SPB 60 INTERVIEW BY DHOOL TEAM IN 2006

S.P.B celebrated his 60th birthday on June 4th, 2006. At dhooL.com, we've prepared this small tribute to the man who has enthralled us with thousands of songs for the last few decades.

We had a brief conversation with SPB himself and wished him on this joyous occasion. You can listen to this chat, which runs to roughly 16 minutes, here. 

Udhaya wrote a paean on SPB and this was read out to him during the conversation. SPB seemed to enjoy this heartfelt praise from a true fan. Read Udhaya's poem here.

Saravanan, who is arguably the best chronicler/writer on Tamil Film Music, writes on the magical first year of SPB in Tamil films. He writes in detail about the first five songs that SPB has sung. His trip back to SPB's early days is here.

MS recalls various songs of SPB that affected him in a "paamaran kaditham" here.

Sriram Lakshman takes us on a nostalgic trip back to his school days, listening to old SPB gems here.

DhooL's Song of the Day section has featured lots of great SPB numbers. Check them out here.

Post your comments in this thread.

A few of us had a brief conversation with SPB. He was on his way to a shooting in Hyderabad, so we had just enough time to wish him on his 60th birthday. MS read out Udhaya's poem. Sriram Lakshman then mimicked SPB himself. It was a lot of fun.

Raja Govindarajan (Kansas Raja) led the conference call and was instrumental in setting up this chat. Srikanth recorded it.

Click below to listen to our brief conversation with S.P.B:

https://youtu.be/__y4qNYAbDI

© Dhool.com 2006 - All rights reserved.

The First Year and the Five Songs By Saravanan https://newdhool.blogspot.com/2017/06/spb-first-year-and-five-songs.html A Paean on SPB By Udhaya (in Tamil Unicode) இசைக் கார்த்திகை என் மனச்சோலையின் நிரந்தர இசைமேகமே உங்கள் வருகையைக் கொண்டாடும் காணிக்கை மடல் இது இதைக் கவிதை என்று நினைக்காவிட்டாலும் சரி கட்டுக்கதை என்று மட்டும் நினைத்துவிடாதீர்கள் ஒரு குழந்தையின் உணவுப்பழக்கம் பாலில் தொடங்கிப் பிறகு பல்சுவைகளையும் சுவைக்கும் நிலைக்கு படிப்படியாக வளர்கிறது ஆனாலும், பிறவி முழுதும் அடிப்படை சக்திக்கு பால் அவசியப்படுகிறது தமிழில் பாலுன்னு எழுதினாலும் பாலுன்னு எழுதினாலும் ஒன்றாகத்தான் இருக்கும் தமிழ் இசைப் பாடல் என்று எடுத்துக்கொண்டால் எனக்குத் தாய்ப்பால் தமிழ்ப்பால் எல்லாமே நீங்கள்தான் அய்யா இசையும் சந்தமும் தெய்வீகம் என்றால் அவற்றில் மொழியை நீங்கள் பிரசாதமாக வழங்கினீர்கள் உங்கள் குரலில் அந்தக் குரலில் இல்லாத குணமும் உண்டா? அந்தக் குரல் காணாத உணர்வும் உண்டா? வெகு நாட்களுக்குப் பிறகு நீங்கள் நடிக்க வந்ததாய் சொன்னார்கள் நண்பர்கள். இதென்ன வேடிக்கை? "அவர் பின்னணி பாடினாலும் நடிகனின் குணச்சித்திரமாய் அவனது உணர்ச்சிப் பெருக்காய் முன்னணியில் இத்தனைக் காலம் வாழ்ந்துதானே வந்திருக்கிறார்" என்றேன் உங்கள் அறிமுகமே ஒரு ஏகாந்தப் பரிசு எனக்கு ஆனால் உங்கள் மூலம் எத்தனையோ கலைஞர்களை நான் இனம்கண்டு கொண்டேன் என்றால் அது மிகையாகாது ஒரு காலத்தில் அத்தனை சாலைகளும் ரோமாபுரியையே எட்டும் என்கிற சொல் வழக்கத்தில் இருந்தது. என் இசை ராஜ்ஜியத்தின் நியதி இதற்கு நேர் எதிர். எந்த தமிழிசை அமைப்பாளரையும், பாடகரையும் உங்களை வைத்துதான் நான் நேசிக்கத் தொடங்கினேன் அதனால் எனக்கு எல்லா இசைச் சாலைகளும் உங்களிலிருந்தே தொடங்கும் மன்னியுங்கள் அப்பொழுது சிறுவன் நான். திருவிளையாடல் இசை கே.வி. மகாதெவன் என்று கேள்விப்பட்டு உடனே "ஓ, நம்ம எஸ்.பீ.பி.க்கு 'ஆயிரம் நிலவே வா' பாட்டு போட்டாரே அவரா என்றேன்" 'மழை தருமோ என் மேகம்' என்ற உங்கள் பாடலைக் கேட்டவுடன் பித்தாக அலைந்து தேடி அறிந்து, ஷ்யாம் என்ற உள் வட்டம் மட்டுமே அறிந்திருந்த மேதையை என் அன்றாட தெய்வங்களில் ஒன்றாக்கினேன் 'தொடுவதென்ன தென்றலோ' கேட்டுத்தான் ஜி. கே.வி. அவர்களை பரிச்சயம் செய்து கொண்டேன் 'படைத்தானே பிரம்மதேவன்' என்ற பாடலின் தாக்கத்தில் மெய்மறந்து லயித்துத்தான் வி.குமார் அவர்களின் உண்மையான தன்மையை புரிந்துகொண்டேன் 'அன்பு மேகமே இங்கு ஓடி வா' என்று நீங்கள் வருடி அழைக்க, அந்த கிறக்கத்திலேயே யாரிந்த விஜயபாஸ்கர்? என்று அலசி அவரது பாடலையெல்லாம் என் நினைவுப் பக்கங்களில் மயிலிறகாக்கினேன் தக்ஷிணாமூர்த்தி அவர்களைத் தெரியாதென்று யாரும் சொன்னால், 'அட கொடுத்து வைக்காதவனே' என்று கடிந்து, 'நந்தா நீ என் நிலா' பாடலைப் போடுவேன். சிவாஜி ராஜாவைத் தெரியாது என்றால் அங்கே 'சின்ன சின்ன மேகம்' உடனே பொழியும் இதுபோல் எத்தனையோ...எனக்கும் என் நண்பர்களுக்கும் உங்கள் படைப்புகள் பிறரை சுட்டிகாட்டும் கலங்கரை விளக்கமாய் விளங்கி வருகின்றன. உங்கள் துதியை ஓயாமல் பாட முடியும் ஆனால் நேரம் எனும் அரக்கன் என்னை நிறுத்தச் சொல்கிறான் உங்களுடன் முன்பு ஒரு முத்தான உரையாடல். இன்று இன்னொன்று பாக்கியமாக கிடைத்திருக்கிறது... செர்ரி மலர்களின் நம்பகமே அவை குறுகிய காலத்தில் தோன்றி மறைந்துவிடும் அறிய காட்சிதானாம் ஆனாலும் செர்ரிகளின் மலர்ச்சியை ஒரு முறை பார்த்தாலே அது வாழ்வில் நீங்காத பாதிப்பை ஏற்படுத்துமாம்... அது போலவே உங்கள் தோழமை எங்களுக்கும் அய்யா. சாமானியர்களின் வயதைத்தான் மெழுகை அமர்த்திக் கொண்டாடுவார்கள் பாடும் நிலாவிற்கு ஒலியாலே ஒளி வீசித்தானே பழக்கம் அறுபது விளக்குகளை சுற்றிலும் ஏற்றி இசைக் கார்த்திகையாக உங்கள் பாடல்களை ஒலித்துக் கொண்டாடினால்தான் உங்கள் பிறந்தநாளுக்குப் பொருந்தும் ஆனந்தத்தால் ஆயுள் கூடுமாம். எங்கள் ஆயுள்களை அதிகரித்த உங்களுக்கு ஆயுள் மேலும் பன்மடங்காய் நீடிக்க வாழ்த்துக்கள்.   © Dhool.com 2006 - All rights reserved. A Fan Letter To SPB By MS (in Tamil Unicode) - If you can't read the text below, go here. திரு SPB க்கு ஒரு கடிதம்: மதிப்பிற்குரிய பாடும் நிலா பாலு அவர்களுக்கு, ஒரு பாமரனின் புலம்பல் கடிதம் இது. பல்லாண்டு காலமாக நீங்கள் என் வாழ்க்கையில் செய்து வரும் அக்கிரமங்களை வரிசைப்படுத்தி கேள்வி கேட்கப் போகிறேன். கேள்வி 1: ஏனய்யா என் வாழ்க்கையில் இப்படி ஒரு பெரும் அங்கமாக ஆகிப் போனீர்கள் ? எந்த நேரமும் உங்கள் பாடல்களை கேட்கும்படியாக என்னை ஏன் பித்துப் பிடித்து அலையச் செய்கிறீர்கள் ?நான் கருவிலே இருந்து காதுகள் முளைத்தபோது கேட்ட முதல் இசைக் குரல்கள் உங்கள் குரலும் திரு யேசுதாஸ் அவர்களது குரலும் ஆகும். அதாவது உலகில் பிறந்து தாய் தந்தையரின் தாலாட்டு கேட்கும் முன்னரே உங்கள் தாலாட்டையும் மற்ற எல்லா உணர்சிகளும் உள்ள பாடல்களையும் கேட்டு முடித்து விட்டு இருந்தேன்.. கேள்வி 2 : ஒரு தாய் தானே தன் குழந்தைக்கு முதல் பாட்டை பாடவேணுடும் ? அவள் குரல் தானே அந்தக் குழந்தையை மகிழ்விக்க வேண்டும் ? நீங்கள் ஒரு தாயின் உரிமையை பறித்தது சரியா ? என்ன..உலகில் வந்த உடன் "அம்மா..நான் உள்ள இருக்கும்போது SPB , ஜானகின்னு 2 பேர் பாடிக்கிட்டு இருந்தாங்களே, அவங்க எங்கம்மா ?" என்று கேட்க பேச்சு வரவில்லை. அந்த தளிர் வயதிலும் சிந்தனை மட்டும் இருந்தது. மாலை நேரம். நெல்லைச் சீமையில் தக தக என் தங்க சூரியன் எரிந்து எல்லாரையும் இன்னும் காயப் படுத்திக் கொண்டு இருக்கிறான். வீட்டில் எல்லாரும் சிவனே என்ரு காப்பி குடித்துக்கொண்டு வெய்யிலின் உக்கிரத்தால் மந்தமாகி உள்ளனர். "இலங்கை ஒலி பரப்புக் கோட்டுத் தாபனம். தமிழ்ச் சேவை இரண்டு..இது ஒரு பொன் மாலை பொழுது..பாடலை பாட வருகிறார் S.P. பாலசுப்ரமணியம்". வயது நான்கு. வீட்டுப்பாடம் எழுதிக் கொண்டு இருக்கிறேன் ஒரு குழந்தை மட்டுமே அமரக்கூடிய குட்டி நாற்காலியில். பாடல் வருகிறது. சிந்தனை மாறுகிறது. வீட்டுப்பாடத்தில் கவனம் இல்லை. "அம்மா..பொன்மாலை பொழுதுன்னா என்னம்மா ?" "..தங்கம் மாதிரி ஜொலிக்கிற சாயங்கால வேளைடா ராஜா".. எனக்கு புரியவீல்லை. இதென்ன ? அநியாயத்திற்கு சுடுகிறது..இந்த SPB மாமா சந்தோஷமா பாடறார் ?" வெளியில் சென்று பார்க்கிறேன். தன் தங்கக் கரங்களைக் கொண்டு சூரியன் மஞ்சள் வண்ணம் பூசிய அந்த வானமும், மேகங்கள் இடையே சில சமயம் ஊடுருவிப் பாயும் ஒளி இளஞ்சிவப்பு வண்ணத்தில் அழகை வாரித்தெளித்து விட்டு இருப்பதைம் உணர்கிறேன். அப்போது தான் சாயங்கால வேளை என்பதற்கு சூரியன் சாயம் பூசும் வேளை என உணர்ந்து கொண்டேன். அம்மா சொன்னது புரிந்தது. வானம் எனக்கு ஒரு போதி மரம். நீங்கள் எனக்கு புத்தர் ஆகிப் போனீர்கள். "அட..SPB மாமா பாடின மாதிரி அழகாத்தானே இருக்கு ?" என்று வாசலில் கால் வைத்தேன். விழுந்தது பிரம்பால் ஒரு அடி. "டேய்..படிக்காம எங்கேடா போறே ?" கேள்வி 3: இப்படி ஒரு சிறுவனை அவன் அறியாமல் உங்கள் குரலால் வசப்படுத்தி, அடி வாங்க வைத்தது சரியா ? சிறுவனாக இருந்த போது உங்கள் பாடல்களை உங்கள் பாடல்கள் என்று அறியாமல், ரஜினி அவர்களின் பாடல்கள் என்று நினைத்து இருக்கிறென். திரு ரஜினிகாந்த் அவர்களின் வசீகரத்தால் ஈர்க்கப்பட்ட நான் "ஆ. ஓஹோ ம்ம் ஹ்ம்ம்..காதலின் தீபம் ஒன்று என்ற பாடலை ரஜினிகாந்த் எவ்வளவு அழகாகப் பாடுகிறார்..அதோடு எவ்வளவு சூப்பராக சண்டையும் போடுகிறார்" என்று வியந்து முடியைப் பின்புறம் தள்ளிவிட்டு அவரது ரசிகன் ஆனேன். சகலகலாவல்லவன் படத்தில் "தக தக தக ததந்தா..இளமை இதோ இதோ..ஆஹா கமல் சூப்பரா பாடி ஆடுறார்" என்று நினைத்து அவருடைய ரசிகனும் ஆனேன். அம்மா அப்பாவிடம் "ரஜினி மாதிரி சூப்பரா பாடமுடியாது" என்று அழுத்திச் சொல்ல.."டேய் அதை பாடுறது SPB " என்று சொல்ல..ஒரே வாக்குவாதம். நான் நம்பவே இல்லை. ரஜினி தலையை ஆட்டி ஆட்டிப் பாடும்போதெல்லாம் அதெப்படி இவ்வளவு அழகாக வேறொருவர் பாட முடியும் ? முடியாது என்று அழுத்தந்திருத்தமாக நம்பினேன். "டேய் பாடத்தை படிடா..ரஜினி, பாட்டு பாடறாராம்..துரை கேட்குறாராம்" என்று வசவுச் சொல் வாங்கினேன். கேள்வி 4 : இப்படி அத்தனை கதாநாயகர்கள், குறிப்பாக திரு ரஜினி அவர்களுக்கு பொருந்தும் படியாகப் பாடி என்னைப் போன்ற சிறுவர்களை மயக்கிய தவறுக்கு என்ன பதில் கூறப்போகிறீர்கள் ? மீசையும் ஆசையும் அரும்பிய வயதில் "கேளடி என் பாவையே..ஆடவன் உன் தேவையே" என்று என்னை ரோமியோவாக நினத்து என் கூடப் படிக்கும் பெண்ணிடம் பாடி, அவள் அழுது, என் வாத்தியார் வந்து என் காதை திருகியது ஞாபகம் வருகிறது. கண்ணில் நீர் வழிந்தது. வகுப்பு முடிந்து நண்பர்கள் வந்து " டேய்..அவ உனக்கு சரிப்பட்டு வர மாட்டாடா.. லவ் ல இதெல்லாம் சகஜம் டா மச்சி" என்று உதவாக்கரையான புத்திமதிகள் கொடுத்தனர். மனது கேட்காமல் நைஸாக மாலை நேரம் அவளுக்குத் தெரியாமல் வீடேறிக் குதித்து என்ன செய்கிறாள் என்று பார்க்கப் போனால், வானொலியில் "கேளடி என் பாவையே - இலங்கை ஒலி பரப்புக் கூட்டு.."! உறைந்து போனேன்! "அட..காலைல நாம பாடினா வாத்தியார் கிட்ட அடி வாங்க வெச்சா..இப்போ என்னடான்ன இந்தாளு பாட்டை கேட்டுகிட்டு இருக்கா ?!". அடுத்த நாள் போய் மெல்ல பேச்சுக் கொடுத்துக் கேட்டேன். "SPB பாடினா of course கேட்பேன். இன்னொரு தடவை வந்து இந்த மாதிரி பேசினே பிரின்சிபால் கிட்ட சொல்லிடுவேன்" என்று மிரட்ட பயந்து போய் அந்தக் காதலை மனதில் அழித்து விட்டேன். கேள்வி 5: நான் பார்த்து ரசித்துக் கொண்டு இருந்த பெண்ணை, உங்கள் குரலால் வசியப் படுத்தி, என் பருவக் காதலை அழித்தது சரியா ? எதற்கு இவ்வளவு அழகாகப் பாடுகிறீர்கள் ? பிறருக்கு சில காதலிகளை விட்டு வைக்கக் கூடாதா ? கல்லூரிப் பருவம். மேடையேறி நம் பாட்டுத் திறமையை வெளிப்படுத்தினால் கொஞ்சம் மாணவர் வட்டாரத்தில் புகழ் சம்பாதித்துக் கொள்ளலாம் என்று முயன்று தோற்றேன். பாட வாய் திறந்த போதெல்லாம் - "டேய்..SPB எவ்ளோ உயிர் கொடுத்து பாடிருக்கார். நீ பாடினா அந்த மாதிரி இல்லைடா" என்று நண்பர்கள் உண்மையாக ஆனால் கொடூரமாகக் கூற எனக்கு வளரந்தது எரிச்சல். 'ஏன் இந்த ஆளு என் லைஃப் ல இவ்ளோ தொல்லை கொடுக்குறாரு ? இத்தனைக்கும் இவரை நேர்ல கூட பார்த்ததில்லை. இவரு பாடி வெச்சிட்டு போயிட்டதால இப்போ நம்மளை மாதிரி ஆளுங்க பாடு திண்டாட்டமா இருக்குது' என்று மனதுக்குள் ஆதங்கம். கேள்வி 6 : இவ்வளவு அழகாகப் பாடச் சொல்லி உங்களிடம் யார் கேட்டார்கள் ? உனக்கென்ன மேலே நின்றாய் ஓ SP பாலா..?!!! பாடுவதற்கு முன், பாமரப் பாடகர்களைப் பற்றிச் சிறிதேனும் சிந்தித்தீர்களா ? அவர்கள் தங்கள் வாழ்க்கையில் யாரிடமாவது, குறைந்தது அப்பா அம்மாவிடமாவது பாடிப் பாராட்டு பெற்று சிறிது சந்தோஷப் பட வேண்டாமா ? அந்த நல்லெண்ணம் கூட உங்களுக்கு இல்லையா ? ஒவ்வொரு முறை பாடும்போதும் நீங்கள் எப்படி பாடி இருக்கிறிர்கள் என்று சுட்டி காட்டி பாமரர்களான எங்களது நிலையைக் கொடூரமாக புரிந்து கொள்ளவைக்கிறார்களே ? இது தேவையா எங்களுக்கு ? கல்லுரி முடிந்து கடல் கடந்து வந்தாயிற்று. "அக்கம் பக்கம் பாரடா சின்ன ராசா..தேசம் உனக்கு செஞ்சது ஏராளம் இங்கே உண்டு..தேசத்துக்கு நீ என்ன செஞ்சே உன்னக் கேட்டு நீ பதில் சொல்லு".. கேள்வி 7: இந்தப் பாட்டை முக்கியமாகப் பாடி எங்களின் மனசாட்சியைக் காயப் படுத்தவேண்டுமா ? தாலாட்டுக்களை திருடினீர்கள் பொறுத்தேன். காதலைத் திருடினீர்கள், பொறுத்தேன். இப்போது தத்துவமும் பாடுகிறீர்கள். வாழ்வின் ஒவ்வொரு அசைவிலும் இப்படி என்னை உங்கள் பாடல்களால் விடாமல் துரத்த வேண்டுமா ? இது உங்களுக்கே நியாயமா ? இனி எனக்கு காதலி கிடைத்து "எனக்கொரு காதலி இருக்கின்றாள் " என்று நண்பர்களிடம் சொன்னால், "செம பாட்டுடா..SPB கலக்கல்" என்பார்கள். எனக்குக் கல்யாணம் ஆனால் "நூறு வருஷம் இந்த மாப்பிளையும் பொண்ணும்" என்று அங்கேயும் ஒலிக்க விடுவார்கள். என் மனைவிக்கு "கல்யாண மாலை கொண்டாடும் பெண்ணே" என்று போட்டுக்காட்டுவார்கள். மனைவியைக் காதலுடன் பார்த்தல், அவள் "சென்யோரிடா ஐ லவ் யு" பாட்டை பாடச் சொல்லப் போகிறாள். பிள்ளை பிறந்தால் அது "தேனெ தென் பாண்டி மீனே" கேட்கும்..அது இல்லாமல், மண முறிவு ஏற்பட்டால் " மன்றம் வந்த தென்றலுக்கு..நிலாவே வா".. சரி லௌகீகம் வேண்டாம் ஆன்மீகம் போவோம் என்றால் அங்கேயும் துரத்துகிறீர்கள். சிவனைக் கும்பிட வேண்டும் என்றால் "பிரம்ம முராரி சுரார்ச்சித", கண்ணனைக் கொஞ்ச வேண்டும் என்றால் "ஆயர் பாடி". நான் இறந்து போகும் நேரத்தில் எனக்கு நினைவு வரப் போவதற்கு "மண்தான் கடைசியில் ஜெயிக்கிறது" என்று பாடி வைத்துவிட்டீர்கள். இப்படி வாழ்வின் ஒவ்வொரு கட்டத்திலும் என்னை உங்கள் பாட்டுக்களால் பாடாய்ப் படுத்த வேண்டுமா ? அதனால்.. இத்தனை குற்றங்கள் செய்து என் வாழ்வினை முழுமையாக என் அனுமதி இன்றி ஆக்கிரமித்துகொண்ட உங்களுக்கு நான் என் மனச்சிறையில் ஆயுள் தண்டனை விதிக்கிறேன். உங்களுக்கு எப்போதாவது வெளியில் போய் விட்டு வரவேண்டும் என்றால் சிறிது நேரம் 'பரோலில்' அனுப்பி வைக்கிறேன். மற்றபடி என்னை உங்கள் பாட்டுக்களுக்கு நீங்கள் அடிமையாக்கியதற்கு பழிக்குப் பழியாக, என் மனச்சிறையினில் நீங்கள் அடைபட்டுக் கிடக்க வேண்டியது தான். அங்கே உங்களுக்கு 60 ஆண்டுகள் மட்டும் இல்லை. என் ஆயுளுக்கும் சேர்த்து தண்டனை அனுபவியுங்கள். தங்கள் அன்புள்ள முரளி வெங்கட்ராமன் http://swara.blogspot.com/2006/06/spb-letter-to-spb-on-his-60th-birthday.html   © Dhool.com 2006 - All rights reserved. SPB  -  A Nostalgic Trip To The Past By Sriram Lakshman  This is a fan’s paean to the behemoth of an entity called SPB, that expressed itself  through an art form called as “playback singing”.   The art realized it’s inherent “other” dimensional beauty after the advent of  this artistE when the pivotal factor “E”mbellishment  annexed itself  to the melodies this gentle giant unerringly reeled off.  He would probably brush this laudatory observation away with nonchalance akin to a Viv Richards cross-batted swipe, well this was after all  a natural extension of his talking.  Now, why does a segment of his very loyal fan base often swears by him and swears at the rest?  Ask me, whose fanhood dates back to 1977 when destiny decided deprive me of   Madras doordarshan by  positioning me in Coimbatore .  The TV addiction had to be replaced by something at the very least, comparable.  Coimbatore vAnoli nilayam came in as a  contender and the morning 8:20 – 9:00 slot slowly started becoming most sacred. Why ? Songs like “vAzhvil sowbAkkiyam vanthathu”, “nandA nee en nilA”, “kaNNanai ninaikkAtha nALillayE”, “enakkoru kAthali irukkindrAL” made my entry into teenage that much more  worthwhile.  Three stanzas in “vAzhvil sowbakkiyam…..” , tastefully crafted out by the now forgotten V. Kumar translated itself into a sumptuous treat for me when SPB crooned “dEvan kalaikkOyil ponnthEr ondru” and “nAn ariyAtha ragasiyam ondru” . I am sure the melody fell in love with him.  After the 5 minute magic, to me,  the counter had started ticking…….. SPB songs counter for the day. The next song, “thendralukku ethhanai vayathu”…….Ahhhaaaaa…. song no 2 for SPB. And how many songs could be fitted in, in 40 minutes ? Approximately 9 songs because you had none of those distasteful, vulgar intrusions into your musical life in the form of Vividh Bharathi ads. Now, 2 out of  9….. nearly 40% awarded to dear Balu already. Hmmm….. next song…. ”Joyful Singapore colourful Malaysia ”… third song goes to Balu as well. Now, I could sit back and relax, SPB’s market position is safe . But then, what about the Geography test I did not study for ?  Haven’t all Yogis of yore  observed that in the presence of inner bliss, the mundane recedes into the oblivion , a bliss that would have continued to last as long as I was convinced that SPB was leading the pack.  How could one not be a fanatic, especially when the next song is “nEram pournami nEram” ? The first instance of the pallavi is put through by SPB as if making a statement.  The next instance is a gentle reminder to the listeners of the statement already made, with a gentle shake at ‘nEram’. This man reads the flow of melody better than mere mortals. How else could you explain the elegant re-entry with a humming in ‘mathanOtsavam rathiyOduthAn’ at ‘alangAra dEvi mugam’. The gentle far-away feel at the start of the humming, rising in crescendo and ending with a stylish gamak and ofcourse, the usual ingredient, "expressions" for want of a better word. Remember….the counter continues to tick as the classy improvisation at “rathi deviyO’  continues to hold me in a state of stupor. The tortuous waiting with bated breath again…. as the announcer Raja says ‘aduthha pAdal muthhAna muthhallavO’ padathhil irunthu  SPB-yum MS Viswanathan-um iNainthu pAdiyathu - enakkoru kaadhali irukkinraaL.  Yeay !!!! yet another stunner…as improvisations start flowing in cascades…was it a subtle fun-filled contest with his mentor ? Carefully note that the points where SPB decided to improvise upon are different from those of MSV.  ‘nAtham avaLathu thamizhOsai’…….’thamizhOOOOOsai’……Osaya athu ?…isai….and this man ends that phrasing with a …here goes again…..most appropriate expression.   “ennudan vAzhum innoru jeevan”……vAzhum endra vArthhai  avvaLavu  pidikkumA ? enna sangathigaL ? vAzhum endra vArthhai vAzhum, antha sangathigaL manathil irukkum varai . The dip from Hari Kambhoji scale to “Charukesi”yish…whatever at “kai vasam Agum ethirkAlam’ underlines it all, the man has thoroughly enjoyed putting it through , that fold in the tune is a master stroke and the magical symbiosis has happened. My world is a better place now , but then a cursory glance across the table falls on my school badge,  to be worn against my chest, burdening it. Dash it, of what use is this school life when  my heart expands, spread-eagling my school uniform shitrt, blowing away the confounded school badge  and wants to sing ‘nAn pEsa vanthEn sollathhAn Or vArthhai illai’. Exactly my sentiments Mr. SPB, solla vArthhai illai…..only experiencing….and how and why did you put through ‘idayil theerAtha bOthai’ in that fashion ? theerAtha bOthai tharavA ? pithhu piditthu alaya vaikkavA ? And why did you have to sing that song in that hushed tone ?  pithhu pidithha pin sirikkavA ? Now, here comes the song as my counter joyfully goes up by one more.  The fresh  Ilayaraja  numbers of those days. The innocently fresh creativity that looked at you straight in the eye and smiled guilelessly.  Aren’t we glad  that that innocence chose you as a conduit to blossom through.  ‘pAl nilavu nEram pArkka villai yArum’: Shankar-Ganesh, a duet with P Susheela, “poovithazhin Oram thEnedukkalAmA’ , poovithazhin Oram then eduthha niraivu, sugam. Thank you Mr. SPB.  Please listen to the second time this line is sung,  a the risk of sound repetitive, the improvisation is superb.  Mr. Saravanan, our resident repository/ data warehouse of Tamil film music will let me know the name of the movie, as soon as he reads this, won’t you Sara?  The song has a very enticing rush of violins as  a part of the prelude and sets the tone for this other worldly duet as SPB makes his entry through a portal that is accessible only to him and, you know the result. By this time, SPB has established his supremacy and his comprehensive market coverage, to me and that is enough. I am totally relaxed now.  I disconnect myself from the counter. It is this late 70’s SPB  that instilled a sense of taste for melody in me and thanks to him again, it continues to grow. Now, my relaxed state has a sense of permanence about it, SPB has well gone beyond the stage of numbers and counters having to indicate his dominance. He has dominated our hearts, hearts that wince a wee bit when a number that craves for SPB heads elsewhere, into somebody else’s vocal chords. No disrespect meant to other singers, but what the hell… Maamadurai nAttinil vagai karai kAtrinil ……….vagai karai kAtrai California-vil veesa vaithhavarE…..kadamai azhaikkirathu….ippothaikku kookkural idum idayakkathavugaLai thALittu ,  nOga vaikkum arivukkathavugaLi thirakka vENdi irukkirathu. Thanks a billion for being there, Balu.  How proud am I to announce “The phenomenon happened during my lifetime” !

மலர்ந்தும் மலராதவை # 33

மலர்ந்தும் மலராதவை # 33

மனிதனுக்காக மதமா....மததுக்காக மனிதனா..........

‘Would you like to compose music for a Kannada movie that I am making?’ asked B.R. Krishnamoorthi to a tall, dapper youngster whom he overhead speaking in Kannada. The year was 1954 and the venue was ‘Sarada Vilas’, a small Udupi restaurant in Matunga, Bombay. BRK had introduced himself to the young man and was so impressed with him that when he came know that he was a musician, gave him the said offer spontaneously.

The youngster was none other than Vijayabhaskar, who had been working in Bombay with several stalwart Hindi composers such as Madanmohan, Noushad and Shankar-Jaikishen. VB was excited to go back to his hometown Bangalore along with BRK, and engaging an orchestra called ‘Jaya Maruthi’, composed the songs and completed the recording in Mysore. The movie ‘Sri Rama Puja’ (1955) was not a commercial success, but VB’s inventive compositions brought a refreshing whiff of originality in the portals of Kannada Cinema. There was no looking back and VB albums in Kannada such as Rani Honamma, Santa Tukaram, Naandi fetched him raving laurels in those early years.

VB was born in 1924 in Bangalore. His grandfather, Arumuga Mudaliar, hailed from Serkaadu, a village near Vellore. Both his grandfather and father V.A. Krishnamoorthi were engineers. VB grew up in Malleswaram, in a rich musical environment. He listened attentively when his sisters were being taught Carnatic music. The temples surrounding the area resonated with devotional music all day long. He learned Hindustani music from a master called Bhave. Impressed by the western music that was being played in the hotels at the Cantonment, VB undertook formal lessons in Western Music for five years from Leny Hunt, an English musician. Later, he discontinued the engineering course he was pursuing and went to Bombay. His astute knowledge of notations and skills on the piano fetched him the above mentioned opportunities to work for the great composers of the time.

Continuing his success trail, VB composed music for Puttana Kanagal’s first movie ‘Belli Moda’ (1967) and this marked the beginning of a long and fruitful association with the ace director. Along with GKV and Rajan-Nagendra, VB was in the forefront of Kannada film music all through the 60s, 70s and even the 80s. His magnificent compositions in movies such as Mannina Maga, Uyyale, Mallamana Paavada, Yaava Janmada Maitri, Sankalpa, Gejje Pooje, Sharapanjara, Naagarahaavu, Kesarina Kamala (VB introduced Vani Jairam in Kannada cinema in this album), Upasane, Shubhamangala, Besuge and many more remain hugely popular to this day. His score for the 1986 musical Malayamarutha is spoken of with awe, even in erudite music circles. Bringing out the best in the vocals of Yesudas, SPB, S. Janaki and his favourite Vani, VB crafted each song in the album with scintillating finesse.

The astute Adoor Gopalakrishnan picked VB to compose the background score for his iconic Mathilukal, which had no songs. VB went on to work with the famed filmmaker for Vidheyan and Kathapurushan. The Karnataka Government recognized the talents of VB by conferring upon him the Best Music Award for a record 6 years and honoured him with the coveted Dr. Rajkumar Award in 2000.

VB passed away in March 2002; his demise going largely unnoticed in Tamil Nadu. His contribution to Tamil Film Music has gone largely unrecognised and unappreciated. It is a crying disgrace that the TN Government did not find it fit to honour him in any way while he was amidst us, or his memory after his demise. A small consolation is that he was posthumously conferred the K Subramaniam Award by the Cine Technicians Association of South India on 29 December 2002.

It is then left to us music enthusiasts to remember him, and with undying gratitude, for he bestowed upon Tamil film Music some of its finest and defining moments in the latter half of the 70s. And this was no mean achievement, considering that he had no powerful promoter, no benevolent patron, no big-banner projects. MSV was very much in the centre-stage. Ilaiyaraja had made a dazzling entry and was composing marvelous songs, album after album. Shankar-Ganesh were around to cater to the smaller banners. Talented composers such as V. Kumar and Shyam found some projects coming their way. VB had to reckon with all these factors, and all he got in the years 1974-1983 were 23 movies. Many of them were not great commercial successes. Yet, if most of these movies are remembered today, it is only for the eternally appealing musical score of VB. Indeed, his songs are gems of purest ray serene that the dark unfathom’d caves of those unremarkable films bear.

However, even much earlier that 1974, VB had entered the portals of Tamil Cinema, albeit through the dubbing route-this innings lasted 5 years, commencing from அன்பே தெய்வம் (1957), and ending with அரபு நாட்டு அழகி (1961). அன்பே தெய்வம் was the Tamil version of Nagendra Rao’s Kannada movie Premada Putri. In the late 50s and early 60s, many of the Hindi movies made by Homi Wadia were dubbed in Tamil and tasted commercial success. Kuyilan wrote the Tamil lyrics of the songs. The Hindi compositions, be it by S.N. Tripathi or Chitragupta, were recorded anew with southern singers by VB. A young S. Janaki crooning 'கோடானக்கோடி பேரே' (ஸ்ரீ ராமபக்த ஹனுமன்), P. Susheela making merry in 'என் நெஞ்சம் உன்னை அகலாது' (ஜிம்போ), A.M. Raja & Susheela's two duets 'உன்ன அன்பை தேடுகின்றேன்' & 'கண்ணீர் துளியால்' (அரபுநாட்டு அழகி), Koka Jamunarani’s sizzling ‘நெஞ்சில் நிறைந்த வீரா’ (நகரத்தில் ஜிம்போ) are remembered to this day by wizened old-timers with a nostalgic sigh.

Despite coming out with riveting and widely admired Kannada compositions with melody as the mainstay all through the 60s, it was only in 1974 that VB could get an opportunity to work for a straight Tamil film. Chitramahal Krishnamoorthi, who was impressed with Vijayabhaskar’s score in the Kannada film Nagara Haavu (1972), commissioned him to compose the music for his கல்யாணமாம் கல்யாணம் (Ironically, when Nagara Haavu was remade in Tamil as ராஜநாகம், the music was composed by V. Kumar). And the wondrous ‘இளமை நாட்டிய சாலை’ heralded the arrival of VB in Tamil Cinema.

He struck gold with his very first album and bagged a handful of projects in quick succession. In 1974 itself, Vijayabhaskar gave music for four movies. In the next year, six films came out bedecked with Vijayabhaskar’s melodious songs. Chitramahal Krishnamoorthi and Panju Arunachalam made repeated collaborations with him. However, Chitramahal Krishnamoorthi’s subsequent ventures were not great commercial successes. Panju Arunachalam discovered Ilayaraja in 1976. And Vijayabhaskar was left with a few projects by small-time producers.

A list of Vijayabhaskar’s works in Tamil that I can recall:

1. கல்யாணமாம் கல்யாணம் (1974)
2. எங்கம்மா சபதம் (1974)
3. உன்னைத்தான் தம்பி (1974)
4. உங்கள் விருப்பம் (1974)
5. மயங்குகிறாள் ஒரு மாது(1975)
6. யாருக்கு மாப்பிள்ளை யாரோ (1975)
7. மாலை சூடவா (1975)
8. உறவு சொல்ல ஒருவன் (1975)
9. உங்க வீட்டு கல்யாணம் (1975)
10. தொட்டதெல்லாம் பொன்னாகும் (1975)
11. காலங்களில் அவள் வசந்தம் (1976)
12. மோகம் 30 வருஷம் (1976)
13. ஆடு புலி ஆட்டம் (1977)
14. ஒளிமயமான எதிர்காலம்(1977)
15. காலமடி காலம் (1977)
16. பெயர் சொல்ல ஒரு பிள்ளை (1978)
17. அவள் ஒரு அதிசயம் (1978)
18. தப்புத்தாளங்கள் (1978)
19. ராஜாவுக்கேற்ற ராணி (1978)
20. சொளந்தர்யமே வருக வருக (1980)
21. ஒரு கை பார்போம் (1983)
22. நீதியா நியாயமா (unreleased)

He did a film each for K. Balachandar and Sridhar, justifying fully the trust placed in him by the fastidious masters. Despite his works finding repeated airtime, VB could not secure any further Tamil projects. Ever the gentleman, VB was ‘too poor for a bribe, and too proud to importune; he had not the method of making a fortune’. He thereafter continued making music of his own enchanting kind for Kannada Cinema. His compositions in the 2001 Kannada film Neela won both critical acclaim and popular appeal. He had just completed the score for a movie called Poorvapara, when he received a summons from the heavens above. VB was, in many ways, much like Wordsworth’s Lucy- He lived unknown, and few could know when VB ceased to be….

Yet…. when you lie half-asleep cuddling to Yesudas crooning ‘மோகனப்புன்னகை ஊர்வலமே’ in the still of the night, or when SPB and Vani engulf you with a sense of the ethereal in ‘அன்பு மேகமே இங்கு ஓடி வா’, or when the same pair take on an enchanting stroll down memory lane with their salubrious ‘மாமதுரை நாட்டினில்’ or when you smile at L.R. Anjali having a blast in ‘ஐயராத்து பொண்ணு சொன்னா’, or when you exclaim with awe at Vani’s talents finding varied and exciting avenues in albums such as மயங்குகிறாள் ஒரு மாது and காலங்களில் அவள் வசந்தம், or when you sit transfixed at the silken tapestry that Susheela and SPB weave in ‘பனிமலை மேககங்கள்’, or the wave of nostalgia that sweeps you when you chance to hear the line ‘ஆசை என்பது அமுதம் அதில் ஆடி வந்தது குமுதம் ’ blaring from a roadside eatery as you turn a dusty corner of a road down South, or when you note with pleasure ‘சம்சாரம் என்பது வீணை’ finding place in a MP3 collection of SPB solos that you have laid your hands on in one of the many shops that line the streets adjoining the Ashram and the Temple in Pondicherry, you would remember with gratitude and reverence an unassuming gentleman and master music-smith, whose bewitching creations were part of our growing years…..

“Remember me when I am gone away,
Gone far away into the silent land
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad”

-Christina Rosetti

* * * * * *

For today’s edition of the மலர்ந்தும் மலராதவை series, let us listen to 2 songs composed by VB in 1979 for a movie called ‘விழிப்பு’ (Chitra Bharath) that was directed by the genius Nimai Ghosh. This was the only other Tamil movie that the ace cinematographer got to direct apart from the pathbreaking ‘பாதை தெரியுது பார்’ (1960). ‘விழிப்பு’ was scripted by the acclaimed writer M.A. Abbas, whose literary works include கள்ளத்தோணி, ஒளி பிறந்தது, ஒரு வட்டம், கலையின் விலை, besides Tamil translations of some English works such as Heinrich Harrer’s ‘Seven Years in Tibet’ and S. Chandrasekhar’s ‘Communist China Today’.

விழிப்பு was all about how vested interests play the religion card to sow discord among peace-loving people. When a sudden storm hits the tiny coastal village of Alangudi, the womenfolk wait anxiously for the return of the fishermen from the sea. All except two, Arumugam and Anthony come back safely. The two friends are washed ashore, and to their horror find themselves in Pei Theevu, the island that no one would venture into, for it was said to be haunted. Arumugam and Anthony wander all over the island, and find to their surprise that it is fertile and filled with natural resources in abundance. The sea all around seems teeming with fish of every variety.

The two friends return to Alangudi and speak to the village elders about Pei Theevu. And despite the resistance from the superstitious villagers, sail to Pei Theevu and settle there with their families and few friends. Over a few years, perceiving the growing prosperity of Arumugam and Anthony, more people from Alangudi relocate to Pei Theevu, which has been now renamed as Karunai Theevu. With increasing all-around affluence, a temple and a church spring up. Insignificant incidents get magnified to gigantic proportions, leading to rabble-rousing actions and communal riots. Friends turn into foes…..

M.A. Abbas had crafted the narrative with plausible characters with all their vulnerability, simple, realistic incidents and credible backdrops. Being a very low-budget venture, the cast was filled with new-comers. Vijay was the name of the young actor who essayed the role of Arumugam. Lavanya and Nanjil Nalini were perhaps the only known faces. Nimai Ghosh filled the frames with captivating shots of the relentless waves and the rustic beauty of a southern seaside hamlet. The screenplay was drafted shorn of frills, the dialogues simple and minimalistic, the tableaux realistic and natural….

Nimai Ghosh, who had elicited some compositions of eternal allure from M.B. Srinivasan for 'பாதை தெரியுது பார்’, sent for VB to compose the two songs that were envisaged for ‘விழிப்பு’. Being a low-budget venture, VB could not have the luxury of a full-fledged orchestra. While recalling her collaborations with VB, Vaniji once told me that VB could work with a spartan ensemble with equal ease as with a magnificent whole orchestra. We perceive the truth of Vaniji’s averment when listening to the two songs that VB composed for ‘விழிப்பு’. Even when employing minimal string, wind and percussion instruments, VB holds on to his melodic moorings and sails ashore triumphantly, with his trusted pair of singers.

The first is the lilting SPB- Vani duet ‘தங்கக்குடமெடுத்து’, written by KCS. Arunachalam. In a public library in Dubai one weekend afternoon, I chanced upon 'பாட்டு வராத குயில்’, a compilation of poems by KCS. Aruanchalam (1921-1999), and I was spellbound by the metaphors, the motifs, the matter, the meter employed by the poet, known for his leftist leanings. I sat immersed in the verdant vistas invoked by the verses; afternoon turned to evening and evening gave way to night; I was lost to my surroundings until the attendant called out that it was closing time. As I was returning home, I found myself humming ‘சிவந்த ரோஜா மலரை அணிந்து’ written by KCS Arunachalam for M.B. Srinivasan’s Madras Youth Choir. ‘பாடும் பறவைகளே’ was another MYC favourite penned by Arunachalam. As I had written earlier, how I wish Mao Tse-tung who declared with smug disdain ‘Communism has nothing to do with love', could have read the romantic verses of Turkish poet Comrade Nazim Hikmet or 'சின்னச்சின்ன மூக்குத்தியாம்' of Comrade KCS. Arunachalam!

Here, too, KCS Arunachalam’s lines are filled with delightful romantic banter between a fisherman and his lass, his idioms laced with the salt of the sea…. VB casts his austere net and hauls in a pearl that glistens in its very melodic simplicity. The song was picked up by Radio Ceylon and aired in the early 80s before being consigned to oblivion….

https://www.youtube.com/watch?v=tls3kDKNzJ0&feature=youtu.be

The next is the brooding ‘மனிதனுக்காக மதமா’, written by M.A. Abbas. The tranquil existence of the people in the isle is sullied by the poison of communal divide…. Fanatics have stoked a spark to a roaring fire that threatens to destroy the society…. The stark lines of the song bemoan the malice and the hatred that is propagated on the grounds of religion; they look back wistfully at the time when there was friendship across faiths…. Serenaded by sober male chorus voices, a ruminative SPB pleads for tolerance, understanding, reason, compassion…..

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

Made in 1979, ‘விழிப்பு’ could not find any takers. Finally, after ceaseless efforts, it was released in a few centers in 1981 under the name ‘சூறாவளி’. It was sent back to the cans almost at once. The TN Government conferred upon M.A. Abbas the ‘Best Writer’ Award in its Annual Film Honors for 1981. Vividh Bharathi chose to ignore the songs.

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2057580067607042/

‘Aasai povathu vinnile’ from Naam Pirandha Mann

Saravanan Natarajan writes:

June 24 marks the birth anniversaries of two of the stateliest colossi of Tamil Cinema. Muse and Music were born on this day a year apart…. What better way to celebrate Kannadasan and MSV than to recall one of their myriad magnificent collaborations….And as always, we do not indulge in a superfluous search from the surface of this mighty ocean, we dwell deep into its recesses and lay our hands on a glistening pearl that lies in a forgotten crevice…..

‘Aasai povathu vinnile’ from Naam Pirandha Mann
Sung by S.P. Balsubramaniam
Lyrics by Kannadasan
Music by M.S. Viswanathan

* * * *

‘Have you seen ‘நாம் பிறந்த மண்?’ was Kamalhasan’s query to Shankar when the director first narrated the story of his ‘Indian’ to him. Hearing the gripping outline of an aged freedom-fighter who becomes the nemesis for his wayward son, Kamal must have been engulfed by a sense of déjà vu, for Shankar’s narrative bore startling similarities to ‘நாம் பிறந்த மண்’. Kamal’s thoughts must have raced back to more than two decades when ‘Vietnam Veedu’ Sundaram met him with the script and offered the upcoming actor the role of the rebellious, well-meaning son.

நாம் பிறந்த மண் (Vijaya Arts/ 7.10.1977) had Rajasekhar’s story being drafted into Sundaram’s riveting screenplay and dialogues. It was produced by ‘The Hindu’ S. Rangarajan. Rangarajan had earlier tasted success by producing ‘கெளரவம்’ (under the banner ‘Vietnam Movies’) with Sivaji Ganesan in the lead and with Sundaram as the director. This time around too, Sundaram was initially appointed as director, but cameraman A. Vincent took over the direction later on. The titles credit the screenplay to both Sundaram and Vincent.

The movie recounted the life and times of a fictitious revolutionary freedom fighter called Sandhana Thevan. The first half of the movie is filled with his daring exploits, how even while leading the blameless life of a respected village-head during the day, Thevan heads a clandestine band of brave youngsters who strike terror at the British bases in the night. Not even his wife and sister are aware of his dual life. Thevan has to suffer untold miseries when his identity becomes known- his sister is molested and left to die, and he gives himself up to the British at the tearful entreaty of his wife. Thevan is released from prison when India attains independence. He has now lost all his ancestral wealth, and his son Ranjit grows up to a life of scarcity and poverty. Ranjit is disheartened by the depths to which the family fortunes have sunk, and he longs to restore to his proud father and long-suffering mother all that they have lost. All his attempts to secure employment are in vain, and he resorts to crime as an easier means to wealth. But he has not accounted for the anger of his principled father, and events then move to a tragic climax.

If Sivaji Ganesan’s performance as Thevan leading a dual life was marked by majestic histrionics, his restrained underplay as the father who refuses to sacrifice his lofty principles was heartwarming. Kamal as the frustrated son brimmed with righteous fury and anguish. K.R. Vijaya played Thevar’s wife Deivanayagi, and hers was a dignified portrayal. Gemini Ganesh as another revolutionary Joseph, Nagesh as the faithful family retainer Thavasu, ‘Fadafat’ Jayalakshmi as Thevan’s sister Papa and Reena as the British Sergeant’s wife were all well cast in their respective roles.

* * * * *

The proceedings were punctuated with several interesting twists and some emotional highpoints- the playful banter between Deivanayagi and Papa accentuating the deep affection they have for each other, the young revolutionary Viswanathan venturing out on a valiant mission on the night of his wedding and killing himself after shooting the British collector at Maniachi Junction, Deivanayagi nursing the British child who is down with chicken-pox and proclaiming the oneness of Mary and Maari, the amazement of Joseph when he discovers that Sandhana Thevan is none other than his employer ‘Vettaikkaara’ Thevan, the daring encounter that James and Thevan have with the British troops in the still of the night and their seeking sanctuary in a church, all the men in the village sporting bandages in their legs to foil the attempts of the British when they try to trace Sandhana Thevan through his wounded leg, the moving episode where Thevan escapes from police to attend the funeral of Joesph’s mother, Thevan rescuing the British commander from a pit into which they had fallen together, the unblemished loyalty of Thavasu even when Thevan has fallen upon bad times, the arresting arguments between the principled father and practical son with the anguished mother playing the eternal arbitrator, the moving scene where Thevan and Joesph meet after many years, the undisguised pride in Thevan’s eyes when Ranjit buys back their ancestral house and presents it to his parents, and how the same eyes fill with tears of shame and rage when he learns the secret of his son’s sudden affluence, the inexorable end…. The movie was also well made technically with Vincent’s cinematography and Mohana’s art direction presenting with pulsating life the ambiance of a feudal village down south in pre-independence India.

Despite everything going for it, நாம் பிறந்த மண் was a commercial failure. Perhaps the public were tired of another Sivaji movie having a father-son tussle, or it could be that the image of Chappani (16 வயதினிலே was released a few weeks earlier, on 15 September 1977) had the public in a trance which they were not willing to come out of.

* * * * *

But knowledge to their eyes her ample page
rich with the spoils of time did ne'er unroll;
Chill Penury repress'd their noble rage,
and froze the genial current of the soul…

- Thomas Gray (Elegy in a Country Churchyard)

The proud Thevar remains proud and principled, while the Thevar magan languishes in abject penury. He has grown up listening to tales of the fabulous wealth that was once theirs, the acres of land that yielded bountiful harvest year after year, the huge amounts that his father gave away in charity, the thousands of people who were fed by his family during temple festivities…. But all he has known first-hand is poverty and deprivation. He is not educated, not because he was a dunce, it was because his impoverished father could not afford to educate him. Much like the children of poor families whom Thomas Gray alludes to in the above verse, knowledge to our man’s eyes did never unroll. As a result, this illiterate youngster is unable to find a job. And when he does get a job in a wine shop, his enraged father comes to know and puts an end to that soon enough…. What does he do…he cannot bear to see his long-suffering mother scrimp and scrounge and starve herself even while trying to feed her husband and son… he cannot bear to see youngsters of his age enjoying life when he is stricken by perennial poverty… How true was the sagacious old woman when she observed ‘கொடிது கொடிது வறுமை கொடிது, அதனினும் கொடிது இளமையில் வறுமை!’

Frustrations galore… he lands a job as a crooner in a hotel… develops dubious contacts from there…. gets trapped in a vortex of crime that fetches him the riches that he has always longed for…He despises himself for what he has become, his inner conscience and his principled upbringing gnaw him to penitence, yet he stifles the alarm bells, justifying crime as a necessary evil… His is a brooding, introspective lot that evening… the usual revelers gather in the hotel, but he is lost in the labyrinth of his wretchedness…. And so he narrates his travails in a song that he croons....

ஆசை போவது விண்ணிலே
கால்கள் போவது மண்ணிலே
பாலம் போடுங்கள் யாராவது
பாடி ஆடுங்கள் இன்றாவது....

In the prelude to the song, Vincent employs some imaginative touches that capture the above philosophical lines of the bard… the first shot shows Kamal walking on the road (கால்கள் போவது மண்ணிலே), the next one shows an airplane in the sky (ஆசை போவது விண்ணிலே), and then…there are montage shots showing him meeting shifty men, receiving mysterious consignments (பாலம் போடுங்கள் யாராவது)…The scene then shifts to the interiors of the hotel where Kamal sings, a girl sways to his song, the bacchanalian audience intent on their own pleasures indifferent to the angst that peeps through his lines (பாடி ஆடுங்கள் இன்றாவது)….

And as his wont, Kannadasan lets his lines reflect the inner turmoil of the character… And the thoughts of the great writers of the world creep unintentionally into his poetic lines… Oliver Goldsmith’s ‘The nakedness of the indigent world may be clothed from the trimmings of the vain’ finds new meaning in ‘கட்டிடம் ஜொலிக்கிறது, அஸ்திவாரம் அழுகிறது.’ Ella Wheeler Wilcox would have discovered a kindred soul in Kannadasan had she happened to hear ‘யாரும் சிந்தட்டும் கண்ணீரை, நீங்கள் தெளியுங்கள் பன்னீரை’, for the line is a sardonic leaf out of her own ‘Laugh, and the world laughs with you; weep, and you weep alone…’ And had John Milton who wrote ‘These evils I deserve, and more…Justly, yet despair not of His final pardon, Whose ear is ever open, and His eye gracious to re-admit the suppliant’ and Alexander Pope who declared ‘To err is human, to forgive divine’ lived in the time of our bard, they would have doubtless saluted the heart and shook the hand that interpreted the same thoughts so eloquently in

தெய்வம் சில நேரம் சிந்திக்கும்
மண்ணில் பல பேரை மன்னிக்கும்
இந்த மன்றத்தில் ஆடுங்கள்...
அந்த மன்னிப்பைக் கோருங்கள்....
இறைவா.....
என்னை மன்னித்துவிடு......

As for MSV, he must have been delighted to obtain this philosophical soliloquy from the bard, and he sets it to a simple tune that brings to the fore the somber undercurrent of the lines. It is a stylish composition of the master wherein the first four lines of the charanam are but a variation of the pallavi’s tune. The first three charanams close with didactic reflections, while the last charanam ends with a desperate cry to the Lord for forgiveness. In perfect congruence with the plush interiors of the opulent hotel, MSV employs the guitar, drums and trumpets to tantalizing effect. There are four charanams, and alternate interludes are similar. The second and fourth interlude open with the bells that jingle in the glittering sequins of the danseuse’s dress, and as the singer’s thoughts fly to his mother amidst her domestic drudgery, MSV’s violins wail in empathetic anguish...

The sharpest weapon in MSV’s arsenal though, is SPB. How fetchingly does he portray the misery of the on-screen singer… Listen to the cynical chortle in ‘இன்பங்கள் தூங்குவதில்லை.....துன்பங்களும் அப்படித்தான்’ and the hushed sob in the final plea, ‘இறைவா.....என்னை மன்னித்துவிடு!’ Frustration, anger, guilt, rationalization, resignation, and prayer… all delivered with operatic flourish parade in mesmerizing succession in SPB’s song…

https://www.youtube.com/watch?v=xEAAUcOkZ74

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2047444261953956/

மலர்ந்தும் மலராதவை # 32

Saravanan Natarajan

மலர்ந்தும் மலராதவை # 32:

Song: Ninaivile manaivi endru
Movie: Sa ri ga ma pa.
Sung by SPB.
Lyrics by Udhayanan.
Music by Srikumar.

* * * *

Ragamalika International’s ‘சரிகமப’ (not to be confused with Parthiban’s 1994 film ‘சரிகமபதநி’) was another movie whose reels lie forgotten in the attic of some crestfallen producer’s house. The record sleeve has a picture of Roopa condescending to part with a reluctant smile. The other songs were ‘ஓடும் நதிகளில்’ by Jayachandran & PS (Kannadasan), ‘என்னம்மா நில்லம்மா’ by Malaysia Vasudevan (Thendral Thyagarajan) and ‘உலகத்தில் நான் வாழ்வது’ by S.Janaki (Kannadasan)

Putting up a brave face despite the ravages wrought by the ethnic conflict in the early 80s, Radio Ceylon endeared itself to its listeners by continuing to air their favourite programmes. And it was sometime in 1983 that I first happened to listen to this song one indolent forenoon. And soon enough, Sunday after Sunday, this song stayed put as the numero uno in the weekly countdown, warding off with nonchalant ease spirited challenges from the more hyped Goliaths.

* * * *

Many of us would remember the song ‘வாய்விட்டு சிரிச்சா நோய்வி்ட்டு போகும்’ from KB’s பொய்க்கால் குதிரை. The voice that accompanies Malaysia Vasudevan is that of Udhayanan, who had written the lyrics as well. Udhayanan was a lyricist who became MSV’s protégé in the early 80s, and he also lent his voice to some of his own lyrics. Though big-time success eluded him, Udhayanan proved his bona fides in the few songs that came his way. Besides ‘வாய்விட்டு சிரிச்சா நோய்விட்டு போகும்’, other songs written by Udhayanan that I recall are ‘அத்தியும் பூத்தது’ (மன்மத ரதங்கள்/P. Susheela/ KVM), ‘பச்சமொளகா’ (நன்றி மீண்டும் வருக/ Udhayanan & Kausalya/ Shyam), ‘நான்தான்டி’ (தேவி தரிசனம்/ P.Susheela & Renuka/ MSV), ‘மாம்பலத்து பூசாரி’ (ஆசைக்கு வயசில்லை/ Udhayanan & Manorama / MSV) and ‘ஓட்டப்பானையில நண்டவிட்டா’ (முன்னொரு காலத்தில்/ P.Susheela / MSV)

* * * *

‘Who is Silvia? What is she, that all our swains commend her?’ wrote William Shakespeare (Two Gentlemen of Verona). My thoughts often fly to these lines when I wonder who was this Srikumar, whose entry into and exit from Tamil Cinema went wholly unnoticed? Tamil film music often poses such questions whose answers we would probably never know. Yet in the one album that came his way, Srikumar has left behind some lingering memories. While the stylish JC-PS duet ‘ஓடும் நதிகளில் ஆடும் மலர்களில் உனது முகம்’ would strike a chord in many, the song that remains firmly entrenched in our memories is ‘நினைவிலே மனைவியென்று’.

Creating an appealing tune is perhaps the easier part of the assignment; arranging an unobtrusive, apposite orchestration as a charming trellis around the lyrics is a daunting challenge for a debutant. But Srikumar comes out in flying colours. And SPB, of course, has to go all out to unleash his magic and honour a humble composer. Right from the opening humming, he makes the song his, and fills it with his finesse. With an amused indulgence that is so becoming, SPB captures the romantic flights of fancy of a love-struck man, singing of his beloved in a tranquil moonlit night....

https://www.youtube.com/watch?v=PkC8WgEQnIk&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2020559004642482/

மலர்ந்தும் மலராதவை # 31

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 31:

உயிரே உனக்காக....

Two wondrous wedges from a vibrant rainbow, a magnificent rainbow that made a fleeting appearance before being hidden forever behind the swirling clouds of time……I was among the blessed to have savoured the delectable wedges…. These are two songs from ‘உயிரே உனக்காக’. Sung by SPB and S.Janaki. Lyrics by Vairamuthu. Music by Ilaiyaraja.

And before anyone starts wondering if Raja composed two songs in an album that had music by Laxmikant-Pyarelal, let me hasten to clarify that this film is not the Mohan-Nadiya starrer உயிரே உனக்காக (1986/ Motherland Pictures).

This was an earlier venture commenced with the same name. Sri Manickam Films’ உயிரே உனக்காக is destined to lie hidden in the cans forever. It had Prabhu and Sulakshana playing the lead roles. It was produced by Kallakkudi Manickam and directed by S. Kumar.

* * * *

I go back again to the summer of 1983 when all schools were shut down for an extended period to express solidarity with the Srilankan Tamils. Having nothing else to do apart from reading the books borrowed from Easwari Lending Library in the afternoons and playing with friends out in the street for a while in the evening, I fell back upon my old ally- Radio Ceylon. My day started with பொங்கும் பூம்புனல் and ended with இரவின் மடியில்.

I can never forget the songs that were aired regularly during that unexpected vacation, and along with songs like ‘தென்னங்கீற்றும் தென்றல் காற்றும்', ‘நினைவிலே மனைவி என்று’, ‘யாரது சொல்லாமல்’, ‘சிரிச்சா கொல்லிமலைக் குயிலு’, ‘ஓ வெண்ணிலாவே வா ஓடி வா’, ‘தென்றல் என்னை முத்தமிட்டது’; there were these two songs that would found place unfailingly in பொங்கும் பூம்புனல்.

The songs were never aired after that summer, as album after album of Raja filled with new delights kept coming up week after week. I could not let go of them however, and clutched on to them in a precious nook of memory. Many years later, these two songs from உயிரே உனக்காக were on my wish-list each time I discovered a new recording center. But when after days of delicious anticipation, I brought back the cassette home, I would be dismayed to find 'I want to be a rich man' or 'கவிதைகள் விரியும் விழியிலே' from LP’s உயிரே உனக்காக recorded in the place of my requests! All my protests elicited was a flat denial of the existence of another movie by the same name for which Ilaiyaraja had composed the songs ….

After many years, I found a Srilankan friend who had the record with him ( Yes, with Prabhu in a white uniform on the record jacket), and got the precious songs from him.

The dream ensemble of Ilaiyaraja, Vairamuthu, SPB & Janaki collaborate here to put together an exquisite duet. Janaki’s enticing humming is invitation enough, and SPB’s pallavi hints at lusty longings hiding behind the air of laid-back romance. ‘மார்கழி பார்வை'…. What a mataphor… a glance that sends delicious shivers down the spine, a look that brings a refreshing zephyr to a heart parched for love? Janaki makes a sly entry into the charanam - hark at her irresistible exclamation of pleasure at his ‘உள்ளங்கையில் தேனிருக்க’ --And just when you expect SPB to bring back the pallavi after Janaki’s surging end to the charanam, like an unexpected cascade of summer showers, Raja takes you on a mesmerizing musical odyssey….

https://www.youtube.com/watch?v=iO-62OrrP7g&feature=youtu.be

The other enchanting duet from this film, ‘பூ என்பதா பொன் என்பதா’ (lyrics again by Vairamuthu) was another favourite among Radio Ceylon listeners. Serenaded by female chorus voices, a bashful Janaki lifts the curtains to a ballad of an unhurried courtship, a romance whose languorous lilt is festooned by SPB’s impassioned wooing. Gorgeous arrangements by the Maestro…listen to how he commissions his lead singers to commence the second interlude…. Rapture!

https://www.youtube.com/watch?v=LMy69H7iECc&feature=youtu.be

Happy Birthday, Sir! Our lives are richer with your music.
And, SPB Sir, our advance wishes!

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/2013711081993941/

மலர்ந்தும் மலராதவை # 29

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 29

நெஞ்சிலாடும் பூ ஒன்று....

அனைவருக்கும் புத்தாண்டு வாழ்த்துக்கள்!

Selva Vinayaga Films’ நெஞ்சிலாடும் பூ ஒன்று is yet another film that sleeps undisturbed in the cans, never destined to reach the silver screen. The film’s album, thankfully, was released- the record cover proclaims the year of its manufacture as 1979. And displays pictures of Saratbabu and Vijayakumar with Radha Saluja.

‘Thankfully’ I said, because the elusive album cunningly secrets within its seldom explored confines, some bewitching compositions of IR- compositions that surely warranted a happier destiny, grander commercial and critical acclaim. Lyrics were by Vaali.

‘கோடி இன்பம்’ is a magnificent masterpiece in Malayamarutham. Janaki's cuddlesome humming that establishes the enchanted mood for a joyous revelry of romance, and the fantasy-laden pallavi that opens up such spectacular vistas of an unabashed celebration of love, SPB who makes an unheralded welcome entry as the delirious man’s voice, to engulf his beloved Preethi with his winsome edicts, the violin that showers bushels of fragrant flowers upon the lovers, the lilting charanams that are interwoven seamlessly into the magic…surely dreams are made of such precious stuff….Million pleasures indeed!

https://www.youtube.com/watch?v=YeQ38lgcaos&feature=youtu.be

‘மருத மஞ்சக்கிழங்கே' offers an equally tempting, but a contrasting folksy fare—Vani beckons with a summons that is irresistible, and a mesmerizing flute escorts us right into the midst of a torpid evening in a rustic milieu, where the slanting rays of the setting sun fall upon a pair of lovers rapturously capering across the carpet of greenery. The bashfully uttered lines of the Pallavi, SPB’s honeyed humming that follows, the interludes that blend in so masterfully with the rural ambience, the meandering Charanams that flow so alluringly into the Pallavi—all come together to ensure a delightfully refreshing treatment for the hackneyed plot of the man’s amorous advances being checked by the virtuous woman imposing a restraint on proceeding further until the formal sanctification of the union.

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

‘வானம் எங்கே’ is the third duet from the film, and an unforgettable song it is by Jayachandran & Janaki…. Listen to a languorous Janaki hovering ever so bewitchingly over the dreamy chorus voices; let the flittering flute fill you with pleasurable anticipation, for the mellifluous Jayachandran is soon to make an arresting entrance….

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

‘ஒரு மூடன் கதை சொன்னால்’, the fourth song in the album captures Malaysia Vasudevan in his ruminative, melancholic mood, and his earthy tones bring in a hue of wry resignation to a love which is destined to go unrequited. The song was a great favorite in the listeners’ requests sections of Radio Ceylon…all from disillusioned young men!

https://www.youtube.com/watch?v=ln_XShQVJD4&feature=youtu.be

So let the timeless magic of vintage Raja entrance us with these forgotten numbers...

‘Heard melodies are sweet, but those unheard
are sweeter; therefore, ye soft pipes, play on….’

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1959108770787506/

மலர்ந்தும் மலராதவை # 12

மலர்ந்தும் மலராதவை #12

சித்திரப்பூ சேலை...

Rajaram Theatres’ புது செருப்பு கடிக்கும் was based on a short story by Jayakanthan. The story was written in 1971, and came out as part of a collection of short stories, published by Meenakshi Puthaga Nilayam, Madurai.

The story revolves around three characters- Nandagopal, Girija and Vatsala. Nandagopal enjoys his bachelorhood till he is 30 years old. He harbours bitter memories of his father physically torturing his mother day after day, and thus he develops an aversion towards marriage. He meets Girija, who works as a sales girl besides doing various odd jobs to eke out a meager living. He is attracted to her cheerful disposition and caring ways. One day, when seeing her hungry state, he treats her to a meal and buys groceries for her. She suggests that he move in with her and share the monthly expenses. He readily falls in with the scheme, and their friendship assumes new dimensions. They share the expenses....and some more...

He tells her of his mother’s constant nagging, asking him to get married. Girija encourages him to take the step. He tells her of his cousin Vatsala who is very pretty. Girija masks her disappointment, and congratulates him on his decision. When the wedding day looms near, she suggests that he move out, as it would not be appropriate for them to share the same roof any more. There is a hint of tears in her eyes as she tells this….

Nandagopal finds marital life not at all what he had bargained for. Vatsala and he rarely see eye to eye, and arguments, unpleasantness and humiliations become a daily affair. One night, after some bitter exchanges, he suddenly remembers wistfully his carefree days with Girija. He takes a sudden decision to pay her a visit, even at that unearthly hour. Girija is surprised at his sudden visit, but gives him a warm welcome. To her eager queries on his married life, he responds by listing the complaints he had against Vatsala, and adds that he is suffering for the callous way in which he had treated Girija.

She admonishes him gently, and explains to him how Vatsala must have felt to leave all that is
familiar and dear to her, and come to a strange place and that even the male species may appear strange to her. Girija adds that Nandagopal was ‘experienced’ in the ways of women (in a wry reference to their living together), and she too was ‘trained’ in the ways of men- but men do not want “trained” wives! Nandagopal understands the truth. Presently, seeing that her foot is injured, tenderly enquires about it. She replies that she had bought a new pair of slippers, and was suffering from acute ‘shoe bite’ Then come her punch lines “A new pair of slippers necessarily hurts, but would that make anyone go in for an old pair”?!!! She smiles as she says this…. he breaks down….

What a moving, stark story- Jayakanthan had expanded it into an evocative black & white movie running for just more than an hour. I believe Srikanth & Saradha played the lead roles. Sadly, JK could find no distributors. The movie never made it to the marquee, while Jaganmohini, released around the same time, ran to packed houses.

However, பது செருப்பு கடிக்கும் remains in our memories for the two wonderful songs penned by Jayakanthan and tuned by the genius M.B. Srinivasan.

The first of them was a Radio Ceylon regular in the late 70s. A song of aching memories of a lost love, a wistful window of vistas of a past that is gone… the man remembers his lady love, and recalls in vivid detail his impressions of her striking appearance… The song is a sigh, a tender throwback…JK’s refreshing lines with the adjectives that are are truly inventive, sit so snugly into the MBS trellis. JK’s friend Mr. Kuppuswami recalled in an interview to The Hindu that the lines came to Jk when they were bathing in the Cauvery. SPB conjures up the wistful ache, the unhurried rumination that the mood demands…

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

The other is the haunting Vani Jairam solo ‘உடல் என்பார்.’ Vani renders it with great depth of emotion. I found the song to be tranquil, but more like the peace one finds in the company of a lingering sorrow. Alone and at a loss.

Has the sorrow of a girl whose love has gone unrequited, ever been depicted more poignantly- each line is redolent of this suffering- the suffering that only people who have loved and lost can understand……the wait is endless, futile, yet still she waits….

The lyrics are truly remarkable, of a kind seldom encountered in film songs. MBS adds spellbinding sheen to the lyrics by his unobtrusive and masterful use of Veenai, Flute and Violin- each interlude is a short but effective statement.

Vani brings to the song a Ghazal like aura- how much hushed pain peeps out in her song! The song is a celebration of heart-rending sorrow, of forlorn disappointment, of benumbing betrayal, of eerie emptiness that knows no solace...

https://www.youtube.com/watch?v=QhEp3aGfzGM

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1832702163428168/

மலர்ந்தும் மலராதவை # 10

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை # 10:

யாரிது தேவதை.....

Sung by SPB. Lyrics by Na. Kamarasan. Music by Gangai Amaran.

* * * * * *

The front sleeve of the EP record had Viji holding balloons in vibrant hues strung together. Music was credited to the wretched Gangaiamaran and so of course I had to turn over the sleeve to read the index of songs. I was not disappointed; the very first song in the list was 'யாரிது தேவதை'. And I was thrilled at unearthing this one. Like the excitement of running into a long-lost childhood friend in a mall, this discovery filled me with heady happiness. For this was a song that I had listened to often and liked as a child. Somehow as the years passed it had slipped from my thoughts, and seeing the words 'யாரிது தேவதை’ on the record cover now brought back so many memories!

The record proclaimed its year of manufacture as 1983. So என் பிரியமே (Balakumaran Movies) must have been launched with fanfare around that time, unfortunately never to find commercial release. It was directed by Sivakumar and produced by Pondy M.A. Shanmugam.

The other songs in the album are noteworthy as well. Janaki has two songs: ‘அழகிய பூமகள்’ (Vairamuthu) and ‘மழை மேகமே’ (Pulamaipithan), both bestowed with distinct allure. ‘கம்பங்கொல்லையில்’ (Malaysia Vasudevan/P. Susheela) has some obscure Priyamoorthi penning some invigorating lyrics. ‘Meri premi’ (Malaysia Vasudevan/ T.L.Maharajan/ S.N.Surendar/ B.S.Sashirekha; Lyrics: GA) and ‘பொம்பளனா ஆம்பளனா’ (Malaysia Vasudevan/ T.L.Maharajan/S.N. Surendar; Lyrics: GA) are catchy in their stimulating cadence.

* * * * * *

It is 'யாரிது தேவதை', however, that tops the list. Perhaps one reason why it is very special for me is that the lines come from the remarkable Na. Kamarasan who passed away recently - the maverick wordsmith who could invoke instant imagery like the haughty nonchalance of ‘போய்வா நதியலையே....இவள் பூச்சூடும் நாள் பார்த்துவா’, the cuddlesome intimacy in ‘உதடுகளில் உனதுப்பெயர் ஒட்டிக்கொண்டது’, the magnificent vistas that ‘ஒரு காதல் சாம்ராஜ்யம் கண்ணில் வரைந்தாள்' summons up, the poetic proportions that even a prosaic paean assumes in ‘கைகளில் வாரி வழங்கிய பாரி’, the sensuous flourishes that tantalize in 'நகக்குறி வரைகின்ற சித்திரமோ, அங்கு நாணங்கள் தூரிகை வண்ணங்களோ’…. Truly, Na. Kamarasan deserves a place of pride in the pantheon of tfm lyricists.

* * * * * *

The other reasons are, of course, GA’s tune and SPB’s tone. The nimble movements on the frets in the

opening would have happily led us unhindered to SPB had it not been for the irksome inane “first night” giggles of the தோழிகள். That however is a minor aggravation, for SPB more than makes up with his characteristic flamboyance. Watch out for the short, stifled chuckle that he allows himself in the pallavi and the nifty nuances that he fills the charanam lines with. Can you imagine anyone else singing this song?

'என் பிரியமே' never made it to the marquee. However, some humble producer bought the entire album and used the songs for the 1987 movie ‘ஊர்க்குருவி’ that had Arunpandian & Madhuri in the lead. The movie sank without a trace, and the songs never got another outing in the airwaves.

https://www.youtube.com/watch?v=KKS02I_OJzo&feature=youtu.be

Discussion at:
https://www.facebook.com/groups/1018417744856618/permalink/1824725120892539/

மலர்ந்தும் மலராதவை- 2

Saravanan Natarajan writes:

மலர்ந்தும் மலராதவை- 2

வானம்.... பொழிகின்ற மழையின் ஒலியில் கானம்....

I am not bound to win, but I am bound to be true. I am not bound to succeed, but I am bound to live by the light that I have.

- Abraham Lincoln

I do not understand the lyrics wholly, yet each time I listen to the tender strains of ‘Aayiram kannumaai kaathirunnu ninne njaan’, I am overcome at the fragility and fleeting ethereality of human relationships that the song manages so effortlessly to convey across barriers of language. Is it the studied leisurely gait of the song, or the melancholic magic of Yesudas, or the dreamy interludes, or the insistent choral refrain ‘painkili malar thenkili’, or the invigorating effect of the combined concoction- I cannot fathom. Yet the song leaves me shaken at every listen, and I offer a mental salute to the composer who crafted such a jewel.

And even within my limited knowledge of Malayalam film songs, many of this composer’s creations rank high in my list of favorites- the caressing gentleness of ‘Kannodu kannoram ni kani malaralle’ and ‘Aalorungi arangorungi aayiram therorungi’ (Ente Maamatti Kuttiyammaku), the fun and frolic that reverberates throughout ‘Minnum minna minni’ and the hushed angst in ‘Thilangum thingale’ (No.1 Snehatheeram Bangalore North), the stylish prelude with which ‘Neerkili neendhivaa’ (Punnaram Cholli Cholli) opens, the silky warp and waft of ‘Dhevadhumdhubhi saandralayam’ (Ennennum Kannettante), the euphoric empathy that ‘Vanambaadi edho theerangal thedunna vanambaadi’ (Deshadanakili Karayarilla ) evidences…. Scintillating signatures of an unsung genius.

Luck has always played a capricious game of hide and seek with Jerry Amaldev (born Jerome Thomas Veelaparambil). The man studied for years in a seminary with the intention of becoming a priest, but realizing his true calling, gave up his religious aspirations without much regret. His inherent gift for music, and years of learning Hindustani classical, tabla and the piano made him approach the legendary Naushad. Deeply impressed at the young lad’s enthusiasm, Naushad took him on as his assistant. After 5 years with Naushad, Jerry went to US and completed a Bachelor’s degree in Music in New Orleans, followed by a Masters in Composition at Cornell University, Ithaca, New York. He even taught in Queen’s College in New York, before returning to India to try his hand at film music.

He could not have wished for a better opening. Manjil Virinja Pookkal (1980/ Navodaya) by Faazil, starring Shankar, Mohanlal and Poornima Jairam was a thumping success, aided strongly by Jerry’s brilliant score. The awesome interludes in Janaki’s ‘Mizhiyoram’ were of a kind never heard before. The State Award was his, and he looked all set to be the composer of the decade in Malayalam Film Music. But things did not turn out quite that way, and despite coming out with stunners in the ensuing years, Jerry Amaldev found himself slowly, but surely sidelined.

* * * * *

















1986. Jerry Amaldev was approached to compose music for a Tamil film, and he set about the task, excited at the prospects that this album could summon up. Ninaivo Oru Paravai (Scorpio Creations) was produced by K. Ajit and directed by ‘Uchchakattam’ fame N.S. Rajbharath. Rahman was the hero. Vairamuthu wrote the lyrics for the songs.

And what wonderful songs they were! ‘Then kudiththa thendral’ (SPB/Chitra) must be the among the softest romantic duets ever. ‘Endhan kanne’ (Yesudas /B.S. Sashirekha) is made for the mellifluosness of Yesudas. ‘Muththam enge’ tantalizes despite the innate limitations of S.P. Shailaja. 'Kaathalikka katrukkol’ might have made Raj Seetharaman really famous, if only the song had ever been aired.

And as for the SPB solo, do I really need to dwell upon it? Vairamuthu writes with his pen darting as cupid’s arrow, Jerry Amaldev conceives a tune that casts a beguiling spell, and our SPB takes charge nonchalantly to make Amaldev’s Tamil debut unforgettable.

I imagine Rahman singing in a cloudy night, perhaps under the window of his beloved (a la Gemini in ‘Kaadhal nilavE kanmani Radha’) trying to get her to sleep. (Or is he singing to her on the phone?) The overcast sky opens up, and the sudden showers, instead of cooling his ardor, end up kindling the flame of passion! And then would you suppose sleep would ever beckon the eyelids of one whose heart bursts with longings wrought by love, and whose ears thrill to the passionate wooing of her suitor? Yet he sings his lullaby, and when she does sleep exhaustedly in the end, her eyelids would surely be heavily laden with delicious dreams.

Jerry Amaldev’s famed orchestral brilliance is evident in the flowing interludes- they urge the listener to try flapping imaginary wings and soar exultantly high in the air. I have seldom listened to operatic passages of this class in film music! SPB must have sensed the extraordinary beauty of the composition, for he unleashes his magic in all its potent strength, and gleefully cloaks each line with his endearing nuances.

Listen to this delight here:

Song: En Kanmani
Film: Ninaivo Oru Paravai (Scorpio Creations/ Unreleased)
Vocals: S.P. Balasubramaniam
Lyrics: Vairamuthu
Music: Jerry Amaldev

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


How much Jerry Amaldev must have looked forward to this album!

Unfortunately for him, Ninavo Oru Paravai was never released. But Radio Ceylon did air the songs, at least for a brief while in 1986-87. And then the songs disappeared forever. Much later, (yes, in Virudunagar!) I chanced upon a record of the film (with Rahman on a bike featured on its sleeve), and got those cherished songs recorded.

I presented this song first way back in 2004 as Song of the Day to ecstatic responses. Like me, they were many who had fallen in love with the song when it was aired by Radio Ceylon in the 80s and were excited to listen to it again after many years. From dhool, this song was then widely downloaded and has now found its way to YouTube as well- Listen to the link- the record at the audio center in Virudunagar from I got the song had a deep scratch in a particular place, and hence the ‘etta’ in the line ‘un pattu meni ettavillai’ was cut- Not surprisingly, most versions you now find of this song in the net suffer from the same blemish!

* * * * *

Poove Ilam Poove (1987/ Vijayakala Pictures) did manage a release, but was a prompt failure, notwithstanding the then successful pairing of Suresh and Nadia. Despite this, Jerry Amaldev’s songs therein like ‘Paattu paada vandhen’ (Vani Jairam), ‘Gangai nadhi’ (Janaki) and ‘Puththam pudhidhu’ (SPB/Chitra) did get a deservedly generous airtime.

I don’t know if Jerry Amaldev scored for a Tamil film ever again. (A project titled Vandhadhu Vasantham shared the stillborn fate of Ninaivo Oru Paravai.)

Offers and Awards did come sporadically. He was awarded the Amritavarshini Puraskaram for music in the Sangeetha Nataka Akademi Awards 2001. In the year in which Ilaiyaraja won the Kerala State Govt’s Award for the Best Music Director (song) for Kaalapani, Jerry Amaldev bagged the Award for the Best Music Director (Background music) for his work in Kazhakam.

At that time I chanced upon an interview with Jerry Amaldev at a barber’s shop in Sharjah- I requested attendant to read it out as it was in Malayalam- Jerry had said that he was leading a quiet, contended life in Selaiyur, a Chennai suburb. He was engaged in composing music for Christian devotional songs and teaching music in a school. He averred that he harbored no bitterness at being forgotten, and accepts his fate with a philosophical shrug.

Jerry formed a choral group ‘Sing India, with Jerry Amaldev’ in 2010 and performed all over the country. Last year, Jerry was back in the news when he composed music for the Malayalam movie ‘Action Hero Biju’. The director Abrid Shine said he went to Jerry as he was tired of ‘computerized’ music and wanted someone who would bring back the magic of orchestration into the songs. More than a year later, The song ‘Pookkal panineer pookkal’ which Jerry got veterans Yesudas & Vani Jairam to render remains a chartbuster.

Jerry Amaldev is currently working as a Professor in the History of Music at the Asian Christian College of Music at Kottayam.

When asked about Amaldev (Sangeetha Sagaram/Asianet), Vani Jairam spoke glowingly about his “beautiful orchestrations”. She ended her panegyric saying ‘Oh, he’s a very nice man”. And that perhaps is an ultimate tribute to this neglected composer!

Discussion at:

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