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Saturday, July 29, 2017

Thendral thaalaatum neram - Vasantham varum

Saravanan Natarajan writes:

தேன்மலர் மறப்பதுண்டோ தென்றலே உன் நினைவை....

Today happens to be the birthday of our V. Kumar. Cannot let the day go by without offering our salute to the memory of the humble composer, for the treasures that he has bequeathed that serve as constant reminders of their gentle, unassuming creator.

Let us listen today to a hidden gem from a movie called ‘Vasantham Varum’. Vasantham Varum, despite its optimistic title, found that spring had callously passed it by, for it never got to be released. And the wonderful album that Kumar eagerly worked on was consigned to lie forgotten on the dusty rear shelves of the few audio centers that happened to buy the EP record.

The record gives the year of its manufacture as 1981, and announces the wretched banner as ‘Electra Films’. Vijayan is shown in a ruminative posture on the front sleeve, while Saratbabu smiles at you from the other side. The director of this doomed film was K. Somasundareswar. All the four songs were written by the obscure Mu. Paavanan.

This song, ‘Thendral thaalaatum neram’ is an exquisite guitar-driven composition, one that throws open wondrous vistas of dreamy, languorous romance. Yesudas and P.Susheela merge into the captivating canvas, bringing to passionate portrayal the aching longings of a love-struck couple.

Listen here:

https://www.youtube.com/watch?v=Z6zjDQqMkRU

How bitterly disappointed Kumar would have been at the fate of the film, and its album!

But then, such frustrations were not new to Kumar. So many of his painstaking endeavors were wasted on such stillborn ventures. Numerous were such flowers that were born to blush unseen. Only fervent listeners of Radio Ceylon were fortunate to have listened to such wonderful creations of Kumar like ‘Naano un adimai’ (P.Susheela/Jayachandran), ‘Niilaavai netru paarthathu’ (Vani) both from an unreleased Unnai Naan Sandhithen, ‘Ulagam siridhu naan unnai ennumpothu’ (TMS/P. Susheela) from Perappillai, TMS and Vani weaving magic in ‘Oru paarvai nooru kavidhai’ from Manoranjitham, Janaki’s haunting title track from the same film; SPB and Janaki crooning ‘Rasigan thaan enakku nee’ from an unreleased late 70s venture called Rasigan- have not been able to get much information on these unreleased films. Aval oru Kaaviyam was fortunate, for after years of hibernation in the cans, it was released in a few B & C centers in 1983. Thanks to the myriad TV channels that occasionally telecast this film in their weekday noon slots, Kumar’s enchanting songs like ‘Krishnaprabhu unnidam kudi konden’ (P.Susheela) and ‘Kodi inbangal thedum ullangal’ (Jayachandran/ P.Susheela) enjoy an extended lease of life.

But why talk about Kumar’s painstaking efforts wasted on unreleased films- he often suffers the misfortune of even many of his brilliant compositions being repeatedly credited to others. A seasoned audio center owner in Royapettah was firm in his belief that ‘Thirukkoyil thedi rathi devi vandhaal’ was by MSV; a learned journalist friend was skeptical when I insisted that ‘Enna thavam siedhen unnai manam kolla’ was by Kumar, and a classmate refused to accept that ‘Ennai azhaithathu yaaradhu kanne’ was not by Ilaiyaraja!

Let us attempt to set the record straight, and give the self-effacing Mellisai Maamani his true due. We owe him that.

Discussion:
https://www.facebook.com/groups/1018417744856618/permalink/1676829255682127/

Friday, July 28, 2017

The Chandra Bose chronicles -Part 5

Tiruchendurai Ramamurthy Sankar writes:

The Chandra Bose chronicles -Part 5

சந்திரபோஸ் சந்திப்பு (2006)

கராமா ( துபாய்) சங்கீதாவில் சாப்பிட்டுக்கொண்டிருந்தபோது திடீரென அவரைப் பார்த்தேன். பேச முயற்சி செய்யும்முன் போய்விட்டார். சரவணனிடம் சொன்னபோது .....எப்படியாவது மீட் பண்ணிருங்க. செலிப்ரிடி மீட்...தூள்ல ( தூள்.காம்) எழுதுங்க என்றார். ( பழைய தமிழ்ப் படங்களில் பெயர் போடும்போது வரும் " மற்றும் பலர்" கூட யாரென்று தெரிந்தவர் சரவணன்.!)

நான் இருந்தது அடுத்த கட்டிடம். என் வீடு இருக்கும் கட்டிடத்தில் பீமாஸ் ரெஸ்டாரெண்ட வைத்திருந்தவர் அடுத்த நாள் என் ஆஃபீஸிற்கு வாடகை கொடுக்க வந்திருந்தார். ( என் கம்பெனியின் கட்டிடம் அது) . அவரிடம் பேச்சு வாக்கில் சொன்னபோது தன்னால் சந்திப்புக்கு ஏற்பாடு செய்யமுடியும் என்றார். சந்திரபோஸ் ஒப்பந்தங்களை மேற்பார்வயிடும் விளம்பரக் கம்பெனி பணியாளர் நம்ம கடையில் தினம் சாப்பிடுகிறார். நான் சொல்லிடறேங்க என்றார்.


சந்திப்பன்று பீமாஸில் ஒரு மூலை எங்களுக்கு ஒழித்துக் கொடுத்தார்.
முதல் கேள்வி வழக்கம் போல. "ஏண்டி முத்தம்மா. " எவ்வளவு சந்தோஷமான விஷயம். எதுக்கு மறச்சன்னு திட்னாருங்க. பொறாமையே இல்லாத மனுஷன்" என்றார் எம் எஸ் வி பற்றி. இன்று யோசிக்கும்போது, அந்தப் பாட்டைத் தன்னுடைய அடையாளமாகக் கேட்டதற்கு 100 படங்கள் செய்த போஸும் சுளிக்கவில்லை.

" எனக்கு முதல் படம் பண்ணும்போது சின்ன வயசுதான். ஆனா ரெக்கார்டிங்கு உள்ள போனபோது எல்லா மியூசியன்ஸும் எழுந்திருச்சு நின்னபோது இந்த வேலையோட இம்பார்டன்ஸ் தெரிஞ்சிது. பெரியவங்க எல்லாம் எழுந்து நின்னபோது கொஞ்சம் பயமா இருந்தது. ஆனா என்னுடைய திறமையில நம்பிக்கை இருந்தது. 72 மேளகர்த்தாவும் பாடங்க. எல்லா இன்ஸ்ட்ருமெண்ட்டும் வாசிப்பேங்க"

தான் போட்ட டியூனுக்கு டம்மி வார்த்தைகளே பாடலின் பல்லவியானதைச் சொன்னபோது குழந்தை போல் சந்தோஷப்பட்டார்.

பாட்டு முடிக்கணும். என்னுடைய வரி ரொம்ப கொடுமை..." வாய்க்கா வரப்புக்குள்ள வயசுப் புள்ள பதுங்கி ஒதுங்கி ஓடுது" என்று சொல்லி பெரிதாகச் சிரித்தார்.

தரையில் வாழும் மீன்கள் ( மழைக்கால) , பார்வையின் மறுபக்கம் ( சந்தோஷ நேரங்கள்), அந்த இந்திர லோகமே ( பொண்ணு பிடிச்சிருக்கு)/ என்றெல்லாம் பேசும்போது " உங்களுக்கு நிறைய பாட்டெல்லாம் தெரிஞ்சிருக்கு" என்று அதிசயமாகப் பார்த்தார். ( சரவணன் கூட இல்லாததால் பாராட்டை நைசாக ஏற்றுக்கொண்டு விட்டேன்!)

வி.சி.குகநாதனை நன்றி மறக்காமல் குறிப்பிட்டார். ஏவி எம் பற்றியும்.
வம்புக்கு அலையும் நான் " யாருங்க அந்த ராஜ் சீதாராமன்?" (வெள்ளை மனம் ). என்று கேட்டேன். குறுகிய காலத்தில் இளையராஜா, நரசிம்மன், சந்திரபோஸ், பப்பி லஹரி என்று எல்லாருடைய இசையிலும் பாப்புலர் பாடல்களை பாடிவிட்டு மின்னல் போல காணாமல் போனவர். சந்திரபோஸ் " ரொம்ப தெரியாதுங்க. யாரோ இன்கம் டாக்ஸ் ஆஃபீசர் பையன்னு சொல்லி கூட்டி வந்தாங்க. பாடச்சொன்னேன்" என்று அப்பாவியாகச் சொன்னார்.
பேச்சு , சேஷாத்ரியின் கமறல் குரலொடு வரும் வண்ணச்சுடர் " ராம்-ரஹீம்" நாடக இசை , போஸஸ்-தேவா என்று வந்தவுடன் சற்று தடை பட்டது. சாப்பிட்டோம்.

கத்தார், துபாயில் உள்ளூர் குழுக்களுக்கு இசை அரேஜ்மெண்ட் வேலை செய்வதற்காக 3 -3 மாசம் வந்து இருப்பேன். லண்டனில் இதே போன்ற வாய்ப்புகள் வேறொரு தமிழ் இசையமைப்பாளர் புகுந்து திசை திருப்பியதைச் சொல்லி வருந்தினார். ஆனால் உடனே நான் " கொலுசே கொலுசே" " சந்தோஷம் காணாத" என்று பாட்டுகளை சொல்ல ஆரம்பித்ததும் பழையபடி சிரித்து பேச ஆரம்பித்தார்.

பெரிய பேனர், டைரக்டர் படங்கள் என்றவுடன் , ரஜினி ஏ.வி.எம்மோட யாருங்க பெரிசு ?/என்றார். அதே போல் " பொய்யின்றி" பாட்டு இல்லாத ஐயப்பன் பூஜை உண்டா? " பொண்ணு புடிச்சிருக்கு இன்னும் பெரிதாகப் பேசப்படவில்லை என்ற வருத்தமும் இருந்தது.

எஸ்.பி.பிக்கு " யாரோ மன்மதன்"( ராஜாத்தி ரோஜாக்கிளி) பாட்டு ஒண்ணு போதுங்க. அவரே எனக்குப் பிடிச்ச பாட்டுன்னு சொல்லியிருக்காரு.
ஜெயச்சந்திரனை அதிகம் ஏன் பயன்படுத்தவில்லை என்றதும் அப்படியா என்றார் :)

ஆல் இந்தியா ரேடியோவிற்காக " இரு கண்ணில் மீனாட்சியோ" ( ஏமாற்றாதே ஏமாறாதே) பாடலை கீபோர்டில் வாசித்து அதை அவர்கள் நிகழ்ச்சிகளுக்கு இடையில் பயன்படுத்தியது என்று தொடர்ந்தது.
உச்சத்தில் இருந்து, பல ஏற்ற இறக்கங்களைச் சந்தித்து, சினிமாவின் வானிட்டி முற்றிலும் இல்லாமல் தன் தோல்விகளையும் பற்றி ரசிகனிடம் பேசிய ஒருவரைச் சந்த்தித்தது மறக்கமுடியாதது. தன்னுடைய 30 வருடத்துப் பாடல்களை 6000 கிமி தொலைவில் , எதிர்பாராத இடத்தில், யாரோ நினைவில் வைத்துள்ளார்கள் என்ற கலைஞனின் சந்தோஷம் அவர் கண்ணில் இருந்தது.

******
இந்தப் பேட்டியைப் பற்றி நான் மறக்க விரும்புவது அந்த விளம்பரக் கம்பெனி தமிழ்க்கார முழு மூடர் கொடுத்த எரிச்சல்கள். சினிமா, இசை , நாஸ்டால்ஜியா என்ற எந்தவிதமான டிஸ்ட்ராக்‌ஷனும் இல்லாமல் இதில் தனக்கு எதாவது சில்லறை உண்டா என்று தேவாங்கு போல் பார்த்துக் கொண்டு , நடுவில் உளறிக் கொட்டினார். கலைஞர்களை பார்க்கும்போது ப்ரோக்கர்களை அழைத்துப் போகாதீர்கள்.

Discussion:
https://www.facebook.com/groups/1018417744856618/permalink/1674540615910991/

Wednesday, July 26, 2017

The Chandrabose Chronicles- Part 4

Saravanan Natarajan writes:

The Chandrabose Chronicles- Part 4:

பொய்யின்றி மெய்யோடு....

An interesting aspect that strikes one from the very beginning of CB’s career is his choice of singers. CB seems to have preferred each album of his to be embellished by a variety of singers. We have seen only 3 CB albums so far, and even within them we see a staggering array of singers- TMS, Seergazhi Govindarajan, Yesudas, SPB, Ceylon Manohar, P. Susheela, S. Janaki, Vani Jairam, L.R. Anjali… And even though it was the end of the 70s and TMS was gradually being relegated to singing only for Sivaji Ganesan, CB chose to ensure that the veteran singer found a place of pride in his early albums.

After a successful show in 1978, with both Mangudi Minor and Machanai Paartheengala being commercial successes and ‘Maampoove siru mainaave’ fetching significant airtime, CB must have looked forward eagerly to 1979. To his bitter disappointment, not a single movie came out that year with his music.True he did work on some albums, but the movies were delayed in the making, and made it to the silver screen only in 1980.

So let us move on to 1980, and look at the movies of that year which had music composed by CB.
* * * * *

The first is the full-length comedy Muyalukku Moonu Kaal (SPV Films) directed, again by V.C. Guhanathan. The movie had Surulirajan playing the lead character- a petty conman who undergoes a change of heart after seeing the consequences of his actions and determines to set right the financial woes of a hotelier whose business he caused to crash. Vijayababu, Satyapriya, Bhanuchander (debut) and Nisha (debut) acted in the movie, which had a galaxy of comedy actors in well-etched cameos- T.R. Ramachandran, S. Ramarao, K.A. Thangavelu, Ashokan, V.K. Ramaswamy, ‘Vennira aadai’ Murthy, ISR, M. Saroja, Manorama, Sachu… A ‘Pongal’ release of 1980, the movie was a modest success.

In a movie whose highpoints were the comic escapades of the lead actor, CB did not have much scope for showcasing his music. I recollect 3 songs from the movie (not counting the short ‘Muyalukku moone kaalu, nee sirikka therija paaru’ sung by CB that is heard during the credit rolls); the lyrics were by Vaali.

The jaunty ditty ‘Muyalukku moone kaalu’ sung by Malaysia Vasudevan & S. Janaki found fleeting popularity at the time.

https://www.youtube.com/watch?v=qxjCfGyv07I

‘Sarigamapadanisa swaram’ by Jayachandran & P. Susheela, (beginning with CB reciting ‘nilavo neruppo kodhikkudhu nenjam’), a seductive number of slow sizzle, is perhaps too risqué a watch. Yet the lilting tune, with Susheela and Jayachandran at the helm, lingers on in memory. Warning: Better heard than seen:

https://www.youtube.com/watch?v=Fx3tP1l6u8U

The third song is the grand ‘Kaadhal kavignan naan’ set of songs. CB, most probably upon VCG’s insistence, structured the entire piece on the lines of RDB’s ‘Bachna ye hasino’ set of songs from Hum Kisise Kam Nahin. However, he chose to carve delightful detours of his own, which save the song from being a mere copy. CB renders the song, along with TMS, SPB and Jency.

https://www.youtube.com/watch?v=_03Dv0oVDW0
* * * * *

Avalukkul Oru Ragasiyam (Kathirvel Creations) was another album that CB worked on in 1980. However, for reasons unknown, the movie was never released. From the record sleeve, we can barely decipher that the album had 4 songs- the first one sung by SPB & P. Susheela, the second by Chandrabose, the third by Malaysia Vasudevan and the fourth by Vani Jairam.
Managed to locate one of the songs- ‘Rajarajeswari arugil rajarajeswaran’, a gentle duet by S.P. Balasubramaniam & P. Susheela.

https://www.youtube.com/watch?v=FC7gra422TY
* * * * *

Madhavi Vandhaal (The Nathigam Pictures), the third movie that CB worked on in 1980, was produced and directed by a person who rejoiced in the name of Nathigam P. Ramaswami. Vijayababu, Vadivukkarasi and Raji were in the cast. The movie sank without a trace, yet the song ‘Maalai Muthu maalai’ is sure to evoke a smile of pleased recognition in radio aficionados of the early 80s. Written by Kannadasan and sung by P. Susheela (supported by CB’s humming), the song found repeated airtime for while before being buried in the merciless sands of time. It is said that Kannadasan was so impressed with the tune that he stayed back to watch the recording. Seergazhi Govindarajan’s title song and S. Janaki’s ruminative ‘Aaraariraariro’ were less heard. There seems to be 4th song as well- a solo by CB.

Could not find YouTube links for any of the songs. However, thanks to Saregama, we can listen to snatches of ‘Maalai muthu maalai’ and ‘Aaraariraariro’ here (click on the songs):

http://www.saregama.com/album/madhavi-vanthaal_101107
* * * * *

The last movie to come out with CB’s music in 1980 was Dasarathan’s Saranam Iyappa (Amudheswari Films). Most of you would be familiar with 'Master' Dasarathan, the child artiste who acted in many Tamil and Malayalam movies in the 60s. He grew up to be a staunch devotee of Lord Aiyappa, and made 3 movies to propagate the greatness of the Lord of Sabarimalai- 'Saranam Aiyappa' (1980), 'Arul Tharum Aiyappan' (1987) and 'Engal Saami Aiyappan' (1990). Besides scripting and directing these movies, Dasarathan tried his hand at composing the music as well for 'Arul Tharum Aiyappan' and 'Engal Saami Aiyappan'.

Released in the winter of 1980 to coincide with the season of the annual pilgrimage, 'Saranam Aiyappa' had in its cast Saratbabu, Vijayan, Bhupathi, Jayabharathi, Purnima, Ramaprabha, Sumathi, Radharavi, Bhaskar, Surulirajan and Manorama, with an added attraction of popular artistes such as Jaishankar and Bhagyaraj appearing in guest roles. Dasarathan got Yesudas to appear on screen as well.

Dasarathan entrusted the music of the movie to his old friend CB. As we have seen earlier, CB and Dasarathan were room-mates, staying along with Master Sridhar and ‘Pakkoda’ Kadher in a one-room tenement in Eldams Road when they were all searching for opportunities in Cinema. Lying awake at night, Dasarathan used to share with CB his ideas and aspirations and promised to him that if ever he would get an opportunity to make a movie, CB would compose the music.

CB came out with a stirring album for this devotional movie. Lyrics were by Kannadasan, Muthulingam, Poovai Senguttuvan, Pulavar Maari and Dasarathan. 'Sonnaal inikkuthu sugamaai irukkuthu' is a lilting composition sung by SPB & Raji.

https://www.youtube.com/watch?v=mGDGnSN3ONc

K. Veeramani has composed and sung many a hymn on the Lord, and 'Malai meedhu maniyosai aiyappa' composed by CB and rendered by Veeramani for this movie stakes claim to a place among the great devotee's best songs ever.

https://www.youtube.com/watch?v=APFouU7UZ0Y

'Swami thinthakaththom' by Seergazhi Govindarajan & chorus became a mandatory inclusion in Aiyappan Poojas all over the state. CB got Kamalhasan to sing a song as well and the folksy 'Annaa vaada thambi vaada' found frequent airtime.

The jewel that glitters the brightest in this crown, however, is the serene 'Poyyindri meyyodu', written by Dasarathan and sung by Yesudas.

"At Sabari hills I do not consider religion. I offer my soul to the Supreme Power. There is a greater search of self than of religions over there!" says Yesudas (Conversation with Hari Kochat).
Take this song as a glittering instance of the singer's devotion. On the sumptuous Subapanthuvarali canvas spread by CB, Yesudas paints a pensive paean of polished brilliance. With the simple, evocative lines by Dasarathan soaked in moving piety, the song captures a place of pride among the finest devotional songs that have found place in Tamil cinema over the decades.

https://www.youtube.com/watch?v=WqE3-6gVCIc
- To be continued….

Part 1 here:
https://www.facebook.com/groups/1018417744856618/permalink/1654218981276488/
Part 2 here:
https://www.facebook.com/groups/1018417744856618/permalink/1659046027460450/
Part 3 here:
https://www.facebook.com/groups/1018417744856618/permalink/1666861290012257/
* * * * *
Chandrabose Discography (Covered so far):
1977
1. Madhura Geetham
1978
2. Mangudi Minor
3. Machanai Paartheengala
1980
4. Muyalukku Moonu Kaal
5. Avalukkul Oru Ragasiyam (unreleased)
6. Madhavi Vandhaal
7. Saranam Aiyappa

Discussion:
https://www.facebook.com/groups/1018417744856618/permalink/1673541426010910/

Saturday, July 22, 2017

Sivaji Ganesan- His Other Voices

Saravanan Natarajan writes:

Sivaji Ganesan- His Other Voices

Yesterday being the death anniversary of the great Nadigar Thilagam, I was happy to see numerous heartfelt posts in tribute of the actor nonpareil. Here, on this day last year, we watched his scintillating performance as Samrat Ashokan in Annaiyin Aanai and also had a detailed discussion on Veerapandiya Kattabomman here:

https://www.facebook.com/groups/1018417744856618/permalink/1278781972153526/

Revisiting that post, I watched the songs of the movie, including ‘Vetri Vadivelane’ sung by veteran V.N. Sundaram for Sivaji Ganesan. That set my chain of thoughts on Sivaji and his songs. It is inevitable that when we think of Sivaji’s songs, the first name that pops up is TMS. What a magnificent partnership between the singer and the actor…. A greatly enriching, remarkably unique association that transcended decades- from Koondukkili (1954) to Gnanapparavai (1991)… None understood the thespian and his needs better than TMS, and for many of us, TMS seemed merging into Sivaji when he sang for him….the dynamics were just perfect…


However, there were other singers, both before and during TMS’s time, who got to sing for Sivaji, and many of such instances were memorable, resulting in some lovely songs. Of course, acceptance would have been grudging, and perhaps not forthcoming, for the absence of TMS- his majesty and empathy would have would have doubtless found stiff resistance in general perception…

Yet, as I lay awake last night, I commenced listing the singers, other than TMS, who did get to sing for Sivaji Ganesan. And that becomes the subject of today’s post....Presenting the list below, with many of the songs close to my heart:

1. C.S. Jayaraman in Kuravanji:
https://www.youtube.com/watch?v=LPaZhIljwyE

2. Ghantasala in Tenali Raman:
https://www.youtube.com/watch?v=o6uyx-Nt3Zs

3. A.M. Raja in Ethirparathathu:
https://www.youtube.com/watch?v=ioWLx2jyCD4

4. Chandrababu in Kalyanam Panniyum Brahmachari:
https://www.youtube.com/watch?v=FzB6978aU3Y

5. Madhavapeddi Sathyam in Mangaiyar Thilakam:
https://www.youtube.com/watch?v=3g9zP-8r18w

6. S.C. Krishnan in Raja Rani:
https://www.youtube.com/watch?v=Ol-3eZ_pt5Y

7. V. N. Sundaram in Veerapandiya Kattabomman:
https://www.youtube.com/watch?v=0WBAyd6iRxo

8. G.K. Venkatesh in Sethamarai (could not find a video of the movie). ‘Ezhaiayi nin kovilai’ (Panam) is another fantastic number by GKV- again video of the movie does not have the song.

https://www.youtube.com/watch?v=UAFQI5rd_Ck

9. Seergazhi Govindarajan in Kappalottiya Thamizhan:
https://www.youtube.com/watch?v=4fPff1_R7mA

10. P.B. Srinivas in Naan Sollum Ragasiyam:
https://www.youtube.com/watch?v=yiOrWn5ksxc

11. T.A. Mothi in Sabash Meena:
https://www.youtube.com/watch?v=MewOsMqwg3Y

12. MSV in Paava Mannippu (only humming)
https://www.youtube.com/watch?v=vOm1VbH843A

13. Ajit Singh in Thavapudhalvan:
https://www.youtube.com/watch?v=ORqLDJZ6WJk

14. Saibaba in Thangapathakkam:
https://www.youtube.com/watch?v=aGyhXnU05nk

15. SPB in Sumathi En Sundari:
https://www.youtube.com/watch?v=6MT758TvZnM

16. Kovai Soundararajan in Dr. Siva:
https://www.youtube.com/watch?v=X8JDMne6e4w

17. Yesudas in Andaman Kathali:
https://www.youtube.com/watch?v=xvFu-gm0UuY

18. Jayachandran in Rishimoolam:
https://www.youtube.com/watch?v=uKOWOGren-8

19. Malaysia Vasudevan in Imaigal:
https://www.youtube.com/watch?v=xqpTjeUxwRc

20. Ilaiyaraja in Muthal Mariyadhai:
https://www.youtube.com/watch?v=kmyzafV8Vko

21. Mano in Thampathiyam:
https://www.youtube.com/watch?v=b-gjUBs0LxY

22. Sivaji Ganesan singing for himself in Thevar Magan:
https://www.youtube.com/watch?v=u_6YmmXLOP8

Request friends to let me know if I have left out any other singer who sang for the Nadigar Thilakam.

Discussion:
https://www.facebook.com/groups/1018417744856618/permalink/1670027083029011/

Friday, July 21, 2017

The Chandrabose Chronicles- Part 3

Saravanan Natarajan writes:

The Chandrabose Chronicles- Part 3

மாம்பூவே....சிறுமைனாவே...

As we have seen, CB made a noteworthy debut with Madhura Geetham in 1977, and as 1978 unfolded, he waited with enthusiasm for further opportunities to pour in. He waited in vain...
It was the time when Ilaiyaraja had made his debut as well, and Ilaiyaraja came, saw and conquered. He was bestowing refreshingly different and enchanting scores on film after film. The sheer numbers of his films speak volumes of his increasing popularity. 4 in 1976, 12 in 1977 and 21 in 1978. In the coming years, these numbers would only increase multifold.

We have already seen that in his very second year, Ilaiyaraja bagged the prestigious TN State Government Award for his awesome score in "16 Vayathiniley". It was again in 1977, that producer K. Balaji had turned to IR for his lighting his Deepam. While Panju Arunachalam, Devaraj-Mohan and S.P. Muthuraman were already IR regulars, when Bharathiraja, an old friend of IR, got an opportunity to direct, IR was his musical backbone. In 1978, this partnership created magic in 2 completely diverse themes, Kizhakke Pogum Rayil and Sigappu Rojakkal.

Again it was in 1978 that not being content with merely making music, IR brought about a revolution in Tamil film music by introducing stereophonic sound in "Priya". Of course, this became possible only with the help of Yesudas who had bought the equipment, and willingly allowed IR to experiment and record the songs in 8-track stereo. Tamil film music would never be the same again!

This was a period when Tamil cinema was itself passing through an invigorating phase of renaissance. Melodramatic themes with ageing actors in studio settings were slowly but surely being shown the door. While Bharathiraja was among the pioneers of this movement, two others who set new standards in filmmaking this year were Rudraiyya (Aval Appadithaan) and Mahendran (Mullum Malarum). And of course, it was IR who added spellbinding sheen to their path-breaking ventures.

It was not the new wave directors alone who were seeking IR's musical support. Veteran Sridhar, who was an ardent admirer of MSV and who never worked with any other MD since "Nenjil Or Aalayam"(1962), crossed over to IR to create the songs for his "Ilamai Oonjalaadukirathu" in 1978.
And how did MSV fare this year? In terms of numbers, he had more films than IR: 28. And in many of them (Nizhal Nijamaagirathu, Andaman Kathali, Taxi Driver, Varuvaan Vadivelan, Shankar Salim Simon, Maduraiyai Meetta Sundarapandian, Aayiram Jenmangal), the master crafted wonderful songs. But the fact remains that many of his works at the time were overshadowed by the contemporary works of IR. He would still remain a force to reckon with, but the irreversible descent had begun.

Let us take a quick glance at the other composers and their works this year.

KVM's plebeian score in "Radhaikketra Kannan" was a big let down. V. Kumar, as usual breathed melody into the songs of “Kannamoochi”, “Ival Oru Seethai”, “Annapoorani” and “Chathurangam”. And Vijayabhaskar got to compose the music for a K. Balachander film, and in spite of its name, the songs had Thapaadha Thaalangal! Another film that came his way was "Per Solla Oru Pillai".
Shankar-Ganesh continued to be a godsend for low-budget producers. Devar, after the stupendous success of "Aatukkara Alamelu" the previous year, continued with S-G for Thaai Meedhu Sathiyam. S-G also gave a couple of great songs in A. Bhimsingh's last film "Kai Pidithaval". Among S-G's other films this year were Unakkum Vaazhvu Varum, Panchamirtham, Meenakshi Kungumam and Ullathil Kuzhandaiyadi.

Shyam, who had earlier worked with R.C. Shakthi and Kamalhasan in Unarchigal(1976), came together with the same team in 1978 to create some lovely songs in "Manitharil Iththanai Nirangala”. Sathyam and Ramesh Naidu peeped into Tamil film music and composed some lovely songs in “Mudisooda Mannan” and “Melathalangal" respectively. R. Ramanujam gave an excellent account of himself in “Ananda Bhairavi”. When the super hit Malayalam film “Madanolsavam” was dubbed into Tamil as “Paruva Mazhai”, Tamil Cinema was honored to welcome to its fold, the genius called Salil Chowdhry. (Salil's first Tamil venture "Karumbu" was never released). Though the great M.B. Srinivasan composed two wonderful songs for Jayakanthan's "Pudhu Seruppu Kadikkum" in 1978, the film found no takers and never saw the light of the day. HMV Raghu gave an appealing score for Kanchi Kamakshi.

* * * * *

In such a scenario, it was of little surprise that a newcomer like CB was all but forgotten in the aftermath of Madhura Geetham. It was V.C. Guhanathan who came to CB's rescue once again, appointing CB as the music director for the projects that he was involved in at the time.
‘Mangudi Minor’ (Vijayakumar, Rajnikant, Sripriya) was the one of the two Guhanathan ventures that CB worked on in 1978. VCG rehashed Manmohan Desai’s 1972 Hindi movie of brothers separated in a train accident- ‘Rampur Ka Laxman’, threw in MGR sycophancy for good measure, got a stylish Rajinikant to essay the role of the bad brother- and the film ran to packed houses. Though there was an initial hurdle with the censors objecting to the brazen MGR adulation, the movie managed to get certified without any major cuts. VCG introduced in this movie his compatriot Ceylon A. E. Manohar, both as an actor and singer.

Chandrabose worked with Vaali for the first time in Mangudi Minor. The songs were:

1. Kannan Angey- Vani Jairam
2. Anna neenga nenachapaadi- TMS
3. Yeru pidicha kaigal- TMS
4. En kaiyil irupaadhu- P. Susheela
5. Unnidam solven- TMS, Ceylon Manohar & S. Janaki

Of these, on Guhanathan’s insistence, ‘Kannan angey Radhai ingey’ and ‘Unnidam solven’ were straight lifts from the equivalent songs in Hindi (Albela re and Payr ka samay respectively).
Of particular interest is the TMS song ‘Anna neenga nenechappadi’. MGR had become the Chief Minister the year before, and VCG went all out to express his happiness. CB knew only too well that there were none to beat TMS to render this strident tune with the majesty and panache that the lines demanded:

https://www.youtube.com/watch?v=w3RtLBdNeog
* * * * *

The other VCG movie that came out with music by Chandrabose in 1978 was ‘Machanai Paartheengala’. This time VCG came up with an engrossing story of a rustic youth Muthaiyan (Sivakumar) mourning the death of his beloved Tara (Sridevi) in a road accident when she was traveling to Madras. By a quirky twist of fate, Radha (Sumitra), the girl who was responsible for the accident comes to Muthaiyan’s village Pazhayachvaram. When she realizes the the trauma she has caused, she gets married to Muthaiyan to set his life back on track. The unfolding events, though melodramatic, were well enacted, especially by veterans S.V. Subbiah and M.N. Rajam.


The album had 5 songs composed by Chandrabose, working with lyricists Vaali, Poovai Senguttuvan and an obscure Jayaravi. The songs were:

1. Engamma Maharasi- TMS, Chandrabose & Chorus
2. Adi maaman muniyandi- S. Janaki
3. Ada kooruketta pasangala- Ceylon Manohar, Chandrabose, L.R. Anjali
4. Desingu raja tenali raman- TMS
5. Maampoove siru mainaave- K.J. Yesudas & P. Susheela.

Let us listen to the two most popular songs from the album.

First is the rousing ‘Engamma Maharasi’. Tara is determined to catch Muthaiyan’s attention, and when she learns that he would be at the forefront of the temple festivities one night, she is there, matching him step for step.

CB enlists TMS to render this song of racy, rambunctious revelery, and lends his own vocals as well in sideline support. The song, by Poovai Senguttuvan, became hugely popular. Even today as you pass through a village down south, you may get to listen to Engamma Maharasi blaring from some temple loud-speakers…

https://www.youtube.com/watch?v=-iWrV5Dd5uo

The other, is of course, the caressing duet ‘Maampoove siru mainaave’. Tara is forced, by circumstances beyond her control, to perform in a stage play. Her father, who was a famed folk artiste in his time, dreams now of Tara following in his footsteps. Tara is heartbroken at this turn of events, as she was looking forward to a tranquil life of domestic bliss with Muthaiyan. Muthaiyan is equally disheartened. However, sensing Tara’s anxieties, he comforts her with tender words of solace… This is the song they sing to renew their vows…

CB composes a lilting tune and Vaali’s lines ensconce themselves snugly into the canvas. Yesudas & Susheela were just the voices to bring to fetching life this rural rhapsody. This song remains a delightful keepsake of the talented Chandrabose… a dainty duet with a lilt and a languor that brings back childhood memories of unhurried weekend afternoons listening to Radio Ceylon and Vividh Bharati and of a long forgotten neighborhood Akka who loved this song and used to sing along, snapping her fingers with perfect timing…

When we spoke of this song to CB, he raised his hands and said it was a composition of MSV that inspired this tune, and closed his eyes in reverential tribute to the Master… when I asked if it was ‘Kalyana valaiyosai kondu’, he patted my back in pleased acknowledgement!

https://www.youtube.com/watch?v=TfS4fdcXxxE
-Thodarum….
* * * * *
Part 1 here:
https://www.facebook.com/groups/1018417744856618/permalink/1654218981276488/
Part 2 here:
https://www.facebook.com/groups/1018417744856618/permalink/1659046027460450/
* * * * *
Chandrabose Discography ( Covered so far):
1977
1. Madhura Geetham
1978
2. Mangudi Minor
3. Machanai Paartheengala

Discusion :
https://www.facebook.com/groups/1018417744856618/permalink/1666861290012257/

Thursday, July 13, 2017

The Chandrabose Chronicles- Part 2

Saravanan Natarajan writes:

The Chandrabose Chronicles- Part 2

சுகமான ராகம்....சுவையான தமிழ்ப்பாட்டு....

When dwelling upon ‘Madhura Geetham’, the debut album of Chandrabose, we must necessarily spare a few minutes for the man who made it possible, and whose long career was irrevocably linked with that of Chandrabose- V.C. Guhanathan.

VCG was born in Pungudu- a tiny Srilankan island near Jaffna. His father was a revered teacher. After his schooling, he came to India for his higher studies. While pursuing B.Com in Pachaiyappa’s college, he started acting in stage plays. He soon writing his own plays and formed his own drama toupe called Gugaji Arts. Famed film writer G. Balasubramaniam took VCG under his fold. VCG’s first script to make it to cinema was Devar’s Muharasi. The movies that he scripted in the following years included Puthiya Bhoomi, Kumarikkottam, Thangaikkaga and Naalum Thenrinthavan. He elicited the notice of AV Meyyappa Chettiar and was the writer of Annaiyum Pithavum. At AVM’s encouragement, he turned a producer and co-produced Sudarum Sooravaliyum.




After producing a series of successes such as Kanimuthu Papa, Petha Manam Pithu and Kasi Yathirai for his friend S.P. Muthuraman, VCG found the going rough when his ambitious Rajapart Rangadurai did not do as well as expected. A string of flops such as Anbu Thangai and Deiva Kuzhanthaigal followed. It was then that producer D. Rama Naidu invited him to work for some Telugu movies.
Impressed by VCG’s writing skills, Rama Naidu offered to make a Tamil movie for VCG, and told him to direct it as well. VCG was delighted at this opportunity, and came up with an intriguing triangle involving a terminally ill female doctor, an aspiring singer who is helped by the doctor and a girl with an unsavoury past. He engaged Srividya, Vijayakumar and Sripriya to play the roles of Dr. Radha, Kamalakkannan and Vasanthi respectively.

As the film revolved around a singer, the songs would essentially be the mainstay of the project. As Rama Naidu had given VCG carte blanche, VCG could have engaged MSV whom he was well acquainted with. However, he was determined to give the assignment to his young friend CB. CB had impressed VCG when he composed music for VCG’s stage plays such as Kalyanaraman and Vadagai Veedu. Kalyanaraman, with Vijayakaumar, Pramila and Surulirajan enacting the lead roles, was staged more than 100 times in just four months. VCG sensed a rare spark in the talented youngster and, with Rama Naidu’s blessings, invited CB to compose the music for Madhura Geetham.

CB was overwhelmened with joy, as this was the elusive break he was waiting for. However, he was not without apprehensions, as composing the sound-track and back ground music for a movie was a giant step from composing for stage plays. VCG assuaged his fears and secured for the project the services of veteran Govardhanam to assist CB. And sitting at VCG’s offices in Mahalingapuram, CB excitedly set to work on the album of Madhura Geetham. The songs were:

1. Vaarungal aasaigale- TMS
2. Sugamaana ragam- TMS & Seergazhi Govindarajan
3. Kaaindha sinaiyum- TMS & Chorus
4. Aadum kattil medai katti- TMS & P. Susheela
5. Kannan enge- SPB & P. Susheela

Kannadasan wrote all the songs, except Kannan enge, which was written by Poovai Senguttuvan.
My pick from the album is the scintillating ‘Sugamaana ragam, suvaiyaana thamizh paattu’. The situation of the song is this: Dr. Radha wants Kannan to succeed in his chosen path as a singer and takes him to MSV. The Mellisai Mannar asks him to sing. Kannan breaks into ‘Indha pachaikkilikku sevvandhi poovinil’. While appreciating his enthusiasm, MSV advises him to undergo formal training in classical music. Radha then enrols Kannan under a music teacher (V. Gopalakrishnan). Kannan grasps the rudiments quickly, and soon he sings along with his Guru for a dance performance. At the end of the song, MSV comes on stage and heaps praise on the young singer.

For this sequence, CB picks strains of a lilting Latangi and Kannadasn’s poetic lines twirl around the trellis in magnificent allure. CB requests the two giants TMS & Seergazhi Govindarajan to honour him by singing the song….the veteran singers vie with with one another to bring to life Kannadasan's vibrant lines and CB's rich classical nuances. The rest, as they say, is history:

https://www.youtube.com/watch?v=oFQYnp_Uflw

No less a person than S.M. Subbiah Naidu is said to have spoken highly of this song before featuring it in his 'Sirappu Thenkinnam'. MSV is said to have showered encomious on the young composer…. perhaps he remembered his own tryst with Latangi in ‘Aadatha manamum undo?’. Class…Classic…. Classical….

The young CB is seen conducting the orchestra at the very beginning of the song ‘Kaaindha sinaiyum’:

https://www.youtube.com/watch?v=2EvtUYZdH8s

At the insistence of Guhanathan, CB had to structure ‘Kannan engey’ along the lines of R.D. Burman's 'Sapna Mera toot gayaa' (Khel Khel Mein). But to his credit, CB moves away from the operatic flourishes of the original and his inventive touches add singular sheen to his version.

https://www.youtube.com/watch?v=_hfb8TgyLb4

The suspense-filled music adds to the intrigue, and CB picks just the singers to make a winner of this one. Susheela sounds fetchingly forlorn in the opening lines and has a sudden makeover for the rest of the song where she is joyous and romantic…. and SPB, well he asserts his class all over the song. Hark at his humming in the second interlude. Decades have gone by, yet even now I can see myself as a child waiting impatiently for this bit of humming whenever Thamizh Sevai Irandu played this song.

This tune may not be a CB original, but it did manage to wrest the airwaves for a brief while from Ilaiayaraja, who was at the time coming up with one masterpiece after another in quick succession.
* * * * *

A word on MSV. I am filled with awe at the magnanimity of the man… Here was a movie with which he was not connected in anyway, he was not composing the music; the composer was a obscure newcomer…yet MSV agreed to be part of the project, appearing as himself in a few key scenes….Hail the Mellisai Mannar! You can watch the scenes in which MSV appears, starting from 7.15 in the following link:

https://www.youtube.com/watch?v=N7TyN4LsFzY
* * * * *

Madhura Geetham (1977) was a successful movie, and won not less than 5 State Government Awards. With the movie turning out a commercial and critical success and his songs winning instant appeal, the 27 year-old Chandrabose made a noteworthy debut in Tamil Film Music.

- To be continued….

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1659046027460450/

Part 1 here:
https://www.facebook.com/groups/1018417744856618/permalink/1654218981276488/

Saturday, July 8, 2017

The Chandrabose Chronicles - Part 1

Saravanan Natarajan writes:

The Chandrabose Chronicles- Part 1

While the annals of Tamil Film Music flaunt with pride the glittering works of the great masters and gush with accolades in honour of their richly deserved successes, there are in the same chronicles certain seldom turned pages- pages that sing a sadder song- a hushed wail of neglect, a whimper of failure, an unshed tear for all the lost opportunities, an unuttered reproach at being consigned to oblivion, a hastily written epitaph for an end that went unsung and unwept.

Hidden among these pages is the name of the forgotten composer Thangappan Subash Chandrabose. The man behind many a memorable score, most of them squandered on undeserving movies that were sent back to the cans without much ado. Added to that was the fact that Chandrabose made his debut at around the same time in the 70s as Ilaiyaraja and was soon overshadowed by that brilliant contemporary.

Thanks to good friend Kumaraswamy Sundar, I had an opportunity to meet with Chandrabose during
my visit to Chennai in June 2010. As we had a long leisurely conversation over his career and compositions, it was heartwarming to see the philosophical shrug with which he accepted the imponderable ways of destiny. He seemed content with the opportunities that came his way, justifiably proud of his body of work, serenely resigned to the dwindling opportunities and naively excited about his new innings as an actor in the small screen. 'Those who seek for much are left in want of much. Happy is he to whom God has given, with sparing hand, as much as is enough' These words of Horace from 'Carmina' came to mind as I sat listening to him, mesmerized.

And, just a few months later, on the last day of September, came the shocking news of his demise- years of intemperance had finally taken their toll- Chandrabose died of suspected liver disease in a Government Hospital. Even sadder was the report that he was shifted from hospital to hospital and few of his friends in the music fraternity had to contribute towards settling his medical expenses. What a fall for a man who, for a few years, was the official composer of the prestigious AVM Productions! His cheerful countenance and joy when recalling his works, his drumming on the table at the Woodlands Restaurant where we sat singing his songs are the memories that stay on… and I could not keep my promise of getting him a make-up kit that he had requested on my next visit to India.
* * * * *

Thangappan Subhash Chandrabose was drawn to music even as a child. This comes as no surprise if we look up his antecedents. His father was 'Rajapart' Thangappan, a famous stage artiste known for his rich baritone. CB's aunt (mother's sister) was S.R. Kamalam, a close friend of T.A. Mathuram and a top-ranking stage actress and singer of her time whose emotion-charged performance as Chandramathi in the 'Harishchandra' drama had the audience in tears. CB's elder brother Kamalanathan was an actor in R.S. Manohar's 'National Theaters'. S.R. Kamalam's son Govindan was a skilled Harmonium player who played for the dancers Sasi, Kala & Mani.

Thus, CB grew up in a household that reverberated all day with lilting music and stirring dialogues. He donned the grease paint when he was barely 12 years old and acted in stage plays. In an interview CB revealed that acting was his first love, but it was only in music that he gained fame. Among the plays in which he acted, CB remembers with a special fondness 'Manimakudam' and 'Parasakthi'. He was also part of the Sasi-Kala- Mani ensemble for a while. Those were the times when music was still an integral part of stage plays and CB thus picked up the nuances of classical music while enacting various legendary roles and rendering popular traditional songs under the exacting supervision of revered masters who ruled the numerous 'Boys' Companies' with an iron hand. CB entered Tamil cinema as a dubbing artiste, and worked in several movies dubbed from Telugu.
CB struck a friendship with another aspiring musician called C. Deva. Their friendship developed to such an extent that Deva' s parents considered CB as their eldest son. Together as 'Boses-Deva', CB and Deva gave light music programs and composed music for stage plays of V. Gopalakrishnan, Manorama and V.C. Guhanathan. It was through V. C. Guhanathan that CB made his debut as a composer in the 1977 movie Mathura Geetham.
* * * * *

This came about at the time when CB had gained some prominence as a stage singer. His favorite song at that time was the Hindi song "Beshak Mandir Masjid Todo' sung by Narendra Chanchal in 'Bobby'. When 'Bobby' was released at the Star Theater in Triplicane, CB watched the movie repeatedly just for this song. So enamoured of this song was he that he used to go to the Marina early in the morning and practice singing the high-pitched number. CB's rendition of the song at R.R. Sabha brought the audience to its feet.

MSV was among the guests at a cultural event in Loyola College when CB sang this song. He was intrigued by this unusual voice, and offered to CB the coveted opportunity to sing in his music for the movie 'Aaru Pushpangal'. CB was thrilled at this chance of a lifetime, but was in two minds whether to reveal to MSV that he was also composing music for a movie at that time.

Finally, it was Kannadasan who let the cat out of the bag. It happened in this way: Sitting with CB, Kannadasan was writing 'Kaaindha sinaiyum' for 'Madhura Geetham' in the morning, and in the afternoon, he went to Vauhini Studio to watch the recording of the songs of 'Aaru pushpangal'. To Kannadasan's amazement, CB was already there, and after asking him to sing for them 'Beshak Mandir Masjid Todo', MSV introduced CB to the bard, informing him that it was CB who was going to sing 'Yendi muththamma'. The amused Kannadasan informed MSV that CB was already composing music for 'Madhura Geetham.' CB was watching MSV's face worriedly for any sign of anger at CB not disclosing this fact to him. To his immense relief, a beaming MSV congratulated CB and showered his blessings upon him. The song 'Yendi muththamma', as we all know became the rage of the season.

Over the years CB, with his unconventional voice, did sing (or at times merely hummed), albeit sparingly. And though some of these instances such as 'Mazhaikaala megam' (Tharayil Vaazhum Meengal), 'Maalai muthu maalai'(Madhavi Vandhaal), 'Nilavenna pesumo' (Vadivangal), 'Paththu maadham sumandhava' (Selvaakku), 'Vaaikkozhuppu thaan ippOthu' (Vaaikkozhuppu), 'Poonchittu kuruvigala' (Oru Thottil Sabatham), 'Deepavali deepavali thaan' (Naan Pudicha Maappillai) and the 'gaana' bits in Thalaivaasal(in Balabharathi's music) did become popular, 'Yendi muththamma' endures as CB's best singing effort ever.

An interesting aside: as a humble token of gratitude, CB invited MSV to sing in his music, and the Mellisai Mannar responded graciously by rendering the philosophical 'Endha vazhi povadhu' for the film Kutravaali.
* * * * *

Aaru Pushpangal (10.11.1977/ Ashtalakshmi Pictures) had in its cast Vijayakumar, Rajinikant, Srividya, Y. Vijaya, S.V.Sahasaranamam, Pandaribai, VKR, Surulirajan & Manorama. Kalaignanam and Panasai Mani crafted the screenplay and the dialogues. The film was produced by SNS.Thirumal and directed by K.M. Balakrishnan.

The story revolved around the family of a poor but upright man Azhagarsami (Sahasranamam) who has 6 daughters. When the entire village wonders how he is going to secure a good future for them, the enterprising daughters, surmounting the hindrances placed by the wily VKR, bring glory and prosperity to the family.....by running a transport bus all by themselves! Srividya and Y.Vijaya played the elder daughters, with Vijayakumar and Rajinikant playing their romantic leads and also helping them in their venture.
* * * *

And she hath smiles to earth unknown;
Smiles, that with motion of their own
do spread, and sink, and rise;
that come and go with endless play,
and ever, as they pass away,
are hidden in her eyes.

-William Wordsworth (Louisa)

One doesn't need to have seen this song to know its visuals- the Mellisai Mannar summons up such an arresting collage of picture-postcard pastoral perfection that we know intuitively that the sequence is of romance atop the undulating and comforting rhythms of the bullock carts as they move unhurriedly along verdant rustic lanes, while the sun bids adieu amidst the distant hills.

The convoy of carts is full of happy people, going perhaps to some village festivity. And some of them are even happier than the rest, for love has struck, stealing in stealthily! Srividya,with her large expressive eyes, smiles bashfully at Vijayakumar's surreptitious, sidelong glances; while Y.Vijaya, made of bolder stuff, giggles saucily at the ogling Rajini. The carts move on, the bells jingling merrily, as the cunning Cupid smirks in satisfaction at a job well done.

https://www.youtube.com/watch?v=EEDOa8IcRDQ

- Much more on the CB trail to be travelled upon….

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1654218981276488/

Monday, July 3, 2017

A Forgotten Nightingale: Part 3

Saravanan Natarajan writes:

A Forgotten Nightingale: Part 3

Sorrow, of course, seems to have been Bala’s strong point. Listen to her plaintive cry ‘Dhayavillaiyo annaiye’ (Naan Vanangum Deivam/KVM). No heart-rending sobbing here, only hushed, dignified suffering. ‘Anbe paavama, adhiledhum bedhama’ (Devadas/CRS-MSV), ‘Vidhi seitha sathiyo aththaan’ (Sumangali/ M.Ranga Rao), ‘Eliyorai thaazhthi valiyorai vaazhthum’ (Thai Piranthaal Vazhi Pirakkum/ KVM), ‘Maname un vaazhvil ee’ (Nalla Kaalam/ KVM), ‘Sudar thaarai sabhaiyil unai kaanen naane’ (Vaanaratham/ Naushad), ‘Sugam peruveno’ (Aasai Anna Arumai Thambi/KVM), ‘Penngalil en pol’ (Sampoorna Ramayanam/KVM), ‘Oraam maadham udaladhu thalarndhu’ & ‘Maaligai vaazhvum enge’ (Harichandra/ KVM), ‘Sollu nee raja’ (Anbu Enge/Veda)…the list goes on….

Anbe paavama:
https://www.youtube.com/watch?v=x9l6C_2T3Sk

Watch an aged Bala rendering the Telugu version of the song live:
https://www.youtube.com/watch?v=U4t7SiiDnU8

Eliyorai thazhthi (with TMS):
https://www.youtube.com/watch?v=3dgA6h5MhoA

Vidhiyo seitha sathiyo (with Seergazhi Govindarajan):
https://www.youtube.com/watch?v=5EdUgDZ3rWg

And so we come to what is touted as Bala’s métier: Lullabies- from ‘Innisaiye ganarasa innamudhe
ennuriye’ (Bilhana/ 1948) to ‘Seeraarum paingkiliye’ (Thaayilla pillai/1961), Bala was flooded with a surfeit of cradle songs/songs sung to children. A sample: ‘Vaada malarthene’ (Thozhan/GR), ‘Singara punnagai kannara kandaale’(Mahadevi/MSV-TKR), ‘Ellorum unnai nallavan endrE’ (Bhakiavathi/ S.Dakshinamoorthi), ‘Kanne vaada kaniye vaada’ (Iru Manam Kalandhaal Thirumanam/ S.Dakshinamoorthi), ‘Aala pirandha en kanmaniyE’(Uthamaputhiran/GR), ‘Kannamoochi aattam’ (Yaar paiyan/ S.Dakshinamoorthi), ‘Pillai kaniyamudhe pedhai endhan pudhu vaazhve’(Pen kulathin pon vilakku/ Master Venu), ‘Amma Amma’ (Aandi Petra Selvam/ T.K. Govindan) and the mother of them all: the immortal ‘Neela vanna kanna vaada’ (Mangaiyar Thilakam/S.Dakshinamoorthi).

Balasaraswathi’s caressing voice did have the magic ingredients of motherhood… the selfless love that only a mother is capable of, the warmth of her bosom, the protection of her proximity, the pride of her possessiveness….and all these lent pulsating life and rare authenticity to these songs.

Ellorum unnai:
https://www.youtube.com/watch?v=W5r9SqwwkAU

Amma amma:
https://www.youtube.com/watch?v=dvHNwbymHr0

Kannamoochi aattam:
https://www.youtube.com/watch?v=nC7PzF_qYVo

Singaara punnagai (with M.S. Rajeswari):
https://www.youtube.com/watch?v=faocj4sZf2g

Aala pirantha kanmaniye (with A.P.Komala)
https://www.youtube.com/watch?v=bRHVR0yKWM8

Bala even sang for the legendary Naushad in Vaanaratham, the Tamil version of the 1955 Hindi movie Udan Khatola. Her 2 songs ‘Sudar thaarai’ and ‘Aa nenjin nilaimai’ found repeated airtime and are remembered even today. But her experience was far from happy. Bala said in an old interview, “In Bombay they made a movie called Udan Khatola under Naushad's music direction. It was a double version picture- Hindi and Tamil. At that time Naushad got all my records from Madras and he liked my voice and called me to Bombay. I went there and sang two songs for the Tamil version. And Lata sang for Hindi. First day Lata sang for the Hindi version and the second day, I sang the Tamil version. When she did her recording I listened and sang differently on the second day. That time Ghulam Mohd, Kalyanji - Anandji were assisting Naushad. Then Ghulam came to me after recording and praised my voice a lot, and requested me to stay in Bombay. Lata saw this. And next day the remaining songs that I was to sing were cancelled because Lata refused to sing unless I was sent back to Madras. At that time no one was there for them to sing in Hindi except Lata. So they were forced to oblige her!” The remaining Tamil songs were sung by Lata.

All through the 50s, Bala sang many songs in Telugu and Kannada. Many of them were chartbusters in their time. Except for few stray instances, she did not sing much in the 60s in Tamil, and was soon forgotten as the years passed by. She was blessed with 2 sons- Venkata Raja Gopalakrishna Surya Rao and Venkata Mahipathi Surya Rao. Her husband passed away in 1974. Actress Vijayanirmala who is related to her, brought Bala from her exile and made her sing ‘Poyi raave amma’ for the movie Sangam Chekkina Shilpalu (1979) under the baton of Ramesh Naidu. That was Bala’s last film song, she did not receive any offers thereafter.

Bala lived for a few years in Bangalore, and then moved to Hyderabad. After her husband’s demise, she fell upon bad times. Deprivation tortured the family whose riches were legendary in the distant past. Her 2 sons were not educated to pursue any gainful employment. She said sadly in an interview that though her elder son secured admission in a Medical College, her husband did not allow him to take it up, declaring that he would not see his son ‘bandage the hands of all and sundry!’ Misplaced trust in unscrupulous people and woeful ignorance of financial matters led all her to losing her properties one by one. She sold some land to a temple trust in Annavaram for a pittance, but later a detailed survey of the land revealed that the extent of acreage was much more. She filed a case when she came to know that a Police Academy was proposed to be built in her land.

She sought an appointment with NTR when he was Chief Minster. When she related her sorry state of affairs, NTR had tears in his eyes and assured her of all help. To her bad luck, NTR was soon toppled by his own son-in-law and though she met Chandrababu Naidu twice, no help came from the Andhra Pradesh Government.

She was presented with a purse of Rs. 2 Lakhs by Mr. C.C. Reddy, an industrialist in August 2003. But apparently, she was in dire straits again, and this time, she petitioned the Tamilnadu CM for assistance. Moved by Balasaraswati’s plea for succour, Jayalalitha allotted a house for the legendary chanteuse in 2005 and also ensured that an amount of INR. 6,000 was made over to her every month.
Bala is held in high regard by her contemporaries. During my interaction with the late PBS, he professed himself to be a great admirer of Bala. Janaki has expressed her reverence for Bala on more than one occasion. Susheela revealed the great respect she has for Bala when she named Bala as one among the members of the P. Susheela Trust set up in 2008.

‘Time is a sort of river of passing events, and strong is its current; no sooner is a thing brought to sight than it is swept by and another takes its place, and this too will be swept away'. So said Marcus Aurelius in his 'Meditations'.

I leave you with that one song that will enshrine forever the name of Ravu Balasaraswati in the chronicles of Tamil Film Music:

https://www.youtube.com/watch?v=uPdzO1jxXkM

Part 1 here: https://www.facebook.com/groups/1018417744856618/permalink/1629037280461325/
Part 2 here: https://www.facebook.com/groups/1018417744856618/permalink/1630255277006192/