மலர்ந்தும் மலராதவை # 23

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 23

கண்கள் தேடுது ஒளி எங்கே?

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 despair, an unshed tear for all the lost opportunities, an unuttered reproach at being consigned to oblivion, a hastily written epitaph for a career that ceased unsung and unwept …

Hidden among these listless pages is the name of Mahimaidoss Louis Srikanth.

* * * * * *

Though I was in awe of his works, and had over the years collected songs from all his 6 albums, I confess I did not know anything about the antecedents of MLS until a few days back.

Good friend Kumaraswamy Sundar and I used to discuss about the songs and Doordarshan music programs of MLS. Sundar even enquired with the late ‘Film News’ Anandan about the current whereabouts of MLS. Anandan said that MLS seemed to have gone to Singapore or Malaysia, though he was not certain about it. I wrote about MLS and his songs in dhool.com at the time.

Few years back, Sundar wrote a heartwarming account of how he happened to meet the elusive MLS. He was late one morning to work and nearing Panangal Park when he saw a man resembling MLS, along with a woman, waiting to cross the road. Sundar slowed down his vehicle and accosted him. Imagine Sundar’s excitement when the man nodded affirmingly to Sundar’s query if he was indeed M.L. Srikanth! Sundar spoke to him hurriedly about how we were his ardent fans and how his songs were often discussed and admired. MLS expressed his happiness and they exchanged phone numbers even as MLS’s wife stood by amazed, listening to this conversation on a busy thoroughfare. A few days later, Sundar called up MLS and chatted with him over the phone and promised to meet him soon.

Sundar and I promised ourselves that we would visit MLS for a long, leisurely tete a tete the next time I was in Chennai. However, as it happens, we are yet to redeem that particular pledge. Why, I couldn’t not even meet with Sundar during my last few visits to Chennai as in recent times he works out of Pondicherry for most of the week.

Last weekend, when I dug out my CD with the ‘பூந்தென்றல் காற்றாக’ song, I noticed that it also had the haunting MLS solo ‘கண்கள் தேடுது ஒளி எங்கே.’ I could not help listening to it and was filled with a sudden desire to feature it as part of the current ‘மலர்ந்தும் மலராதவை’ series. However, I still did not know much about MLS…. I spent time searching for any information on the net, but apart from coming across my old, inadequate note, could not find anything significant. It was then that I called Sundar and got from him the phone number of MLS.

I called MLS the same day. His voice is even now the same as it rang in his songs decades ago. He seemed pleasantly surprised that someone would call him from Dubai just to know more about him. However, he graciously obliged me and told me briefly about his life and times, and answered my few questions patiently and to the best of his memory. He could not remember some of his songs and was deeply moved when I mentioned them, one by one.

* * * * * *

MLS was born in 1945 in Madras to Mahimaidoss and Teresa. His house reverberated with music all day long. His grandfather who had converted to Christianity was an acclaimed musician in his time. His father, originally named Balraj and later baptized as Mahimaidoss was also a talented musician who composed music for many movies of the silent era. He later worked along with others such as T.R. Papa in S.V. Venkataraman’s ensemble in movies such as Meera.

MLS learned music from his father from an early age. His father passed away when he was just 11 years old. However, MLS continued learning music and as a teenager started singing in music shows. He thereafter formed his own troupe and became a popular name in light music circles.

* * * * * *

Impressed with his performances, R.B. Samy, who was embarking upon producing an offbeat movie called ‘தாலாட்டு’ (Thaayaar Fims) in 1967, invited the 22-year old MLS to compose the music. And thus M.L. Srikanth made a fetching debut as a music composer in the movie that was released only in 1969. Rajapandiyan and Vijayasri played the lead roles in the stark movie that depicted the blossoming relationship between an unsightly man and a sightless girl. The movie was directed by famed cinematographer Vipin Das.

The caressing lullaby ‘மல்லிகைப்பூப் போட்டு’, written by Mayavanathan and sung by TMS and Soolamangalam Rajalakshmi is an adequate authentication of the talents of MLS. And that it could become hugely popular in a decade that was monopolized by MSV and KVM lends added credit to MLS.

https://www.youtube.com/watch?v=gGis1r5R2nc

‘வரும் போது’ (Seergazhi Govindarajan), ‘யம்மா யம்மா’ (L.R. Eswari), and ‘விளக்கில்லாமல் கணக்கெழுதி’ (TMS), all written by Thirupathoor Rasu (Kalidasan of later years) are songs that a debutant composer can be proud of. MLS sang a song as well, the haunting 'புண் பட்ட பறவைக்கும்’. When I mentioned the last song to MLS, he was delighted that it was remembered!

The movie was a commercial failure; MLS feels that it was a well-made movie; had it been marketed well, things might have been different. Vipin Das was so impressed with MLS that he invited him to compose the music for ‘Prati Dhwani’, the Malayalam movie that he directed in 1971. The lovely S. Janaki solo 'Anuraga paraagangal' ruled the airwaves for a while.

* * * * * *

Tamil cinema chose to ignore the talented young man. It was at this time that T.R. Papa, who had been a close friend of MLS’ father, helped him by getting him a berth in All India Radio’s music programs. This helped MLS to get a regular, though modest income.

It was at a cultural festival at CMC Vellore where singing along with A.L. Raghavan and SPB, that MLS caught the attention of MSV. And when he was introduced to MSV as the son of the late Mahimaidoss, MSV patted him affectionately as MSV recalled the old days when Mahimaidoss was a respected musician in the studios where the teenager MSV was working as an attendant.

MSV was engaged to give a light music concert at the wedding reception of Director Bhimsingh’s son and Director (Krishnan) Panju’s daughter. MLS got an opportunity to sing the popular TMS number 'மாதவி பொன்மயிலால்’. His scintillating performance of rendering the lines along with the Jathis (these were recorded separately for the movie) elicited a standing applause from the august audience. Director Panju appealed publicly for MLS to be given opportunities in Cinema.

This led to MSV inviting MLS to render the enticing humming that serenades Susheela in 'காதல் காதல்' (உத்தரவின்றி உள்ளே வா).

https://www.youtube.com/watch?v=CLDrhWpj8bw

Director Sridhar was so besotted with the humming so much that he said to MSV that a person who brought so much value into a mere humming could be definitely trusted with rendering the lyrics as well. It was thus MLS became the 4th voice that makes merry with the boisterous SPB, Janaki and Easwari in ‘குளிரடிக்குதே கிட்ட வா' (திக்கு தெரியாத காட்டில்).

https://www.youtube.com/watch?v=zjRe94vVypg

* * * * * *

Despite crafting a set of worthy songs in his debutant album, it was only after a long wait of 7 years that another movie bearing Srikanth’s songs was released, and this was ‘நினைப்பது நிறைவேறும் ’ (1976/ Thirumoothi Arts). Directed by S.T. Dhandapani, the movie had Vijayakumar and Rajkokila essaying the lead roles. The producer of the movie Udumalai A.S. Mani wrote lyrics for the songs set to tune by Srikanth. The gorgeous Srikanth-Vani duet ‘நினைப்பது நிறைவேறும்’ was a runway hit. I recall the song finding frequent airtime even in the 80s. A beautiful composition with Natabhairavi flourishes and some lovely musical arrangements with the Sitar and Trumpet:

https://www.youtube.com/watch?v=KFPJiZ_CHNc&feature=youtu.be

MLS gave me some interesting background to the song. The movie was adapted from a stage play and had another title initially. It was MLS who suggested that the name be changed to ‘நினைப்பது நிறைவேறும்’ as the song had been written and he thought that it would catchy if the title of the movie was same as the opening line of the song. Further, the producer Mani apparently wanted the lines to be set to another tune. However, to MLS the tune suggested sounded similar to a song from a Devar movie. He quietly set the song to his own tune and once the recording was completed (‘9-12 call-sheet’, he recalled), he played it to Mani. Mani was very impressed and as they were going in his car for lunch, he was even humming the tune. It was then that MLS sang the tune originally suggested by Mani. The producer was startled as he was so taken in by MLS’s tune that he had not even realized that his suggestion had been ignored!

My favourite from the album, is however the dainty Vani solo ‘என்னென்று சொல்வேனடி’. When I said this to MLS, he was amazed for it was his favourite number from the album as well! The song is for a girl in unabashed raptures on her own beauty, preening with pride on the spell that she may cast on her beholders. MLS sets it to an unpredictable and interesting tune with breezy interludes. Vani tempts and taunts, even she sashays over the twists and turns like a graceful ballerina!

https://www.youtube.com/watch?v=wg6z4hFqjr0&feature=youtu.be

‘அசைக்க முடியாது’ (TMS), ' கரும்போ கரும்பு’ and ‘நான் ஒரு சின்னப்பொண்ணு’ (both by L.R. Easwari) were the other songs in the album. The amateurishly made movie sank as it deserved to, but the trace of the title song endures until this day….

The same year, MLS made a mark in Malayalam cinema with his compositions for Buabu Nanthankode's ‘Maanasa Veena’ starring Madhu, Vincent and Jayabharathi. The songs such as ‘Thulasivivaaha naalila’ (S. Janaki), ‘Nilave ninte punchiri’ and ‘Mayayam maarichan’ (both by Yesudas), ‘Santhaana gopalam’ (L.R. Eswari), ‘Swapnam tharunnathum’ (P. Susheela) and ‘Urakkam mizhikalil’ (MLS & P. Susheela) found instant appeal.

* * * * * *

Besides these 4 movies, between 1977-1978, Srikanth composed music for 4 Tamil movies that were never released.

Let us take the little-known movie ‘கீதாவின் ரோஜா’ first. I found a highly ravaged EP record of the movie in the recording center in 7 Wells. I could make out that there were songs sung by Jayachandran, S. Janaki, Malaysia Vasudevan, MLS & B.S. Sasirekha. However, only one song of the 4 could be salvaged, the scratches on the record being too numerous and deep to even attempt recording the others.

The lone song that I could get recorded is a beautiful MLS- Sasirekha duet 'மாலையிட்ட ராஜன்’. MLS exclaimed in joy when I mentioned this song to him, though he could not remember any of the other songs. He recalled that ‘மாலையிட்ட ராஜன்’ was among Sasirekha’s early songs and he had to coach her patiently before she got the nuances right. What an enchanting tune it is! The interlude with the lovely humming bits ending with the Sitar leading to the dreamy, caressing Charanam…even the Charanams differ enticingly from each other…..This song surely deserved a kinder destiny; to think that it has been lying uncared for in my collection all these years….I cannot blame myself adequately for this apathy…

https://www.youtube.com/watch?v=6jv8cuvmTJk&feature=youtu.be

* * * * * *

‘கல்யாண வளையோசை’ (J.B.S. & Jothikumar Fims) is another such unreleased movie laden with Srikanth’s bounty. I found the EMI record of the movie in 'Stereo House', one of my favourite haunts in T. Nagar, Chennai. The jacket of the EMI record had the images of Jaiganesh and Kumari Padmini, and gave the date of manufacture as 1977. The movie had 4 songs, all written by Sulur Kalaipiththan. The first is ‘ஆறுபடை வேல்முருகா’ sung by a little-known singer Pollachi Veluswami. The second is a duet ‘கட்டிய கோட்டை’ by TMS & P. Susheela.

The third is the MLS solo ‘எங்கு பார்த்தாலும் இயற்கை காட்சி’, a blithe, breezy composition that was made popular by Radio Ceylon.

https://www.youtube.com/watch?v=0LNhEf8KmV8&feature=youtu.be

The most popular song from the album, however, is the MLS- Janaki duet ‘வள்ளுவன் குறளில் சொல்லெடுத்தேன்’. The dreamy opening giving way to a distinct Tabla beat, the dexterous handling of sitar in the first interlude and trumpet in the second interlude, a gracefully flowing tune, good singing all go to make this song a delight…

https://www.youtube.com/watch?v=trWOJseqpDs&feature=youtu.be

That this song from an unreleased movie became so was hugely popular in its time tells volumes of the infinite talents of MLS.

* * * * * *

The third unreleased movie that MLS worked for is ‘தன்வினை தன்னை சுடும்’. MLS mentioned to me that this movie was started by a Malaysian producer who could not complete it. I found this EMI record in a music center in Virudunagar. It had 3 songs, and all of them were written by an obscure Thanjai Ananthapadmanabhan. Let is listen first to the MLS solo ‘தன்வினை தன்னை சுடும்’. MLS weaves the lines of pithy, profound canons into a captivating melody. The arrangements, as always, are a joy to listen…. hark at the allure of the accordion in this one…

https://www.youtube.com/watch?v=w5V9ngd_W78&feature=youtu.be

When I mentioned this song to MLS and exclaimed that it was a shame that it did not become popular, MLS responded with a sardonic snigger that struck my heart with despair… And a line from the same song goes ‘புண்பட்ட உள்ளத்தின் புன்சிரிப்பும் கொல்லுமடா....’

The next song in the album is the catchy MLS- P. Susheela duet ‘அழகாக நீயாடு’. What a euphonic song! And how sweet the ageless nightingale sounds!

https://www.youtube.com/watch?v=dEuh55hgtOI&feature=youtu.be

The third song in the movie is the P. Susheela solo ‘I love you’. Unfortunately, I did not get the song recorded. Not because the record was damaged, but because there was no space left in my TDK cassette and I could not afford to buy another one just then! As an articled clerk in the 90s, nearly all my meager stipend went in hunting for and getting recorded rare and elusive songs, and at times I had to let go off some prize catches just because I could not afford the cost of getting them recorded! Aah… the regret!

* * * * * *

The 4th unreleased movie that MLS bequeathed his treasures to is ‘பேசு மனமே பேசு’. True, the movie did not ever light the screen, yet the romantic MLS- Renuka duet ‘கண்ணே உந்தன் இதழே’ lit many a listener’s heart with wondrous joy in the late 70s. I found this song in a CD 'Best Duet Hits' that I bought from a roadside stall in Little India, Singapore.

https://www.youtube.com/watch?v=xyVO1RqwFMk&feature=youtu.be

A solo by Renuka ‘இரவு நேரம் ஓடி வந்தேன்’ was also recorded for this movie. When I asked MLS if this ebullient Renuka was the mother of Anuradha Sriram, he replied that this was a different Renuka. He said that this Renuka was introduced to him as a 11-year girl who was interested in singing. He trained her and she became a regular singer in his troupe. This Renuka went on to sing the famous ‘Surangani’ for Ilaiyaraja (அவர் எனக்கே சொந்தம்).

* * * * * *

MLS seems to have worked with numerous singers in his albums- Right from Seergazhi Govindarajan, TMS and Soolamangalam Rajalakshmi to Malaysia Vasudevan and Renuka, his albums have been enriched by a variety of voices. For the duets that he has sung in his albums, he has hand-picked his co-singers with remarkable sagacity, for each of the duets is outstanding for many factors- including the choice of the perfect co-singer- P. Susheela, S. Janaki, Vani Jairam, B.S. Sasirekha and Renuka….

In a decade that was still dominated by the towering Kannadasan and Vaali, one would offer MLS a salute for his going out of way to work with little-known lyricists…. Of course Udumalai Mani was the producer of ‘நினைப்பது நிறைவேறும்’ and must have insisted on writing his own lyrics. However, save Mayavanathan, the other lyricists who were engaged to work with MLS- Thirupathoor Rasu, Thanjai Anantapadmanabhan, Sulur Kalaipithan were all little-known, though the lines they penned bespoke their talents.

I commiserated with MLS about the ill-fate shared by all the movies he worked on, and expressed my dismay that he could not get any further opportunities. MLS sighed and replied that he was hesitant to go knocking the doors of film-makers and request them for work, and that was perhaps his undoing.

I asked him as to why he did not get any further singing opportunities for other composers. He replied ruefully that it was but natural that while the all composers were always courteous to him, they kept him at a distance; they might have perceived him as a threat as he was a composer himself. Aah…the fears, jealousies, machinations and intrigue that revel in every nerve and sinew of the tinsel town!

MLS continued presenting music programs in Doordarshan and AIR, besides live concerts. In the early 80s, he presented a series of light music concerts in Singapore and Malaysia which were well-received.

When even these opportunities started dwindling, MLS branched into film export. While at Malaysia, he had befriended Mr. Thomas of Colombia Films and thereafter commenced legally acquiring the copyrights of Tamil movies and transferring them to Colombia Films. He says that over the years he would have transferred the copyrights of more than 2000 Tamil movies to Colombia Films. I asked him about him leaving aside his music pursuits and branching off into a completely different line. He replied ‘ஏதாவது செய்யணுமில்ல தம்பி....சும்மா இருக்க முடியுமா?’

He is now 72 years old and leads a tranquil life in his residence in Broadway, Chennai. He has 3 sons and 3 daughters; all are well-settled. He said he is planning to resume conducting light music shows and is working on assembling a troupe.

* * * * * *

MLS seemed moved and pleased to receive a call from an unknown fan, and conversed with old-world courtesy and charm. As the conversation progressed and I mentioned one song after another, his tone reflected his incredulous joy and he suffixed each response of his with terms of endearment.

I informed him that I may be writing about him because there seems to be so little information on him. I also asked him for a photograph of his as I could not find any in the net. He agreed to send me one. ‘நல்ல படமா எடுத்து இன்னைக்கே அனுப்பறேன்’ he promised. And true to his word, I received his picture in my WhatsApp later in the day. He even followed it up by calling me immediately and enquiring if I had received it.

As I was ending the conversation, I recalled that he had said that one of his daughters was living in Dubai, and I invited him to come home if he was planning any visit to Dubai in the near future. He replied, ‘நீங்க அம்மா-அப்பாவ பார்க்க மெட்ராஸ் வருவீங்க இல்ல...நானும் இங்கதான் இருக்கேன்....'

I know this is a very long write-up….Forgive me friends, I seem to have let myself go... I wanted this account of MLS and his works to be recorded here….I promised MLS that I would send him a link to this article, along with the responses and comments… ‘I await eagerly!’ was his enthusiastic response. I entreat you all to spare some minutes listening to the songs that I have uploaded and post your comments on MLS. Let us fill the humble man's heart with the long due happiness of recognition and appreciation that he so rightly deserves.

I leave you with this most favourite MLS solo, a song very close to my heart: ‘கண்கள் தேடுது ஒளி எங்கே’ from ‘பேசு மனமே பேசு’…another precious seed sown in yet another patch of barren land… every listen of this marvel has always been a deeply moving experience for me…. A tremulous, emotional MLS seems to be singing from his heart, perhaps the lines resonated with his own life…..

https://www.youtube.com/watch?v=oKm1qGl4VtY&feature=youtu.be

I cannot help my eyes moisten for the self-effacing musician who crafted such a masterpiece…We cherish his songs to this day, despite most of the movies never making it to the marquee, now isn’t that timeless testimony to the genius of M.L. Srikanth? The gifted singer and composer has been grievously wronged, not by any act of commission, but by the far unkinder act of omission. How could we let him languish in obscurity? How could we let him squander his unquestioned talents?

I seek solace, as is my wont, from Marcus Aurelius- ‘Anything in any way beautiful derives its beauty from itself and asks nothing beyond itself. Praise is no part of it, for nothing is made worse or better by praise…’

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1897923496906034/

மலர்ந்தும் மலராதவை #22

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை #22:

பூந்தென்றல் காற்றாக.... பூஞ்சோலை வண்டாக....

Here is another obscure song from an unreleased movie- this is one among the many that I discovered in a heap of dusty records lying forgotten was at the audio center in North Madras- Remember I had mentioned sometime earlier about this recording center that was tucked cunningly in a busy junction of a labyrinth of alleys in the Seven Wells area of North Madras? I had come to know of it from my college friend Satya who hailed from the area. And almost akin to a budding Dada, he knew the confusing maze of lanes and by-lanes like the palm of his hand. The son of the center’s owner was his close friend. It was Satya who escorted me to the center on all the 3 occasions I went there, and instructed his friend to humor my whims.

I found this EP record of a movie ‘மணம் மாறாத மல்லிகை’ (Ananda Vinayakar Films). The name seemed vaguely familiar, though the images of MGC. Sukumar and Vanithasri on the jacket were not encouraging. The year of manufacture of the record was mentioned as 1981. The producers of the movie were Malaysia S. Anandan & M.N. Ethiraj. The director’s name was mentioned as S. Vasan.

The music was credited to R. Ramanujam, the talented younger brother of R. Parthasarathi. I was truly intrigued now, for I was in awe of Ramanujam’s works, in particular the haunting ‘பொன்னென்பதோ பூவென்பதோ’ (அன்னப்பறவை) and 'சிரித்தாய், அந்தச்சிரிப்பில் ஒரு மோகம்’ (ஆனந்தபைரவி). The songs- their very structure and the scintillating arrangements revealed that this was no ordinary composer at work. In a ruminative moment, Vani Jairam who sang the stupendous ‘தமிழ் வேந்தன் பாண்டியனின் அங்கம்’ (ஆனந்தபைரவி) remarked to me - ‘Ramanujam sir is a perfect example of an underutilized genius!’ Ramanujam seems to have worked for some more obscure movies such as கைதியின் தீர்ப்பு, அனுக்கிரகம் and புத்தம் புது நாயகன், all of which were never released. Of course, he was more successful in the non-film arena- his devotional albums remain extremely popular. He passed away some years back.

The record of ‘மணம் மாறாத மல்லிகை’ had just 2 songs- one on either side:

1. பல்லவி நான் பாட- Vani Jairam- Lyrics by Poovai Senguttuvan
2. பூந்தென்றல் காற்றாக- P. Susheela & Malaysia Sarangapani- Lyrics by Muthulingam

It was the second song that struck me with a jolt of vague familiarity… I tried to hum the opening lines….it was like straining to place a face in a crowd…I requested the young attendant to play the record. And as Susheela’s humming serenaded the caressing prelude, I suddenly found the colours appearing, as it were, on a faded sepia-toned picture….

* * * * *

It was the Summer of ’83. The new term had hardly commenced when all schools in Madras were shut for an indefinite period to express solidarity with the Sri Lankan Tamils. Apart from reading and hanging out with the neighborhood friends, the radio was my constant companion all day long. And while I would dutifully tune into Vividh Bharathi’s Then Kinnam, my liking was more towards Radio Ceylon’s தமிழ் சேவை இரண்டு which was valiantly continuing its broadcasts, albeit with sudden, unexplained silent intervals… I loved the programs for they brought to my attention obscure songs seldom or almost never aired by Vividh Bharathi- ‘அடடா இது தான் சுகமோ’, ‘நினைவிலே மனைவியென்று’, ‘மலர்மஞ்சங்கள் மகரந்தங்கள்’, ‘இந்த வெண்ணிலா ஈரமானது’, ‘சிரிச்சா கொல்லிமலக் குயிலு’, ‘மார்கழிப் பார்வை பார்க்கவா’, ‘வானில் வாழும் தேவதை’...

And this song ‘பூந்தென்றல் காற்றாக’ was part of that precious pantheon….Those endless days of the Summer of ’83 came alive with startling clarity in that afternoon of the 90s in a dusty audio center in Seven Wells….

Needless to say, I got both the songs recorded….

* * * * * *

Sometime in 2002, I discovered the channel called ‘Raj Digital Plus’, and I got to see many obscure movies and discovered so many hidden songs. One weekend afternoon, I watched a movie titled ‘அவள் ஒரு கவரிமான்’ (Kalaiselvi Arts) with MGC. Sukumar & Vanithasri playing the lead roles. The titles referred to R. Ramanujam as the Music Director, with a rider- The movie also included a song ‘வெள்ளி நிலா வானத்தில’ sung by Malaysia Vasudevan and composed by Malaysia Anandan.

Set in a rustic milieu, the proceedings were lackluster and predictable. The performances of Sukumar and Vanithasri (in a double role) were far from convincing. However, what made it memorable for me was the appearance of the 2 songs that I had recorded from the 'மணம் மாறாத மல்லிகை’ record- I could perceive that the movie’s name and the banner had changed, for reasons unknown. However, even the change of name from ‘மனம் மாறாத மல்லிகை’ to ‘அவள் ஒரு கவரிமான்’ did not seem to have changed the fortunes of the project…The movie remained unreleased to be only shown many years later on Raj Digital Plus, and I was perhaps among the very few who had the fortitude to watch it….

* * * * * *

However, my efforts to elicit some information of Malaysia Sarangapani, the co-singer of P. Susheela in the ‘பூந்தென்றல் காற்றாக’ song were futile. Even the World Wide Web could not throw up any significant details.

In 2014, I got to travel again to Malaysia, this time on work. Late one evening I presented myself excitedly at the ancient ‘Colombia Films’ in KL and gave the young lady attendant my latest wish-list. However, the redoubtable Mrs. Thomas had passed on, and no one there could give me any information on Malaysia Sarangapani or his songs. And as I traveled to Penang the next day, I was filled with disappointment at this final failure in my search for information on Sarangapani.

Final failure, did I say? The Gods must have been benign that day. For when I returned to my hotel room in Penang after the day’s work, I switched on the TV and was watching a local Tamil channel. Call it a most providential, incredible co-incidence, or an act God, the channel was doing a repeat telecast of a series on forgotten Tamil achievers of Malaysia, and the person featured in that day’s episode was none other than the elusive singer Sarangapani!

Sarangapani appeared on screen himself and spoke about his life and times. He looked weary and aged; however, as he spoke of his earlier hey days, his eyes lit up with happiness. I grabbed a pen and jotted on the hotel stationery whatever I could of all that he said, even as I was moved by the account of misfortunes that befell this humble singer. Here is a summary of what I jotted down and some details that I could get from the net:

* * * * * *

Sarangapani was born to Vaithyalingam and Kannamma on 5 January 1942 at Banting, Selangor in Malaysia. His was a large family – he was 10th among 18 siblings. He gave up his schooling at an early age and was content to spend his time tending to the family's cows, taking them to the meadows for grazing, cleaning the cowsheds and selling the milk. All the while, the little Sara used to sing to the cows the songs that he heard on the radio. The songs of MKT and PUC were his favourite. As he grew older, he sang the songs of A.M. Raja and later P.B. Srinivas. In later years, it was PBS who held Sara in his sway with his tender timber and romantic ballads.

Meanwhile, Sara’s family fell upon hard times. They had to sell whatever they possessed, including Sara’s prized cows, in Banting and moved on to Klang. Here Sara found it difficult to get any employment as he was not educated. He even worked as a porter lifting heavy loads to earn a living. He started playing football as a pastime and was so good at it that he even represented the state in a few matches.

His elder brother Shanmugam and sister Lakshmidevi had learned music formally and Sara learned from them whenever he could. Shanmugam formed a light music troupe called ‘Vinnoli’ and Sara became one of the singers in the troupe. Another brother Krishnaswami was the Mandolin player in the troupe. Sara became famous for his rendering of PBS songs all over Malaysia. The brothers traveled long distances by cycle and performed in concerts.

Sara was the first Malaysian Tamil to appear and sing on RTM (Radio Televisyen Malaysia). He sang a composition of Nagaswami Bhagavathar on the historic occasion.

Sara's closest friend was another aspiring singer called Vasudevan. The two young men would share with each other their joys and disappointments, their dreams and aspirations. At one stage, Sara and Vasu planned to sail to Madras to try their luck in playback singing. However, it was around the same time that Sara’s mother passed away. As all his elder siblings were married, Sara had to take upon himself the responsibility of bringing up his younger siblings. Hence, he had to give up his plan of traveling to Madras.

Vasudevan got an opportunity to go to Madras along with the producer of the Malaysian Tamil film ரத்தப்பேய். Sara saw his friend off with a heavy heart and over the years, watched with pride when across the seas, Malaysia Vasudevan gradually became one of the leading playback singers of Tamil Cinema.

Meanwhile sometime in 1973, Sara was approached by music producers Aziz Wok and Daud Hamzah with an interesting offer, to render the Malay song ‘Hitam manis’ that was popularized by R. Azmi in the 50s. At the time, it was very rare for a Tamil singer to sing Malay songs. However, the ever-enterprising Sara took it as a challenge and learned the nuances of the song. This version of Sara’s became took the airwaves of Malaysia by storm and Sara was flooded with opportunities to sing in Malay albums. He was also singing in public and private events. He continued to be an integral part of the RTM orchestra as well.

It was when things seemed to be looking up for Sara that fate dealt a cruel blow. Late one night in 1974 when he was returning home after work, he was attacked by an inebriated gang of robbers. He fought with them courageously, but his right wrist was severed. He was rushed to hospital; while the doctors could reattach his wrist, he lost two fingers. This gruesome incident left him scarred physically and emotionally.

It was then that Sara was named as the recipient of the prestigious Sri Angkasa Award; he was moved when the award was given to him personally while he was still convalescing in his hospital bed. With new found grit, Sara learned to use his left hand for all his needs and was soon back to doing what he loved and lived for …singing.

And sometime in 1980, out of the blue, Sara got a prized opportunity; an opportunity that he had thought had passed him by forever- to sing for a Tamil Movie. A multi-talented Homeopathy doctor from Malaysia called Anandan was engaged in producing a Tamil movie ‘மணம் மாறாத மல்லிகை’ in Madras. He spoke to R. Ramanujam who was composing the songs and got Sara to render a duet in the movie. Sara was thrilled to receive the summons- he traveled to Madras excitedly with renewed dreams of making it big in Kodambakkam.

Sara was filled with reverence for Ramanujam’s talents. He was awe-struck in the presence of the great P. Susheela who was his co-singer for the duet 'பூந்தென்றல் காற்றாக’. What a glorious moment! Sara's singing won the appreciation of everyone and he hoped that it would be the stepping stone to further opportunities in playback singing. However, much to his disappointment, the movie was never released and the song was soon forgotten.

Sara continues to sing and teach music in Malaysia. He has coached generations of Malaysian singers, including his sister Jayanthi and the famous Mohandas, and helped them to get opportunities to sing on RTM and in live concerts. He remains single- Though he received many marriage proposals when he was young, Sara refused them all as he wanted to ensure that all his younger siblings were well-settled.

The program showed a silhouette of a lone Sara looking out at the sea…How appropriate, I thought with sorrow, for much like how the relentless waves play with the shore, fate has always played a capricious game of hide and seek with Sara….

Let us, today, think of this humble singer in a distant land…He will most probably remain unaware of our thoughts and wishes, but wouldn’t that make them all the more precious?

Let us also celebrate that exquisite moment when Malaysia Sarangapani made his only tryst with Tamil Film Music:

https://www.youtube.com/watch?v=oWeXqcbJeyQ&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1889443491087368/

மலர்ந்தும் மலராதவை #21

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை #21:

பொன்னான உள்ளம் உன்னோடு இருக்க….

** More than a decade back, while discussing forgotten singers, her name came up. A fellow-hubber gave a heartwarming account of how she turned up unannounced at his house for Navaratri. They had invited her daughter who was their neighbor in Bengaluru. They were pleasantly surprised to know that she was the neighbor’s mother and the friend went on to write about how she obliged them, without much ado, by rendering some beautiful bhajans…

** Many years back, I was assisting in a small way, a journalist-friend when he was writing about Tamil film music artistes for a cinema fortnightly. When he mentioned that he was going to write about her, I sent him a list of all her songs that I could recall. He was good enough to mention this to her, and conveyed to me that she was delighted to see the list and expressed her wonder that her songs were still being remembered…

** Though a Telugu, she had her finest moments in Malayalam, with a prolific career that came to an abrupt standstill. When asked about this in an interview, she was forthright in her reply- ‘One day, Devarajan master, for whom I had sung many lovely songs, told me that he would not be giving me any more opportunities as he was going to bring in a talented singer. I could have accepted it if the singer replacing me was much better than me, like Chitra, for instance. But, Madhuri???’ Such caustic honesty is so rare in the guile-filled alleys of tinsel town, I thought, even as I offered her a mental salute for her courage of conviction…

** At the Kalaimamani Awards function, when her name was announced and she reached the dais, she folded her hands with respect to Chief Minister Jayalalitha. She was filled with incredulous joy when the beaming CM held her hands humming ‘Na na na naa na’ from her song ‘இரண்டில் ஒன்று நீ என்னிடம் சொல்லு’….

I am referring to the talented B. Vasantha, unfortunately more remembered by us as a mere humming bird…

* * * * *

Boddupalli Vasantha was born in 1944 in Machilipatnam, then in the undivided Madras province, now in the Krishna district of Andhra Pradesh. Her father Ravindranath was an acclaimed photographer and had a studio in Guntur near their house. Blessed with striking looks, Ravindranath was multi-talented—he was also an accomplished singer, musician, actor and dramatist. Vasantha’s mother Kanakadurga was a gifted Vainika and a student of Balamuralikrishna’s father- the revered Pattabhiramaiyya.

Even at the age of 3, Vasantha could sing well and often sang in her father’s musical productions for the Vijayawada AIR. However, her mother’s efforts to get Vasantha to formally learn classical music were in vain- the child was more interested in listening to light music songs on the radio, which she could repeat with every note and nuance intact.

When she was 11 years old, Vasantha sang at grand function to commemorate the opening of the Nagarjuna Sagar Dam. He father was the official photographer for the event, and when asked if he knew a child who could sing well, he suggested his own daughter’s name. Just before climbing on to the stage, a heavy iron drum fell accidentally on Vasantha’s feet. Yet the child persevered, she limped up the stairs and sang in her dulcet voice. ‘Maa Telugutallikki malleppoo dhanda’- she rendered the beautiful lines, oblivious to her acute physical discomfort. Prime Minister Nehru gave her a standing ovation and presented her the rose that was clipped to his coat.

Vasantha lost her mother when she was 13 years old. Her father married again in due course. Vasantha had 3 younger sisters and a brother. She started singing in a light music troupe called ‘Vinod Orchestra’ in Guntur to support her large family. Her rendition of Lata’s popular Hindi songs of the time drew full houses. Speaking about those difficult years in an interview, the doughty Vasantha shrugged them off casually as ‘ups and downs’ that could occur in anyone’s life.

It was when the 17 year-old Vasantha was pursuing her PUC in the Government College for Women, Guntur in 1961 that she got her first film offer through their family friend Pingali Nagendra Rao. She traveled to Madras for the recording. The song was ‘Maa kittaya puttina dhinamu’, a Telugu duet with Pithapuram Nageswara Rao, composed by veteran Pendyala Nageswara Rao for the movie ‘Vagdanam’.

She then returned to Guntur to continue her studies and enrolled for a B.Sc. degree course. She traveled to Madras whenever she was called for a recording. Her song ‘Vosthaavu pothaavu naakosam’ in the B.N. Reddy’s 1964 movie ‘Pooja Phalam’ under the baton of none other than the great Saluri Rajeswara Rao fetched her critical notice.

Having completed her degree, Vasantha now moved to Madras and the family stayed in a rented tenement in Lakshmi Colony near Vani Mahal. In an interview, Vasantha recalled how S. Janaki became a close friend in those years and often visited her at her home and fortified her with warm words of encouragement. Opportunities followed in Telugu, and Vasantha sang for all the leading composers of the time- Ghantasala, Master Venu, TV Raju, KVM and later on for Sathyam and Chakravarthi. Her songs ‘Bangaru bandilo’, ‘Chakkanaiyya Chandamama’, ‘Nithya sumangali neevamma’, ‘ Sooryuni chuttu’, ‘Raja needhananuraa’, ‘Chandamama raave jabilli raave’ are remembered to this day. She got to sing some memorable songs in Kannada as well.

However, as said earlier, the talents of Vasantha were tapped to the fullest in Malayalam cinema. ‘Ponnara Muthalaali’ the song that Vasantha sang, along with Janaki and Soolamangalam Rajalakshmi for the 1965 movie ‘Muthalaali’ under the baton of T.K. Pugazhendhi set her career on an even keel for the next decade or so. The genius M.S. Baburaj gave her many a treasured opportunity such as ‘Penne nin kannile’, ‘Nadikalil sundari Yamuna’, ‘Kasavinte thattamittu’ ‘Ee nalla raathriyil’, ‘Chirikkudukke’, ‘Kizhakku malaiyile’…. It was then B.A. Chidambaranath who invited Vasantha to sing several songs under his baton- ‘Kaarthika vilakku kandu’, ‘Konnathayinnu vasantha masam’, ‘Hemandachadrika chirichallo’, ‘Kanyakamaathave’…

The ultimate seal of approval came when Vasantha became a regular singer in the legendary ensemble of Devarajan Maash. ‘Melemaanathe neelippulayikku’ the dazzling solo that Devarajan composed for Vasantha in the 1969 movie ‘Koottukudumbam’ gave the singer a celebrity status in Malayalam cinema. ‘Katamkatha parayunna’, ‘Priyadarshini’, ‘Mannil pennai’, ‘Yavana sundari’, ‘Kaarkuzhali’, ‘Chandran udikkinna dhikkil’- Devarajan reserved many a gem for Vasantha, until as alleged, Madhuri came along. V. Dakshinamoorthi Swami, R.K. Shekhar, K. Raghavan, A.T. Ummer, M. K. Arjunan and K.J. Joy continued to give Vasantha sporadic opportunities in the late 70s and early 80s, but the occasions were few and far between.

* * * * *

Coming to Vasantha’s works in Tamil, the first call came from the famed Modern Theaters. For the 1963 movie ‘கொஞ்சும் குமரி’, Vasantha sang a melodious duet ‘ஆசை வந்த பின்னே’ for composer Veda. Her co-singer was another newcomer called K.J. Yesudas! This was then followed by a wonderful solo ‘ஏசு நாதர் பேசினால்’ under KVM for Kannadasan’s தாயே உனக்காக. The honest Vasantha revealed in an interview that she could get this prized opportunity only because P. Susheela was not available that day and the song had to be recorded urgently.

Despite the song becoming popular, Vasantha found the going tough in Tamil cinema. It was impossible to get a firm foothold in the 60s when TMS & Susheela were the uncrowned monarchs. Devarajan Maash got Vasantha to sing along with Susheela the song ‘வாடி தோழி கதாநாயகி’ in துலாபாரம். Veda made Vasantha lisp 'அப்பா பக்கம் வந்தா, அம்மா முத்தம் தந்தா' in the song 'ஒரு நாள் இருந்தேன் தனியாக' (எதிரிகள் ஜாக்கிரதை). Later, KVM made her sing the popular வசந்த மாளிகை duet with TMS ‘ஒரு கிண்ணத்தை ஏந்துகிறேன்’. P. Bhanumathi summoned Vasatha to sing under her baton- the salubrious SPB-Vasantha duet composed by Bhanumathi ‘பொங்குதே புன்னகை’ (இப்படியும் ஒரு பெண்) became immensely popular. The summons was repeated for another SPB- Vasatha duet composed by Bhanumathi - ‘சின்னது ஒன்றானால்’ (வாங்க சம்பந்தி வாங்க). In the late 70s, Shankar-Ganesh called her to sing ‘அஞ்சாறு வயசுப்பொண்ணு’ (இனிக்கும் இளமை) and G.K. Venkatesh gave her a rollicking duet with TMS ‘பட்டத்து ராஜா இப்போ வந்து’ (மல்லிகை மோகினி).

And though he gave her some memorable songs in Malayalam, MSV gave Vasantha very few singing opportunities in Tamil like 'பாட்டுக்காரன் பாடிக்காட்டலாம்’ (திக்குத் தெரியாத காட்டில்) and ‘எல்லோர்க்கும் வேண்டும் நல்ல மனது’ (மீண்டும் வாழ்வேன்). And when he made Vasantha render the immortal humming for ‘பொட்டு வைத்த முகமோ’, MSV verily set the trend for Vasantha to hover in Tamil film music as a humming bird in the years to come. MSV himself followed this with songs such as ‘திருவளர்ச்செல்வியோ’, ‘இன்று முதல் செல்வமிது’, ‘இரண்டில் ஒன்று நீ என்னிடம் சொல்லு’, ‘முத்துச்சரம் சூடி வரும்’ where he ensured that Vasantha’s humming added a distinct appeal.

Other composers were quick to take the cue- Opportunities to hum in between the lines came from KVM (திருமகள் தேடி வந்தாள்), V. Kumar (என்ன தவம் செய்தேன்), Vijayabhaskar (மணி விளக்கே மாந்தளிரே), Shyam (நேற்று வரை விண்ணிலிருந்தாளோ), Shankar-Ganesh (சித்திரமே உன் விழிகள்)….

'தந்தன நந்தனத் தாளம் வரும் ’- the song that Vasantha sang (along with Jency) for Ilaiyaraja became a raging hit. However, quite inexplicably, she did not get to sing another song for the Maestro.

Vasantha has several devotional albums to her credit. I still recall with wonder ‘ஏகன் உண்மைத் தூதரே’ – Vasantha’s stirring duet with Nagoor Hanifa that used to be featured in Vividh Bharathi’s பக்தி பாடல்கள் program at least thrice a week. ‘Venuganam’ a popular Telugu album on Lord Krishna composed by R. Ramanujam had Vasantha singing all the songs. Along with SPB, Vasantha sang all the songs in the famous ‘Bible’ album.

Vasantha has also composed music for a Telugu movie and a Kannada movie. ‘Kodukepuda thaadanthe’, the song that Vasantha composed and sang for the 1979 Telugu movie ‘Manchikki Sthanam ledu’ was popular in its time.

Vasantha is happily married. Her husband Sudhakar was God’s biggest blessing to her, she avers. When the proposal for the marriage came, Vasantha explained with candour that she was the sole breadwinner for her large family. Sudhakar accepted her siblings as his own and shared all her responsibilities until all her siblings were well settled. Vasantha and Sudhakar’s 3 children are all well-educated and gainfully employed in the software sector. The couple spend their time happily with their four grandchildren.

When she was interviewed recently on her receiving the ‘Lifetieme Achievement Award’ at the Kerala State Film Awards function, Vasantha was grateful to all the composers who gave her wonderful songs. In a moment of heartwarming honesty so typical of her, she said, in impeccable English, 'I am fully aware of my own limitations as a singer; all my composers understood that and gave me only songs that I could do justice to!’

* * * * *

Featuring today a bewitching solo that came Vasantha’s way, composed by MSV for the movie ‘இரு வீடுகள்’. Unfortunately, the movie was never released. I have heard this song often on Radio Ceylon even in the 80s. However, by the time in the 90s when I started in earnest to collect such rare and forgotten songs, I could not find this song in any of the recording centers. I finally found it at ‘Stereo House’ in T. Nagar. The owner, Mr. Shekhar had become a good friend and while the song was getting recorded, he shared with me what he knew about the movie and the song.

‘இரு வீடுகள்’ was originally a drama written and staged by writer Joseph Anandan (the writer of ‘இரு கோடுகள்’) at the AGS office in the early 70s. Actor V.S. Raghavan took the permission of Joseph Anandan and staged it with his Indian National Artists group. ‘Sowcar’ Janaki was so impressed with the story that she embarked upon making a movie of it. This was to be the third movie she was producing after ‘காவியத்தலைவி’ and ‘ரங்கராட்டினம்’. However, due to reasons unknown, the movie was not completed.

Coming to this beautiful song, I recall reading somewhere that it was composed by V. Kumar. However, I have confirmed later from several reliable sources that it was by MSV. Some even said that it was composed for some earlier project and was used later for ‘இரு வீடுகள்’

Be it as it may, the song has a place of pride in Vasantha’s Tamil portfolio, a portfolio that otherwise remains largely content with dismissing her as a mere humming bird…

நல்லதை நினைத்து இருப்பவர்க்கும்,
என்றும் நல்வழி பார்த்து நடப்பவர்க்கும்,
கள்ளமில்லாமல் சிரிப்பவர்க்கும்,
துன்பம் கிட்ட வராமல் விலகி நிற்க்கும்....
பயம் வேண்டாம், கண்ணே, பயம் வேண்டாம்...

https://www.youtube.com/watch?v=PmavHrPdtYU&t=23s

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1881875198510864/

மலர்ந்தும் மலராதவை # 20

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 20:

நீயா……இல்லை நானா......

I have a sudden hankering to watch Murasu TV at times, much to the despair of my wife and son. :) One a recent weekend evening, for instance, there was a hostile silence at home when I sat engrossed watching the 1948 movie ‘அபிமன்யு’, with plans made earlier for an outing given an unceremonious burial. I did make up later in the evening, though.

I am, however, glad that I did watch the movie, for even as the song 'புது வசந்தமாமே வாழ்விலே' appeared right after the credits, I recalled the famous anecdote concerning the composition of the song. My thoughts then continued tangentially to an obscure album that was composed years later which I realized was a worthy candidate for the current ‘மலர்ந்தும் மலராதவை’ series.

A little-known yet priceless keepsake of an enduring and endearing relationship between two great artistes of Tamil Film Music.

* * * * * *

Incident # 1: 1948. A balmy night at Central Studios, Coimbatore. 3 youngsters who were engaged as office attendants and assistants to composer S.M. Subbiah Naidu were making merry in the composing room as no one was around. The room doubled up as their accommodation for the night. One of them, a talented teenager was trying out on the Harmonium a tune that had struck him for a song ‘புது வசந்தமாமே வாழ்விலே’ that had been written for the movie ‘அபிமன்யு’ being made by Jupiter Pictures, the lessees of the Central Studious. The song, a duet to be filmed on Abimanyu and Vatsala, had had SMS stumped for a few days, as he could not come out with a tune to fit the lines.

As the teenager played his tune and sang the lines, his friends clapped with approbation. Unknown to them, there was another person who was watching the proceedings with incredulous joy; he was none other than SMS himself who had returned to pick up something he had forgotten. Seeing the 15-year old boy nonchalantly setting a tune into which the recalcitrant lines perched so snugly, the master was truly amazed. He stepped into the room and called out the boy’s name. And brushing aside the sheepish boy’s stammered apologies, he drew him into his arms and hugged him with affection. The boy happily played the tune again at his master’s bidding. SMS told the boy that he would play the same tune to the ‘Jupiter’ Somu and A. Kasilingam the next morning. However, he cautioned them not reveal to anyone that it was the boy who had composed the tune as the fastidious Somu would never accept a tune composed by a mere assistant. The next morning, when SMS played the tune, it was approved at once. And it was the boy who taught the tune to the singers Trichy Loganathan and U.R. Jeevarathinam. The song became immensely popular in its time, with the credit going to SMS.

You would all doubtless be aware that the genius teenager was none other than M.S.Viswanathan, while his friends were G.K. Venkatesh and Gopalakrishnan.

Soon thereafter, Jupiter’s lease of the Central studious came to an end and Jupiter Somu and his partner S.K. Mohideen decided to move to Madras. Many of the staff, including MSV, were made redundant. However, SMS rushed to the rescue of his protégé. He requested Somu to retain MSV and take him to Madras, and revealed then that it was MSV who had actually composed the tune for ‘புது வசந்தமாமே வாழ்விலே’. The song had become a great favourite of Somu; MSV was taken back on the rolls and traveled to Madras. Here, he was put under the tutelage of C.R. Subburaman who was composing for a few projects of Jupiter Pictures. The rest, is a history that is only too well known. And MSV would forever remain grateful to SMS.

Let us return to SMS. Tamil Cinema remains indebted to SMS for many reasons. Besides setting MSV on a firm track thus paving his way for further opportunities, SMS was the composer who first set to music Kannadasan’s lyrics- ‘கலங்காதிரு மனமே’ (கன்னியின் காதலி/ 1949). He gave a young TMS his first singing opportunity - ‘ராதே நீ என்னை விட்டு போகாதேடி’ (கிருஷ்ண விஜயம்/ 1950). He was the composer who first made TMS sing for MGR ‘எத்தனை காலம் தான் ஏமாற்றுவார்’ (மலைக்கள்ளன்/ 1954).

Born in 1914 in Kadaiyanallur, Subburayalu Munusami Subbiah Naidu had an unhappy childhood. He ran away from home with dreams of finding his fortune in Singapore, but ended up working in drama troupes such as those of Jagannatha Aiyer and Nawab Rajamanickam Pillai. Finding himself drawn more to music than acting, SMS learned music from masters such as Rajagopala Iyengar and Subramaniya Bagavathar. When the company’s play ‘பக்த ராம்தாஸ்’ was made into a movie, SMS worked on the music for the movie as well.

SMS worked jointly with other composers on a few movies in the early 40s. He then composed music for the first movie in which MGR played the hero- ராஜகுமாரி (1947). All through the 50s, SMS continued to compose memorable songs in the movies that came his way. Albums such as ‘ஏழை படும் பாடு’ (1950), ‘காஞ்சனா’ (1952) and ‘மலைக்கள்ளன்’ (1954) helped him to consolidate his place among the front-ranking composers of the decade. My favorite SMS albums are ‘திருமணம்’, ‘மரகதம்’, ‘நாடோடி மன்னன்’ and the magnificent classic ‘கொஞ்சும் சலங்கை’.

Incident # 2: At the dawn of the 60s, SMS had been engaged to compose music for MGR’s ‘திருடாதே’. He had composed a few songs and was working on setting the tune for a duet when producer AL. Srinivasan made him listen to a song ‘என்னருகே நீயிருந்தால்’ sung by P.B. Srinivas & P. Susheela. The song had been composed by MSV-TKR for an earlier project and had remained unused. ALS suggested that the song be included in the ‘திருடாதே’ album. Seeing that it was by his protégé MSV, SMS readily agreed, and thus the song featured in ‘திருடாதே’ with the credit once again going to SMS.

As the 60s progressed, SMS, like other veterans G. Ramanathan, S.V. Venkataraman and R. Sudarsanam, found himself sidelined by the new wave of light music serenaded by the all-pervading magic of MSV-TKR. K.V. Mahadevan was the only other composer who managed to remain in the center stage. SMS did get a few projects in the late 60s - நாம் மூவர், ராஜா வீட்டு பிள்ளை, உயிர் மேல் ஆசை, சபாஷ் தம்பியாக, பணக்கார பிள்ளை, நாலும் தெரிந்தவன், சக்கரம். Though some of the songs did manage to find some airtime, they were nowhere close to the popularity enjoyed by the works of MSV. My favourite album of SMS from that period is ‘மன்னிப்பு’- 'நீயெங்கே.... என் நினைவுகள் அங்கே’ and ‘வெண்ணிலா வானில் வரும் வேளையில்’ …. enticing tunes that bespeak the genius of SMS to this day.

While he was composing music for ‘ராஜகுமாரி’ at Central Studious, SMS made the acquaintance of the hero MGR. This laid the basis for a lifelong friendship between the two, which was further strengthened during the making of ' மர்மயோகி’ and ‘மலைக்கள்ளன்’. When MGR turned producer/ director with ‘நாடோடி மன்னன்’, he invited SMS to compose the songs, along with N.S. Balakrishnan who had composed 2 songs. Later, when the fortunes of SMS were on the decline in the 60s, MGR secured for his friend a few opportunities such as ‘தாயின் மடியில்’, ‘ஆசை முகம்’ and even ‘தலைவன்’ (1970). In the 70s, opportunities were few and far between - சினேகிதி, வைராக்கியம், தேரோட்டம், தங்ககோபுரம்......SMS used to pass the time of the day in MGR’s house along with other members of MGR’s inner circle such as Ravindar.

MSV and Kannadasan, who have acknowledged many a time the crucial role played by SMS in shaping their career, organized a grand function to celebrate the 60th birthday of the master composer. In the function graced by MGR and Sivaji Ganesan, a cash award was presented to SMS as a token of his contribution to Tamil cinema.

In the late 70s, the health of SMS suffered a setback. The superbly crafted songs of ‘கவிராஜ காலமேகம்’ (1978) which SMS had painstakingly worked on went unnoticed as the movie was a commercial catastrophe. This disappointment, compounded by the ignominy of being forgotten by an uncaring film fraternity and financial woes hastened depression and multiple physical ailments. Seeing the plight of his Master, the noble MSV brought the childless SMS and his wife to his house and attended to their every need with solicitude. And it was then that occurred …

Incident # 3: A producer called upon SMS and wanted him to compose music for his upcoming project ‘அத்தி பூத்தது’. Though physically frail, SMS was overjoyed at this opportunity. 2 songs were composed by SMS and recorded. 2 more songs were needed to be composed when SMS fell seriously ill. MSV perceived that SMS would not be able to work on the remaining songs, and came forward to compose them himself- His only condition was that even the songs that he would be composing should come under the name of SMS. The producer accepted happily.

However, SMS, who was listening to this conversation, beckoned to MSV. The words that he whispered feebly had the Mallisai Mannar in tears- ‘Do not make me indebted for the third time, Visu! Please permit the songs that you are going to compose to be credited to you!’ SMS would not let go of MSV’s hand until he had secured his assurance on this.

SMS passed away a few days after this, in May 1979. Stepping into the role of his next of kin, the grief-stricken MSV performed the last rites.

MSV composed 2 more songs for ‘அத்தி பூத்தது’ when he was approached some time later. He did not accept any payment for his work. However, the producer was besieged by financial constraints and ‘அத்தி பூத்தது’ (Gnanam Movies) was shelved midway. The EP record containing the songs was released in 1981, with one of the songs composed by MSV finding fleeting airtime in Radio Ceylon.

The songs in the ‘அத்தி பூத்தது’ album were:

1.கன்னிப்பெண்ணே உன்னுடலில்- SPB. Lyrics by Ramraj. Music by S.M. Subbiah Naidu

2.அடி மல்லிகைச்சரமே - Malaysia Vasudevan & T.K. Kala. Lyrics by Paridasan. Music by S.M. Subbiah Naidu

3.மூவகைப்பாலில் - SPB & Vani Jairam. Lyrics by Vaali. Music by M.S. Viswanathan.

4. முக்கோன சக்கரத்தில் உட்காரும் தேவி- T.K. Kala, B.S. Sasirekha & Chorus. Lyrics by Vaali. Music by M.S. Viswanathan.

Here is the quaint ‘கன்னிப்பெண்ணே’ by SPB. SMS sets the lines to a lilting tune and sends for SPB to render it. Yes, the orchestration does sound a trifle dated for the late 70s- but that does not take away the inexplicable charm that the composition has. I have always wondered if Maragathamani had this song in mind when he composed 'Tu mile dil khile'.

Forgive the not-so perfect recording- I found the ravaged record under a heap of others in a center in Virudunagar. Wiped it off layers of dust myself before handing it over to the attendant for getting it recorded.

The song holds a special place in my heart for it was one of the last two numbers composed by a towering pioneer of Tamil film music. How much fulfilment it must have given the ailing SMS to wield the baton and relive, just once more, the vibrancy of a glorious past!

https://www.youtube.com/watch?v=UPbPFDkM0rc&feature=youtu.be

And here is ‘மூவகைப்பாலில்’ by SPB & Vani. MSV collaborates with Vaali and comes out with a composition of languorous enthrallment. The magnificent prelude is such a scintillating MSV signature! The seasoned singers usher in a mood of a dreamy, sensuous rendezvous. This song too holds a special place in my heart, for more than its compositional merits, it is a loving talisman of a fierce, loyal affection that is seldom witnessed in this callous, forgetful world. A gorgeous gesture of gratitude. A promise honored.

https://www.youtube.com/watch?v=tJqk81biQt4&feature=youtu.be

Two men. Two melodies. And a saga of a heartwarming surety, and a bond strengthened by the silken strands of music….

Discussion at:

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