மலர்ந்தும் மலராதவை # 28

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 28

மேகம் தண்ணி மேகம்....

In this edition of மலர்ந்தும் மலராதவை, let us listen to a song from an unreleased film, composed by Ilaiyaraja and sung by a veteran singer- perhaps the only full song that he sang for the Maestro, apart from insignificant portions in two other songs….

A talented singer who could never make it to the top bracket, even in his heyday….

Despite proving his mettle in some enticing melodies, the fact that he was branded as a ‘comic’ singer is one of the many imponderables of Tamil film music…

He was back in the limelight for a brief moment when composer Sean Roldan invited him to render the ditty ‘நல்லா கேட்டுக்க பாடம்’ for the 2014 black-comedy on cricket-related betting- 'ஆடாம ஜெயிச்சோமடா'.

Spry and energetic at 85, he graces many a film related function even now and enthralls the audience with his signature song ‘எங்கிருந்தாலும் வாழ்க’, his tenor capsuled in a time warp….

* * * * * *

The way I chanced to meet and talk with the gentleman singer Ayyampettai Lakshmanan Raghavan was deeply mortifying, to say the least :) During a weekend in my first year of college, my friend Srikanth was helping me learn to ride his KB 100. (I had the experience of driving only a TVS 50 until then). It was a tranquil Sunday afternoon and we had gone from RK Salai into the quiet by-lanes of Balaji Nagar where I was going up and down the streets with him seated behind me. As I turned into one of the streets, there was a heap of sand and stones outside a construction site which we came across with an unanticipated suddenness. I am sorry to say I rode right into it and we both fell headlong, thankfully, on the sand.

We looked up to see A.L. Raghavan giving us a pitying glance from the gate of the house opposite and enquiring gently if we were hurt. We assured him that we unhurt (Our physical beings, anyway. Srikanth would not vouch for the state of his pride :) Recognizing him, I greeted him and said that I was a fan of his songs. We chatted for a while at his gate and perceiving that we were genuine fans, he invited us in. He was alone at home; Mrs. M.N. Rajam had gone out on some errand.

He was surprised that his songs from the 50s and 60s were remembered, and in the course of our conversation that lasted nearly an hour, ALR was happy to go down memory lane, sharing details of his life, times and works…I remember being moved that he did not appear to harbor any resentment at being dismissed as a ‘comic’ singer, showed no rancor at being sidelined, instead he seemed grateful for the opportunities that came his way and content with his lot.

He came up to the gate to see us off, and cautioned us again to drive safely.

* * * * * *

ALR hailed from a Sowrashtra family settled in Ayyampettai, near Thanjavur. A.R. Lakshmana Bhagavathar, father of ALR, was an acclaimed stage actor/ singer in the 30s. His sudden demise when ALR was not even 10 years old left the family in dire straits. Being the eldest son, the little ALR dropped out of school and joined a drama troupe called ‘Bala Gana Vinodha Sabha’ to support his family. Under the tutelage of the seasoned artistes in the ‘company’, ALR blossomed into a fine child artiste, winning accolades for his acting and singing skills.

His performance in the play ‘திருமழிசை ஆழ்வார்’ was so impressive that ‘Jupiter’ Somasundaram, who was engaged in the production of ‘கிருஷ்ண விஜயம்’ decided to cast ALR in the role of the child Krishna in the movie. The movie was some years in the making and was released finally in 1950. Interestingly, it was in the same movie that a young aspiring singer called T.M. Soundararajan made his debut singing 'ராதே நீ என்னை விட்டுப்போகாதேடி’ for the adult Krishna played by Narasimha Bharathi.

When the nation was grief-stricken at the assassination of the Mahatma, lyricist Bhoomipaladasa at Jupiter Pictures wrote a moving ode ‘உலக மஹான் காந்தி’ which ALR sang at many a condolence meeting all over the state. ALR thereafter donned the role of child Krishna again in P.U. Chinnappa’s ‘சுதர்ஷன்’ which was again some years in the making and released in 1951. Meanwhile, as his voice had still not broken, he sang as part of female chorus voices in a few movies in the late 40s and also sang for Kumari Kamala in the movie ‘விஜயகுமாரி’.

However, it was the song ‘பள்ளிக்கூடம் பம் பம்’ for Susarla Dakshinamoorthi in Modern Theaters’ 1952 movie ‘வளையாபதி’ that catapulted the teenaged ALR to popularity. We could catch a glimpse of the bubbly innocence when ALR sang the opening lines to us, his eyes lit up with memories of a distant past.

Thereafter, ALR sang a comic song ‘கோயில் காளை நீ பாப்பா’ along with TMS & P. Susheela for Sudarasanam Master in AVM’s ‘செல்லப்பிள்ளை’ (1955). He continued to sing for the stage productions of drama troupes of S.V. Sahasranaman and Sivaji Ganesan. His old friends M.S. Viswanathan and G.K. Venkatesh happened to hear him sing in one of the plays that was being staged in the Teynampet Congress Grounds, and he was soon summoned by MSV to sing the hilarious ‘Hello, my dear Ramee’ along with J.P. Chandrababu in ‘புதையல்’ (1957). This marked the beginning of his career as a playback singer.

Tamil Film Music of the 50s was immensely enriched by the presence of a galaxy of talented composers and singers. A.M. Raja, Tiruchi Loganathan, C.S. Jayaraman and Seergazhi Govindarajan were the most prolific male singers, while TMS was gradually climbing up his way to the top. Ghantasala was the preferred voice for the Tamil-Telugu bilinguals. The honey-toned PBS was still in the sidelines and S.C. Krishnan was the automatic choice for folk/comic numbers. This was the arena and these were the formidable players when the young ALR made his entry.

MSV-TKR and KVM gave some early opportunities that helped secure ALR a firm foothold. ‘சோடா பீடா’ & ‘ஆவாரங்காட்டுக்குள்ளே’ with Jamunarani (both from குடும்ப கௌரவம்/1958), ‘கதை கதையாம்’ with Jikki and ‘வாடா வெத்தலை’ with Jamunarani (both from தலை கொடுத்தான் தம்பி/ 1959), ‘ஆட்டம் ஆட்டம்’ with Jamunarani (பாகப்பிரிவினை/1959), ‘சாயா சாயா கரம் சாயா’ (ஒன்று பட்டால் உண்டு வாழ்வு/1960) were the songs that ALR sang for MSV-TKR in those early years. Most of these were comic songs, yet ALR brought in a distinct touch of melody in his rendition- His humourous, yet tender duet with K. Rani- ‘பெண்ணில்லே நீ பெண்ணில்லே’ (ஆளுக்கொரு வீடு/1960) is an excellent case in point.

KVM gave ALR some beautiful compositions- sample these- the stirring ‘நம்பினார் கெடுவதில்லை’ from நாலு வேலி நிலம் (1959) that ALR rendered with Aandaal, the two beautiful songs from ‘பாஞ்சாலி’ (1959)- ‘அழகு விளையாட’ with Jamunarani and the solo ‘ஒரு முறை பார்த்தாலே போதும்’ must rank among the top 10 in any compilation of ALR songs. In fact, ALR said that in all his shows in Malaysia and Singapore, he was always requested to render ‘ஒரு முறை பார்த்தாலே போதும்’. ‘மலரும் மணம் போல் இருப்போம்’, ALR’s duet with Jikki in ‘தந்தைக்குப் பின் தனையன்’ (1960) is a ballad of love and faith. ‘காலம் மாறுது’ with L.R. Easwari, enriched with rich orchestration, chorus voices and shifting tempo in ‘தாயில்லா பிள்ளை’ (1961) never got its rightful due, even while the ebullient solo ‘கடவுளும் நானும் ஒரு ஜாதி’ in the same movie became hugely popular. And how astute of KVM to pick on ALR to sing for M.R. Radha in that unforgettable duet ‘புத்தி சிகாமணி பெத்த பிள்ளை’ (இருவர் உள்ளம்/1963)! The same year saw the belated release of ‘நான் வணங்கும் தெய்வம்’ with the superbly crafted ALR- Jikki duet ‘முல்லைப்பூ மணக்குது’. ALR reminisced with a smile that the song was so popular in Malaysia that whenever he landed in Kuala Lumpur for a show, the local radio would play this song to announce his arrival! And to think that this song is seldom remembered in Tamil Nadu!

Other composers were not far behind in harnessing the vocals of the young singer in songs of all genre. Takes these samples from the year 1960 alone- ‘மலர்ந்திடும் இன்பம்’, a delightful ALR- Jamunarani duet of rustic romance was composed by Susarla Dakshinamoorthi for ‘இரு மனம் கலந்தால் திருமணம்’. ALR- Jamunarani also rendered an operatic ‘இது நியாயமா’ for the same movie. Can we forget that rollicking epitaph to our humble Idli- ‘ராசா மக போலிருந்தே’ that ALR sang for MBS in the pioneering ‘பாதை தெரியுது பார்?’. Aadhi Narayana Rao brought to the fore ALR's versatile talents, including yodeling, in the jaunty ‘கற்றார் நிறைந்த சங்கமிது’ (அடுத்த வீட்டுப் பெண்). KVM made ALR and S.V. Ponnuswami render a riotous Kathakalatchepam ‘திமிக்கிட திமிக்கிட’ in ‘ஆட வந்த தெய்வம்’.

Ghantasala invited ALR to sing two memorable duets ‘இன்பமான இரவிதுவே’ and ‘காதல் யாத்திரைக்கு’ with P. Susheela for the 1962 movie ‘மனிதன் மாறவில்லை’. Veda made ALR sing a Dean Martin-inspired 'பாப்பா பாப்பா கதை கேளு' (அம்மா எங்கே /1964). ‘உன்னை அறிந்தால்’ might have been just another TMS solo for MGR, had it not been for ALR’s brilliant embellishments. G.K. Venkatesh composed a gentle, unhurried ALR- Janaki duet 'நேற்று நடந்தது நினைவாகும்' for the 1965 movie தாயின் கருணை.

ALR also got to sing some film songs in Malayalam ( ‘Elele Ezhaam kadalinu’ in Lily/ ‘Ammayi Appanu’ in Kalithozhan) , Kannada (‘Cheluvina Siriye’ in Annapurna/ ‘Modern Lady’ in Malathi Maladhava) and Telugu (‘Gaaradi Chechestha’ in Nene Monaganni).

In those early years, in search for an ideal alternative to A.M. Rajah to sing for Gemini Ganesh, MSV-TKR experimented with ALR in 2 movies- பாக்கியலட்சுமி (1961) had two duets of varied allure- ‘காதல் என்றால் ஆணும் பெண்ணும்’ (ALR/ P. Susheela) and ‘கல்லூரி ராணிகாள்’ (ALR/Jamunarani) that was amended later to ‘சிங்காரச்சோலையே’. A year later ‘அன்று ஊமைப்பெண்ணல்லோ’ (பார்த்தால் பசி தீரும்) became popular. However, it could not match the huge popularity of ‘காலங்களில் அவள் வசந்தம்’ and PBS became the accepted voice for Gemini Ganesh.

However, at the same time, MSV-TKR tried ALR for other actors as well- ‘பட்டுச் சிறகு கொண்ட’ (Balaji/ கறுப்புப்பணம்) and ‘கால்கள் நின்றது நின்றதுதான்’ (Muthuraman/ பூஜைக்கு வந்த மலர்). The song originally recorded for the sequence ‘திங்களுக்கு என்ன இன்று திருமணமோ’, a lovely ALR-Janaki duet was replaced as its tune was found to be similar to ‘அழகுக்கும் மலருக்கும் ஜாதியில்லை’. The crowning glory was of course the iconic ‘எங்கிருந்தாலும் வாழ்க’ for Kalyankumar (நெஞ்சில் ஓர் ஆலயம்), the song that fetched ALR a fame that is eternal.

ALR had the erudite President Radhakrishnan in tears with his moving rendition of ‘பகைவனுக்கருள்வாய்’ when a contingent of Tamil film artistes were invited for an evening at Rashtrapathi Bhavan on their way back from entertaining our troops at the war-front in the mid-60s.

However, by the time, the trend to have TMS sing for MGR and Sivaji Ganesan, and PBS sing for the other leading actors had been firmly established. It was thus that ALR was relegated to singing ‘comic’ songs, mostly for Nagesh. It to his ALR’s credit that he rendered these with panache, bringing to them a casual joie de vivre that many of them linger in our memories. Many singers including S.V. Ponnuswamy, Seergazhi Govindarajan, Tharapuram Sundararajan, TMS and even PBS sang for Nagesh, yet when we think of that brilliant actor and his songs, the first singer who comes to mind in undoubtedly ALR. Many of the songs allowed ALR to improvise and bring in his innate ingenuity. Sample these- ‘அழகிய ரதியே’, ' என்ன இல்லை எனக்கு', ‘உலகத்தில் சிறந்தது எது’, ‘என்ன வேகம் நில்லு பாமா’, ‘சீட்டுக் கட்டு ராஜா’, ‘ குபுகுபு குபுகுபு நான் இன்ஜின்’, 'சாமி இல்லாமல் ஊர்கோலமா’, ‘வாழைத்தண்டு போல உடம்பு அலேக்’, ‘எல்லாமே வயித்துக்குத்தாண்டா'…..

My favorites of ALR from this period are the fun-filled Qawwali ‘இங்கே தெய்வம் பாதி’ where ALR sings alongside the legendary T.A. Mothi, ‘பார்த்ததும் காதலை தருவது’ where he adds a touch of insane zest with his ‘Pipa ha loona’, the feet-tapping baila ‘ அங்கமுத்து தங்கமுத்து’ and the two boisterous Veda numbers- ‘பொம்பள ஒருத்தி இருந்தாளாம்’ where ALR brings in a Sowrashtrian twist, and the simply amazing ‘மணமகன் அழகனே’.

ALR teamed up with TMS to act and produce a movie- ‘கல்லும் கனியாகும்’ (Soundararaghavan Movies/ 1968), while not doing well commercially, remains a lovely MSV musical. Here too, ALR’s caressing duet with P. Susheela ‘அத்தான் என்றேன் முத்து முத்தாக’ was overshadowed by the more popular TMS solos.

In the 70s, with Nagesh’s fortunes on the decline and the arrival of a new music wave with Ilaiyaraja, old-timers like ALR found themselves gradually forgotten and sidelined. ALR kept himself occupied by conducting light music shows, many of them in Malaysia and Singapore where he commanded a significant fan following.

After many years, KVM sought him out to render a melodious duet with S. Janaki ‘ஒரு கோடி சுகம் வந்தது’ (மழை மேகம்/1977). The rising star Ilaiyaraja made ALR hum to Janaki’s club dance number ‘உன்னைத்தான் அழைக்கிறேன்’ (காயத்ரி/1977) and render a small comic portion for V.K. Ramaswamy in ‘நாடறியும் நல்ல கட்சி’ (ஓடி விளையாடு தாத்தா/1977). Shyam called him to sing a folksy ‘சுறாமீனைப் பாரு’ (நான் நன்றி சொல்வேன்/1979). None of these songs could engage the public attention and ALR was left without any further singing opportunities.

It was then, and in the face of this threatening oblivion, that ALR embarked upon producing a movie. He picked up on the then successful director-duo Devaraj-Mohan to helm the venture. A story by the Kannada writer Srikrishna Alanahalli was chosen. ரோசாப்பு ரவிக்கைக்காரி, directed earlier by Devaraj- Mohan was also based on one of Srikrishna’s stories. The story chosen this time involved a love triangle, with the tyranny of a village landlord forming the backdrop.

ALR managed to pull off a spectacular coup when he got five composers on board to work on the five songs of the movie- KVM, T.R. Papa, G.K.Venkatesh, Shankar-Ganesh and Ilaiyaraja. (Yes, I remember asking him about the conspicuous absence of MSV; ALR only smiled in response). The background score was by Ilaiyaraja. The movie ‘கண்ணில் தெரியும் கதைகள்' (Rajameenakshi Films) was released in 1980. Shankar-Ganesh’s ‘நான் உன்ன நெனச்சேன்’ and Ilaiyaraja’s ‘நானொரு பொன்னோவியம் கண்டேன் எதிரே’ fetched instant popularity. ALR sang a haunting solo under the baton of GKV- ‘நான் பார்த்த ரதி தேவி எங்கே’. Yet, for all its musical worth, the movie was a commercial disaster. ALR ended up with heavy losses.

He was away from Cinema since then. He made a surprising comeback acting in the TV serial ‘அலைகள்’ in 2002-2003.

ALR and M.N. Rajam were married at Tirupati in 1960. The couple have a son Brahmalakshmanan and a daughter Nalina Meenakshi, who are well-educated. Their grandchildren have completed their studies and are gainfully employed. ALR and Rajam lead a tranquil, happy life filled with mutual love and beautiful memories of personal and professional contentment. Let us wish them many more years of togetherness, filled with good health and cheer. வாழ்க! வாழ்க!

* * * * * *

As mentioned at the beginning, presenting today a forgotten song by ALR composed by Ilaiyaraja from an unreleased movie ‘புதிய அடிமைகள்’.

This EP record was one among a bunch of dusty, old records that I discovered in that small shop in North Madras. This particular record had no jacket advertising its contents; it had to be content with reposing within a polythene sheath. But for all those long years of wanton negligence, it was remarkably free of any damaging blemishes. The year of manufacture was 1980, and the banner that funded this movie was Yugasakthi Films (P) Ltd.

The enthralling Yesudas-Susheela duet ‘மகிழம்பூவே உன்னைப் பார்த்தேன்’ was the song that Radio Ceylon singled out from the album to cherish and celebrate.

However, for me, the best surprise that the album stored, was the blithe ditty ‘மேகம் தண்ணி மேகம்’. The perspicacious Ilayaraja summons A.L.Raghavan to do justice to the jaunty joyride, and ALR, with chorus voices joining the merry making, seems to have greatly enjoyed this happy outing.

Song: Megam Thanni Megam
Film: Puthiya Adimaigal (unreleased)
Vocals: A.L. Raghavan & Chorus
Lyrics: Gangaiamaran
Music: Ilaiyaraja

https://www.youtube.com/watch?v=TlVv2R_tMLs&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1938574342840949/

மலர்ந்தும் மலராதவை # 27

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 27

ஓலை தாங்கிச் செல்லடி....

Let us, in this edition of மலர்ந்தும் மலராதவை, listen to a song recorded in 1974 for a movie that was never released. It is a song composed by a music-director of yore who enriched Tamil Cinema with some unforgettable songs, yet remained obscure …..

First some questions…. Most of us would have heard of ‘எதிர்பாராதது’, the 1954 Sivaji starrer, the unusual story written by Sridhar and even remember the two alluring versions of ‘சிற்பி செதுக்காத பொற்சிலையே’, but do we recall the name of the composer behind the songs?

Many of us would have seen or most certainly listened to the stirring songs that the great T.R. Mahalingam rendered in his last outing as the lead player in the 1972 movie ‘திருநீலகண்டர்’, but how many of us know the man whose hand held the baton for the magnificent album?

Composer Veda worked as his associate for some years and learned the nuances of music composition before branching off on his own. T.K. Pugazhenthi, before teaming up with KVM, worked under him for a few years. Shyam commenced his film career as a violinist under him. B.A. Chidambaranathan was part of his ensemble.… No other composer had harnessed the dulcet vocals of (Radha) Jayalakshmi with such spectacular results in film music as him….

The composer I crave your indulgence for today, Ladies & Gentlemen, is C.N. Pandurangan (credited in some movie titles as C.N. Pandurangam).

* * * * * *

Enchanted by his compositions in திருநீலகண்டர், I commenced my search for other works of CNP. Over a period of some years, I managed to collect songs from most albums of CNP, including some truly elusive ones. However, I could not gather much information on the man himself. This was in the mid- late 90s; with the entire state in the spell of the young Rahman and his magic, no one could or was inclined to search for the elusive trail of a little-known composer of a bygone era.

From a documentary on K. Subramaniam, I could get some insights on CNP who was involved in the music of some of the movies of KS. CNP is even said to have acted in minor roles in a few silent movies of the 30s. I have heard PBS mention CNP with great respect. A journalist/writer who shared my passion for film music had met CNP’s daughter and was able to give some information on the antecedents of CNP. During our meeting with Shyam and in subsequent conversations, I got to know further details of CNP and his humongous talents. A Kannadiga friend and a great enthusiast of old film songs could throw some more light on CNP, when I was talking about CNP’s works in Kannada with him. I remember reading a memoir of Vembathur Krishnan wherein he mentioned working with CNP in reverential terms.

Cuddalore Nagarathinam Pandurangan was born in 1912. His father was highly devout and even while holding a Government post, conducted religious discourses and was also an exponent of Harikatha. CNP commenced his music lessons under his father and accompanied him on the stage. He was later put under the tutelage of the legendary Chitoor Subramania Pillai (The same vocalist who taught Madurai Somu).

CNP blossomed into a fine Vainika and was spotted by the pioneering director K. Subramaniam. KS took the young musician under his fold and CNP worked under composers who were engaged by KS for his productions, such as S.V. Venkataraman for ‘Gokuladasi’. CNP’s first assignment as a music composer was the 1948 Sinhalese movie ‘Kapati Arakshakaya’ directed by K. Subramaniam. The movie was a runaway hit and CNP’s compositions sung by the famous Eddie Jayamane and Rukmani Devi became very popular. This led to CNP composing the songs for a few more Sinhalese movies in the coming years such as ‘Veradunu Kurumanama’, ‘Amma’, ‘Sihinaya’ and ‘Devasundari’.

The first Tamil movie which had songs composed by CNP was ‘காமவல்லி’ (1948). Despite some good classical songs written by Papanasam sivan and rendered by Nagercoil Mahadevan and S. Varalakshmi, CNP was not flooded with offers. Remember, the late 40s were the years when the great G. Ramanathan was gradually consolidating his position to emerge as the top-ranking composer of the 50s. The young prodigy C.R. Subburaman was charting an exciting course of his own. Prudists swore by the impeccable credentials of S.V. Venkataraman. R. Sudarsanam was perched comfortably as the in-house composer of AVM. Gemini Studios had their own orchestra headed by the likes of Saluri Rajeswara Rao, Hanumanta Rao, Eemani Shankara Shastri & M.D. Parthasarathi. S.M. Subbiah Naidu was patronized by production houses such as Pakshiraja and Jupiter. The songs of the movies produced by Vijaya-Vauhini and other Telugu/Tamil bilinguals were entrusted to talented composers such as Ghantasala, Pendiyala, A. Rama Rao and Master Venu. And as the 50s rolled on, there were gifted composers such as T.G. Lingappa, K.V. Mahadevan, Chalapathi Rao, T.R. Papa and MSV-TKR who entered the fray. The 60s, of course, is only a story too well known, of the monarchs MSV-TKR and KVM.

Bereft of any regular patronage, the talented CNP found only few assignments come his way. The following is the list of Tamil movies that I could trace for which CNP composed music. There could probably be some more:

1. காமவல்லி (1948)
2. ஸ்ரீ கிருஷ்ண துலாபாரம் மற்றும் நவீன வள்ளி (1948)
3. கீத காந்தி (1949/ with Brother Lakshmanan)
4. என் தங்கை (1952)
5. மாமியார் (1953)
6. குமாஸ்தா (1953/ with G. Ramanathan & V. Nagiah)
7. எதிர்பாராதது (1954)
8. என் மகள் (1954)
9. போன மச்சான் திரும்பி வந்தான் (1954/ with MSV)
10. மேனகா (1955/ with Veda)
11. வாழ்விலே ஒரு நாள் (1956/ with SMS & T.G. Lingappa)
12. வெறும் பேச்சல்ல (1956)
13. புது வாழ்வு (1957/ with G. Ramanathan)
14. பூலோக ரம்பை (1958)
15. பாண்டித்தேவன் (1959/ with Meenakshi Subramaniam)
16. மாலா ஒரு மங்கல விளக்கு (1959)
17. சோலைமலை ராணி (1960)
18. இந்திரா என் செல்வம் (1962)
19. குபேரத்தீவு (1963)
20. சத்தியம் தவறாதே (1968)
21. ரகசியப் பெண் 117 (1972)
22. திருநீலகண்டர் (1972)
23. கதவைத் தட்டிய மோகினிப்பேய் (1975)
24. வெற்றித்திருமகள் (released belatedly in 1978)

Only 24 movies spread over a period of 30 years! And in many of them, CNP got to compose only some of the songs while other composers worked on the rest. Many of the movies were commercial failures. Yet even in this few albums, CNP shows his erudite classical roots, technical finesse, inventive arrangements, uncanny grasp of the mood and sequence, astute pick of a variety of singers….

Have you listened to the rich timber of P.A. Periayanayaki soar like a bird yonder in ‘மனமோகனதாஸ் காந்தி’ (கீத காந்தி)? Or have you nodded your head in joyous celebration of the two alluring T.A. Mothi- P.Leela duets ‘காதல் வாழ்விலே' and ‘ஆடும் ஊஞ்சலைப் போலே’? (என் தங்கை)? How much value addition do the 2 varied versions by Jikki and Raja of ‘சிற்பி செதுக்காத பொற்சிலையே’ bring to the motif of ‘எதிர்பாராதது’? Does the great S. Varalakshmi leave you in a trance with her delineation of Bilahari in ‘சிங்கார ரூப சுகுணா?’ (மாமியார்)? Who, other than CNP, dared to summon the redoubtable MLV to render a ditty like ‘Dance Baby Dance’ (குமாஸ்தா)?! If you ever try to compile the 10 best solos of the young P. Susheela in the 50s, wouldn’t CNP’s bewitching ‘ஜீவகான வீணை நான்’ (பூலோக ரம்பை) make it to among the top numbers? How astute of CNP to pick PBS and Soolamangalam Rajalakshmi to render 'நான் பாடிய நீ ஆடு கண்ணே’ and 'நான் ஆட நீ பாடு கண்ணா’ (மாலா ஒரு மங்கல விளக்கு)! The young S. Janaki’s ‘சண்டி மிரண்டால் காடு கொள்ளாது’ (பாண்டித்தேவன்) might be forgotten today, yet isn’t it a vintage treasure to be cherished?

As for the great Vidushi (Radha) Jayalakshmi, her works for CNP would take the place of pride in her portfolio of film songs. My favorites from this rewarding collaboration are ‘கனவு நினைவாகுமே’ (மேனகா), ‘கங்காதரனே கருணாகரனே’ (Boologa Rambai), the A.M. Rajah- Jayalakshmi duet ‘அன்பான மொழிபேசும்’ (சோலைமலை ராணி) and ‘தெள்ளத்தெலிந்த தேனமுதே’ (இந்திரா என்ற செல்வம்). CNP wrought magic when he made the veteran Nagiah render the stirring ‘திருமுருகா என்று ஒரு தரம் சொன்னால்’ and ‘திருச்செந்தில் ஆண்டவனே’ (எதிர்பாராதது). How much fun and frolic is there in the Chandrababu- Janmunarani ditty ‘நீ ஆடினால் ஊர் ஆடிடும்' (பாண்டித்தேவன்)! In one of my conversations with the PBS, he confessed that the two duets composed by CNP – ‘கன்னிப்பருவம் அவள்’ and ‘இன்பம் கொண்டாடும் மாலை’ had a special place in his heart. In tune with the changing trends of the 60s, CNP could come with a dainty duet TMS- P. Susheela ‘முத்துக்குளிப்பவரே’ in ‘சத்தியம் தவறாதே’. I have listened to the title song sung by Prema & Ponnuswamy being regularly featured in Vividh Bharathi even in the 80s. I have marveled at CNP coaxing the righteous Soolamangalam Rajalakshmi to render an atypically seductive ‘ஆசை ரோஜா பாரு’ for the 1972 movie ‘ரகசியப் பெண் 117’ and carrying it off with élan! And remember wondering at the obscure Kamaladevi who rendered the scary ‘நடு ஜாமத்தில் வந்தேனே’ (கதவைத் தட்டிய மோகினிப்பேய்).

No chronicle of the magical 70s would be complete without CNP’s magnificent ‘திருநீலகண்டர்’ album. Kannadasan is said to have written 15 songs for the album, each song filled with lyrical beauty and the lines soaked in poetic metaphors… Even as the titles roll, we can hear T.R. Mahalingam’s resonant ‘நாட்டியக் கலை’. The regal splendor of TRM’s vocals is in full flow in ‘அம்பலவாணனை நம்பிய பேர்களும்’ The angst filled ‘சிவலீலை என் வீட்டிலா’ makes the listener sigh in empathy. CNP summons S. Janaki to render the forlorn, yet foreboding ‘காலையில் நானொரு கனவினைக் கண்டேன்’. Janaki matches TRM note for note, nuance for nuance in the charming duet ‘பந்தப்பாசக் காட்டுக்குள்ளே’. And P. Leela who was at the time all but forgotten, returns to render with absolute mastery the resplendent Thillana in Gowlai. A little-known K.M. Manirajan enthralls in his ‘தத்துவத்தில் நானோர் சந்நியாசி’. The movie might have not fared well, yet each of CNP’s works therein is a painstaking work of art, crafted to absolute perfection.

* * * * * *

Tamil film music chroniclers might have looked through the CNP chapter with callous indifference, but across the border, our Kannadiga brethren have enshrined the composer in a halo of reverence. ‘Bhakta Mallikarjuna’ (1955), ‘Kacha Devayani’ (1956/ jointly with Meenakshi Subramaniam), ‘Devasundari’ (1962) are albums that are hugely popular to this day. And the sparkling jewel in the crown is the musical ‘Sri Purandaradasaru’ (1967) based on the legendary saint-composer. CNP surpassed himself in this album; each song is a precious cache. Singers such as MLV, Balamuralikrishna, PBS and S. Janaki brought to riveting life the compositions making the album a connoisseur’s delight.

* * * * * *

One of my favorite haunts in Chennai for collecting old songs was ‘Stereo House’ in T. Nagar. I had got to know the kindly owner Mr. Shekhar so well that he allowed me a free run of the place. One weekend afternoon, when rummaging through a pile of records in his store-room, I came across an EP record of an unreleased movie called ‘அன்பு மகள்' (Mukkannan Movies). The year of manufacture was 1974. Imagine my surprise when I noted that the music was credited to CNP! Needless to say, I got the songs recorded at once.

Presenting today a marvelous classical composition of CNP from this ‘அன்பு மகள்’, sung by Vani Jairam. It must be among the earliest Tamil film songs sung by Vani. A year earlier, CNP had come out with a Tamil devotional album on Pandarimalai Swamigal. Besides the stirring songs sung by TMS, K. Veeramani, P. Leela and L.R. Easwari, the album also contained ‘பார் புகழும்’, a serene solo by Vani. That must have been CNP’s first collaboration with Vani, and ‘Anbu Magal’ followed.

‘ஓலை தாங்கி செல்லடி' seems to be composed for a dance sequence. The danseuse implores her confidante to carry her epistle to Lord Muruga, and convey the torment that has plagued her ever since she had fallen in love with the Lord. The seasoned CNP conjures up a marvel in Ranjini, Kalyanavasantham and Bagesri. He then sends for Vani to do the honours. Vani woos, Vani wins. She glides through the sangathis and swaras like a songbird on skiis. The lines throbbing with passion and dripping with longing could have never found a more dignified, delightful portrayal. The sensuous thus elevates itself to the sublime at the altar of CNP.

Song: Olai thaangi selladi
Film: Anbu Magal (unreleased)
Vocals: Vani Jairam
Lyrics: Sholavandhan Rajangam
Music: C.N. Pandurangan

https://www.youtube.com/watch?v=phu5Hob-gdY&feature=youtu.be

* * * * * * *

CNP and his wife Tarabai had 6 children. One of his sons, Mohanarangan was a famed flautist. CNP passed away in 1975 at the age of 63, unsung and unwept.

As mentioned earlier, it was as a violinist in the ensemble of CNP that Shyam made his entry into film music in the 50s. At my request, Shyam shared with me his heartwarming memories of CNP. When ‘Mandolin’ Pazhani first took him to CNP, CNP was in the midst of a rehearsal with his orchestra. Shyam was so awed by the sight of CNP seated at the middle of the hall, his fingers strumming the veena, with his troupe members around him playing their respective instruments in perfect synchronization that he vowed to himself at that instant that this would be his avocation and none other!

Shyam mentioned that unlike the other composers who would compose playing the harmonium, CNP would play the notes on the veena and sing the tune. He could come up with 5-6 tunes for every song and the directors would sit mesmerized, spoilt for choice. His assistant Munuswamy would then play each segment on the harmonium to the instrumentalists. CNP shared a very good rapport with all the great lyricists and singers of the time. He used to encourage the lyricists to come out with appropriate, poetic lines. And would not hesitate to amend the tune to accentuate the beauty of the lyrics. CNP was also very particular about the choice of singers, Shyam recalled, and each song would go the singer who CNP thought could do it the best justice. Let us take the 1963 album ‘குபேரத் தீவு’ for instance. At the time, the established trend was to have a single (or at the most 2) female singer(s) render the songs for all the female characters in a movie. Yet, CNP defies this with nonchalant confidence- not only he uses 4 female singers, even in the said 4, he daringly does not employ the singers who were in vogue then…. he summons P. Leela, Jamunarani, Ratnamala and S. Janaki!

“He was always encouraging and gentle with his troupe members”, Shyam reminisced. “He once introduced me to MLV as a ‘brick of gold!’ Shyam added with a chuckle that after the successful completion of every recording, CNP would escort all his troupe members to Harrisons and treat them to a sumptuous meal at his own expense. “A great artiste. A great human being. They just don’t make men like him anymore..” averred Shyam, who turned 81 last Tuesday.

It is very early in the morning as I have treated myself to this ramble down the CNP alley. In the tranquil still of the dawn, I have been listening to his compositions while writing. By a quirky coincidence, the song playing right now is the quaint ‘Good Luck! Good Luck!’ (C.S. Pandian & A.J. Ratnamala/ என் தங்கை). I can sense CNP giving a sardonic smile from above.....

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1930845630280487/

மலர்ந்தும் மலராதவை # 26

மலர்ந்தும் மலராதவை # 26

நினைவுகளின் ஊர்வலங்கள்….

‘From the misty shores of midnight, touched with splendors of the moon
to the singing tides of heaven, and the light more clear than noon,
passed a soul that grew to music till it was with God in tune….’

- Henry Van Dyke (Tennyson)

In my first year of articleship, I had a friend called Shekhar. His childlike innocence and warmth was singular and he was greatly popular in my circle. Imagine our surprise he quietly renounced worldly life one day and embraced the monastic order of the Ramakrishna Math! Impassioned entreaties by his family and friends to reconsider his decision were in vain. Over the years I continue to call upon him, and the inner tranquility and bliss that he seems to radiate has never failed to move me.

It was Shekhar who invited me to attend the consecration of the beautiful Universal Temple at the Mylapore Math premises in February 2000. There was a weeklong festivity at the Math, and I turned up every evening to listen to the Chanting by the Swamis and the Odhuvars, the discourses by savants of varied faiths, and delightful and varied music fare by Vani Jairam, Subbu Arumugam, Seergazhi Sivachidambaram, Pithukkuli Murugadas and others.

On one of those serene evenings, Rajkumar Bharathi sang at the Math. I was mesmerized by his deep, sonorous voice; his rendition was soaked in piety. So many years have passed by since that rapturous evening, but to this day, Rajkumar Bharathi’s rich, resonant ‘தம்பூரி மீட்டிதவா’ and ‘அசைந்தாடும் மயில் ஒன்று காணும்’ linger in memory.

Shekhar was one of the energetic organizers, and he arranged for me to meet Rajkumar Bharathi after the concert. Though it was late in the evening, the unassuming singer chatted with me affably for a while. He seemed surprised that his film songs were still remembered, and when I asked him why he wasn’t heard in Tamil film music anymore, he smiled and shrugged his shoulders. As we shook hands in farewell, he said that he had sung a song recently for Ilaiyaraja in the to-be-released Bharathi, and took in my delighted responses with an impish twinkle!

I went home with mixed thoughts that night- happiness at having listened to a pleasing concert, excitement at having met the gentleman Rajkumar Bharathi, and perplexity at such a talented artiste being ignored by Tamil film composers.

A long eighteen years have passed by, and I was fortunate to speak to RB again recently, thanks to the efforts of good friend Sabesan Sir. We had an unhurried, pleasant conversation, mainly on RB’s film songs. He spoke with reverence of MSV and his experiences of working with the Master. RB was a revelation as an amazing mimic… his imitation of MSV’s reactions, appreciation and even dissatisfaction was uncanny!

I mentioned his songs one by one and RB could recall them and gave me some insights on some of them. I explained to him about this ‘மலர்ந்தும் மலராதவை’ series, and he was very appreciative that rarely heard songs from unreleased movies are being given their due here. And when I mentioned the song of his that I was going to present, he exclaimed in wonder, for the song is now all but forgotten….

A special thanks to RB sir for sending me a photograph at my request to go with this article. He is not active in Facebook, but his wife Smt. Mythili (Santhalakshmi R Bharathi) became a member of dhool yesterday. Honoured to have you here, Madam! Hopefully RB sir would get to read this article and the responses.

* * * * * *

Born in 1958 and tracing his lineage to the revolutionary bard, Rajkumar grew up in a household that reverberated to the incessant strumming of the tanpura and the delineation of Carnatic Kritis. His mother Lalitha was an accomplished singer and little Rajkumar would watch with wonder his mother herald in the enchantment of music day after day. Noticing her son picking up effortlessly the complex nuances of classical music, Lalitha embarked on giving him formal training when he was five years old and later enrolled him under Valliyoor Gurumoorthi.

Rajkumar adapted quickly to the rigorous schedules of his exacting Guru, and proved a sincere and diligent disciple. He also learned under the great Balamuralikrishna for some time. He later came under the tutelage of T.V.Gopalakrishnan and it is to TVG’s credit that Rajkumar has blossomed into a much sought after artiste. He gave his first full-fledged concert in 1976. He won the first prize in The Indian Fine Arts Society’s annual competition and also bagged a prized opportunity to sing in that year’s December Music Series. And even while continuing his training under TVG, Rajkumar fetched critical acclaim as a talented vocalist. He ventured also ventured into Choir Music, being a member of the famed Madras Youth Choir nurtured by the great M.B. Srinivasan.

Then when did the suffix ‘Bharathi’ get added? Not until 1982, when a Doordarshan producer, M.S. Perumal hit upon the idea of making Rajkumar sing some of his great-grandfather’s songs in a programme to celebrate the birth centenary of the Mahakavi. “Perumal Sir changed my name to Rajkumar Bharathi and the response was tremendous. People were overwhelmed to hear Bharathi's great-grandson singing his songs. I began to realize that the surname was of great advantage to me.” Rajkumar recalled in an interview.

Meanwhile, RB completed his Electronics & Telecommunications Engineering from the prestigious Anna University and was soon employed in the R&D division of a company, working on defense related projects. Making rapid strides in the arena of Classical Music, he was faced with the difficult decision of giving up his job. “I was doing an injustice to both my job and my music. My guru, TVG, told me to quit my job if I wanted to shine in the field of music. Initially, of course, I had no assignments. And that worried me tremendously. Slowly, I realized that nothing changes by your worrying or bothering about it; what has to happen will happen…” he philosophized. But all that changed. The words of mridangist Kandaswami Pillai- 'The Aradhana of the Seven Swaras would guarantee a good life' came true. Very soon, RB was travelling all over the world, giving concerts and taking up teaching assignments. Back home in Chennai, he blossomed into a popular vocalist, drawing full houses wherever he performed, accompanied by his usual team members Madurai Balasubramaniam (Violin) and Prapancham Raveendran (Mirudangam).

At the invitation of TVG, Narayanswami Rao, of Rama Seva Mandali, Bangalore listened to RB sing in a concert in 1985. He so impressed that he arranged for a series of prestigious concerts to showcase the prowess of RB in the next 15 years.

RB has also brought out numerous music albums. ‘Bharathiar Songs’ (naturally!), ‘Classical Melodies’, ‘The Legacy’, ‘Naarayanaa - An Enticing Dasar Delite’, the multimedia presentation of the Gita, ‘Bhajans’ set to tune by K.S. Raghunathan, ‘Kaalikambal Isai Andhaadhi’, ‘Krishna Karnamritha’ (Kannada/ with Vani Jairam), ‘Sri Venkatesa Ganamrutha Lahiri’ (Kannada/ with Manjula), ‘Om and Gayatri Mantra’ are some his well-known works. His devotional songs can be heard on AIR most mornings. While in Bangalore, I have woken up almost every morning to RB’s ‘Gajananam bootha ganadi sevitam’ (Music: T.G. Lingappa) that used to be played in a neighborhood temple. Listening to his ‘Sindhaye aalayam’ (Album: Sri Raghavendra Songs) is a profoundly uplifting experience.

I remember a heartwarming statement of the humble and unpretentious RB in one of his interviews at the time- “After a concert, when somebody comes and tells me he forgot himself for a moment, I feel satisfied. I am indebted to God for having chosen me to give that elated feeling to somebody” he said.

Alas! A cruel fate deprived him of this happiness, just when he was ascending the pinnacle of his career. In the middle of a concert, RB sensed that there was something amiss in his voice. After a series of medical investigations, he was diagnosed with Dysphonia, a weakening of the vocal chords. In an interview RB said ‘My voice had been my medium of communication and to come to terms with the fact that it was no longer an asset was shattering. It was also the time I realized the faith and affection of my family and friends.’

However, coming from the valiant and resilient pedigree of the doughty Mahakavi, RB would not let this impairment cow him down to hapless lament. He soon canalized his passion into music composition that did not strain his vocal chords. He had already been composing music for dance productions and now threw himself full-fledged into those exciting avenues with passion and perseverance that is truly inspiring.

He has been a regular composer for the Rangoli Foundation, based in U.S., and his music for productions like Anubhava, Mustard Seeds, Creation Myth and Suryakanthi has won wide appreciation. Says Malathi Iyengar of Rangoli, “RB has accumulated an impressive resume of creative explorations and never reproduces the same tunes. His music brings out endless possibilities for dance improvisation. Endowed with a certain sense of style and finesse, he explores various possibilities to arrive at something that is innovative and divine”. RB was nominated for the prestigious Lester Horton Dance Award for ‘Outstanding Achievement in Composing Music’ for ‘Creation Myth’ of Rangoli. His music for ‘Kathirgama Kuravanji’ and the U.K. based Shrishti’s “Women are from Venus” has fetched laurels.

RB has composed music for works of acclaimed dancers- Alarmel Valli, Priyadarshini Govind, Rajeswari Sainath, Rama Baradwaj, Roja Kannan, Jayanthi Subramanian, Lakshmi Ramaswamy and Savitha Sastry to name a few. One of RB's finest moments was when the great Pandit Ravishankar, having seen a dance drama in Los Angeles for which RB had composed the score, greeted him with these words when they met for the first time a few years later- 'You're not just a musician, you're an artiste!'

In an interview, RB summarized his incredible achievements with succinct modesty- ‘Music chooses its own messenger and I am only carrying forward what needs to be taken to the audience!’

* * * * * *

RB had been drawn to film music from an early age. At college, his rendition of popular film songs of the 70s fetched him recognition and awards at the cultural events. In an interview, his wife Mythili who had been his junior in College, recalled playfully that the first song she had heard RB sing was the popular Yesudas number ‘மனைவி அமைவதெவ்லாம் இறைவன் கொடுத்த வரம்!’.

It was sometime in 1981 that RB made his debut in Tamil Film Music. It was Shyam who invited RB to render a song for a movie called ‘காலடி ஓசை’, which unfortunately did not get released. In the following year, RB received the next summons- And no, it was not again any front-ranking composer who gave him this opportunity, nor was it a block-buster that he sang his first song in- it was the talented but underutilized L. Vaidyanathan who invited RB to sing two songs in the off-beat 'ஏழாவது மனிதன். In an album comprising wholly of Bharathiar’s songs, RB sang the innovatively tuned ‘நெஞ்சில் உரமுமின்றி’ and the intense, brooding ‘நல்லதோர் வீணை செய்தே’.

Despite RB holding his own amidst KJY’s lilting ‘காக்கைச் சிறகினிலே’ and SPB’s rousing ‘அச்சமில்லை அச்சமில்லை’, his doorstep wasn’t exactly besieged by composers eager to have RB sing in their music. At the end of a chequered career, V. Kumar composed two wonderful songs written by his favourite Vaali for RB in the film சங்கரி (1984)- ‘பாரதிக்கு ஒரு கண்ணம்மா’, where B. Neeraja hums to RB’s song, and 'மஞ்சள் வெய்யில் செவ்வானத்தில்’, a sprightly RB/Vani duet. Shankar-Ganesh were churning out albums by the dozen in the early 80s, but they thought it fit to employ RB’s vocals for only two of their compositions- One of them was for the 1982 movie ‘மருமகளே வாழ்க’- the song was a RB- S.P. Shailaja duet ‘அழகுச் சித்திரம்’ filmed on an unlikely pair- S.V. Shekhar & Jayamalini! The other song that RB sang for Shankar-Ganesh was for 'பொன் வீணையே என்னோடு வா ’ from காகித ஓடம் (1986) that came out in two versions, a SPB solo, and a RB/B.S.Sasirekha duet. Both the versions became popular and found adequate airtime in that period.

L. Vaidyanathan summoned his protégé once again to sing Vairamuthu’s bracing ‘தொடுவானம் நிஜம்மல்ல’ with S. Janaki in Yugi Sethu’s ‘கவிதை பாட நேரமில்லை’ (1987). RB then sang a folksy ‘தண்ணி இரைக்கயிலே’ for an upcoming S.A. Rajkumar (இரயிலுக்கு நேரமாச்சு/1988). The same year, an obscure Rajesh Khanna invited RB to render ‘ஜன்னலுக்கு பக்கத்துல சின்ன ரோஜா’ (நம்ம ஊர் நாயகன்). In between RB rendered with Janaki an intricately crafted classical take on different dance forms ‘உன் வேதனை ஓர் ஆலாபனை’ for Ilaiyaraja's 'சலங்கையில் ஒரு சங்கீதம்' (1986) dubbed from Telugu. RB recalled that Ilaiyaraja was not present during the recording. After this song, RB was away from Tamil film music for many years until Ilaiyaraja invited him to sing the Mahakavi’s exhilarating ‘கேளடா மானிடவா எம்மில் மேலோர் கீழோரில்லை’ for 'பாரதி' (2000).

* * * * * * *

However, it was MSV who gave RB many of his prized film songs. In the late 70s and early 80s, MSV encouraged many young singers and gave them some enviable openings. And like T.L. Maharajan, Jolly Abraham and Seergazhi Sivachidambaram, RB was also called by the Mellisai Mannar to sing under his baton.

RB told me that he was blessed to have had numerous opportunities of singing for the Master and that he cherished each of those instances. He had never thought that he would one day sing for the genius whose works he had admired since childhood. He was thrilled and even slightly apprehensive when he received the first summons, but the Master soon put him at ease with his affable warmth, graciousness and simplicity. The song was ‘அன்பான மனைவி அமைகின்றன வீடு’ for a movie titled ‘காவியத்தில் ஒருத்தி’ that remained unreleased. MSV was intrigued and then impressed when he saw RB jotting down the notations as MSV sang the song to him.

This was the first of the many MSV-RB collaborations that deserve a separate page in the chronicles of Tamil Film Music of the 80s. RB recalled with gratitude the solicitude displayed by MSV- the Master would take care to schedule the recording in the evening, as RB was employed at the time.

Komal Swaminathan’s 'யுத்த காண்டம்', a Pongal release of 1983, had a MSV-tuned RB/Vani delight: ‘கண்கள் சொன்னது போர் தொடுக்க’. The third song that RB sang for MSV was again for a non-starter- this one was a lovely duet with Janaki ‘சில் சில் சில்லென மழைப்பொழிந்தது’ for an untitled project of I.V. Sasi that never took off. RB was exultant when the Master gave him a ‘Thumbs Up’ after the recording.

The haunting ‘சந்திரனைப் பார்த்தால் சூரியனாய் தெரிகிறது’ from 'பிரம்மச்சாரிகள்' followed next. MSV structured the song so as to lay emphasis on the lyrics and RB brought to pulsating life Pulamaipithan’s imagery of the hallucinations and despair of a lovelorn youth. RB recalled how the exacting Master insisted on several takes before he was satisfied. The song was a great favourite of Radio Ceylon all through 1983.

Sivaji’s 'சிரஞ்சீவி' saw a belated release in 1984, and with it came the Master’s salubrious RB/ Janaki duet ‘நிலவு வந்து நீராட’. For Visu’s 'புயல் கடந்த பூமி' (also 1984), MSV composed the scintillating RB/ Vani duet 'ஆரம்பமாகும் ஆனந்தராகம்’. K. Shankar’s ‘நவக்கிரகநாயகி’ (1985) boasted of the next gorgeous MSV/RB/Vani collaboration- ‘சந்தனக்குடம் ஒன்று சதிராடுது’. RB recalled that he brought to the attention of MSV that the tune had slipped from the Gowlai scale in few places and was overwhelmed at the Master’s bigheartedness in allowing him to make the minor amendments he felt fit.

கண்ணே கனியமுதே (1986) ranks among MSV’s best albums in the 80s, and ‘அகிலம் திருநடனமிடும்’ kicks off to a rousing start by RB who is joined midway by SPB. 1987 saw MSV giving RB some magnificent songs- ‘காலம் மாறுது’ had a stirring delineation of ‘மார்கழித்திங்கள்’ by RB. Besides this, RB also got to sing some songs of the Mahakavi such as ‘ஒளி படைத்த கண்ணினாய்’ and 'மங்கியதோர் நிலவினிலே’ for the same movie. K. Shankar’s ‘வேலுண்டு வினையில்லை’ was another 1987 release that had some marvelous MSV- RB collaborations- ‘உருவாய் அருவாய்’- a verse from Kandhar Anubuthi (RB & Swarnalatha), ‘நாள் என்ன செய்யும்’ – a verse from Kandar Alankaram, ‘அண்டமாய் அவனியாகி’- a Pamban Swami verse and ‘ஓம்கார வடிவான’ (RB & Swarnalatha). The munificent MSV bestowed upon the forgettable தங்கக் கலசம் (1988) some unforgettable songs, and RB and Chitra sang therein a duet of dreamy enchantment: ‘தாமரை இலையே’.

* * * * * *

Kannada film music has treated RB with befitting respect. It was LV again who ushered him there, and soon RB was approached by many music directors to sing their Kannada compositions. A sample: ‘Sihi sihi entha sihi sihi’ with S. Janaki (Male Bandhu Male/ GKV), ‘Sri rama jaya rama gunarama’ with P. Susheela & Chorus (Thaayiya Aase/ Vijayabhaskar), ‘Nee hinga nodabyada nanna’ and ‘Pranaya geetheya haadidhe manasu’ with Bangalaore Lata- both from Prematharanga (M. Ranga Rao), ‘Mutho muthu’ with Vani (Asha/ GKV), ‘Baruvaaga onti neenu’ (Swabhimana/ Shankar-Ganesh), ‘Marayeke soundaryake’ and ‘Aagasake moda sangaadhi’ with Chitra- both from Vijayotsava (Shankar-Ganesh)

* * * * * *

RB's son Niranjan Bharathi is a chip of the old block. The young man is a gifted poet and has already published 'வானமே ஓர் எல்லையில்லை', a collection of poetry. He has been anchoring a programme on Tamil called 'மொழியறிவோம்' in Puthiya Thalaimurai TV. He made a fetching debut as lyricist, penning the popular 'கண்ணாடி நீ கண்ஜாடை நான்' in the 2011 blockbuster 'மங்காத்தா'. His works since then have elicited critical notice. Here is wishing the young man all the very best!

* * * * * *

Presenting today a RB- Vani duet of eternal allure, a bewitching MSV composition from a movie that was not released.

This was one more treasure that lay forgotten in Alibaba’s cave, more familiar to you all as the Virudunagar recording center. The EP record did not excite my fancy at first as it had lost its jacket and was encased in a dull plastic sheath. I had discovered so many other long sought-after treasures that I did not pay attention to this one. It was the last in a pile of similar dusty, damaged ‘plates’. I had already kept aside the ones I wanted and was rushing through the remaining just to make sure that I had not left behind something precious. I am glad I did, for this was indeed something precious!

The record contained the songs of a little-known movie called ‘+ 2’ (Vijay Cine Combines). The movie, of course, was never released. Yet, I felt goosebumps as I held the scruffy and scarred vinyl record in my hands, for it had secreted within its confines an exquisite sliver of childhood memory…a song that was a regular feature of Radio Ceylon’s பொங்கும் பூம்புனல் all through the summer of 1983. The mere mention of the song in the record was a time machine that took me back…. I was once again in that sultry summer…. the indefinite closure of schools in empathy with the conflict in Sri Lanka….. a bored boy whose constant companion was Enid Blyton/ Hardy Boys and Radio Ceylon….and this enchanting song that was awaited and savoured, day after day…. நினைவுகளின் ஊர்வலங்கள்….

Radio enthusiasts may more readily recall the jaunty ‘ப்ளஸ் 2 படிக்கிற பாமா’ (Malaysia Vasu & ‘Navarasam’ GKS) from this movie that was popular at the time. However, the Master is more in his elements in this stunning duet…. Pulamaipithan’s lyrical lines are woven into the trellis of a tune whose flow is splendorous euphony… a lilting humming that heralds the enticement that is follow, the rich baritone of RB so elegantly complimented by the soprano Vani…. the breathtaking detour that the second charanam meanders on…. the magnificent orchestration that clasps the composition in its tight, yet tender embrace….A throwback on a time when film music excited and enthralled, stirred and stimulated….. A procession of precious memories indeed….

Song: Ninaivugalin Oorvalangal
Film: Plus Two (Unreleased)
Vocals: Rajkumar Bharathi & Vani Jairam
Lyrics: Pulamaipithan
Music: M.S. Viswanathan

https://www.youtube.com/watch?v=Egz9xz_Lhf4&feature=youtu.be

* * * * * *

Those were the not very happy years for the Master himself…..He could see the sun beginning to set on his long, spectacular innings… RB’s voice turned a little emotional as he mentioned to me one of Master’s frustrated statements to him at the time- ‘தம்பி, உங்கள எங்கேயோ கொண்டுப்போய் வைக்கணும்னு நினைக்கிறேன்... முடியலையே!’ I felt my eyes turn moist when I heard RB telling me this...for a brief second, I could sense the anguish of the Master….

The number of film songs that RB sang might be paltry, yet he brought to each one of them a sheen, a grace, a stamp of distinguished class. Even today, Tamil Film Music can enrich itself by harnessing his marvelous talents, if not as a singer, as a gifted composer of rare merit…..நல்லதோர் வீணை செய்தே, அதை நலங்கெட புழுதியில் எரிவதுண்டோ?

K.V. Mahadevan Birthday

Saravanan Natarajan writes:

Though we have had posts earlier celebrating his works, could we let the birth centenary of the great Krishnankoyil Venkatachalam Mahadevan pass by unacknowledged....

Here are 2 forgotten songs sung by the Master himself, scintillating samples of his voice...vintage treats that deserve to be savoured...

Song: Vaazhiya senthamizh thaaye
Film: Madanamohni (1953)
Composed & Sung by K.V. Mahadevan
Lyrics: M.P. Sivam

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

Song: Vaazhvin Kadamaiyai
Film: Nalla Kaalam (1954)
Vocals: K.V. Mahadevan & A. Aandaal
Lyrics: Puratchidasan

https://www.youtube.com/watch?v=uixXrXX-LQU&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1919551504743233/

மலர்ந்தும் மலராதவை # 25

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 25:

ராகம் வந்ததது … பாடச்சொன்னது....

The journey with this மலர்ந்தும் மலராதவை series has deeply enriching for me and I fondly hope, eventful for you all as well. I am filled with a sense of fulfillment, for even in the course of resurrecting to rightful glory songs from some unreleased movies, we have managed to nudge into limelight some forgotten or little-known artistes or brought back into focus some obscure songs by acclaimed masters. I accept that few of the songs might not themselves boast of any remarkable compositional or singing skills, yet the efforts and the stories that lay behind these songs and the associated memories warrant our acknowledgement… Many of these songs have been a delightful revelation, as I glean from many of your comments…. Thank you for all your encouragement; your comments are the elixir that enliven these posts…

When I think of such movies that never made it to the big screen, I think of the people who toiled to get them made- the producer who launched the venture with hopes of filling his coffers, the director who conceived the movie painstakingly frame by frame, the actors who performed with aspirations of recognition, the technicians who lent their expertise with enthusiasm…I sigh at the fond dreams they would have indulged in, and their despair as they saw their hopes of fame and fortune shatter when the endeavour was shelved midway, or even worse, was completed, but couldn’t get released…..

But then tinsel town has always reveled in being an enigma, where luck holds court with great aplomb…

Presenting in today’s edition of மலர்ந்தும் மலராதவை, a little-known foray into cinema of a giant of classical music…

* * * * * *

So, what is new? Stalwarts from the classical arena have left their mark in Tamil Cinema right from the time it began to ‘talk’. Maharajapuram Viswanthan Iyer (நந்தனார்), Musiri Subramaniya Iyer (துக்காராம்), GNB (5 movies including the famous ‘சாவித்திரி’), T.N. Rajarathinam (காலமேகம்), K.V. Narayanaswamy (கண்ணப்ப நாயனார்), V.V. Sadagopan (4 movies, including the first Tamil movie to filmed overseas- நவயுவன்) were early instances in the 30s and 40s. The genius S. Balachandar had great love for cinema and was closely associated with it from a young age- as actor, singer, music composer, director and producer until he gave it up to concentrate on his career as a Vainika. His brother S. Rajam sang the lovely ‘ஓ மலைய மாருதமே’ in the bilingual மானவதி. Papanasam Sivan strode Tamil cinema of the 40s like a colossus.

M.S. Subbalakshmi and N.C. Vasanthakokilam became all the more popular due their tryst with Cinema. MLV was a front-ranking playback singer all through the 50s. D.K. Pattammal sang a few film songs as well. Even when film music became ‘lighter’ in the 60s, the talented Balamuralikrishna and (Radha) Jayalakshmi continued their dalliance with cinema with spectacular results. In the 70s, Kunnakkudi Vaidyanathan composed music for some movies in quick succession, even winning the TN State Government Award for his work in ‘திருமலை தென்குமரி.’ Maharajapuram Santhanam sang a small Pasuram in ‘ரோஷக்காரி'. The Bombay sisters rendered ‘ஆடி ஆடி அசைந்தாள்’ in the obscure movie 'யார் ஜம்புலிங்கம்.’

Karukurichi Arunachalam, M.P.N. Sethuraman & Ponnusamy, Chittibabu, Umayalpuram Sivaraman, ‘Veenai’ Gayatri, T.V. Gopalakrishnan, Kadri Gopalnath have all greatly enriched Tamil film music. Lalgudi Jayaraman won the National Award for the best music direction for the film ஸ்ருங்காரம் in 2006.

Yesudas was able to straddle both worlds with equal ease. Keeping away from cinema for many years after the debacle of ‘தோடி ராகம்’ T.N. Seshagopalan resurfaced as a singer in ‘ஆத்மா’. K.B. Sundarambal, Seergazhi Govindarajan and Soolamangalam Rajalakshmi- great proponents of Tamil Isai and devotional songs, have left lasting imprints in cinema. In recent times Unnikrishnan, Nithyashree, Bombay Jayashree, Sudha Raghunathan and Ranjani-Gayatri have all staked their claim to film music.

So, it need not be of any surprise that someone from the classical arena stepped into cinema.

However, what is of surprise is this particular instance concerning this celebrated vocalist. While one of his forays into cinema is well known and indeed cherished, there is another instance of him rendering a song for a movie that few know about. When I was quite certain that these were the only two film connections of this vocalist came the knowledge that he had rendered some songs for an earlier film that were shelved and recorded anew by other singers.

And then it was in the attic of a recording center in Virudunagar that I stumbled upon a EP record that revealed how little I knew…. for this record was evidence of a fourth foray into cinema of the same vocalist, a foray that I do not find mentioned anywhere to this day…Don’t you think it is time for the wraps to be taken off?

* * * * * *

And the vocalist I am referring you here is none other than Madurai S. Somasundaram (1919-1989). One of my precious memories of childhood is attending a concert of Madurai Somu, perhaps in Narada Gana Sabha, and I can even now recall the sheer majesty of his performance, the deep and emotion-laced piety that seeped through his song, his sparkling sense of humour that had the audience come out of their trance and break into paroxysms of mirth…. I also remember sighting him late one evening in at a platform of the Egmore Railway Station where he acknowledged the salutations of my family, even bending down to my height with a beaming smile…

Again, we had at home a cassette of one of his concerts, and each listen of Somu’s evocative ‘என்ன கவி பாடினாலும்’ never failed to tug at my heart-strings with an inexplicable plethora of emotions. (‘Nilamani’ was the Raga mentioned- I could not forget it that it was the same as the first name of a leader of Orissa whom Varadarajan mentioned frequently in the DD news, always rushing through the first name and stressing on the second, which for some reason had me in splits :))

I once saw an interview of Somu wherein he recalled his childhood when he was more interested in wrestling and other sports, and the later years of rewarding tutelage under the revered Chithoor Subramaniaym Pillai. I have read accounts of his mastery, his full-throated performances, his pristine bhakthi that hovered over his singing like a luminous halo, his incredible concerts that lasted until the wee hours of the morning, his choice of seldom-heard Ragas, his own brilliant compositions, his uncanny ability to engage with the audience and keep them spellbound ….

Coming back to his tryst with Cinema, Somu’s first foray was far from happy. In an interview he recalled the bitter experience. At the suggestion of ‘Sivaji’ Ganesan who was his ardent fan, Somu was engaged in 1958 by the makers of சம்பூர்ண ராமாயணம் to render a few songs for the movie under the baton of K.V. Mahadevan. Somu rendered the songs for Bharathan to be essayed by Sivaji Ganesan and also for Ravanan to be played by T.K. Bhagavathi. The recording was completed to the satisfaction of all. However, later while the filming the Swara passages that adorned the ‘வீணை கொடியுடைய வேந்தனே’ song, it was perceived that T.K. Bhagavathi found it difficult to lip-sync the notes to Somu’s speed. Hence C.S. Jayaraman was roped in to render the same at a slightly lesser tempo. When Sivaji Ganesan informed Somu, with regret, of this development, Somu was outraged and insisted that all his songs be dropped from the movie.

He vowed to keep away from Cinema after this disappointing experience, and was steadfast in his refusal of the offers that came in his way in the following years. However, after more than 14 years, Somu sang again for a movie, and what a memorable outing it turned out to be!

It was the year 1972…Producer Chinnappa Thevar had embarked on an ambitious devotional movie 'தெய்வம்' on the exploits of Lord Murugan with a galaxy of actors and he appointed Kunnakkudi Vaidyanathan as the music director. The movie narrated how Lord Murugan rushes to the succor of his ardent devotees facing hardships. The story was structured in such a way that the events take place in the ‘ஆறுபடை வீடு’- the six temple towns of the Lord. Thevar took the liberty of replacing Pazhamudircholai with his beloved Marudamalai.

KV set about excitedly working on the album. He was working with Kannadasan for the first time and the duo came up with an amazing set of 6 songs- each song a veritable treat- one for each of the 6 temples. And KV made history with his extraordinary choice of singers, some of whom had never sung a film song hitherto. Thevar, for his share, added to the history by making each of the singers appear on the screen for their respective song sequence. The singers were Bangalore Ramani Ammal (Tiruparankundram), Radha & Jayalakshmi (Tiruthani), Soolamangalam Rajalakshmi & M.R. Vijaya (Pazhani), Pithukkuli Murugadoss (Swamimalai) and TMS & Seergazhi Govindarajan (Thiruchendur).

For a sequence involving the Marudamalai temple, KV played notes based on Darbari Kanada and Kannadasan wrote ‘மருதமலை மாமணியே முருகையா’. Legend has it that Thevar was so moved by the lines that he gave the lyricist Rs. 1 lakh, which seemed a godsend to Kannadasan who was just then worried over lack of finances for his daughter’s wedding.

Both Thevar and KV wanted Madurai Somu to render this song. Thevar had been mesmerized by a concert of Somu that he happened to witness in Marudamalai and KV was also keen on making Somu render this song. Though he refused initially, Somu was tempted by the fact that it was a paean to his beloved Lord Murugan. KV managed eventually to cajole him into acquiescence. Even then Somu insisted on rehearsals for 7 days before the song was finally recorded. And what a song it has turned out to be! It is truly a moving experience…once heard, one would hanker for repeated listening and yet never tire of it. To this day, this song is an integral part of temple festivities in the southern districts. This is the song you would most probably hear when tea-shops down south commence their morning routine- I have woken up daily to ‘கோடி மலைகளிலே’ blaring all over the neighborhood when I had gone for an audit in Sivakasi even as late as the mid- 90s. The song remains a jewel in the crown of the great Madurai Somu, and glitters as one of the finest moments of Tamil Film Music:

https://www.youtube.com/watch?v=v7D7qcMX3x0

The eternal popularity of the song is evidenced by the fact that even a recent movie that was eminently forgettable otherwise featured this song in full playing in the background during a rescue operation!

Somu seems to have kept away from cinema even after this hugely successful foray. However, most accounts of his life and times forget to mention another song that Somu rendered for a movie. This was again for a devotional movie, produced again by ‘Thevar Films’. The legendary Chinnappa Thevar had passed on by then, merging into the realm of his beloved Marudamalai Murugan. The movie was ‘சஷ்டி விரதம்’ and the year was 1983. The composers were Shankar-Ganesh. The humble duo welcomed the famed vocalist with reverence and allowed him complete freedom in rendering the song in his own way. The stirring song ‘துணைவன், வழித்துணைவன்’ may not have fetched the popularity it deserved, nonetheless, it is another testimony to Somu’s virtuosity.

https://www.youtube.com/watch?v=WV_-2HRYgKg&feature=youtu.be

* * * * * *

I was thus secure in my belief that these were the only instances of Somu’s involvement with Cinema. Imagine my amazement when I found an EMI record of an unknown movie which was striking evidence that sometime in between ‘தெய்வம்’ and ‘சஷ்டி விரதம்’, Somu had made another foray into film music! I was understandably excited, for I had never heard of this movie until then, nor read or heard anywhere of this adventure of Somu!! Was this then one of Tamil Film Music’s best kept secrets?

The movie was titled ‘அவளுக்காகவே நான்’. The jacket showed a ruminative Sivakumar and an obscure heroine. The movie had 3 songs, with lyrics by Kannadasan, one of them being sung by Somu.

But the greater surprise was that the music was also credited to Somu, jointly with Hareram! How did Somu come about to compose music for this movie? Who was this unknown (at least for me) Hareram? How did they work- did they compose music jointly for all the 3 songs? Or did Somu restrict his focus to only the one song that he sang, and Hareram worked independently on the other two songs? Why was the movie not released? Was it made at all? How was it that the record was dated 1980 when the songs, the style and the age of the singers' voices hint at the 70s?

Much as I have tried, I could not find any answers to this day. Perhaps this post today would help in unraveling these unknowns?

I got all the three songs recorded. The audio quality may not be very good…this is because the record itself had been damaged….We had to clean it of the cloak of dust and dirt, cure it of cuts and scratches, coax it into action after years of hibernation…

The first is SPB making merry with ‘எனக்கொரு எண்ணம்’, inspired from the popular ‘Old

Turkey Buzzard’ composed by Quincy Jones for ‘MacKenna's Gold’. The guitar and drums (even if they do have a RDBesque influence, especially the Charanam that seem to take a leaf off 'Bachna Aye Hasino') have been employed effectively…. The sitar shows a streak of creativity and the clangour of temple bells adding an appropriate musical touch to the lines just sung is another high-point…

https://www.youtube.com/watch?v=2gxg1slmkPM&feature=youtu.be

The second song ‘ராகம் வந்தது’ features the vocals of TMS, SPB and L.R. Easwari…. This seems to be a stage/dance song. The irrepressible L.R. Easwari is the mainstay of this feet-tapping number, lighting this ditty with sparks of sheer ebullience…a debonair TMS matches the enthusiastic SPB… I can see the three singers chaffing each other and enjoying themselves…

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

Have saved the best for the last…. A grand concert by Madurai Somu…a regal ‘மாமவ மீனாக்ஷி’. No, not the famed Dikshitar composition in Varali with the same opening line. This is perhaps a Sahityam of Madurai Somu himself, and as he mentions himself in Kalyani- Experts can elucidate. Somu is at his evocative best here, weaving together an exquisite offering to the Goddess…. His dazzling delineation of the notes leaves the listener enthralled, elevating the composition to towering heights, placing it on an echelon much higher than film music….

https://www.youtube.com/watch?v=n_1A13AIjds&feature=youtu.be

Yes, the movie was never released. The songs were never destined to be heard. Let us pick them up with indulgence, smoothen their creases of reproach with solicitude, dress their bruises of neglect with the salve of attention…. Let them live and be heard, even if only for this one day, before they are consigned once again to the ignominy of oblivion….

Discussion at:
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மலர்ந்தும் மலராதவை # 24

Saravanan Natarajan writes :

மலர்ந்தும் மலராதவை # 24

பனியே வா…பஞ்சுமழையே வா…

In the local Malayalam radio channel that has been my companion for so many years now while driving to work, I wait eagerly for the ‘Classic song of the hour’ which features a Malayalam song from the not so distant past, i.e. the 70s and 80s. And a typical week would feature these songs in that slot: Sunday: ‘Devadhaaru poothu’, Monday: ‘Oru madhurakinaavin’, Tuesday: ‘Ormmathan Vasantha’, Wednesday: ‘Mainaakam’ and rounding off the week on Thursday with ‘Vaishaaka Sandhye’….And the man behind each of these melodies? His name would be mentioned without fail…either as ‘Shyam Maash’ with reverence or as ‘Shyametta’ with affection.

My friend Suresh, who is from Kerala, is a great fan of Shyam’s works. ‘He is from Tamil Nadu, you know!’ I once claimed to him, with a touch of pride. ‘But you never appreciated his worth, did you?’ was Suresh’s contemptuous jibe…and the dart struck home, for it was but the truth…I could see shame usurp the place vacated hurriedly by pride…

Shyam joins the ranks of M.B. Srinivasan, B.A. Chidambaranathan and Vijayabhaskar…. talented Tamil composers who found opportunities and recognition only in other languages. Can you believe that between 1974 and 1997, Shyam has composed music for more than 200 Malayalam movies, many of them blockbusters with hugely popular songs?

* * * * * *

In his native Tamil, however, the unassuming music-smith found less than 40 movies come his way, with a fourth of them remaining unreleased. Yet, when you recall that his was the baton behind Janaki weaving a pensive fabric in ‘கலீர் கலீர்’, SPB wooing in that winsome ‘உன்னை படைத்ததும் பிரம்மன்’, or Janaki again invoking a soulful ‘ராதாகிருஷ்ணா’ and then staying put at that incredible pitch holding her breath for what seems to be an eternity, an ebullient SPB teaming up with Kausalya to render my friend OISG's favourite 'நினைத்திருந்தது, நடந்துவிட்டது', a tremulous SPB hitting the high notes in ‘பூமாதேவி போலே வாழும்’, a young Deepan Chakravarthi ruling the airwaves alongside Janaki in ‘ஆனந்த தாகம்’, Yesudas & Vani treating themselves to a semi-classical outing in ‘வானம்பாடி ஜோடி சேர்ந்து’, Susheela singing that stirring psalm ‘செல்வமே தெய்வீக மலரே’, or even in the midst of the golden Ilaiyaraja years, SPB and Janaki finding time to savour and serve delectable treats such as ‘புறா ரெண்டு வானில் சென்று’, ‘காதல் கனவுகளே’, 'இதயம் இதயம் முழுதும் மோகங்கள்' …

Why, even in the last few days, as I was filled with memories of growing up with the movies and songs of the beautiful Sridevi, among the first images that came to mind was an undeserving Muralimohan pleading for a hesitant Sridevi’s acceptance, singing the immortal ‘மழை தருமோ என் மேகம்’ (SPB/ Shailaja) and a group of women led by Sridevi and Manorama toiling in lush fields singing the rustic rhapsody ‘பொண்ணே பூமியடி’ (Janaki/Vani)….and here again, both were the handicrafts of the prodigious Shyam. Shyam’s singular signature, a happy marriage of MSV’s ingenious arrangements juxtaposed on Salilda’s dream-laden canvas, is evident in its enticement.

* * * * * *

As I have mentioned earlier, in the late 90s, I was assisting (in a small way) a journalist friend when he was writing about film music artistes for a film fortnightly. We discussed about Shyam and works. I compiled for him a list of Shyam’s albums in Tamil and lent him all the songs of Shyam that I had in my collection. Shyam, the man, however remained obscure, far from the limelight. I had not even seen a photograph of his. Most recording centers, while having many of his albums, had credited them wrongly to other more popular composers.

A few years back, on one of my annual visits to Chennai, good friend Kumaraswamy Sundar suggested that we meet the elusive Shyam. I jumped with joy at the prospect! Sundar, with his vast network and ingenuity obtained Shyam’s phone number, spoke to him and got ourselves invited for a leisurely conversation. Thus, late one evening, we found ourselves ensconced comfortably in Shyam’s well-appointed living room. The aged composer welcomed us both with warmth and courtesy. He enquired all about us and when we mentioned his songs and our admiration for his works, he seemed delighted…. He showed us some treasured photographs and at my request, went down memory lane, sharing with us reminiscences of his life and times…He spoke in pristine Tamil, often interspersing his lines with pithy English quotes...

* * * * * *

Samuel Joseph was born on 19th March 1937 in Guindy, Madras. His father, Thangaraj Joseph, and mother, Mary were school teachers. His mother played the organ in the local church. Samuel was thus drawn to music at an early age. He did his schooling in the famed Corley Higher Secondary School (it was Corley High School at the time) in Tambaram. His father gifted the teenager Shyam a second-hand violin and the boy learned to play it himself, progressing soon to playing at the local church. And during his college years at MCC, he learned western classical music from the acclaimed Dhanraj Master. With the help of R.K. Shekhar, Shyam became acquainted with M.B. Srinivasan and became part of the ensemble that played the music for the stage plays of MBS. After securing his degree, Shyam enrolled to study law in Madras Law College. However, even while reading a dry legal brief, his thoughts were on some music notation sheaf...

He eventually dropped out of college and became a full-fledged musician, entering Tamil Film Music as a violinist in the troupe of veteran C.N. Pandurangan. He later worked under SMS for 'Nadodi Mannan'.

His father, however, did not want Samuel to be associated with the tinsel world. In an interview, he recalls those years thus: “My parents strongly disapproved. But I had to do what I did. I wanted to excel as a violin soloist, but earning a livelihood was paramount and I played for music troupes. In due course, I moved from the second row to the first in the troupe, then played solo and finally became an assistant to music directors. I've played for M. S. Viswanathan, R. D. Burman, C. Ramchandra, Madan Mohan, Ravi, Salil Chowdhry, T. K. Ramamurthy, Pendiyala, Veda, T. Chalapathi Rao and S. Rajeswara Rao”.

It was when he was asked by MSV to play the violin for the classic ‘தங்க ரதம் வந்தது’ (கலைக்கோயில்), that he realized his knowledge of Carnatic music was woefully inadequate. And to address this need, he underwent rigorous training under V.R. Gopala Iyer, father of Lalgudi Jayaraman. The great master became very attached to this sincere and talented young man. 'Though I am a Christian, the master often invited me to play the violin in his Pooja Room!' an emotional Shyam recollected to us, raising his hands in reverence. In later years, Jayaraman asked Shyam to compose the introduction and finale and conduct the orchestra for the famous Thillana album- 'The Dance of Sound'.

How Samuel evolved into Shyam is an interesting story. When he was a violinist in MSV's orchestra, MSV found it simpler to address him as Sam, which in due course became Shyam! “`Sam' looks ridiculous when written in Tamil. So it has been `Shyam' ever since. The name is convenient and endearing” said Shyam in an interview. "I even started receiving cheques in the name of Shyam!" recalled Shyam to us with a guffaw. He spoke about MSV with utmost admiration and recalled his experiences of working under the Master. I know from my friends in the MSV fans club that Shyam has graced many a MSV related event.

ARR’s father R.K. Sekhar helped Shyam a great deal in those early years. It was he who introduced Shyam to Salil Chowdhry, and soon Shyam was assisting Salilda in his Southern sojourn. Salilda grew to like Shyam so much that he declared that Shyam must have been his younger brother in a previous birth!

* * * * * *

As mentioned, Shyam has been a prolific composer in Malayalam. “I knew nothing about Malayalam films, but veteran actress Sheela insisted that I do music for the film, `Manyashri Viswamithran'. I had started out as a composer in Tamil cinema for her film, `Appa Amma'. After `Manyashri Viswamithran', I was paid the advance for `Akkaldaama' and `Kamam Krodham Moham'," he recollects.

And thus began a glorious innings in Malayalam. Shyam brought in a whiff a fresh air in Malayalam Film Music, introducing western classical music that harmonized well into a native milieu. He also introduced the concept of Theme Music- Remember the magnificent theme music of the famous CBI movie series? Shyam worked with almost all the Malayalam lyricists of the time, always ensuring that his tunes enhanced the beauty of the lyrics. This despite the fact that Shyam did not know the language. Directors like I.V. Sasi and Joshi became so enamored of Shyam's compositions that they made him a permanent fixture in their movies. (31 movies for I.V. Sasi alone!)

Have you listened to S.Janaki’s award winning rendition of ‘Kasturimaan kurunne’ from the Malayalam film Kanamarayathu? It is a delightful experience. Follow up with it Vani making classical magic with characteristic élan in ‘Pranaya sankalpame’ from Nirakuttu. And top it with the graceful ‘Sruthiyil ninnuyarum’ sung by Yesudas in Trishna. You would realize why Shyam remains a revered name in Kerala to this day. Shyam won the Kerala State Award for Best Music Director twice, in 1983 and in 1984.

* * * * * *

Shyam’s career in Tamil has been a chequered one. He was working with Veda, when the latter passed away suddenly. Modern Theatres (Veda's regular patrons) did not have to look far for Veda's successor, and their கருந்தேள் கண்ணாயிரம் (1972) saw Shyam making his debut in Tamil, working jointly with the talented guitarist Philip. The melodious 'நேற்று வரை விண்ணிலிருந்தாளோ' (SPB& Vasantha) and the jaunty Baila 'பூந்தமல்லியிலே ஒரு பொண்ணு பின்னாலே' (SPB & Manorama) made his debut a memorable one.

Shyam and Philip then worked for a movie called 'அக்காவுக்கு கல்யாணம்' that was never completed.

Shyam's first independent assignment was Sheela's 'அப்பா அம்மா' (1974). 'நெஞ்சத்தில் போராடும் எண்ணங்கள்' , the alluring SPB-Janaki duet that Shyam composed for R.C. Sakthi's offbeat 'உணர்ச்சிகள்' (1976) could not elicit the acclaim it deserved- the timing was such- it was released one month after Ilaiyaraja's bravura entry with 'அன்னக்கிளி'.

Yet Shyam persevered, and in the following years, crafted some stunning numbers in the Tamil projects that came his way. Jayadevi and Mouli seem to have collaborated regularly with Shyam. Most of the movies that he worked for were small-budget affairs with small time actors and many were commercial failures. Yet, if the songs linger in memory, it is surely due to the genius of Shyam.

A list of Shyam’s albums in Tamil that I recall:

1. கருந்தேள் கண்ணாயிரம்- 1972 (Shyam-Philip)
2. அப்பா அம்மா- 1974
3. உணர்ச்சிகள்- 1976
4. மனிதரில் இத்தனை நிறங்களா-1978
5. அல்லி தர்பார்- 1978
6. தேவதை-1979
7. பஞ்சகல்யாணி-1979
8. நீ சிரித்தால் நான் சிரிப்பேன்-1979
9. நான் நன்றி சொல்வேன்-1979
10. தேவைகள்- 1979
11. மற்றவை நேரில்- 1980
12. ஸ்ரீதேவி- 1980
13. அந்தி மயக்கம்-1981
14. கண்ணீரில் எழுதாதே- 1981
15. வா இந்த பக்கம் -1981
16. குப்பத்துப் பொண்ணு-1982
17. நன்றி மீண்டும் வருக-1982
18. இதயம் பேசுகிறது-1982
19. இனியவளே வா -1982
20. கள்வடியும் பூக்கள்-1983
21. ஒரு புல்லாங்குழல் அடுப்பூதுகிறது-1983
22. நலம், நலமறிய ஆவல்-1984
23. குழந்தை யேசு -1984
24. குயிலே குயிலே-1984
25. சந்தோஷக் கனவுகள்-1985
26. விலாங்கு மீன்-1985
27. விலங்கு-1987
28. பாசம் ஒரு வேஷம்-1987

Besides these, Shyam worked painstakingly on some movies that were never released:

29. கல்லுக்குள் தேரை (titled later as ஜாதி பூக்கள்)
30. சலனம் (probably released, circa 1982?)
31. புதிய பயணம்
32. வேலைக்காரி விஜயா
33. புனித மலர்
34. காலடி ஓசை
35. குங்குமக்கோலங்கள்
36. ஊஞ்சல்
37. இது கதையல்ல

* * * * * *

Spry and energetic even at this age, he is an active member of the IPRS and works enthusiastically for the welfare of his fellow musicians.

Shyam's wife Violet has been source of unstinting support in all his endeavours. Their 2 sons live in the US and visit their parents in regular intervals.

I could not meet with Shyam subsequently. However, I have spoken to him in intermittent intervals. In a recent conversation, he informed me that an ardent fan in Kerala has brought out a Malayalam book titled 'Shyamasangeetham', a detailed look at Shyam's works in Malayalam. 'எனக்கு தான் மலையாளம் வாசிக்க தெரியாது ராஜா!' said Shyam with a wry chuckle.

Shyam has been running a music school called 'Geetanjali' for the past many years in Chennai. The school became so popular that there now branches in many parts of the city- Tambaram, Anna Nagar, Adyar to name a few. Students are taught Carnatic Music by erudite teachers in 6 semesters spread over 3 years. The syllabus for the new academic year is being released today, 3 March 2018, at a grand function with a performance by Vani Jairam.

* * * * * * *

Presenting today few of Shyam's compositions from some unreleased movies:

First is the beguiling 'பனியே வா' from சலனம். சலனம் was the dubbed version of I.V. Sasi's 1981 Malayalam blockbuster 'Tusharam', The story was a gripping murder mystery and vendetta, set in the backdrop of an army officer's life in Kashmir. This song is filmed on the army officer and his newly-wedded wife going around Kashmir in horseback, escorted by a tourist guide. The guide breaks into a song in Hindi and the lady wants to know the meaning. The army officer sings the same lines in Malayalam. Shyam got SPB to render the Hindi lines and Yesudas to sing the Malayalam lines. The song 'Manje vaa' became hugely popular.

I have heard 'சலனம்' was actually released in a few centers, but found no takers. I found the record in a recording center in Bhavani and got this song recorded. SPB and Yesudas sing the Hindi and Tamil lines respectively. Kausalya chips in for the lady. Lyrics by an obscure Bharathipriyan. The song was a தமிழ்ச் சேவை இரண்டு favourite in its time.

https://www.youtube.com/watch?v=uZZXaPiG7Ng&feature=youtu.be

Do you think SPB might have thought of this song, even for an infinitesimal second, when he composed 'மேகம் முந்தானை' for துடிக்கும் கரங்கள்?

* * * * * *

Next, let us listen to 2 gorgeous songs from the unreleased 'கல்லுக்குள் தேரை', rechristened as 'ஜாதிப்பூக்கள்' (not that the change of name helped its fortunes any!) Yet these songs are sure to bring a smile of pleased recognition for many of us who were avid Radio Ceylon listeners in the 80s.....

First is the classical treat 'வா வா ஆடிவா', marvelously rendered by Jayachandran:

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

The second is the joyous Jayachandran-Janaki duet 'பூ மாலைகள் தோள் சேருமே':

https://www.youtube.com/watch?v=6dfx0JRGQTI&feature=youtu.be

* * * * * *

The last surprise I have for today is the endearing 'மஞ்சள் மாலை நேரம்' from 'இது கதையல்ல', another movie that never saw the light of the screen.

The situation seems to be of the heroine pleading to the hero for understanding and empathy. Janaki brings to play her famed histrionics here; she is coy, coquettish in the beginning and gradually becomes forlorn and tearful... Shyam conjures up a simple, appealing tune embellished with care by the dainty humming voices...

https://www.youtube.com/watch?v=OvrojLm547Y&feature=youtu.be

* * * * * *

As I am writing this post, I am reminded of the set of adorable songs that Shyam crafted for a little known 1983 movie called 'கள் வடியும் பூக்கள்'. The movie was sent back to the cans with scant ceremony. Yet I cannot help recalling with a wistful sigh the summer of 1983 when the cuddlesome 'வானம் பன்னீரைத் தூவும்’ found place in the morning பொங்கும் பூம்புனல் parade; the rollicking ‘நினைவிலாடும் அழகோ’ featuring in புது வெள்ளம் would be a godsend to drive away the ennui of the afternoon; and as the fitting finale of இரவின் மடியில், Yesudas with his 'மழைக்கால மேகங்கள்' would caress one as a gentle zephyr in the still of the night....

'Full many a flower is born to blush unseen,
And waste its sweetness on the desert air....'

The ancient lines of Thomas Gray seem so apposite when one thinks of Shyam and his scintillating works....

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