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

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15th March 1914 -26th May  1979

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

      Acknowledgements and Disclaimer:

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

      1. You Tube
      2. Wikipedia
      3. Ragamalika TV-QFR series

      The songs mentioned are from the popular, public domain and have been embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights The photograph is taken from the internet, duly recognizing the full copyrights for the same to the  original creator or the site where they were originally displayed .This blog does not claim any copyright over them, which rests with the respective owners of the rights.

      Hindi film songs

      Vani Jayaram and her mesmerizing singing

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      Part 1-Her excellent solo songs

      30th November 1945 -4th February 2023

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                          Acknowledgements and Disclaimer:

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

                          1. You Tube
                          2. Wikipedia
                          3. Ms Subashree Thanikachalam’s QFR series in YouTube

                          The songs mentioned are from the popular, public domain and have been embedded here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights The photograph is taken from the internet, duly recognizing the full copyrights for the same to the  original creator or the site where they were originally displayed .This blog does not claim any copyright over them, which rests with the respective owners of the rights.

                          Hindi film songs

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

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                          24 June 1927 – 17 October 1981

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

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

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

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

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

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

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

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

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

                          அத்தான் என்னத்தான் அவர் என்னை தான் எப்படி சொல்வேனடி

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

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

                          மொட்டுத்தான் கன்னி சிட்டுத்தான் முத்துத்தான் உடல் பட்டுத்தான், என்று தொட்டுத்தான்

                          கையில் இணைத்தான் வளைத்தான் பிடித்தான் அணைத்தான் எப்படி சொல்வேனடி….

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

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

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

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

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

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

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

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

                          ஆற்றினிலே கரைபுரளும்- வெள்ளம்; ஆசையிலே கரை புரளும்- உள்ளம்

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

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

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

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

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

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

                          பனி இல்லாத மார்கழியா படை இல்லாத மன்னவரா

                          இனிப்பில்லாத முக்கனியா இசை இல்லாத முத்தமிழா

                          அழகில்லாத ஓவியமா ஆசை இல்லாத பெண் மனமா

                          மழை இல்லாத மாநிலமா மலர் இல்லாத பூங்கொடியா

                          தலைவன் இல்லாத காவியமா தலைவி இல்லாத காரியமா

                          நிலை இல்லாமல் ஓடுவதும் நினைவில்லாமல் பாடுவதும்

                          பகைவர் போலே பேசுவதும்  பருவம் செய்யும் கதை அல்லவா

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

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

                          நினைக்க தெரிந்த மனமே உனக்கு மறக்க தெரியாதா,  பழக தெரிந்த

                          உயிரே உனக்கு விலக தெரியாதா, உயிரே விலக தெரியாதா

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

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

                          கொதிக்க தெரிந்த நிலவே உனக்கு குளிர தெரியாதா, குளிரும் தென்றல் காற்றே உனக்கு

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

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

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

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

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

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

                          பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்

                          அன்று உனைத்  தேன் என நான் நினைத்தேன்

                          அந்த மலைத் தேன் இதுவென மலைத்தேன்

                          பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

                          அன்று உனைத்  தேன் என நான் நினைத்தேன்

                          அந்த மலைத் தேன் இவரென மலைத்தேன்

                          கொடித் தேன் இனியங்கள் குடித்தேன் என

                          ஒரு படித் தேன் பார்வையில் குடித்தேன்

                          துளித் தேன் சிந்தாமல் களித்தேன்

                          ஒரு துளித் தேன் சிந்தாமல் களித்தேன்

                          கைகளில் அணைத்தேன் அழகினை இரசித்தேன்

                          மலர்த் தேன் போல் நானும் மலர்ந்தேன் 

                          உனக்கென வளர்ந்தேன் பருவத்தில் மணந்தேன்

                          எடுத்தேன் கொடுத்தேன் சுவைத்தேன்

                          இனித் தேன் இல்லாதபடி கதை முடித்தேன்

                          நிலவுக்கு நிலவு சுகம் பெற நினைந்தேன்

                          உலகத்தை நான் இங்கு மறந்தேன்

                          உலகத்தை மறந்தேன் உறக்கத்தை மறந்தேன்

                          உன்னுடன் நான் ஒன்று கலந்தேன்

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

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

                          தோள் கண்டேன் தோளே கண்டேன்,  தோளில் இரு கிளிகள் கண்டேன்

                          வாள் கண்டேன் வாளே கண்டேன், வட்டமிடும் விழிகள் கண்டேன்

                          The best part of this song is this:

                          தேடி வந்த திங்கள்,  திங்களில் செவ்வாய்

                          செவ்வாயின் வெள்ளி, சேர்த்தெடுத்தேன் அள்ளி

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

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

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

                          அன்பு நடமாடும் கலைக் கூடமே, ஆசை மழை மேகமே

                          கண்ணில் விளையாடும் எழில் வண்ணமே, கன்னித் தமிழ் மன்றமே

                          மாதவிக் கொடிப் பூவின் இதழோரமே, மயக்கும் மதுச் சாரமே

                          மஞ்சள் வெயில் போலும், மலர் வண்ண முகமே

                          மன்னர் குலத் தங்கமே, பச்சை மலைத் தோட்டம் மணியாரமே

                          பாடும் புது ராகமே

                          வெள்ளலை கடலாடும் பொன்னோடமே, விளக்கின் ஒளி வெள்ளமே

                          செல்லும் இடம் தோறும், புகழ் சேர்க்கும் தவமே

                          தென்னர் குல மன்னனே

                          இன்று கவி பாடும் என் செல்வமே, என்றும் என் தெய்வமே

                          மாநிலம் எல்லாமும் நம் இல்லமே, மக்கள் நம் சொந்தமே

                          காணும் நிலமெங்கும், தமிழ் பாடும் மனமே, உலகம் நமதாகுமே

                          அன்று கவி வேந்தன், சொல் வண்ணமே

                          யாவும் உறவாகுமே

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

                          Acknowledgement & Disclaimer 

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

                          1. You Tube
                          2. Wikipedia
                          3. Ms Subashree Thanikachalam’s QFR YouTube series

                          The songs mentioned are from the popular, public domain and have been embedded here   only for the listening pleasure of the music lovers. The photograph is taken from the internet, duly recognizing the full copyrights for the same to the  original creator or the site where they were originally displayed .This blog does not claim any copyright over them, which rests with the respective owners of the rights.

                          Hindi film songs

                          The gentle melodies of A. M Rajah 

                          4 Comments

                          1st July 1929 -8th 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 96th 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/)

                          1. 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.

                                      1. 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:

                                                  1. You Tube
                                                  2. Wikipedia
                                                  3. Quarantine from reality 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.