Presented in this BLOG are some movie songs composed in the same RAGA, which will help getting an idea of how a raga sounds. It is aimed at providing an introduction to CARNATIC MUSIC.
‘Kabaalida’ – the hype and hoopla for ‘Kabali’ film have subsided with the release of the film… but some thing was gnawing me for quite a while. Whenever I got a glimpse of the lead actress of the film or read her interviews or just heard the name Radhika Apte I began to ruminate on another Apte , a totally forgotten versatile yesteryear actress, Shantha Apte. What interest I will have in ‘Kabali’ or Radhika Apte or its music! But sure I will have interest in Shantha Apte for this quaint melody,’ ஆடுவோம் வாருங்கள் பாங்கியரே ‘ that she sang for the film ‘Savitri’ (Royal Talkie Distributors/1941).
‘Savitri, a mythological, though remembered mainly for M S Subbulakshmi, Shantha Apte , who played the eponymous role, a Hindi-Marathi legendary singing star those days, is no less a celebrity. She was classically trained in music and dance and an acclaimed actress in Marathi and Hindi cinema.
M S Subbulakshmi was cast in a male role, playing the character of sage Narada! This unique casting was the idea of the filmmaker Y.V. Rao. This project is also said to have raised funds for ‘Kalki’ , the Tamil weekly launched by M S Subbulakshmi’s husband, Sadasivam. This was the first time in South Indian cinema that Narada was played by a female.
It was very difficult making Apte act in a Tamil film for Y V Rao for she did not know the language but insisted on speaking and singing in Tamil! The dialogue-writer T.C. Vadivelu Naicker with a Tamil woman, settled in Poona, taught her the lingo. To hoodwink the curious onlookers, Apte, disguised as a maid would visit the tutor's house through the rear door! The project was put on the backburner for nearly a year until Shantha Apte learnt to speak and sing on her own! She sang 7 to 8 songs in the film. Apte was apt for the role.
The film’s music was credited to Thuraiyur Rajagopala Sarma, and noted Bengali film music composer Kamaldas Gupta who was in charge of orchestration and arrangements. Papanasam Sivan wrote the lyrics. It is pertinent to mention here that Thuraiyur Rajagopala Sarma scored music for MS’ ‘Sakunthalai’ also.
Set in captivating Ketharam, probably the first full song in a tamil film in that raga, the tune suits the situation- where Apte merrily spends her time with her friends in the garden and where the hero Y V Rao tries to woo her.
Though not so good-looking Shantha Apte looks bubbly and vivacious. Just look at her singing…such a flawless rendition in her dulcet voice. She simply proves her mettle through this song. I find U R Jeevarathnam style of singing in her. Her enunciation of words is also fine.
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Ketharam- either Sivan’s or Thuraiyur’s idea, it is just brilliant!
If subconsciously I have had an affinity for Ketharam it is because during my school days we had this prayer song- ‘சகலகலா வாணியே சரணம் தாயே!’. We used to sing this song very mechanically those days with utter disregard for its lyrical or musical values. By the time I understood it was a Suddhanandha Bharathi’s kriti, the beauty of the lyrics and its raagam, Ilaiyaraja came out with a stunning melody in ‘Ponmaalai pozhudhu’ for the film ‘Nizhalgal’ which gave Ketharam a new dimension altogether with its off-beat prelude and interludes.
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In this MS’ birth centenary year it should go to the credit of Radhika Apte in a way that we remember Shantha Apte today whose 100th birth anniversary also falls in this year. She was also born in 1916. I wish some mention about this forgotten actress be made in the Doordarshan series ‘Kurai ondrum illai’, a weekly programme currenly being aired as part of MS centenary celebrations.
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How I wish MSV had composed the line ,”Nee enak’kethaaram’ endrirukka unnai en vasa(m)thaa vena naan kaetka” in the song ‘Nee oru raagamaalikai’ (Penn ondru kanndaen/1974) in raga Ketharam itself (instead of his usual ‘Karaharapriya’)!
Discussion at: https://www.facebook.com/groups/1018417744856618/permalink/1280181962013527/
Let us today listen to a vintage classic by an unlikely singer:
Kannodu kannai ragasiyam pesi from Madana Mohini. Sung by K.V. Mahadevan & P. Leela. Lyrics by M.P. Sivan. Music by KVM.
It is only the audio that is available in the net, thankfully, for I am certain that video would be far from appealing!
Madhana Mohini (1953/ Liberty Pictures) was produced by M.L. Pathi. It starred an obscure actress of the 50s called C.R. Rajakumari in a dual role and Narasimha Bharathi as the hero. I recall seeing it on DD- it was a long-drawn meandering tale, a tedious amalgam of mythology, sorcery and romance. Shoddy editing, amateurish acting, and a screenplay that displayed an appalling indifference to logic compounded the woes of this misadventure, and the proceedings unwittingly ended up in a comical farce. And I would have given up on it too, had I not been riveted by its enchanting songs, and the knowledge that I was watching a slice of Tamil Film Music history.
Madana Mohini had songs in abundance, and there were at least 2-3 more songs than these 11 that I managed to gather over the years:
Vaana veedhi mele vilaiyaadum vennilave- P. Leela
Aanum pennum aasai vechu - A.P. Komala
UnmaikkE ulagil uyarvu thaazh illaiye (enne ikkaala maatram)- KVM
Aadhi mudhalaanava- A.P. Komala & N.L. Ganasaraswathi
Ko ko ko kokkarakko, kozhiyinna kozhi thaan- A.M. Appadurai
Pombalaithaan endru ennavendaam- A.P. Komala
Ilam kandrupole illam thullugindren- Jikki
Vaazhiya senthamizh thaaye- KVM
Agara mudhala (Ega uruvaam marundhu)- K.R. Lakshmi
Peru sollum peru sollum- KVM & Kasturi
Kannodu kannaai ragasiyam pesi- KVM & P. Leela
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The lyrics for the songs were by M.P. Sivan. Madhilakathuveedu Paramasivan Nair’s (M. P. Sivan) love for Tamil and theater made him leave his native Palaghat and join the famed Madurai Bala Gana Sabha. His proficiency in the language and his mastery over the Harmonium gradually earned him a revered position as a writer, lyricist, music composer and teacher in that celebrated institution. His foray into Tamil film music was short-lived- he wrote lyrics for a few films in the 50s, and a few devotional songs.
One of the reasons that Madana Mohini remains a piece of Tamil film music history, is that it was with this album that Thiruvanandapuram Kesavapillai Pugazhendhi joined KVM’s ensemble, and all of KVM’s subsequent films’ titles, till the very end, proclaimed: “Isai: KVM; Udhavi: TKP’’. An enduring and endearing association that, perhaps, has no parallel anywhere. And the credit for introducing TKP to KVM goes to M.P. Sivan. He was TKP’s Guru in Madurai Bala Gana Sabha, and the teacher and student shared a rare rapport. And when Sivan got an opportunity to write the lyrics (and the dialogues as well) for Madana Mohini, he pulled in TKP, who had been working with C.N. Pandurangan for a short while. Sivan’s warm recommendation, and TKP’s unquestioned talents, of course, fetched TKP a permanent place in KVM’s troupe.
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The other justification, for Madana Mohini’s place of pride among the landmark albums of Tamil cinema is KVM singing (for the first time) 4 of its songs. A journalist friend once told me that P. Leela, while reminiscing on Madana Mohini, said that KVM was a reluctant singer- it was because the singer who was to have rendered the songs failed to turn up for the recording, that KVM was coaxed into rendering them himself. P. Leela added that it was her fortune to have bagged an opportunity of a lifetime of singing a duet with KVM.
With a lovely Shanmugapriya opening, the song seems a scintillating precursor to S.V.Venkataraman’s Nenjil kudiyirukkum. We realize what we have missed…with a voice that seems to be a perfect blend of V.N. Sundram’s classy, carefully honed tone and Tiruchi Loganathan’s resonant, rich timbre, KVM could have been a much sought after singer, had he willed. To our misfortune, he deemed it more appropriate to restrict himself to composing music.
However, the few songs that he did sing remain with us, as a wistful window to the enchantment that could have been---the poignant resignation to the quirky twists of fate that cloaks his ‘Enne ikaalam maatram’ (Madana Mohini), the rollicking ride that KVM, along with Ratnamala, takes us for, crooning ‘ Lovukku lovukku love, Kissukku kissukku kiss! ’ (Naalvar), the joyous repartees that embellish KVM and K. Rani’s ‘abaraatham roobai aimbadhu’ (Naalvar), the ruminating, philosophical mien that KVM adopts, when, accompanied by A. Aandal, he sermonizes, ‘Vaazhvin kadamaiyai marandhu nee vaazhathe’ (KVM’s brugha-laden viruthams in this song are singularly spellbinding essays; from the film Nalla Kaalam). And as far as I can recall, KVM did sing for another MD- the forgotten M.S. Gnanamani was the composer who was picked for this rare favor- in the film Ulagam (1953/Society Pictures) for which Gnanamani composed 15 songs, KVM and N.L. Ganasaraswathi sang a delightful duet ‘kaadhalinaal ulagame inbamadhE’.
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June 21st marked the annual summer solstice: the longest day in the year. Solstice, from Latin, means when ‘the sun stands still’ (sol- sun, sistit-stands). In the annals of Tamil film music too, June 21st marks a solemn memory—for it was on that day 15 years back that Tamil film music seemed to stand still, mourning an irredeemable loss, that of the beloved doyen, 'Thirai Isai Thilagam' Krishnankoyil Venkatachalam Mahadevan.
However, the magic of his music will still continue to cast its spell on generations of listeners, and will continue to be cherished with reverence.
I have attachment in this song, since it has “Ponmalai( Golden Rock, Trichy ) link.
The song is an excellent one (It must be Saravanan’s favourite also)
. சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது
…These lines make me shed tears….
A very rare song, and a gem! Sung by PBS and SJ. A slow moving song, like a slow waltz, but a great composition. Many consider this a real gem, it hasn't lost its magic one bit over the years.
Although the movie was tragic, the particular song invokes "pathos"- a kind of longing and wishing for betterment.
Song: Thennankeetru Oonjalile
Singers: PB Sreenivas, S Janaki
Music Director: M.B.Srinivasan
Lyrics: Jayakanthan
Film: Paadhai Theriyudhu Paar
About the movie :
Paadhai Theriyudhu Paar (English: Look, the path is visible) is a 1960 Indian Tamil-language drama film directed by Nemai Ghosh.
The film stars K. Vijayan and S. V. Subbiah in the lead roles.
The film had musical score by M. B. Sreenivasan.
The film won the National Film Award for Best Feature Film in Tamil along with Kalathur Kannamma
Paadhai Theriyudhu Paar was the first Tamil film to be produced directly by communists.
Around 45 members of the Indian Communist Party, which included director Nemai Ghosh and the film's music director M. B. Sreenivasan, formed a production company called Kumari Films.Each of them contributed an amount ranging from ₹500 to ₹ 5,000 to start the banner. None of the members contributed more than ₹ 5,000 as each of them preferred to have their due credit for their contributions to the film.
The film was launched by the communist leader P. Jeevanandham.
It was originally titled Kaalam Maari Pochu but was changed to Paadhai Theriyudhu Paar by Jayakanthan, who played the role of a district tax collector.However, when the film had to be edited due to its excessive runtime, Jayakanthan requested Ghosh and the censor board members to remove his portion in the film.
The film marked the debut of K. Vijayan, a former employee of the Golden Rock Railway Station inGolden Rock, Tiruchirappalli who later found success as a director, in Tamil cinema.Filmmaker and scriptwriter Ritwik Ghatak worked as an assistant director in the film.
Superb Lyrics by Jayakanthan:
பாடல் வரிகள்
தென்னங்கீற்று ஊஞ்சலிலே
தென்றலில் நீந்திடும் சோலையிலே
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது ம்ஹ்ம்
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது
ஆ ஆஆ ஆ ஆஆ ஆஆஆஆஆ ஆஆஆ
ஆஆஆஆஆ ஆஆஆஆஆ ஆஆஆ ஆஆஆ ஆஅஆஆஆ
நீலமேகம் ஏழு வண்ண
ஆடையோடுலாவுது
வானை பூமி அழைக்குது
தொடு வானில் இரண்டும் கலக்குது
தென்னங்கீற்று ஊஞ்சலிலே
தென்றலில் நீந்திடும் சோலையிலே
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது ம்ஹ்ம்
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது
ஆ ஆஆ ஆ ஆஆ ஆஆஆஆஆ ஆஆஆ
ஆஆஆஆஆ ஆஆஆஆஆ ஆஆஆ ஆஆஆ ஆஅஆஆஆ
தென்னங்கீற்று ஊஞ்சலிலே
தென்றலில் நீந்திடும் சோலையிலே
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது ம்ஹ்ம்
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது
ஆ ஆஆ ஆஆஆ ஆஆஆஆஆ ஆஆஆ
ஆஆஆஆஆ ஆஆஆஆஆ ஆஆஆ ஆஆஆ ஆஅஆஆஆ
நீலக்கடல் ஓலமிட்டு
இங்கிருந்தும் கூவுது
அதுவே பாடி நடக்குது கடலில் கலக்கத் துடிக்குது
தென்னங்கீற்று ஊஞ்சலிலே
தென்றலில் நீந்திடும் சோலையிலே
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது ம்ஹ்ம்
சிட்டுக்குருவி ஆடுது தன்
பெட்டைத் துணையைத் தேடுது
ஆ ஆஆ ஆ ஆஆ ஆஆஆஆஆ ஆஆஆ
ஆஆஆஆஆ ஆஆஆஆஆ ஆஆஆ ஆஆஆ ஆஅஆஆஆ
You know why the song is so melodious?
“Valaji” Raaga
T.R. Mahalingam, E.V. Saroja, Anjali Devi, M.R. Radha, Lakshmiprabha, K.D. Santhanam, Manorama, A. Karunanidhi, S. Ramarao, Seethalakshmi, Kamakshi, Pakkirisami, T.R. Radharani and Kamala
The story was an adaptation of the Tamil novelGhaleer Ghaleer written by LRV. The screenplay was by Era. Shanmugham, with dialogue by Viruthai Ramaswami, ‘Murasoli’ K. Sornam (later a successful dialogue writer for MGR) and Guruswami.
Majestic Studios produced the film with the backing of Muthukumarappa Reddiar, who owned the studio, which was active in those decades. It was later acquired by K.S. Gopalakrishnan who changed its name to Karpagam Studios. Indrani Films presented the film.
The hero, (Mahalingam), a rich landowner known as ‘mittadar’ dedicates his life to the fine arts — such as music, dancing, painting, and sculpting. While on a Nature study on the hills, the hero is involved in an accident caused by a granite explosion. Injured, he seeks refuge in the hut of a street-smart dancer (E.V. Saroja) who lives alone, holding her own against men. Unaware of his identity, she attends to his injuries, and both fall in love. After he recovers, the hero leaves for his home where he meets his dancer-cousin (Anjali Devi). Her father (Santhanam) becomes insolvent and is to be imprisoned for the non-payment of debts. So he seeks refuge in his sister’s house (Lakshmiprabha), the hero’s widowed mother.
Meanwhile, another of the hero’s uncle (M.R. Radha) sets his eyes on the hero’s estate and the dancer-cousin. She escapes the villainous uncle and meets the street dancer. The two women become friends. Realising that the street dancer is in love with the man she herself is in love with, the cousin decides to sacrifice her love. She pretends to agree to marry the villainous uncle, but at the wedding, she consumes poison and collapses at the end, doing what she does best — dancing.
True to its title, this film had quite a few dances performed singly and together by Saroja and Anjali Devi (choreography by P.S. Gopalakrishnan).
Music by maestro K.V. Mahadevan was a major plus for the film and many songs became popular. One of them, ‘Sottunu Sottunu…’, a duet (lyrics by A. Marudhakasi in the voices of Mahalingam and P. Susheela) filmed on the hero and the street dancer in her hut leaking in the rain became a super hit.
Mahalingam gave a good performance, singing in his usual style while Saroja drew attention with her dancing talent. Anjali Devi was her usual self, and her performance as the woman who gives up her love was touchingly impressive. M.R. Radha played the characteristic on-screen villain in his inimitable style, voice and dialogue delivery, punctuated with humour and satire. The film did fairly well at the box-office.
Remembered For The performances of the lead actors and the melodious music.
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே
கஷ்டப்படும் ஏழை சிந்தும் நெற்றி வேர்வை போலே கஷ்டப்படும் ஏழை சிந்தும் நெற்றி வேர்வை போலே - அவன் கஞ்சிக்காகக் கலங்கிவிடும் கண்ணீர்த் துளியைப் போலே - அவன் கஞ்சிக்காகக் கலங்கிவிடும் கண்ணீர்த் துளியைப் போலே
சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே
முட்டாப் பயலே மூளை இருக்கா ஆஹஹ்ஹாங் முட்டாப் பயலே மூளை இருக்கா என்று ஏழை மேலே துட்டு படைச்ச சீமான் அள்ளிக் கொட்டுற வார்த்தை போலே முட்டாப் பயலே மூளை இருக்கா என்று ஏழை மேலே துட்டு படைச்ச சீமான் அள்ளிக் கொட்டுற வார்த்தை போலே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே
முழுக்க முழுக்க நனைஞ்ச பின்னே முக்காடு எதுக்கு? முழுக்க முழுக்க நனைஞ்ச பின்னே முக்காடு எதுக்கு? - உன் முக்காட்டை நீக்கு தலை ஈரத்தைப் போக்கு இருக்க எடம் கொடுத்தா என்னையே நீ தாக்குறே இருக்க எடம் கொடுத்தா என்னையே நீ தாக்குறே குறுக்கு மூளை பாயுறே கோண புத்தியைக் காட்டுறே - மழை கொட்டு கொட்டுன்னு கொட்டுது பாரு அங்கே சொட்டு சொட்டுன்னு சொட்டுது பாரு இங்கே
Versatility is her middle name. Remember Jaya Prada's fiery and graceful daughter in ‘Salangai Oli' or the sensational voice in ‘Johnny' that cooed ‘Aasaiye kaathule thuthuvittu'.
Singer. Bharatanatyam dancer. Dubbing artiste. Television anchor. Supporting actor. Moulds young talents.
Meet S.P. Sailaja, the multifaceted sibling of singing legend, S.P. Balasubrahmanyam. With more than 5000 songs to her credit in Tamil, Telugu and Kannada, Sailaja held her own as a leading singer in the 80s and 90s.
High expectations
What happens when you choose a career, your elder sibling is already well-established in? Expectations are naturally high.
“Being SPB's sister, pressure was always there. But, I needed to establish myself. Initially, I was an ignorant teenager. All I knew was I could sing. I didn't know a thing about expression,” admits Sailaja, who began her career in film music at 14. “But in the course of time, I learnt a lot, particularly from my brother,” she adds.
The charming singer reveals that she became a dancer by chance and not by choice. “The dance teacher used to come home to give lessons to my niece and cousin. They used to play truant, coming up with all kinds of excuses,” she recounts with amusement. “I felt sorry for the poor man and asked him to teach me instead. Later, I completed my arangetram.”
Film entry
Interestingly it was her arangetram photos that landed her a role in the critically acclaimed ‘Salangai Oli'. The director of the film, K.Viswanath who is related to Sailaja, decided that she would fit perfectly in the role of Kamal Haasan's pupil, after seeing the photos. When Sailaja turned down the role, he persuaded her father who convinced her.
The naturally expressive Sailaja goes on to describe her first and positively last experience before the camera. “I had no intention to become an actress. Yet, I felt comfortable during the shooting as Viswanath was a close relative. I had no trouble with expressions, but I found the dancing part quite difficult. Besides, it was not just Bharatanatyam but a fusion of other dances, I was required to perform.”
Sticking on to singing
Declining the roles that followed, she returned to her first love -- singing, and enthralled listeners with folk and romantic numbers under veteran music directors Ilayaraja, Gangai Amaran, and K.V. Mahadevan. She is best remembered for her vintage hits including ‘Super Staru' in Raja Chinna Roja, ‘En Purushan thaan', Gopurankal Saivathilai, ‘ Solaikkuyile', Ponnu Oorukku Pudhusu , ‘Malargalil Aadum Ilamai', Kalyana Raman and ‘Aayiram Malargale', Niram Maaraadha Pookkal.
Her transition from playback singing to anchoring television shows brought her closer to audiences. At present, apart from accompanying S.P.B on music tours abroad, television shows keep her busy.
She relishes her experience as a judge for singing competitions on television. “People ask me to sing all the time. But here, I get to listen to so many voices. It's a totally new experience. And there's a talented bunch out there.”
She points out prospective singers have a plethora of opportunities today and plenty of media exposure. “All they need to do is to grab the opportunity.” She is delighted at the prospect of moulding young talents by sharing her experience and interacting with the young crop. She wishes that parents would refrain from pressurising the children who participate in these shows. “It is enough that they have come forward to participate. You cannot push them too far,” she counsels.
Staple fare
Besides music, she reveals that books are her staple fare, though she favours no particular genre, delighting in everything that comes her way, provided it's in English or Telugu. “Reading is not my hobby. It is my passion,” she flashes a brilliant smile.
This unassuming artiste from Nellore is a contented person. She nurses no big ambitions or grand goals. “It has been God's grace so far,” she acknowledges simply. “Today, my home and my family come before my career.” S. P. Sailaja is married to Telugu actor, Sudhakar and they have a son Sreekar.
Despite the many roles she has essayed, she insists that at heart, she is essentially a singer and will always be. Because, “Music is divine,” is her parting shot.
Actor: ‘Salangai Oli'- played the role of a young dancer and Jayaprada's daughter.
Singer: More than 5,000 song
Dubbed for: Sridevi, Tabu, Sonali Bendre and Rekha
Judged: Many contests including Zee Tv‘Sa re ga ma pa' Little Champs, Vijay Tv ‘Airtel Super Singer'
Sailaja shares a close bond with her celebrated sibling, S.P.B, who has been a huge influence in her life. When she started out as a young singer, he gave her a piece of advice that has stood her well.
“If you wish to succeed in film music, you ought to remember you are singing for someone, for a character, for a situation.”
She cherishes performing with her brother.“It is demanding as he is a perfectionist and expects everything to be perfect during a performance, including the co-singer. But after 35 years of performing with him, I've become comfortable with him on stage. In fact, his perfectionism has caught on to me,” she chuckles.
It is obvious Sailaja has drawn a lot from her mentor and elder brother. “I have learnt a great many lessons from him- how to be a professional, how to approach people. What I am today, it is because of him,” she sums up.
