T.M.Soundararajan Hit Songs

Film songs based on classical ragas 2 A date with Yaman. Guest article by Subodh AgrawalSubodh Agrawals second article in this series has been a long time in coming. I am responsible for part of the delay as it came when I had scheduled my post on the Best songs of 1. But when you read it you would agree it has been well worth the wait. Subodh bears his scholarship lightly, and writes in a style as lucid and fluent as the Raga Yaman itself. Here is his piece on one of the most popular ragas which would delight both connoisseurs as well as lay listeners. AKI have never understood why Yaman is the first raga to be taught to students. Yes, it does have a simple structure in the sense that it has no komal svaras, but its simplicity is deceptive. Creating beauty in Yaman requires a high level of skill and sensitivity. It sounds bland and pedestrian in the hands of a novice or an artist of average capability. There is, however, no limit to the heights it can attain in the hands of a master. K. Jamuna Rani born in Andhra Pradesh, India is a prolific Indian Playback singer who has sung over 6,000 songs in Telugu, Tamil, Kannada, Malayalam and. T.M.Soundararajan Hit Songs' title='T.M.Soundararajan Hit Songs' />No wonder it is one of the favourite ragas of our film industrys composers, some of whom Roshan for example have given their best in this raga. Yaman and Kalyan are two different names of the same raga. Yaman Kalyan, interestingly, is slightly different, as it uses shuddha madhyam occasionally along with the teevra madhyam of Yaman. The difference is not much, and in this article I would use Yaman to mean both Yaman and Yaman Kalyan. The predominant mood of Yaman is tranquility shant rasa. Another great raga Malkauns is also known for evoking shant rasa, but there is an important difference between the two. The tranquility of Malkauns has a Yogic, meditative quality about it. Yamans serenity is much closer to everyday life. It evokes the kind of peace one feels when one is happy at home and with family, in the company of friends, watching a beautiful sunset, or doing something one enjoys. The shant rasa of Yaman combines well with bhakti rasa. It is an ideal raga for devotional compositions. Let me therefore begin with one of the best known works of Roshan, Man re tu kahe na dheer dhare, from the film Chitralekha. A few years back Outlook magazine had polled some leading music personalities to come up with a list of twenty all time great songs from films, and this song topped that list. I wouldnt quite go that far, but there is no doubt that this is one of the great songs of Hindi films. Mohammad Rafi sings Man re tu kahe na dheer dhare from Chitralekha 1. T.M.Soundararajan Hit Songs' title='T.M.Soundararajan Hit Songs' />Sahir Ludhiyanvi, music Roshan. Because of its capacity of combining bhakti and shant rasa, Yaman is ideal for recitation of Sanskrit slokas. Film songs based on classical ragas 2 A date with Yaman. April 26, 2012. Thoguluva Meenatchi Iyengar Soundararajan 24 March 1922, popularly known as TMS, was a playback singer in Kollywood for over six decades. You can get a flavor of what this raga can do in this recitation of Bhagvad Gita by the incomparable Lata Mangeshkarhttp www. Another devotional masterpiece from Lata in Yaman is the Meera bhajan Kinu sang khelun holi set to music by her brother Hridaynath Mangeshkar Lata Mangeshkar sings Meera bhajan Kinu sang khelun holi. I have commented above on the kind of everyday serenity Yaman evokes. There can be no better illustration of this than this song one of my all time favourites from Bhabhi ki Chudiyan by Lata Mangeshkar, set to music by Sudhir Phadke. Apart from shant and bhakti rasa, this song also has a mood of joy. I sometimes wonder if the list of nine rasas is incomplete without a tenth ananda rasa. If we could add this rasa then I would analyse Yamans mood as 4. Lau lagati geet gati deep hun main by Lata Mangeshkar from Bhabhi Ki Chhdiyan 1. Narendra Sharma, music Sudhir Phadke. I would now like to present two versions of the same bhajan by two great artists Kishori Amonkar and Shobha Gurtu. Kishori Amonkars version is sweeter and classically orthodox. Shobha Gurtu, on the other hand, creates a different kind of impact in her powerful voice with a shehnai like timbre. In the comments on Youtube, there is some needless controversy as to which of the two is better. I think they are both beautiful in their own right. Kishori Amonkar sings Mharo pranam in Raga Yaman. Shobha Gurtu sings Mharo pranam in Raga Yaman. Lets move on, and add another rasa to the mix of shant and bhaktirasas shringar. This song from Mamta by Roshan raises love to the level of worship. Roshan has surpassed himself in composing this, while Hemant and Lata have rendered it with feeling. Ashok Kumar and Suchitra Sens restrained acting superbly completes the picture. An NRI friend of mine commented that Ashok Kumar would win an Oscar hands down for the opening scene in which he covers his eyes with dark glasses and puffs on his cigarette. I would gladly nominate this song for the title of the all time greatest love duet from films. My nominees for the male and female solos on love would be Jalte hain jiske liye and Tum apna ranj o gham. Chhupa lo yun dil mein pyar meraby Hemant Kumar and Lata Mangeshkar from. Mamta 1. 96. 6, lyrics Majrooh Sultanpuri, music  Roshan. At this stage I would like to introduce a regular classical piece. Bismillah Khan has taken an extremely simple composition. You cant get simpler than ni re ga re ni re sa ni dha ni re sa in Yaman. It takes the genius of Bismillah Khan to keep it from sinking into ordinariness. It is an excellent introductory piece for learners of classical music. Raga Yaman by Bismillah Khan. I would not normally associate Yaman with karun rasa. However, trust Indian film music directors and Mukesh to evoke pathos even in this raga. I recall with amusement that for some unfathomable reason Mukeshs song Ansoo bhari hain yeh jeevan ki raahen in Yaman was very popular with boys of my age when I was a University student. I myself used to sing it with great feeling. An aunt of mine, who otherwise encouraged me to sing, told me in no uncertain terms to refrain from singing this song, as she had had enough of it More than forty years later I dont have any lingering fondness for this song. However, I still hold another Mukesh song Saranga teri yaad mein in the same raga in high esteem. I am not posting it here because AK has already done that in his excellent post on Sardar Malik. Let me get out of this foray into karun rasa by presenting a classical piece by the great Pannalal Ghosh, which would restore the mood of joyful tranquility more suited to Yaman. When I listen to this piece it evokes the image of a beautiful sunset across a gently flowing river. Sunsets can make you happy or sad. Yaman goes with happiness another beautiful raga Marwa with sadness. Here is the Yaman piece Raga Yaman by Pannalal Ghosh. Back to shringar rasa. Two great songs come readily to my mind Zindagi bhar nahi bhoolegi yeh barsaat ke raat and Abhi na jaao chhod kar. I am opting for the latter, as it has a nice teasing quality. In a TV program Javed Akhtar called it his favourite romantic song. Abhi na jaao chhod karby Rafi and Asha Bhoslefrom. Hum Dono 1. 96. 1, lyrics Sahir Ludhiyanvi, music Jaidev. My next classical piece is by Sanjeev Abhyankar. The interesting thing about this piece is use of the flute as an accompaniment. It sounds like a duet between the singer and the flute Sanjeev Abhayankar sings Raga Yaman. Apart from devotional compositions, Yaman also excels in ghazals. Several beautiful pieces spring to mind. The best, however, are non film Latas Har ek baat pe kahte ho tum Mehdi Hasans Ranjish hi sahi, which launched a wave of Pakistan mania among Indian music lovers and Aaj jaane ki zid na karo by Farida Khanum. T. M. Soundararajan Wikipedia. T. M. Soundararajan. Also known as. TMSBorn1. March 1. 92. 2Madurai, Madras Presidency, British India. Origin. Madurai, Madras Presidency, British India. Died. 25 May 2. 01. Chennai, India. Genres. Playback singing and classical musician. OccupationsSinger and actor. Instruments. Vocal. Years active. 19. Thoguluva Meenatchi Iyengar Soundararajan 2. March 1. 92. 2 2. May 2. 01. 3, popularly known as TMS, was a playback singer in Kollywood for over six decades. He lent his voice to actors and thespians in the South Indian film industry such as M. G. Ramachandran, Sivaji Ganesan, N. T. Rama Rao, Gemini Ganesan, S. S. Rajendran, Jaishankar, Ravichandar, AVM Rajan, Muthuraman, Nagesh, Siva Kumar, Kantha Rao, Rajkumar and A. Nageswara Rao. He also gave his voice to many new generation actors like Kamalahasan, Rajanikanth, Vijayakanth, Satyaraj, Rajesh, Prabhu, and Vijaya Kumar, in addition to other known and unknown heroes and supporting actors like M. R. Radha, K R Ramaswami, T. Rajendar, V. K. Ramaswami, Thengai Sreenivasan, M. N. Nambiar, Thangavelu, Y. G. Mahendran, R. S. Manohar, S. V. Ashokan, Ranjan, Narasimha Bharathi, Sahasra Namam, Jagayya, Nagayya,Sreenath,Shankar etc. He sang over 1. 0,1. Carnatic, classical and light music songs. He gave classical concerts starting in 1. In a career spanning over six decades he has recorded film songs in 1. Tamil, Kannada, Telugu, Hindi, Malayalam and other languages. He was an excellent lyricist and music composer for most of the evergreen devotional songs that were recorded by the thousands. He was the music director for the film Bala Parikshai. His peak period as a male playback singer in the South Indian film industry was from 1. His first film song was in 1. P. Suseela during 2. TMS died on 2. 5 May 2. Mandaveli, Chennai due to illness. He was 9. 1 years old. Early lifeeditSoundararajan was born in Madurai, the second son of the Meenakshi Iyengar and Venkatammaa on 2. March 1. 92. 2. He was born in a prominent priest family and his elder brother was a scholar. He trained his voice starting at age seven. He first studied Carnatic music from Chinnakonda Sarangapani Bhagavathar, a music teacher from Sourashtra High School, Madurai. Later, he learned Carnatic music from Arayakkudi Rajamani Iyengar and started giving stage concerts at the age of 2. His first Carnatic musical concert was at Sath. Guru Samajam, Madurai in 1. C. R. Mani and Mridangist S. S. Vijaya Ratnam accompanying him on the instruments. He started singing in stage concerts in the voice of the then famous classical singer and actor M. K. Thyagaraja Bhagavathar. Personal lifeeditHe married Sumithra in 1. He lived in his home at Mandaveli, Chennai, Tamil Nadu until his death. Early workeditSoundararajan was initially rejected by music composers and recording technicians because his voice was cracking and showed variation in higher pitches. He started working in the house of Sundar Rao Nadkarni, a director in the Central Studios, hoping to get a chance to sing in movies. The director recommended him to S. M. Subbaiah Naidu. In 1. 94. 6, Naidu gave TMS an opportunity to sing five songs in the style of M. K. Thyagaraja Bhagavathar for a film of P. V. Narasimha Bharathi Krishna Vijayam. Though the songs were noted since 1. One of his songs in that movie, Raathey Ennai Vittu Odathedi, became a hit and he was paid Rs 6. In the same year 1. G. Ramanathan had him sing Annamitta Veettiley for an unknown actor in the film Manthiri Kumari. In 1. 95. 1, TMS acted and sang Theeraatha Thuyaralley in the film Devagi again by G. Ramanathan. In 1. S. Dakshinamurthi gave TMS two duet songs in the movie Valaiyapathi Kulir Thaamarai Poigaiyai Kanden and Kulungidum Poovilellaam both with singer K. Jamuna Rani where TMS had an opportunity to sing songs written by the renowned Tamil poet Bharathidasan. G. Ramanathan had TMS and K. Rani sing for Kalyani. In 1. 95. 3, when Albela was dubbed into Tamil, the music director C. Ramchandra had two duets by TMS and M. S. Rajeswari Joraga Paadi Anbaaga Aadi and Thozhi Un Kann Edhire Kodi. Even though these songs were well received, there were no further chances for TMS for a while. Then TMS went to HMV studio where K. V. Mahadevan recorded two devotional songs for which he was paid just Rs 8. Mahadevan told TMS to seek a chance with AVM Productions which was looking for new voices. TMS sang two songs for the film Chella Pillai. One was a solo Podanum Kulla Podanum and the other was a duet with M. S. Rajeswari Naadu Nadakkira Nadayiley under R. Sudharsanams composition. The film was released in 1. These music composers helped and trained the determined and ambitious TMS, who was able to overcome his voice problems to a good degree with time. In 1. 95. 4, A. Maruthakasi recommended TMS to sing in Aruna Pictures Thookku Thookki. Till then C. S. Jayaraman used to sing playback for Sivaji Ganesan and Sivaji doubted the suitability of his voice. TMS offered to sing three songs free. TMS and Sivaji Ganesan were introduced to each other and, in the short conversation that followed, TMS studied the voice of Sivaji Ganesan. TMS sang Sundari Soundari and Eraatha Malaithanile, closely imitating Sivaji Ganesan. Cara Cepat Download Youtube Di Hp. G. Ramanathan, who was the music director for that film, was so pleased that he gave TMS the chance to sing all the Sivaji Ganesan songs in that production. In the same year, T. R. Ramanna and T. R. Rajakumari started RR Films. As the film Koondukkili was under production stage, TMS had originally been given a chance to sing only in a chorus. It should be noted that Koondukkili was the only film where MGR and Sivaji acted together. Tanjai Ramayah Dass was very impressed with the golden voice of TMS and asked the story and dialogue writer Vindhan to give a chance to TMS to sing a full solo. TMS sang Konjum Kiliyana Pennai under K. V. Mahadevans composition for Sivaji Ganesan. When the song was recorded, MGR heard it and was so impressed that he wanted TMS to become his permanent playback singer. TMS was used in MGRs next movie Malaikkallan. Though he first recorded a song for the film Manthiri Kumari starring M. G. Ramachandran MGR in 1. TMS on the big screen was Ethanai Kaalamthaan Ematruvaar Indha Naattile written by Tanjai Ramaiyah Dass and composed by S. M. Subbaiah Naidu. M. G. R. During this period, TMS got an opportunity to sing in films like Kalvanin Kadhali, Vedan Kannappa, Rishi Sringer and Neela Malai Thirudan. TMS was the beneficiary of the first stereo recording in South India for a Tamil devotional song titled Mannanalum Thiruchenthooril Mannaven. From 1. 95. 5 onward Sivaji insisted that TMS sing for him. Since then, TMS was mainly singing playback for the superstars MGR and Sivaji till the end of 1. He adopted styles while singing for each actor that synchronized very well with their voices. His first musical concert abroad was in Malaysia in 1. He continued to perform all over the world for almost 5. He has two sons who have voices similar to their father and have sung songs of TMS all over the world in concerts since 1. The sons continue to do TMS concerts after the death of their father. Though he has worked with all music directors of South India, most of his hit songs were composed by music directors M. S. Viswanathan, K. V. Mahadevan, and the Viswanathan Ramamoorthy duo. TMS starred as an actor in a few Tamil films such as Pattinathar, Arunagirinathar, Kallum Kaniyagum and Kaviraja Kalamegam.