MSV : His Music and his times - Part4 : 1964 Variety and versatility
Then 1964 happened. It is not often that music directors get such wide range of films in one year. Films which allow them to display their complete range. 1964 was one such year for Vishwanathan Ramamurthy.
I am not going to look at all the films they did that year but give you a sample from some of the best films which will showcase their versatility. Let us first start with a movie they produced, 'Kalai Kovil'. Directed by Sreedhar, this movie was a major flop and Wikipedia mentions that this movie could have been the starting point of their problems with each other. Anyway, we will leave that aside and talk about the music. (The music too didn't resonate much with the audience)
Here they take the raga Abhogi and give us an outstanding song in the voices of Balamurali and Susheela. 'thanga ratham vandhadhu' is a cult classic now. I don't think it was as famous in those days. This shows that even if a song is ignored initially, quality will always come to the fore.
The majesty in Balamurali's voice acts as a wonderful contrast to the sweetness of Susheela's voice. You will observe that in the first interlude they don't let the interlude flow but do something different with the rhythm here. The charanam though follows their standard structure. They had used Abhogi earlier in 'naananri yaar varuvar' ('Malaiyitta Mangai') but that is almost close to a carnatic krithi. This song is a modern Abhogi.
Then there was this lovely Sriragam based song. The veena playing in the prelude is so melodious and the usage of tabla almost like a jalatharangam is nice. It was as if Vishwanathan Ramamurthy wanted to bring in new ideas in the film produced by them. Maybe implementing such ideas was not possible in films produced by others? Youtube tells me that the veena for this song was played the veena maestro Chittibabu.
If 'Kalai Kovil' was at one end of the spectrum, 'Puthiya Paravai' was at the other end of the spectrum. 'Puthiya Paravai' was a murder mystery (apparently inspired by an English movie). It was modern and stylish with Sivaji Ganesan in full flow. The music had to be stylish and modern in keeping with the way the film was made. Vishwanathan Ramamurthy rose to the challenge with some outstanding and memorable numbers.
First, the super hit, 'paartha nyabagam illaiyo'. Right from the opening shot of Sivaji in profile lighting a cigarette, to the Spanish style guitar strumming, the playing of the bongos, the dancers on stage, everything oozes style. So much so that even Sowcar Janaki almost looks stylish. Vishwanath Ramamurthy proved that they could tune such songs with ease.
Then there was 'unnai onru kaetpen', another Western Rock n Roll inspired number. Another stylish number effortlessly executed by the combination of Vishwanathan Ramamurthy, Kannadasan and Susheela. These two songs would go on to take their place in Susheela's all time best numbers.
The wonderful piano runs and the use of sax in the interludes which is very western in its approach and the simple tune which is very Indian in approach form a great contrast. I especially love the tune at 'nilavila vaanam'. Absolute class from the masters.
The movie also had 'mella nada mella nada' and 'chittukuruvi mutham koduthu' but the piece-de-resistance was 'enge nimmadhi'. This is a song in which each one competes against the other positively and the end product is an everlasting song. The superb use of violins, (I have heard it said that no other recording happened that day in Madras since all violinists came to play for this song), a nice tune with typical Vishwanathan Ramamurthy interludes reminding you of 'ponal pogattum poda' at places, TMS impeccable delivery, Sivaji's stylized acting: all these combined perfectly in this song. The winner though was Kannadasan, for the words are definitely a class above everything else. 'enadhu kaigal meettum podhu veenai azhuginradhu'
If the stylistic side of Vishwanathan Ramamurthy came out in 'Puthiya Paravai', the fun aspect of their music came to fore in one of the great comedies in Tamil film history, 'Kadhalikka Neramillai'. This movie had a combination of fun songs and some lovely romantic duets.
Probably inspired by some English number, 'vishwanathan velai vendum' :
The fun would continue with 'unga ponnana kaigal'. I will say that there is a touch of Hindi music in this song. Infact the interlude piece seems to taken from the 'Professor' song 'main chali main chali'. The tune though is totally different. Was PBS voice the correct voice for such kind of songs? I have my doubts. You can let me know how you feel.
They would turn to Seergazhi Govindarajan for the other fun song, the title song. Given that the song is sung by an 'old man' Seergazhi's voice suits the song well.
Somehow I am not too convinced about these two fun songs. The tunes do not convey the sort of fun they must. ('vishwanathan velai vendum' is fine though). But I don't have any such doubts about the other fun song in this film, 'malar endra mugam ingu sirikattum', the rock and roll number (the yodelling does remind of you Kishore Kumar doesn't it?)
Nor do I have any doubts about 'anubhavam pudhumai', another rock and roll number. A western orchestra supporting a lovely tune
Not only these, it also had 'enna paarvai undhan parvai', 'nenjaththai alli konjam thaa' and that heart melting melody, 'naalaam naalaam thirunaalaam'
What a collection of fun songs. Not a single sad song and every song a hit. I can surely say that songs did contribute to the success of this movie.
MGR's 'Padagotti' was also released the same year and it had different kind of songs than what you would find in standard MGR films.
We had the experimental 'thotaal poo malarum', more Vishwanathan Ramamurthy, with that light melancholic touch, than MGR. The claps in this song are famous even today.
This movie also had 'paatukku paateduththu', 'koduthadhellam koduththan', 'karaimel pirakka vaiththaan'. All famous songs when this movie was released.
While the songs in 'Padagotti' were melancholic, this song from the MGR starrer, 'Deiva Thai' released the same year, was pure joy. 'oru pennai parthu'
I have left the best for the last. 1964 was also the year of 'Karnan'. A movie in which Vishwanathan Ramamurthy experimented with Hindustani ragas. A movie which had a wide spectrum of emotions. A movie which would go on to become a classic.
Susheela had some lovely numbers in 'Karnan'. 'kannuke kulam edhu' is probably the best song in the movie which represents the standard Viswanathan Ramamurthy sound. The touch of melancholy, the sweetness of the tune and the simple structure: everything is characteristic of this duo. The song was a big hit in Telugu as well.
I am more interested in the other two Susheela songs for they show us different facets of Vishwanathan Ramamurthy. The first one is, 'kangal enge'.
The pallavi line itself is unique with the slow tune suddenly picking up speed towards the end and the wonderful use of chorus. The whole song would alternate between slow and fast. The main tune going slow and the chrous adding pace. The rhythm too is not the standard 'sarvalagu' beats that Viswanathan Ramamurthy loved to employ in many female solos. There would be nadai variations throughout. Holding them all together is the melody in the tune and in Susheela's voice.
The other interesting song from Susheela is 'en uyir thozhi' where Vishwanathan Ramamurthy employ Hameer Kalyani, a predominantly Hindustani ragam. The rhythm and tuning is standard Vishwanathan Ramamurthy. Yet the shenai in the interlude and the overall Hindustani touch make this song unique.
The other song with the Hindustani touch which confuses experts even today is the major hit 'iravum nilavum'. What raga is this? That is the question which experts have asked each other and each came up with their own answers. In a TV program I had a person stating confidently that it was 'Tilak Kamod'. In a speech give by the famous violist V V Subramaniam, he states that he asked Madurai Krishnan as to what the ragam was and Madurai Krishnan replied that it was 'Shyam Kalyan'. I sent the video of VVS to a friend of mine well versed in music. He replied back saying that though the song sounds like it is based on 'Shyam Kalyan' it was actually based on a raga called 'Sudhha Sarang', which sounds close to 'Shyam Kalyan'. I personally have nothing to add here since I know none of these ragas. (The song is shot at Halebid. Hope no one comes up with a theory that Mahabaratha happened at Halebid and shows this song as evidence. In the current political atmosphere anything is possible)
The sehnai which adds so much beauty to this song was played by Bismillah Khan, who came to Madras for this purpose.
The other duet, 'maharajan ulagai aalalaam' is based on Karaharapriya. G S Mani, in one tape, points out how the whole color of Karaharapriya is changed in this song, which has a tisra nadai setting.
If you though these songs itself would give immortality to a movie and its music directors, there is still more to come. And those which are up now are iconic songs and would become standard for the occasion they represent.
This song is the standard child bearing song. (Again the sehnai comes into play here). The tune in the second charanam touches you as only a superb tune can. And ofcourse, the words, the words, the words.
The next song became a standard for sending a pregnant woman to her parent's house. Anandha Bhairavi based tune with Kannadasan in his inimitable style ensuring the song stays within our hearts.
The other interesting segment is the 'padhyam' like segment where verses are sung by different singers in different ragas. Vishwanathan Ramamurthy get a great ensemble here. Each poet is reciting his verse in praise of Karnan. Each verse is an excellent combination of tune and words. The segment such by Tiruchi Loganathan is a gem of a Kanada and those words which only Kannadasan can conjure, 'narporulai thedi sivanthana gnaniyar nenjam'.
The song we have left for the last, is a song which immediately comes to your mind when someone says 'sad song'. Based on Chakravakam (Ahir Bhairav) this song fits Seergazhi's voice to a 'T'. Rarely has a song so completely captured the tragedy as this song does. Once again, we doff our hat to Kannadasan for the very opening line 'ullathil nalla ullam' is deeply philosophical but told in the characteristic Kannadasan tone.
The sheer range of music in Karnan is mindblowing. If one were to showcase just one album of Vishwanathan Ramamurthy one will not hesitate to pick 'Karnan'. It can easily be slotted into one of the all time best sound track in Tamil Film Music history.
1964 was the peak of Vishwanathan Ramamurthy. They would split the next year. We will talk about that and also about their legacy in the next part.
I am not going to look at all the films they did that year but give you a sample from some of the best films which will showcase their versatility. Let us first start with a movie they produced, 'Kalai Kovil'. Directed by Sreedhar, this movie was a major flop and Wikipedia mentions that this movie could have been the starting point of their problems with each other. Anyway, we will leave that aside and talk about the music. (The music too didn't resonate much with the audience)
Here they take the raga Abhogi and give us an outstanding song in the voices of Balamurali and Susheela. 'thanga ratham vandhadhu' is a cult classic now. I don't think it was as famous in those days. This shows that even if a song is ignored initially, quality will always come to the fore.
The majesty in Balamurali's voice acts as a wonderful contrast to the sweetness of Susheela's voice. You will observe that in the first interlude they don't let the interlude flow but do something different with the rhythm here. The charanam though follows their standard structure. They had used Abhogi earlier in 'naananri yaar varuvar' ('Malaiyitta Mangai') but that is almost close to a carnatic krithi. This song is a modern Abhogi.
Then there was this lovely Sriragam based song. The veena playing in the prelude is so melodious and the usage of tabla almost like a jalatharangam is nice. It was as if Vishwanathan Ramamurthy wanted to bring in new ideas in the film produced by them. Maybe implementing such ideas was not possible in films produced by others? Youtube tells me that the veena for this song was played the veena maestro Chittibabu.
If 'Kalai Kovil' was at one end of the spectrum, 'Puthiya Paravai' was at the other end of the spectrum. 'Puthiya Paravai' was a murder mystery (apparently inspired by an English movie). It was modern and stylish with Sivaji Ganesan in full flow. The music had to be stylish and modern in keeping with the way the film was made. Vishwanathan Ramamurthy rose to the challenge with some outstanding and memorable numbers.
First, the super hit, 'paartha nyabagam illaiyo'. Right from the opening shot of Sivaji in profile lighting a cigarette, to the Spanish style guitar strumming, the playing of the bongos, the dancers on stage, everything oozes style. So much so that even Sowcar Janaki almost looks stylish. Vishwanath Ramamurthy proved that they could tune such songs with ease.
Then there was 'unnai onru kaetpen', another Western Rock n Roll inspired number. Another stylish number effortlessly executed by the combination of Vishwanathan Ramamurthy, Kannadasan and Susheela. These two songs would go on to take their place in Susheela's all time best numbers.
The wonderful piano runs and the use of sax in the interludes which is very western in its approach and the simple tune which is very Indian in approach form a great contrast. I especially love the tune at 'nilavila vaanam'. Absolute class from the masters.
The movie also had 'mella nada mella nada' and 'chittukuruvi mutham koduthu' but the piece-de-resistance was 'enge nimmadhi'. This is a song in which each one competes against the other positively and the end product is an everlasting song. The superb use of violins, (I have heard it said that no other recording happened that day in Madras since all violinists came to play for this song), a nice tune with typical Vishwanathan Ramamurthy interludes reminding you of 'ponal pogattum poda' at places, TMS impeccable delivery, Sivaji's stylized acting: all these combined perfectly in this song. The winner though was Kannadasan, for the words are definitely a class above everything else. 'enadhu kaigal meettum podhu veenai azhuginradhu'
If the stylistic side of Vishwanathan Ramamurthy came out in 'Puthiya Paravai', the fun aspect of their music came to fore in one of the great comedies in Tamil film history, 'Kadhalikka Neramillai'. This movie had a combination of fun songs and some lovely romantic duets.
Probably inspired by some English number, 'vishwanathan velai vendum' :
The fun would continue with 'unga ponnana kaigal'. I will say that there is a touch of Hindi music in this song. Infact the interlude piece seems to taken from the 'Professor' song 'main chali main chali'. The tune though is totally different. Was PBS voice the correct voice for such kind of songs? I have my doubts. You can let me know how you feel.
They would turn to Seergazhi Govindarajan for the other fun song, the title song. Given that the song is sung by an 'old man' Seergazhi's voice suits the song well.
Somehow I am not too convinced about these two fun songs. The tunes do not convey the sort of fun they must. ('vishwanathan velai vendum' is fine though). But I don't have any such doubts about the other fun song in this film, 'malar endra mugam ingu sirikattum', the rock and roll number (the yodelling does remind of you Kishore Kumar doesn't it?)
Nor do I have any doubts about 'anubhavam pudhumai', another rock and roll number. A western orchestra supporting a lovely tune
Not only these, it also had 'enna paarvai undhan parvai', 'nenjaththai alli konjam thaa' and that heart melting melody, 'naalaam naalaam thirunaalaam'
What a collection of fun songs. Not a single sad song and every song a hit. I can surely say that songs did contribute to the success of this movie.
MGR's 'Padagotti' was also released the same year and it had different kind of songs than what you would find in standard MGR films.
We had the experimental 'thotaal poo malarum', more Vishwanathan Ramamurthy, with that light melancholic touch, than MGR. The claps in this song are famous even today.
This movie also had 'paatukku paateduththu', 'koduthadhellam koduththan', 'karaimel pirakka vaiththaan'. All famous songs when this movie was released.
While the songs in 'Padagotti' were melancholic, this song from the MGR starrer, 'Deiva Thai' released the same year, was pure joy. 'oru pennai parthu'
I have left the best for the last. 1964 was also the year of 'Karnan'. A movie in which Vishwanathan Ramamurthy experimented with Hindustani ragas. A movie which had a wide spectrum of emotions. A movie which would go on to become a classic.
Susheela had some lovely numbers in 'Karnan'. 'kannuke kulam edhu' is probably the best song in the movie which represents the standard Viswanathan Ramamurthy sound. The touch of melancholy, the sweetness of the tune and the simple structure: everything is characteristic of this duo. The song was a big hit in Telugu as well.
I am more interested in the other two Susheela songs for they show us different facets of Vishwanathan Ramamurthy. The first one is, 'kangal enge'.
The pallavi line itself is unique with the slow tune suddenly picking up speed towards the end and the wonderful use of chorus. The whole song would alternate between slow and fast. The main tune going slow and the chrous adding pace. The rhythm too is not the standard 'sarvalagu' beats that Viswanathan Ramamurthy loved to employ in many female solos. There would be nadai variations throughout. Holding them all together is the melody in the tune and in Susheela's voice.
The other interesting song from Susheela is 'en uyir thozhi' where Vishwanathan Ramamurthy employ Hameer Kalyani, a predominantly Hindustani ragam. The rhythm and tuning is standard Vishwanathan Ramamurthy. Yet the shenai in the interlude and the overall Hindustani touch make this song unique.
The other song with the Hindustani touch which confuses experts even today is the major hit 'iravum nilavum'. What raga is this? That is the question which experts have asked each other and each came up with their own answers. In a TV program I had a person stating confidently that it was 'Tilak Kamod'. In a speech give by the famous violist V V Subramaniam, he states that he asked Madurai Krishnan as to what the ragam was and Madurai Krishnan replied that it was 'Shyam Kalyan'. I sent the video of VVS to a friend of mine well versed in music. He replied back saying that though the song sounds like it is based on 'Shyam Kalyan' it was actually based on a raga called 'Sudhha Sarang', which sounds close to 'Shyam Kalyan'. I personally have nothing to add here since I know none of these ragas. (The song is shot at Halebid. Hope no one comes up with a theory that Mahabaratha happened at Halebid and shows this song as evidence. In the current political atmosphere anything is possible)
The sehnai which adds so much beauty to this song was played by Bismillah Khan, who came to Madras for this purpose.
The other duet, 'maharajan ulagai aalalaam' is based on Karaharapriya. G S Mani, in one tape, points out how the whole color of Karaharapriya is changed in this song, which has a tisra nadai setting.
If you though these songs itself would give immortality to a movie and its music directors, there is still more to come. And those which are up now are iconic songs and would become standard for the occasion they represent.
This song is the standard child bearing song. (Again the sehnai comes into play here). The tune in the second charanam touches you as only a superb tune can. And ofcourse, the words, the words, the words.
The next song became a standard for sending a pregnant woman to her parent's house. Anandha Bhairavi based tune with Kannadasan in his inimitable style ensuring the song stays within our hearts.
The other interesting segment is the 'padhyam' like segment where verses are sung by different singers in different ragas. Vishwanathan Ramamurthy get a great ensemble here. Each poet is reciting his verse in praise of Karnan. Each verse is an excellent combination of tune and words. The segment such by Tiruchi Loganathan is a gem of a Kanada and those words which only Kannadasan can conjure, 'narporulai thedi sivanthana gnaniyar nenjam'.
The song we have left for the last, is a song which immediately comes to your mind when someone says 'sad song'. Based on Chakravakam (Ahir Bhairav) this song fits Seergazhi's voice to a 'T'. Rarely has a song so completely captured the tragedy as this song does. Once again, we doff our hat to Kannadasan for the very opening line 'ullathil nalla ullam' is deeply philosophical but told in the characteristic Kannadasan tone.
The sheer range of music in Karnan is mindblowing. If one were to showcase just one album of Vishwanathan Ramamurthy one will not hesitate to pick 'Karnan'. It can easily be slotted into one of the all time best sound track in Tamil Film Music history.
1964 was the peak of Vishwanathan Ramamurthy. They would split the next year. We will talk about that and also about their legacy in the next part.
Comments
Very valid point. A music director can only draw from what was available to him at that time and as you say because it was for newcomers he may have used PBS.
1. Your doubts about teh fun part in "Indha ponnana..". May be it si teh restraining influence of TKR. Compare it with a song in a similar situation in "Ooty varai uravu" :"Pudhu naadagatthil". More vibrant and energetic. Of course, it also had TMS singing for Shivaji ganesan.
2. My favorites in padagotti are the Susheela solos: Ennai eduthu and the rarely heard Azhagu oru raagam.
3. Your song by song analysis of karnan is simply awesome. You have mentioned about the melody in the charanam of "Manjal Mugam". I am spell bound by teh prelude : the alternating violin, flute, the chorus, teh claps and Susheela's hummimg leading to the song. Also, Kannadasn's summary of the Bhagavad Gita in "Marnatthai Enni.." and the raagamalika structure in which MSV-TKR have set the music.
All in all, a thoroughly enjoyable article.
Thanks.
Ravi
Ravi
On using PBS for fun songs .... Did you all realise that for many of Sridhar movies till 1967 - Nenjirukkum varai ( Muthkalo kangal ), TMS was used only once ...For Oruvar vaazum aalayam ( Nenjil or aalayam )..
Otherwise , Sridhar movies had either A.M.Raja or PBS only as main singers , a unique phenomenon..
Did it mean that Sridhar had a say in choice of singers ? What I could decipher is...Sridhar-Sivaji Ganesan had few earlier movies like Amara Deepam, Vidi velli, but AMR was the singer . Ofcourse, he was the composer too ..
A majority of Sridhar movies had PBS as the main singer ...the preference would have continued for Kadhilakka neramillai too ...
Also, for Ravichandran, the voice of TMS matched very well ( like Jaishankar ) later but may be KN being the first movie, the core team would have pondered on how to crack it and might have zeroed in on PBS ..
And finally for Nenjirukkum varai being a Sivaji starrer, he had no other choice except using TMS because it was a peak for TMS-Sivaji ...