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