PAARTHEN SIRITHEN - VEERA ABHIMANYU

Saravanan writes:

https://www.facebook.com/saravanan.natarajan.319/posts/635652329868540:0

14.4.2015

Epitaph to Enchantment

‘You know, I think I have not sung a duet with (Radha)Jayalakshmi after all!’ he said as I pulled a chair and sat across him at New Woodlands. The couple who had just occupied the adjoining table would have assumed that he was resuming an ongoing conversation. Little would have they known that I had left PBS more than a year back with this query of whether he had sung any duet with (Radha) Jayalakshmi, and upon sighting me approaching him now, he resumed our conversation nonchalantly shrugging off the long months in between. Today, on his death anniversary, I look back on those enjoyable annual encounters with PBS on my every trip to Chennai. I am filled with a sense of immeasurable loss. My vacations would never be the same again.

One among his countless fans, I had approached him rather diffidently the first time a friend and I saw him sitting alone at a table in Woodlands Drive-In. However, he soon put us at ease with his affable simplicity. True, PBS’ career in Tamil Cinema had all but ended by the time I started to listen to the radio in the late 70s. SPB and Janaki ruled the airwaves in the era of Ilaiyaraja, and PBS was a name seldom heard in our animated discussions. However, in the portals of Vividh Bharathi’s Thenkinnam and Ilangai Vaanoli’s Mandha Maarutham, PBS was a salubrious presence. The caressing voice that sprinkled enchantment on the evenings bowled me over and I have been under the spell of PBS ever since. The more I listened to his songs, I was filled with wonder at the silken strands of PBS that had woven themselves so beautifully into the tapestry of Tamil film music.

The gentle romantic tones of PBS perched so snugly in sync with the halcyon unhurried 60s, and song after song, most of them tuned by MSV-TKR and KVM, embodied so fetchingly the aching wistfulness of being in love. Serenading solos like ’Kaalangalil aval vasantham’(Paava Manippu), ‘Poo varaiyum poonkodiye’ (Idhayathil Nee), ‘Kaadhal nilave kanmani radha’ (Hello Mr. Zamindar), ‘Netru varai nee yaaro’ (Vaazhkai Padagu), ‘Nilavukku en mel’ (Policekaran Magal), ‘Kan padume’ & ‘Thullithirindha’ (Kaathirundha Kangal), ‘Mouname paarvaiyaai’ (Kodimalar), ‘Yen sirithaai ennaipaarthu’ (Ponni Thirunaal) and ‘Unnazhagai kandukondaal’ (Poovunm Pottum), PBS stamped his tantalizing timbre all over them. His duets with Suseela such as ‘Yaar yaar yaar’ (Paasa Malar), ‘Rojamalare rajakumari’ (Veera Thirumagan), ‘Anubavam Pudhumai’ (Kaathalikka Neramillai), ‘Oruthi oruvanai’ (Saradha), ‘Anbu manam kanindhapinne’ (Aalukkoru Veedu), ‘Ennaithottu sendrana’ (Paar Magale Paar), ‘Nee pogum idamellaam’ (Idhaya Kamalam), ‘Kaatru vandhaal thalai saaiyum’ (Kaathirundha Kangal), ‘Naan unnai serndha’ (Kalaikkoyil), ‘Odivathu pol’ (Idhayathil Nee) are all legendary and have earned a hallowed place in the annals of Tamil film music history. Even a mythological like ‘Veera Abhimanyu’ had 4 dazzling PBS- Suseela duets of diverse delights- ‘Velum villum’, ‘Povom pudhu ulagam’, the Sahana sensation ‘Paarthen sirithen’ and my favorite- the mesmerizing ‘Neeyum oru pennaanaal’.

His duets with Janaki had a special place in PBS’ heart, easy to understand why- ‘Pon enben’, ‘Indha mandrathil odi varum’, ‘Aandrondru ponaal’ (Policekaran Magal), ‘Oh mambazhathu vandu’, ‘Endhan paruvathin kelvikku’, (Sumaithaangi), ‘Poojaikku vandha malare’ (Paatha Kaanikkai), ‘Chithirame nilladi’ (Vennira Aadai), ‘Azhagukkum malarukkum’ (Nenjam Marapathillai), ‘Paadatha paatellam’ (Veerathirumagan), ‘Podhigai malai uchiyile’ (Thiruvilayaadal), ‘Maalaiyum iravum’ (Paasam), ‘Andharangam naan ariven’ (Ganga Gowri) are all surely the stuff dreams are made of. Janaki’s first ever Tamil film song to be released- ‘Kannukku nere’ (Magadalanaattu Mary/1957) was a duet with PBS.

His songs with the other female singers of his time, ‘Kaniyo paago karkando’ (Karpukkarasi) with M.L.Vasanthakumari, ‘Yedhukko indraanandham’(Sathiyavan Savithri) with S.Varalakshmi, ‘Gamagamavena’ (Samayasanjeevi) with Jikki, ‘Kanni paruvam aval’ (Indira En Selvam) with Soolamangalam Rajalakshmi, ‘Inbam kondaadum maalai’ (Indira En Selvam) with K.Rani, ‘Ondru serndha anbu maaruma’ (Makkalai Petra Maharasi) with Sarojini, ‘Aadhi manithan kaadhalukku pin’ (Bale Pandiya), ‘Parakkum paravaigal neeye’ (Kavitha) and ‘Padikka vendum’ (Thaayillapillai) with Jamunarani, ‘Kannirendum minna minna’ (Aandavan Kattalai), ‘Neeye sollu’(Kumarippen), ‘Raja raja sri rajan’, ‘yaarodum pesakkoodaathu’ (Ooty Varai Uravu), ‘Malarai parithaai’ (Senkamala Theevu) and ‘Sandhippoma’ (Chithi) with L.R.Eswari are no less in their appeal...PBS croons, cajoles, woos and wins! Much later the magic was still intact when he sang ‘Maalai mayanginaal’ with the young S.P.Shailaja (Inikkum Ilamai/1979).

Philosophical lines tinged with pathos have been brought to evocative life by PBS and such poignant numbers hold a place of pride in his portfolio. ‘Nilave ennidam nerungaathe’ (Ramu) stands timeless testimony to this. Has melancholy ever sounded more mellifluous? The lines laced with listless lament are sculpted to a perfect melody by MSV, and when rendered by PBS, serendipity happens and the composition attains the hues of an immortal Ghazal. Janaki once said that none other than PBS could have done justice to this song. Suseela is said to have waited patiently to listen to PBS render this song in a concert before rushing to catch a flight. SPB chose this song to sing when he was summoned for a voice test by MSV. Suffice to say; even if PBS had sung just this one song, he would have still been enshrined for posterity. Generations of aspiring singers would continue to speak of this song with awe. Then, of course, there are the other unforgettable ones such as ‘Ninaipathellam nadanthuvittaal’ (Nenjil Or Aalayam), ‘Mayakkama Kalakkama’ (Sumaithaangi), ‘Yaar sirithaal enna’ (Idhayathil Nee), ‘Kangale kangale’, ‘Chinnachinna kannanukku’ (Vaazhkkai Padagu), ‘Avan allaal’ (Premapasam), ‘Nenjam alaimothave’ (Manamaalai), ‘Poi sonnaare’ (Kadavulai Kanden), ‘Udalukku uyir kaaval’ (Manapandhal), ‘Thedidudhe vaanaminge’ (Uthami Petra Rathinam), ‘Puriyaadhu puriyaadhu (Aadi Prukku)’, ‘Sirippu paadhi’ (Enga Veettu Pen)…

In the rarer jaunty, ebullient numbers that came his way, PBS has made merry. Hark at his endearing mischief in ‘Vaadatha pushpame’ that progresses to ‘Vanithaamaniye’ (Adutha Veettu Pen), ‘Ungal ponnaana kaigal’, ‘Maadi mele maadi katti’(Kaathalikka Neramillai), ‘Jaavrejaa’ (Kumarippen), ‘Kaadhal enbathu edhuvarai’ (Paatha Kaanikkai), ‘Kanni venduma’ (Pachai Vilakku) ‘Kaalam seitha komaalithanithil’ (Padithaal Mattum Podhuma), ‘One day one way’ (Nee), ‘Tikki dikki’ (Yaar Nee) and ‘Podhum sarithaan Mister (Punar Jenmam)’ and you’ll be left wondering why this fun facet of PBS was not exploited further. I particularly like his duets with TMS- ‘Pon ondru kanden’, ‘Nallavan enakku naane’(Padithaal Mattum Podhuma), ‘Kavalaigal kidakkattum’ (Bandha Paasam), ‘Aval parandhu ponaale’ (Paar Magale Paar), ‘Vaazhndhu paarkkavendum’ (Shanthi), ‘Paadinaal oru paattu’ (Oru Thaai Makkal), ‘Ulagin mudhal isai’ (Thavapudhalvan)- each one of them show the 2 singers at their best, the vibrant majesty of TMS is complemented so soothingly by the honeyed elegance of PBS. PBS more than held his own when called to join TMS & Seergazhi Govindararajan in songs such as ‘Aarodum mannil’ (Pazhani) and ‘Devan vandhaan’ (Kuzhaidaikkaaga). He rendered along with Trichy Loganathan, TMS & Seergazhi Govindararajan the stirring ‘Aayiram karangal neetti’ in the magnum opus Karnan. The movie also had the famous ‘Enna kodupaan’ by PBS. PBS bequeathed his unique value additions to even dubbed compositions such as ‘Nammaasai endranal roja’ (Jimbo), ‘Engum ragavan irupaane’ (Hanuman Paathaala Vijayam) and ‘Kothai un meni’ (Mayamani).

Quite inexplicably, even when his voice was as arresting as ever, PBS found fewer opportunities in Tamil coming his way in the later years of the 60s. Some significant songs that he sang in the later years include ‘Kalla paarvai’ (Engalukkum Kaalam Varum/1967), ‘Thamarai kannangal’ (Ethirneechal/1968), ‘Engengum un vannam’ (Kannamma/1972), ‘Naan chinnanchirupillai’ (Naan Avanillai/1974) and ‘Anbu vadivaaga nindraai’ (Swami Iyappan/1975). His lone song for Ilaiyaraja was ‘Thendrale nee pesu’ (Kadavul Amaitha Medai/1979). His only Tamil duet with Vani Jairam was ‘Oru paarvai podhum’ (Vadaimaalai/1982). Abhavanan and Manoj-Gyan brought PBS back into the limelight when they got him to render the inspiring ‘Tholvi nilayena ninaithaal’ (Oomai Vizhigal/1986). The same year, PBS joined TMS & Malaysia Vasudevan to sing ‘Neeyaa Paanchaali’ under the music of Sampath-Selvam for the unreleased Adimai Vilangu. Composer Vidyasagar invited PBS to grace his first ever movie Poomanam (1989), and PBS sang the ruminative ‘Sila neram’. In recent years, current generation composers like Yuvan Shankar Raja and G.V.Prakash got PBS to sing ‘Indhu enna maatram’ (7G Rainbow Colony/2004) and ‘Nellaadiya’’ (Aayirathil Oruvan/2010).

Whenever I asked PBS about the sudden decline in his songs from the late 60s, he would merely smile and dash his finger across his forehead as though to indicate ‘destiny’. He could never be bitter; instead he preferred to reminisce on the earlier years when he had held sway. He was thoroughly gracious and embodied old-world courtesy. Down to earth and friendly, he also revealed an impish sense of humour. The amusing anecdotes that he used to narrate with a twinkle in his eyes invariably had me in helpless splits. Our long, leisurely conversations were filled with his recollections of songs of bygone times and the stalwart singers and composers he had worked with. His eyes would light up with childlike excitement whenever I mentioned some long-forgotten song of his.

Humility was another virtue that he had to a fault- express your appreciation for any of his songs, and he would direct the credit to either the composer or his co-singer. Thus when you praised him for the graceful rendition of the intricately crafted ‘Idhuve vaazhvil aanandame’ (Mangaiyar Ullam Mangatha Selvam), he would shower encomiums on composer Aadi Narayana Rao. When you shook his hands for ‘Pon enben’ (Policekaran Magal) he would exclaim that while even with a bass voice he had found the low-pitched composition challenging, the Soprano Janaki achieved the impossible by singing the lines with beguiling ease. If you congratulated him for his rollicking yodeling in ‘Padhumaithaano’ (Koodivaazhnthaal Kodi Nanmai), he would salute the memory of composer Chalapathi Rao. If you spoke to him about the captivating ‘Naalaam naalaam’ (Kaathalikka Neramillai) or the resounding ‘Avan porukku ponaan’ (Vaazhkkai Vazhvatharke), he would ask you to pay special attention to the sweetness in Suseela’s voice. If you reminded him of the whispery ‘Pannodu pirandhadhu’(Vidivelli), he would wax eloquent on the prodigious talents of A.M.Raja. An allusion to the classic ‘Poonthendral isaipaada’ (Thaayin Karunai) would lead to PBS expressing his gratitude to G.K.Venkatesh. When you went into raptures over the undercurrent of despair shading the serene tranquility that graced ‘Iravin madiyil’ (Sarasa B.A.), PBS would rue over Veda’s talents that went untapped. If you talked about the angst and yearning that filled his ‘Devi sridevi’ (Devi), he would pay obeisance to the venerable Dakshinamoorthy Swami.

A mention of the haunting ‘Thennankeetru oonjalile’ (Paadhai Thriyudhu Paar) would invariably elicit PBS’ admiration for the great M.B.Sreenivasan. If you hummed the opening lines of the bewitching ‘Malarodu vilayaadum’(Deivabalam), PBS would express regret that composer Aswathama did not get the recognition he deserved. If you commended him for the emphasis he brought to the meaningful ‘Endha oor endravale’ (Kaattu Roja), he would place the credit wholly on Kannadasan. When you spoke of that wondrous ‘Iravu mudindhuvidum’ (Anbukarangal), PBS would speak of the esteemed Sudarsanam. If you reminded him of the lovely duet ‘Kungumam pirandhadhu marathila’ (Paatondru Ketten), he would heap praise upon Chitalkar Ramachandra. When you commended him for his debonair delineation in ‘Engeyo paartha mugam’ (Nil Gavani Kaadhali), he would express admiration for L.R.Eswari’s humming that accompanied his lines. If you became effusive while recalling the subtle nuances that enhanced his rendering of Bharathiar’s lines in ‘Kaatru veliyidai kannamma’ (Kappalottiya Thamizhan), PBS would point to the genius of the great G.Ramanathan. And if you talked to PBS about the enthralling ‘Azhagaana malare’(Thendral Veesum) or the operatic ‘Kanavil nadandhor’ (Anubhavam Pudhumai), he would raise his hands in reverence for MSV’s majestic talents.

‘When are you coming back?’ he asked me when I rose to take leave from him in New Woodlands in August 2012. ‘Next August’ I said. ‘I’ll be here!’ he averred with his winsome smile and firm handshake. That is one promise he could not keep. I have with me a handwritten card with an adjective for each letter of my name that PBS gifted to me when I mentioned at one of our meetings that it happened to be my birthday. And, of course, I have his songs- priceless lifelong keepsakes….and enduring memories of the Man and his Music….Nenjam Marapathillai….