Tere Hai Do Roop-1972-S D Burman-S D Burman

A very rare and almost forgotten song, I had not known earlier that Burman Da got the National award for best music for this film. Anand Bakshi is more known for his lively , romantic songs rather than philosophical songs . But in this song he has gone all out and written a masterpiece. Not only Zindagi, but he goes on to say Chandini, Aadmi and Dillagi-all have two sides to them.

Burman da used to sing the title song for some of his films and must have sung just a dozen odd songs in his entire career in Hindi films , but whenever he sings with his unique voice that had an earthy feel, it becomes a masterpiece. The flute used throughout the song is simply out-of-the world ( though I have not researched , could have been Hariprasad Chaurasia as he had played for many of Burman da’s songs-purely my guess)

zindagi aye zindagi zindagi, tere hai do rup

biti hui raato ki bato ki tu chhaya

chhaya vo jo banegi dhup

kabhi tere kinare thi thandi thandi hay re

ab tu hi mere ji me aag lagaye

chandani aye chandani chandani, tere hai do rup

tute hue sapno ki apno ki tu chhaya

chhaya vo jo banegi dhup

aate jate pal kya hai samay ke ye jhule hai

bichade sathi kabhi yad aaye kabhi bhule hai

adami aye adami adami, tere hai do rup

dukh sukh ke jhulo ki phulo ki tu chhaya

chhaya vo jo banegi dhup

koi bhuli hui bat mujhe yad aai hai

khushi bhi tu layi thi aur ansu bhi tu layi hai

dilagi aye dilagi dilagi, tere hai do rup

kaise kaise vado ki yado ki tu chhaya

chhaya vo jo banegi dhup

18. Gulzar-Tere Bina Zindagi Se Koi Shikwa-Aandhi-1975-Kishore Kumar & Lata-R D Burman

Aandhi film had some of the best songs from the team of Gulzar and R D Burman. I think for a majority of Hindi film music lovers, Gulzar is a favourite lyricist-personally I am not a big fan , though I do like most of his early songs and selected few from his later years like this one. Composed superbly by Pancham da and sung brilliantly by Kishore and Lata, this one can count among their best duets ever. Gulzar captures the emotions of the couple who are unable to spend time together with the immortal lines:

Tere bina Zindagi se koi shikwa toh nahi, shikwa nahi, shikwa nahi

Tere bina Zindagi bhi lekin , Zindagi toh nahi, Zindagi nahin, Zindagi nahin , Zindagi nahin

19. Sudharshan Fakir-Zindagi Zindagi mere ghar aana- Dooriyan-1979-Bhupendra & Anuradha-Jaidev.

Sudharshan Fakir was a Urdu poet and lyricist and is well known for his ghazals , many that were popularised by Begum Akhtar and Jagjit Singh.

Note the excellent poetry in the lyrics-I think there is no need to explain anything-the various stages in life – from falling in love , getting married and having a child (princess-“ shehzaadi” !) are all captured so beautifully by Sudharshan Fakir.

Zindagi, zindagi, mere ghar ana, ana zindagi

Zindagi o zindagi mere ghar ana, ana zindagi

Mere ghar ka sidha sa itana pata hai

Ye ghar jo hai chaaron taraf se khula hai

Na dastak zaruri na awaaz dena

Mere ghar ka darawaaja koi nahin hai

Hain diwaaren gum aur chhat bhi nahin hai

Badi dhup hai dost, kadi dhup hai dost

Tere anchal ka saaya churaake jina hai jina, jina zindagi

Mere ghar ka sidha sa itana pata hai

Mere ghar ke age mohabbat likha hai

Na dastak zaruri na awaaz dena

Main saanson ki raftaar se jaan lungi

Hawaaon ki khushbu se pahachaan lungi

Tera ful hun dost, teri dhul hun dost

Tere haathon men chehara chhupa ke jina hai jina, jina zindagi

Magar ab jo ana to dhire se ana

Yahaan ek shahajaadi soyi hui hai

Ye pariyon ke sapanon men khoyi hui hai

Badi khub hai ye, tera rup hai ye

Tere angan men, tere daaman men

Teri ankhon pe, teri palakon pe

Tere qadamon men isako bithhaake jina hai jina, jina zindagi

20. Raja Mehdi Ali Khan- Kaise kategi Zindagi tere bagair- Tere Bagair Album-2009-Private Album-Rafi-Madan Mohan

I was surprised to note that Raja Mehdi Ali Khan, who wrote many superb ghazals for Madan Mohan did not have any popular one with the Zindagi word. Then I discovered this -a relatively new song in the sense that it was initially recorded for a film that was never released and much later , in 2009, Madan Mohan’s son Sanjeev Kohli released many such hidden gems of Madan Mohan through an album titled Tere Bagair. Now how Madan Mohan’s music was far ahead of his times-a superb ghazal , written so well and above all rendered with a passion that can be done only the great singer – Rafi sahab.

kaise kategi jindagi tere bagair, tere bagair

paayunga har shay mein kami tere bagair, tere bagair

kaise kategi jindagi tere bagair, tere bagair

phule khilein tu yun lage, phul nahi yeh daag hai

taare falak pe yun lage jaise bujhe chiraag hai

aag lagaaye chaandani tere bagair, tere bagair

chaand ghata mein chhup gaya, saara jahaan udaas hai

kehati hai dil ki dhadkane tu kahi aaspaas hai

aake tadap raha hai ji tere bagair, tere bagair

kaise kategi jindagi tere bagair, tere bagair….

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

The Versatile S. Janaki

April 2, 2025 Sivanandam Palamadai Leave a comment

Born: 23^rd April , 1938

If I have not covered a living legend like Sistla Janaki in my blogs it is because of a simple reason . The dilemma of how to select few songs from the huge number of hit songs that she has rendered in Tamil films alone, apart from all the other South Indian languages, in a career that spans around six decades. Of course, my own limited knowledge about her songs also prevented me from writing about her till now. Even now, I am not confident if I would be able to do some justice to her, but let me at least try.

S Janaki ( henceforth I will refer to her as SJ ) , a living legend, has rendered some of the most difficult songs in film music. In her own words , the song “Shiva shiva ennada naaligeyeke” for the Kannada film Hemavathi was her toughest song , composed in Thodi and Aabhogi , alternating between these two ragas and the lightning speed in which she sings the swaras towards the end of the song is something unbelievable. I am providing the link to that song here:

Almost similar , but more melodious, is her famous Singara Velana Deva from the Tamil film Konjum Salangai, in which she matched the virtuosity of the legendary Nadaswaram player Karakurichi Arunachalam, note by note. For many legendary singers , unfortunately we do not have any authentic source on exact number of songs rendered by them . SJ might have definitely sung thousands of films songs, albums, songs for TV & Radio , sung as solo, duet and with multiple singers. I do not have any official statistics for this number. Since she sang in all the four southern languages , it must be at least in the range of 10,000-20,000 in my own estimate.

Born on 23^rd April 1938 to Sistla Sreeramamurthy & Satyavati in Guntur, Andhra Pradesh. Her father was an Ayurvedic doctor and teacher. Although she never had any formal training in classical music, she did learn some basics from a Nadaswara vidwan Paidiswamy. In the town of Sircilla , she spent her childhood and at the young age of 9 , she sang for the first time on stage. Later , when she was in her twenties, on the advice of her uncle she moved to Chennai and approached the noted music director R Sudarsanam. However it was with the composition of T Chalapathi Rao for the film Vidhiyin Vilayattu in 1957 ( the song was En Aasai Paazhunaathu Eno) she began her glorious career. Immediately after this film she started singing in Telugu and Kannada. Statistically , she is said to have sung the maximum songs in Kannada, followed by Malayalam , Telugu, and Tamil.

Although SJ was singing many songs in Kannada, Malayalam & Telugu , in Tamil till the mid 70’s she sang lesser number of songs as P Susheela was already established as the number one female playback singer during the 50’s & 60’s . However, in my opinion, SJ sang some of the best songs of her career during that period. Of course , in 1976 , there came a turning point in her career with the film Annakili , after which there was no looking back for her in Tamil film music .

Her versatility is unmatched- she could sing like a small kid, intensely emotional songs, folk songs, pure classical songs, devotional songs and one of the most popular genres- her romantic and sensuous songs-all with equal fervour. The ease with which she reaches the higher octaves is simple unbelievable. Starting her career with the yesteryear legends like G Ramanathan, KV Mahadevan, Vishwanathan -Ramamoorthy she could easily adapt her singing style to newer generation music directors like Ilayaraja, A.R Rehman , Vidyasagar etc. Of course she did the same in other languages like Kannada, Malayalam, Telugu but I am restricting my blog to only the music I am aware of, i.e. Tamil and that too within my limited ability.

I have tried my best to select few songs from her vast repertoire and tried including a mix of her early songs that are also my personal favourites, and her later, more popular songs. They include her fabulous solos and some of her best duets. Songs have been arranged in chronological order of the film’s year of release , with song , film, year , music director , lyricist, and co-singer.

I have to confess here that my knowledge about SJ’s songs is limited-I have listened to few of them and they are mostly from the pre-90’s and so many readers may find my selection a bit strange. I have tried my best to include her best solos and duets with most of the prominent male playback singers – SPB ( the most popular pair! ) , TMS,P.B. Sreenivas, KJ Yesudas, Malaysia Vasudevan, P Jayachandran, M.S Vishwanathan & Ilayaraja . Among the composers , I have not ventured into the songs she must have sung for many later composers in Tamil films as I have very little idea about that period.

Singara Velane Deva” –Konjum Salangai -1962-S.M Subbiah Naidu-Ku. Ma. Balasubramaniam-Nadaswaram played by the legend Karakurichi P. Arunachalam

Though SJ was singing for almost 5 years in Tamils films, this epic “ duet” of SJ with the Nadaswaram played by the maestro Karakurichi P Arunachalam is considered as one her career best. It is said that initially they considered many other singers , but ultimately selected SJ to sing this , matching the high octave of the nadaswaram. The making of this song itself is an interesting story and this has been explained so nicely & comprehensively by Ms Subashree Thanikachalam in her QFR series and I am providing a link to that here.
The way in which SJ matches each and every note of the nadaswaram is something that has to be mentioned in golden letters of the annals of Tamil film music history.

The song:

The story behind the song’s creation

2. Kannan Mananilayai” –Deivathin Deivam -1962- G Ramanathan-Mahakavi Subramanya Bharatiyar

A rare song that is truly a gem from the early years of SJ’s career. A superb raagamaligai from the great composer G Ramanathan ( I have written about this song in my blog on GR) , that starts off with Bhimpalasi , then meanders to a soft Bhageshree and ends with raag Bihaag that smoothly flows with romance. Matching step by step with SJ is the veenai played with so much of classicism . No doubt SJ had her most popular and brilliant songs in 70’s and later, but her earlier songs had a purity and innocence that was unmatched.

3. Pon Enben Siru Poovenben-Policekaran Magal-1962- Vishwanathan-Ramamoorthy-Kannadasan-Duet with PBS

Sounding so sweet in lower notes is a difficult thing to achieve. PB Sreenivas and SJ are too good in this song that starts off at a slow pace and with lower octaves. And then after Vishwanathan-Ramamoorthy ‘s scintillating interlude with veenai , flute & strings the song shifts to a faster tempo and higher notes. An immortal melody from V-R based on Darbari Kanada raagam. I consider this as one of the most melodious duets of PBS & SJ.

4. Chinnanjiriya Vanna Paravai-Kungumam-1963-K. V Mahadevan-Kannadasan-Duet with TMS

The same raagam Darbari Kanada is handled in a different way by another legendary composer, K V Mahadevan. In this , TMS joins SJ and both render a masterpiece together, matching note by note so well. The intricate alaapanai towards the end of the song seem so effortless when these two legends sing together.

5. Ninaithal Pothum Paduven-Nenjirukkum Varai-1967-M.S Vishwanathan-Kannadasan

Hidden amongst the more famous songs in this film like the evergreen TMS & P Susheela duet Muthukalo Kangal and P Susheela’s solo Enge Neeyo Naanum ange unnodu, this SJ solo remained a relatively unheard one , but as usual SJ shows her immense talent in singing this in a truly amazing way. The starting itself is at such a high note and the excellent orchestration by MSV adds so much power to the song. Those who are hearing this for the first time, like me, are sure to hear it repeatedly.

6. Unnidathil Ennai Koduthen -Avalukendru Oru Manam-1971-M.S Vishwanathan-Kannadasan

As I keep discovering more and more gems of SJ from the Black & White era films, I am truly amazed at the immense variety of songs she had rendered. The tune , interludes & charanam are all vintage MSV! Superb shehnai as in most of MSV’s old songs and when we have SJ going all out , then it has to be a masterpiece.

7. Sollathan Ninaikiren- Sollathan Ninaikiren-1973- M.S Vishwanathan-Vaali-Duet with MSV

Whenever I listen to this song, I wonder how futuristic , MSV’s tunes were!

There is a sweet contrast in the voices-rustic, heavy voice of MSV coupled with a soft and velvety voice of SJ. As such MSV sang very rarely and with SJ , must be just a handful. The tune itself is so mesmerising and the orchestration by MSV , with those superb guitars, flutes, that solo violin, MSV’s trademark piano-all simply out of the world. The last stanza is normally not heard in the audio versions and I think only the film version has it.

8. Then sinthuthe vaanam -Ponnuku Thanga Manasu-1973-G.K Venkatesh-Kannadasan-Duet with SPB

G.K Venkatesh , the legendary composer in Kannada films , scored for few Tamil films only but whatever he composed were superb tunes. The golden combination of SPB & SJ would later go on to create great waves in Tamil films with Ilayaraja, GKV’s protégé . It is said that GKV was quite busy during the time of composing this song and he had created the basic melody and gave it to his assistant Ilayaraja to arrange and conduct . Note how SJ effortlessly reaches the high octaves in the lines “ Vaidehi munne raghuvamsha raman.”

9. Machana Patheengala-Annakili-1976-Ilayaraja-Panchu Arunachalam

Although SJ was singing for a long time in Tamil films and even more in the other southern languages, it was this song that took her to the Mt Everest of Tamil film music! The brilliance in IR’s composition was evident in his very first film , that continued at least for another two decades, almost uninterrupted.

SJ’s mastery over the emotions in the song , along with her trademark pitch makes this a milestone song in her career.

10. Kaatrukenna Veli-Avargal-1977- M.S Vishwanathan-Kannadasan

If IR had triggered the SJ wave with Annakili, MSV , who , till then had relatively given only few songs to her, came up with a masterpiece. In my purely personal opinion , this is one of her greatest songs. I simply cannot get tired listening to this. The way SJ carried this song is very difficult to explain. MSV comes up with a unique concept of starting the song with a fast tempo & chorus humming. His typical drums give the kick start and then SJ makes her grand entry like a superstar in a film scene with her extraordinary alaap. The core theme of the song , as usually written so well by the great Kannadasan, is about how the heroine feels after falling in love after years of slogging to support the large family she is burdened with . MSV’s tune, Kannadasan’s words and SJ’s singing -all create the exact feel for the situation. That is why songs created by those legends are evergreen.

11. Senthura Poove-16 Vayathinile-1977- Ilayaraja-Gangai Amaran

After Annakili , this was one more feather in SJ’s cap. IR’s guitar, flute , strings that dominate the prelude is etched in our memory even after 48 years . This song brought the first National award for best female playback singing for SJ ; she continued to win three more National awards. There might not have been even a single day when this song was not heard at the time of its release.

One phrase from summarizes this song: ‘Jillendra Kaatre’…cool breeze. Whenever you listen to this you feel a cool breeze caressing you.

12. Kuyile Kavikuyile-Kavikuyil-1977- Ilayaraja-Panchu Arunachalam

Matching note by note , the sound of ‘kuil’ (nightingale) in this song, SJ could come out with a super hit song in this movie , that also had the great classical singer M Balamurali Krishna rendering his immortal Chinna Kannan Azhaikiran.

13. Antha Purathil Oru Maharajan-Deepam-1977-Ilayaraja -Pulamaipithan-Duet with TMS

The first few years after he stormed the Tamil film music scene , Ilayaraja was having a creative explosion! Whatever he tuned turned out to be a super hit. TMS and SJ sang very few songs together and that too in IR’s composition, they were very few, but this is one song that remains in our memory whenever we think of this rare combination. Note how SJ modulates her voice in the line “ Aasai kanindhu vara avan paarthaan; annam thalai kunindhu nilam paarthaal.”

14. Azhagiya Kanne-Udiripookkal-1979- Ilayaraja-Kannadasan

In songs like this, SJ proves that apart from those high pitched, intricate/difficult, and romantic songs, she can also render a sober , melodious song with equal fervour.

15. Kaatril Yenthan Geetham-Johnny-1980- Ilayaraja-Gangai Amaran

When we listen to this song, the first impression is on the extraordinary tune and orchestration of IR. But it is also the excellent singing of SJ, who took this song to a different level, and made it into a masterpiece. Especially the way she elaborates that “ kanatha…ondrai theduthe” with those subtle pauses and drag.

16. Puthum Puthu Kaalai-Alaigal Oivathillai-1981-Ilayaraja-Gangai Amaran

Like Senthoorapoove , Kaatril Yenthan Geetham , this is one iconic solo of SJ under the baton of the maestro Ilayaraja. One of my all-time favourites of this combination, the multi-layered orchestration by IR is simply world class. SJ brings the right tone to the song , with a restrained singing in some places and then going all out in the higher notes in her typical style.

17. Ponvanam Panneer Thoovuthu-Indru Nee Nalai Naan-1983- Ilayaraja-Vairamuthu

That intricate humming right from the beginning of the song to the first charanam and the second one , and of course the usual orchestration brilliance of IR set the mood for the song.

18. Pothi Vechha Malliga mottu-Mann Vasanai-1983-Ilayaraja-Vairamuthu-Duet with SPB

The hero of this song is of course SPB , who embellishes it with all those intricate nuances that he is well known for. Equally SJ matches him in each and every note. And when these two sing together it is always magic!

19. Vetti Veru Vasam-Mudal Mariyathai-1985- Ilayaraja-Vairamuthu-Duet with Malaysia Vasudevan

Mudal Mariyadai had some of the best songs from the team of IR & Vairamuthu although it is said that they did not like the film and never watched it! It even fetched Vairamuthu a National award for best lyrics. One of the best duets of Malaysia Vasudevan and SJ , with both effortlessly gliding through those high octaves in the charanams.

20. Ooru Sanam Thoongiduchu-Mella Thiranthathu Kadavu-1986-MSV & Ilayaraja-Gangai Amaran

When two legends , MSV & IR teamed up for this film , the music is bound to be a milestone. The former had composed most of the songs in the films, with IR taking care of the arrangements and orchestration. A soft melody that lingers in your mind with SJ conveying the feelings of separation by a lovelorn woman so evocatively.

21. Kodiyile Malliyappu-Kadalora Kavithaigal-1986-Ilayaraja- Vairamuthu-Duet with P Jayachandran

Just around 3 months back we lost this legendary singer-P Jayachandran. If someone could look at the statistics of his Tamil songs, he must have had the one of the highest percentage of hits. This eternal duet by him and SJ , with that out-of-the world orchestration by IR has always been my personal favourite.

22. Adi Aathhadi -Kadalora Kavithaigal-1986-Ilayaraja- Vairamuthu- Duet with Ilayaraja

From the same film Kadalora Kavithaigal, we have one more excellent duet of SJ, this one with the composer himself. Also the unique experimentation by IR by creating an overlap of the singer’s voice adds so much charm.

23. Thoongatha Vizhigal Rendu-Agni Natchatiram-1988-Ilayaraja-Vaali-Duet with KJY

It has been IR’s mastery to take a classical raagam and compose a catchy film song , embellishing it with a superb orchestration . And when it comes to a classical base song, then who else but the Gaana Gandharvan K J Yesudas to join with SJ and come out with a timeless classic.

24. Sundari Kannnal Oru Sethi – Thalapathi -1991-Ilayaraja-Vaali-Duet with SPB

It was a real dilemma for me to choose from the numerous hits of the golden combination -SPB & SJ. All songs from Thalapathi were super hits and this duet

is one of the most famous from this duo.

25. Nenjile Nenjile-Uyire-1998-A. R Rehman-Vairamuthu

I have limited knowledge of Tamils songs after 1990 , especially those SJ hafd sung with composers other than Ilayaraja. I have to admit that I was aware of the Hindi version of this song that was also composed by ARR ( film Dil Se) sung by Lata Mangeshkar when her voice was past her prime. Only when searching for some best SJ songs for ARR , I came across this -even at the age of 60, SJ’s voice sounds so youthful.

With that I conclude my article on the versatile S Janaki. I only wish I had listened to many more songs of her . Normally I do not venture into the songs in other languages that I am not very familiar , but would like to make an exception here. This Malayalam song-Thumbi Vaa Thumbakudathin from the film Olangal, written by O N V Kuruppu ,has been my personal favourite and so posting the link here:

IR must have liked this tune so much that he later took into this into a Tamil film -Sangathil Padatha Kavithai for the film Auto Raja and in Telugu as Aakasham Ennatido for the film Nireekshana . All had one common singer-S Janaki!!

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
QFR series in YouTube by Ragamalika TV

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.always known as S Janaki and shortened SJ for simplicity , in my blogs , it is because of this . The dilemma of how to select few songs from the huge number of hit songs that she has rendered in Tamil films alone, apart from all the other South Indian languages, in a career that spans around six decades. Of course, my own limited knowledge about her songs also prevented me from writing about her till now. Even now, I am not confident if I would be able to do some justice to her, but let me at least try.

SJ , a living legend, has rendered some of the most difficult songs in film music. In her own words , the song “Shiva shiva ennada naaligeyeke” for the Kannada film Hemavathi was her toughest song , composed in Thodi and Aabhogi , alternating between these two ragas and the lightning speed in which she sings the swaras towards the end of the song is something unbelievable. I am providing the link to that song here:

Singara Velane Deva” –Konjum Salangai -1962-S.M Subbiah Naidu-Ku. Ma. Balasubramaniam-Nadaswaram played by the legend Karakurichi P. Arunachalam

The song:

The story behind the song’s creation

2. Kannan Mananilayai” –Deivathin Deivam -1962- G Ramanathan-Mahakavi Subramanya Bharatiyar

3. Pon Enben Siru Poovenben-Policekaran Magal-1962- Vishwanathan-Ramamoorthy-Kannadasan-Duet with PBS

4. Chinnanjiriya Vanna Paravai-Kungumam-1963-K. V Mahadevan-Kannadasan-Duet with TMS

5. Ninaithal Pothum Paduven-Nenjirukkum Varai-1967-M.S Vishwanathan-Kannadasan

6. Unnidathil Ennai Koduthen -Avalukendru Oru Manam-1971-M.S Vishwanathan-Kannadasan

7. Sollathan Ninaikiren- Sollathan Ninaikiren-1973- M.S Vishwanathan-Vaali-Duet with MSV

Whenever I listen to this song, I wonder how futuristic , MSV’s tunes were!

8. Then sinthuthe vaanam -Ponnuku Thanga Manasu-1973-G.K Venkatesh-Kannadsan-Duet with SPB