Showing posts with label Tunes & Tones. Show all posts
Showing posts with label Tunes & Tones. Show all posts

Sunday 10 May 2020

MUSIC CURES DISEASES, IMPROVES HEALTH

The Medical Benefits of Ragas
Music can play an effective role in helping us lead better, fruitful lives. Listening to specific kinds of music at specific times of the day has been shown to be helpful in maintaining good health. Indian music, with its many Ragas, is known to be particularly therapeutic value. The curative power of music emanates from the resonance of certain ragas on hormonal and glandular functions which produce secretions that keep the body balanced and infection-free.
 A Raga is a sequence of selected notes (swaras) that lend appropriate ‘mood’ or emotion in a selective combination. It’s a yoga system through the medium of sonorous sounds. Depending on its nature, a raga could induce or intensify joy or sorrow, violence or peace, and it is this quality that forms the basis for the musical application. 
Thus, a whole range of emotions and their nuances could be captured and communicated within certain melodies. Playing, performing and even listening to appropriate ragas can work as a medicine. To be rendered effective, Ragas are used in a combination with Ayurveda, the ancient science of Vedic healing. A Raga must be played or sung to a patient keeping in mind his/her physical nature of Vata, Pitta or Kapha. The time assigned to the Raga during the day or night is also important. Moreover, it is to be seen whether the time of the day or night is naturally suited to Vata, Pitta and Kapha. 
Here are the therapeutic qualities of Ragas: 
1. Raga Pooriya Dhansari (Hamsanandi-Kamavardini) – evokes a sweet, deep, heavy, cloudy and stable state of mind and prevents acidity.

2. Raga Bageshri – arouses a feeling of darkness, stability, depths and calmness. This raga is also used in the treatment of diabetes and hypertension.

3. Raga Darbari (Darbari Kanada) – is considered very effective in easing tension. It is a late-night raga composed by Tansen for Akbar to relieve his tension after a hectic schedule of the daily court life.

4. Raga Todi – give tremendous relief to patients with high blood pressure. Provides relief from cold and headache.

5. Raga Ahir-Bhairav (Chakravakam) – is supposed to sustain chords that automatically brings down blood pressure.

6. Raga Malkauns – helps to cure low blood pressure.

7. Raga Bhairavi – Provides relief T.B, Cancer, Severe Cold, Phlegm, Sinus, toothache.

8. Raga Malhar – Useful in the treatment of asthma and sunstroke.

9. Raga Hindol and Marava – These ragas are useful in blood purification.

Ragas And Their benefits
Let us look at the health benefits of chanting various ragas.
CARNATIC RAGASBENEFITS
Ahir BhairavGives a free relaxed feeling and mitigates dust allergies and skin disease. Good for arthritic conditions
AmrutavarshiniUshana vyathi nasini (alleviates diseases related to heat)
Ananda BhairaviSuppresses stomach pain in both men and women. Reduces kidney type problems. Controls blood pressure
BaghesriHelps in attaining Guru’s grace
BhairaviReduces anxiety, pressures, skin, disease, allergies
BhupalaTo awaken someone out of deep sleep
Charukesi Bhajan: Shantirastu Pushtirastu26th raga in the melakarta scale (parent) of the south Indian classical music. Rejuvenates the mind helping one to age gracefully. It enlivens the singer and listener.
DeshThe suppression of the senses releases a negative force. The process of sublimation needs a spiritual path. Rag Desh can provide that. Its energy gives the listener serenity, peace, inner joy, right valour, universal love and patriotism
DwijavantiQuells paralysis and disorders of the mind
GanamurteHelpful in diabetes
HansadhwaniEnergy giving. Provides good thinking, a panacea for diseases
Hemavati
Bhajan: Sambho Samba
Good for joint and back pain
KindolamImproves digestive power. Cures stomach related diseases.
Kalyani Bhajan: Jai Jai GanapathiGives energy, removes tension and acts as a general tonic. Dispels the darkness of fear; Gives motherly comfort and increases confidence. Kalyani means mangalam. Recited with faith and devotion, it is believed to clinch marriage alliances. Many authentic reports exist about the raga’s power to destroy fear in many forms: fear of poverty, of love, of power, of ill-health, of death, and so on.
KapiSick patients get over their depression, anxiety. Reduces absent-mindedness
KaraharapriyaCurative for heart disease and nervous irritability, neurosis, worry and distress.
KedaramGives energy and removes tension
KeervaniPromotes dhyana (meditation) at mental and physical levels
KokilamHelps to prevent stone formation, burning sensations, sleeplessness and anxiety.
MadhuvarshiniGood for nerves. Cures diseases like slight headache, sleeplessness, and sinus problems.
MadhyamavatiClears paralysis, giddiness, pain in legs/hands, etc. and nervous complaints
Malaya MarutaTo awaken someone out of deep sleep
Maya Malava GowlaCounters pollution. It can be called the Gateway to Carnatic music. The history of Carnatic music says that the blessed musician, Purandaradasar, introduced the system of
Bhajan: Inner SelfMayamalava gowla. This raga has the power to neutralize toxins in the body. Practising it in the early hours of the morning, in the midst of nature will enhance the strength of the vocal chords.
Mohana Bhajan: IshapathishaMohana is present where beauty and love coexist. It filters out the ill-effects of kama (desire for sex), krodha (anger) and moha (lust), bestowing immense benefits on the listener. Also said to cure chronic headaches, indigestion, and depression.
NeelambariTo get rid of insomnia
RanjaniCures kidney disease
RathipathipriyaAdds strength and vigour to a happy wedded life. This 5-Swara raga has the power to eliminate poverty. The application of the swaras can wipe off the vibrations of bitter feelings emitted by ill will
RohiniCures back pain, joint pain, etc.
SamaMakes the mind sober, tranquil, induces good sleep. Good for world peace.
Saramati Bhajan: Concert in BerlinElevates from the depressed state. Cures balagraha dosham in children ( undiagnosed crying and imitability). For sleeplessness, itching, eye and ear problems, skin problems, and the problems of hearing irregular sounds
Sindu BhairaviRemoves sins and sorrows and saves from unforeseen events
SivaranjaniPowerful raga for meditation; bestows benevolence of God. Removes sadness, ushana roga santi (diseases related to excess heat). Good for general health
Sandhya KalyaniCures ear, nose and eye diseases. Relieves chronic clods. Gives good sleep and freshness
ShankarabharanamThe power of this raga is incredible. It cures mental illness, soothes the turbulent mind and restores peace and harmony. If rendered with total devotion for a stipulated period, it can cure mental disorders said to be beyond the scope of medical treatment. It also is said to have the power to shower wealth.
ShanmugapriyaSharpens the intellect of the singer as well as the listener. Instils courage in one’s mind and replenishes the energy in the body.
SubhapantuvaraliAlleviates mental dilemmas and indecisiveness
Suddha dhanyasiRemover of sorrows. Gives a happy feeling. Tonic for nerves. Cures rhinitis and migraine.
SurutiMitigates stomach burn, insomnia, fear, disgust
VakulabharanamAlleviates asthma, bronchitis, heart disease, depression, skin disease and skin allergy
Varali Bhajan: Nakam VinayakamVarali is good for vayu tattva, heart, skin ailments and gastric problems.
Vasanta / VasantiControls high and low blood pressure cures heart as well as nervous diseases. Can dear the fog of confusion when a series of medical tests has to be analysed. It heals nervous breakdowns.
VasanthamCures paralysis
ViswambariGeneral tonic acts quickly
Yamuna KalyaniGives freshness and dynamism

WHEN THE DEAD IS BROUGHT BACK BY MUSIC

The Therapeutic Value of Music
In India legend has it that Thyagaraja, the famous musician of South India, brought a dead person back to life by singing the composition Naa Jeeva Dhara in raga Bihari. 
Dr. Burnell has mentioned a manuscript named Raga Chikistsa in the collections of the Saraswati Mahal Library in Tanjore which deals with the various ragas that can be used for curing various ailments.
Music is basically a sound or nada generating particular vibrations which moves through the medium of the ether present in the atmosphere and affects the human body . Sarangdev mentions in his Sangeet Ratnakar that ahata nada or music is always produced by striking or aghata by a living being on an instrument of any kind, so music is a power or universal energy in the form of ragas. Matanga (9-10th centurey AD) was the earliest writer to define raga. According to him “raga is that kind of sound composition consisting of melodic movements which has the effect of clearing the hearts of men.” There are four sources of raga: folk songs, poetry, devotional songs of mystics and compositions of classical musicians. While harmony is the characteristic of Western music, Indian music is pure melody. 

The general term for melody in India is raga or ragini. Symphonies of raga have a definite soothing effect on the mind as well as on the body Repeated listening to the particular raga being chosen for a particular disease produces a network of sound vibration. The muscles, nerves and the chakras of the affected part are contracted when one impulse is given and relaxed during the interval between two impulses. Thus, during contraction of the tissue, musical notes make the blood flow out of that particular area and in the interval there is relaxation and a state of reduced pressure is produced in these areas. Thus the blood from the adjacent area will flow there. 

This process is repeated again and again and the blood flow and energy flow in that part is enhanced. This makes quick, fast healing. Energy from URF (universal energy field) to HEF (human energy field) transmitted by the strokes of the different tones of raga affects the CNS (Central nervous system) because the roots of the auditory nerves are more widely distributed and have more connections than any other nerves in the body. 
Music beats have a very close relationship with heart beats. Music having 70-75 beats per minute equivalent to the normal heart beat of 72 has a very soothing effect. Likewise rhythms which are slower than 72 beats per minute create a positive suspense on the mind and body since
the mind, body complex anticipates that the music will speed up and this restored vital energy gives a deep relaxation to the body. Rhythms which are faster than the heart rate excite and rejuvenate the body. Hindustani/classical musical considers ragas as depicting specific moods . An appropriate mood is to be evoked in the listener’s mind before initiating the musical treatment.

Kafi Raga evokes a humid, cool, soothing and deep mood while Raga Pooriya Dhansari evokes sweet, deep, heavy, cloudy and stable state of mind. Raga Mishra Mand has a very pleasing, refreshing light and sweet touch while bagashwri arouses a feeling of darkness, stability, depths and calmness. Music is considered the best tranquilizer in modern days of anxiety, tension and high blood pressure. Raga Darbari is considered very effective in easing tension. It is a late night raga composed by Tansen for Akbar to relieve his tension after the hectic schedule of the daily court life.

This raga belongs to Asavari that and is a complete raga containing all the seven notes. The seven notes are taken from various natural sounds of birds and animals. Raga Bhupali and Todi give tremendous relief to patients of high blood pressure. Raga Ahir-Bhairav is supposed to sustain chords which automatically brings down blood pressure. Raga Malkauns and Raga Asawari help to cure low blood pressure, for heart ailments Raga Chandrakauns is considered very helpful. Raga Tilak-Kamod, Hansdhwani, Kalvati, Durga evoke a very pleasing effect on the nerves. For patients suffering from insomnia and need a peaceful sonorous sleep, Raga Bihag and Bahar have wonderful effects.

Ragas are closely related to different parts of the day, according to changes in the nature and development of a particular emotion, mood or sentiment in the human mind . Music therapy treatment is conducted either early morning, evening or night. One should avoid long music sessions on an empty stomach [15]. Music sassions should be of one hour duration with two or three short sessions with breaks. 

One of the unique characteristics of Indian music is  music is the assignment of definite times of the day and night for performing .

It is believed that only in this period that Raga appears to be at the height of its melodic beauty and majestic splendour. There are some Ragas which are very attractive in the early hours of the mornings, others which appeal in the evenings, yet others which spread their fragrance only near the midnight hour. This connections of time of the day or night, with the Raga or Raginis is based on a daily cycle of changes that occur in our own body and mind  which are constantly undergoing subtle changes in that different moments of the day arouse and stimulate different moods and emotions. Each Raga or Ragini is associated with a definite mood or sentiment that nature arouses in human beings.
The ancient musicologists were particularly interested in the effects of musical notes, how it affected and enhanced human behavior. Music had the power to cure, to make you feel happy, sad, disgusted and so on. Extensive research was carried out to find out these effects. This formed the basis of time theory as we know it today.

It is believed that the human body  is dominated by the three Doshas-Kaph, Pitta and Vata. These elements work in a cyclic order of rise and fall during the 24 hour period. Also, the reaction of these three elements differs with the seasons. Hence it is said that   performing or listening to a raga at the proper allotted time can affect the health of human beings.
The following schedule will summarize the specific time periods:
The 24 hour period is divided into 8 beats (Prahar) each three hours long, as follows: 1. 7 a.m.-10 a.m. 1st beat of the day. Daybreak, Early Morning. Morning. 2. 10 a.m. – 1 p.m., 2nd beat of the day. Late Morning, Noon, Early afternoon. 3. 1 p.m. – 4 p.m. 3rd beat of the day. Afternoon, Late Afternoon. 4. 4 p.m. – 7 p.m. 4th beat of the day. Evening Twilight, Dusk (sunset) 5. 7 p.m. – 10 a.m. first beat of the night. Evening, Late Evening. 6. 10 p.m. – 1 p.m., 2nd beat of the night. Night, Midnight. 7. 1 a.m. – 4 a.m. 3rd beat of the night. Late Night 8. 4 a.m. – 7 a.m. 4th beat of the night. Early Dawn, Dawn (before sunrise) Similarly Everyday two cycles of change pass through our body, each bringing a Vata, Pitta, or Kapha predominance. The approximate times of these cycles are as follows: First cycle • 6 a.m. to 10 a.m. – Kapha • 10 a.m. to 2 p.m. – Pitta • 2 p.m. to 6 p.m. – Vata Second cycle • 6 p.m. to 10 p.m. – Kapha • 10 p.m. to 2 p.m. – Pitta • 2 a.m. to 6 p.m. 
There are Ragas associated with the rainy season, Varsha (Raga Megha and Raga Malhar), the autumn season, Basant (Raga Basant) and the spring season (Raga Bahar). Seasonal Ragas can be sung and played any time of the day and night during the season allotted to them. The obligation of time in case of such melodies is relaxed. Vasanta Ritu (Spring Season). In this season, increased kapha is liquified by the heat of sun which causes diminished agni (digestive activity) causing diseases Grishma Ritu (Summer Season) In this season, Sunrays become powerful. Kapha decreases vata increases day by day Sharat Ritu (Autumn Season) Sudden exposed to sunlight after cold season aggravates pita. 

Friday 21 November 2014

FIFTY YEARS OF THE SONG,THAMASAMENTHE VARUVAN

The eternal song completes golden jubilee

Today ,November 22,marks the 50th birth anniversary of the best ever Malayalam song,Thamasamenthe Varuvan.The movie,Bhargavi Nilayam with the immortal song,was released on November 22,1964.
My home was just opposite to a theatre,Sreekala,in Tripunithura.If I remember right,the theatre was opened in 1966,because the Tamil movie,Motor Sundaram Pillai,a Nagesh starrer was the first movie there.It was a 1966 film.Mahakavi Kalidas,followed.We didn't have a radio.Bhargavi Nilayam and Chemmeen were shown in Sreekala,in 1966.Maybe I heard the song before that in the small public park,close to the North Fort Gate junction.There was a mike in the park.The park itself is not there now.I was just a four year old then.The song has grown inside me,with me.It will die,ofcourse, only when I breath my last.For others,it will continue to resonate,till the end of the world.
Yesudas with Baburaj

Bhargavi Nilayam,was the only movie script written by the legendary Vaikam Muhammed Basheer(1908-1994).It was found and printed by the Kalakaumudi weekly, years later, after his death.The script was based on his short stories,Neelavelicham and Nilavu Kanumbol.Basheer once wrote that,Neelavelicham was based on his personal encounter with the ghost of a beautiful woman.Prem Nazir,Madhu and Vijayanirmala were in the leading roles.Madhu was the writer and Vijayanirmala,the ghost.It was the first horror movie in Malayalam.It was also the directorial debut of A Vincent,the Cinematographer.The camera for the movie,was wielded by,P Bhaskar Rao.It was the debut movie of an actor,Padmadalakshan,who became famous later,as Kuthiravattam Pappu.His name in the movie,was,M P Kuthiravattam.The film was shot in Thalassery.
Bhargavi Nilayam poster

Its sound track,containing seven songs,crafted by M S Baburaj,was a master piece.Except the dance song,Anuraga madhu chashakam,By S Janaki,all the other songs were hits.Thamasamenthe became a sensation.Other songs were,Ekanthathayude aparatheeram,Arabikadaloru manavatti(Yesudas,P Suseela),Pottatha ponnin(Janaki),Pottithakarnna kinavu(Janaki).It is not easy to count two songs in the same movie among the first 10 in a language.But I consider the song,Ekanthathayude , sung by Kamukara Purushothaman,picturised on the Thalayi beach,one among the best 10 songs in Malayalam.

Most of the best songs in Malayalam, have been lipped by Madhu.He lipped for Ekanthathayude....
It was easy for P Bhaskaran to write the lyrics.The content of the songs and some of the lines too,were there in the script.Ekanthathayude apara theeram(the vast sea shore of loneliness)was there in Baheer's story,Anarghanimisham.In Neelavlicham,the writer was expecting the ghost any moment,but she made him wait.From there,began,Thamasamenthe...(Why the delay,my dear..)
(The above video is Yesudas singing the song,2o years later,in 1985 film award nite)
The song,was set to Hindustani Raga,Bhimpalasi,a combination of two ragas,Bhim and Palasi.It is a late afternoon raga,related to Hindustani  ragas,Dhanashree,Dhani,Patdeep,Hamsakinkini and Patdeepaki.In Carnatic music,it is close to Abheri,falling with melakartha 22,Kharaharapriya.The famous song,Manasanilayil,in Dhwani is set to Abheri.Raga Bhageshree also is related.The madhyamam is the important note in Bhimpalasi.No wonder,Yesudas perfected the song only in the 23rd take!
Baburaj had Talat Mahmood in his mind to sing the song.Thamasamenthe was inspired by the Talat song,Humse aaya na gaya in the 1957 movie,Dekh Kabira Roya.The lyric was by Rajesh Kishen and music by Madan Mohan.

I do not know why Babukka could not rope in Talat.He realized his dream in 1977,by calling Talat to sing for the movie,Dweep.Another song,by the sea.
There is one song too,close to Thamasamenthe,in Bhimpalasi,in the 1957 movie,Chandrakantha,sung by Rafi.The song is,Maine chaand aur Sitaron ki.
Many have suspected the Rafi song by Noushad,Mere mehboob tujhe in the 1963 film,Meri Mehboob,as the original.But,it is in raga,Jhinjhoti.
The most interesting myth is that,Baburaj tried to imitate Bhimpalasi again in the famous song,Pranasakhi njan Verumoru,in the movie,Pareeksha(1967).It is in raga,Sindhubairavi.It was the same team:Bhaskaran,Baburaj and Prem Nazir.Rathisukhasaramayi in Dhwani is in Sindhubairavi.

There are several famous Hindi songs in raga,Bhimpalasi.
1.Beena madhur kuch bol/Ramarajya/Saraswati Rane(1943),2.Asmanwale Teri duniya se/Laila Majnu/Talat & Lata(1953),3.Aa Neele Gagan/Badshah/Lata(1954),4.Tere Sadke Balam/Amar/Lata(1954),5.Maine Chaand aur Sitaron ki/Chandrakantha/Rafi(1956),
6.Humse Aaya Na gaya/Dekh Kabira Roya(1957),7.Nagma O sher ki/Ghazal/Lata(1964),8.Naini are Badra Chaiye/Mere Sayya/Lata(1966),9.Khilte hain Gul Yahan/Shirmilee/Kishore Kumar(1972),10.Ae Ajnadi tu Kabhi/Dil Se/A R Rahman+Udit Narayan998),11.Samay O Dhire/Rudali/Bhupen Hazarika.
Here is a classical Bhimpalasi from Pandit Jasraj.
For Thamasamenthe,Sitar was the main accompaniment.Let us listen to maestro,Pandit Ravi Shankar playing Bhimpalasi,in Sitar.
Jayachandran the singer,who had accompanied Yesudas in Mridangam, once at the school youth festival,considers,Thamasamenthe,the ultimate song.Just to listen to the song,he had watched,Bhargavi Nilayam,27 times,in the Ponni theatre at Irinjalakuda.I end my tribute with Jayachandran's tribute to Yesudas and the immortal song.
Reference:
1.The Story of Indian Music/O Goswami
2.The Raga Guide/Joep Bor
3.Chandrakantha.com
4.malayalasangeetham.info
5.My comments in Multiple Version of Songs in Songsofyore.com
See my post,THE DUET:BENGALI EMBRACES MALAYALAM

 

Saturday 15 November 2014

THE DUET:BOMBAY RAVI AND MALAYALAM

Bombay Ravi transformed Malayalam melody
Bombay Ravi(1926-2012) was born in Delhi.He shifted to Mumbai in 1950.
He was born as Ravi Shankar Sharma.He learnt music listening to the bhajans his father sang.He had no formal training;he taught himself  Harmonium. 
He was a trained electrician.He didn't want to shock anyone;So he went to Mumbai to try his luck in Bollywood.He lived on the streets;Slept at night at the Malad railway station.In 1952,Hemant Kumar asked Ravi to sing backing vocals for Vandematharam in the movie,Anandmath.His musical journey began.Chaudwin ka Chand(1960) made him immortal.
Bombay Ravi

He took a break for 12 years, from 1970.In 1982,he made a come back with Nikaah.Hariharan,a music aficionado,convinced Ravi in 1986 to make his foray into Malayalam ,with Panchagni.Ravi has composed music for only 15 Malayalam movies.Six of them were for Hariharan:Panchagni,Nakhakshatangal(1986),Oru Vadakkan Veeragadha(1989),Sargam(1992),Parinayam(1994),Mayookham(2005).Panchagni,scripted by M T Vasudevan Nair,told the story of a heroine of the erstwhile Naxalite movement,who had to face  grim realities again,while trying to have a normal life.The character had a shadow of the revolutionary,K Ajitha,daughter of Kunnikkal Narayanan from Kozhikode and Mandakini from Maharashtra.It was a Naxalite family.Both the songs from the movie by ONV,replaced cacophony in Malayalam with melody,and became a rage.
SONG1:SAGARANGALE/FILM:PANCHAGNI/YESUDAS
SONG2:AA RATHRI MANJU POYI/FILM:PANCHAGNI/CHITRA
Same year,Hariharan came up with Ravi in Nakhakshathangal.The movie had Guruvayur temple as backdrop.Singer Jayachandran donned an important role in the film and sang two songs:Kevala Marthyabhasha and Vreelabharithayay.There were five songs in the movie.Manjal prasdavum,Neeraduvan Nilayil,Aareyum Bavagayakanakkum are the rest. Ravi got the state award for music director and Chitra won the national award for the best female play back singer for Manjal prasadavum.
SONG3:MANJAL PRASADAVUM/FILM:NAKHAKSHATANGAL/CHITRA
                                                      
  
Ravi gained another national award for Chitra for the song,Indu pushpam in Vaisali(1989).It was another night song after Aa rathri manju poyi...
SONG4:INDU PUSHPAM/FILM:VAISALI/CHITRA
       

Though all the songs in Nakashathangal are still fresh in memory,there is a poem by ONV which is seldom mentioned.
SONG5:VREELABHARITHAYAY/FILM:NAKHAKSHATHANGAL/JAYACHANDRAN
                                                     
 After two Hariharan movies,Ravi composed music for Theertham(1987) directed by Mohan.Usually it is not seen in the list of Ravi movies,because the songs are not available.I have seen the movie,which tells the story of a Nambudiri girl,played by Pallavi Joshi.Maybe the makers of the movie thought it not worthwhile to bring out the record,because two of the songs were  by Nedumudi Venu & chorus.The songs,Ganapathiye Nin Achan and Aathintho,written by my friends,Kavalam Narayana Panicker and Balachandran Chullikkad had absolutely no Ravi touch.It had the typical Kavalam folk touch.A third song,Bas More Nainaan by Alka Yagnik is shown in the credit;the lyrical credit  given to Kavalam and Chullikkad.Very doubtful.I remember only the folk songs.
Coming back to Hariharan movies,Oru Vadakkan Veeragadha had five songs,out of which two,written by poet and administrator(he was Chief Secretary,Kerala;after that  Vice Chancellor)stand out:Chandanalepa sugandham and Kalarivilakku(Chitra).
SONG6:CHANDANALEPA SUGANDHAM/FILM:ORU VADAKKAN.../YESUDAS
Kaithapram Damodaran Namboodiri  wrote two songs.Indulekha Kan thurannu(Yesudas) and Unniganapthi Thampurane(Chitra,Ashalatha).Indulekha is still remembered.The last,Enthinavidam Parayunnacha was from the folk Vadakkan pattu.
The musical melodrama,Sargam had nine songs,five of them by poet and Krishna devotee,Yusuf Ali Kecheri.1.Kannadi aadhyamayen(Chitra) 2.Pravahame(Yesudas),3.Aandolanam(Yesudas,Chitra),4.Krishnakripasagaram(Yesudas)
5.Sangeethame(Yesudas).Ravi won the state award.
SONG7:KRISHNAKRIPA/FILM:SARGAM/YESUDAS
 

 1994 was the land mark year for Ravi.He got the national award in 1995 for the two movies he did in Malayalam in 1994:Parinayam directed by Hariharan and Sukrutham by Harikumar.Parinayam was based on the caste inquisition of Thatri in 1905.It had four songs,written again,by Yusuf Ali:Vaisakha poornimayo(Yesudas & Chitra versions)2.Samajasancharini(Yesudas,Chitra versions)3.Anjusarangalum(Yesudas)4.Parvanendumukhi.The best in the movie,Samajasancharini was in fact composed by Manoj krishnan,assisting Ravi at that time.Hariharan and Yusuf Ali insisted that Manoj do it-Ravi was absent,but they urgently needed the song.This has been revealed by Yusuf Ali.Manoj from Palakkad,whom I know personally,set it to raga,Kamboji.Manoj,later in 1997,sang Chundathu Thenulla for Ravi in the album,Aavani Kanavukal.In 1998, he sang a solo,Samagana (Yesudas had a version)for Ravi,in Kalivakku.I met Manoj after Yusuf Ali's confession.He did music for a Tamil film later.He played the song by Subha in that film,in his car,for me.That movie didn't see light of day.
SONG8:SAMAJA SANCHARINI/FILM:PARINAYAM/YESUDAS
 
So,to do justice to Ravi,let us listen to him.Another night song:
SONG9:VAISAKHA POURNAMIYO/ FILM:PARINAYAM/CHITRA
 Both movies were scripted by M T Vasudevan Nair.The Back ground score for Sukrutham was done by Johnson who won the national second best music director award the same year.He won the national best back ground score award for Malayalam film too.The movie script took a holistic approach to death,taking a leaf out of MT's own life when he was a journalist.Death is a moment to rejoice.The hero walked toward a running train,detached.Among the four songs,Kadalinnagadhamam is a gem.Lyrics by ONV.
SONG10:KADALNNAGADHAMAM/FILM:SUKRUTHAM/YESUDAS,CHITRA
The last work of Ravi, in Malayalam ,too, was for Hariharan.Mayookham(2005)had six songs,including a sloka,Tha Geha Krithya Niratha sung by Vijitha Jai Ganesh.For the first time,Hariharan himself wrote two songs:Kattinu Sugandham (Yesudas)and Chuvarillathe(Jayachandran).Mankombu Gopalakrishnan wrote,three:Ee Puzhayum(Yesudas),Dhanumasa pularikal(Sujatha) and Bhagavathi Kavil Vacho(MG Sreekumar).We see a waning Ravi here.Ee Puzhayum is the average one among them.It was the Debut movie of Mamta Mohan Das.
SONG 11:THA GEHA KRITHYA NIRATHA/FILM:MAYOOKHAM/VIJITHA

Ace director Bharathan called Ravi for Vaisali(1989) and Padheyam(1993).Though Padheyam is not a good work of Ravi,Vaisali was a land mark.Except Poomullakkattil by Chitra,all songs were hits.It told the Rishyasringa story.I was not aware of the Rishyasringa  temple at Kigga,Sringeri, and that Sringeri got its name from him,at the time when I saw the movie.It seems Bharathan didn't knew either;the movie was shot in Idukki.Kigga itself is amazing - I was there four months back.Vaisali was scripted by MT and Padheyam by Lohitha Das.Actor Gopi was one of the producers of padheyam,a compelling story of an unusual love between a young girl and a senior poet.It was Chippi's debut film.Out of six songs by Kaithapram,only two are remembered:(Chandrakantham kondu(versions of Yesudas & Chitra) and Rasanilavinu Tharunyam.

SONG 12:RASANILAVINU/FILM:PADHEYAM/YESUDAS,CHITRA

 Jayaraj,had assiste Bharathan, for six movies,from,Chilambu(1986).He had met Ravi during the recording of Vaisali.Jayaraj,aptly named his debut movie,Vidyarambham(1990).Three songs in the movie,Uthralikkavile(Yesudas),Poovarambin Thazhe(Chitra) and Pathira kombile didn't click much.Kaithapram,it seems,was not having the same wave length.Uthralikavile, was set to raga,Mohanam;Bhoopali in Hindustani.
SONG 13:PATHIRA KOMBILE/FILM:VIDYARAMBHAM/YESUDAS
The case was different when Yusuf Ali teamed up with Ravi,once again proved by Gazal(1993).Out of nine songs in the movie,Isal Thenkanam and Sangeethame are ever green.
SONG14:ISAL THENKANAM/FILM:GAZAL/YESUDAS,CHITRA
Its original was Mujhe Pyar ki Zindagi dene Wale sung by Rafi and Asha Bhosle in Pyar Ka Sagar.Of course,Hindi tune was also by Ravi.
MUJHE PYAR/FILM:PYAR KA SAGAR/RAFI,ASHA
The best of Yesudas appeared in an unreleased movie,Kalivakku(1998).It was to be directed by either Vinu or Paul Njarakkal.It was also the best of K Jayakumar.
SONG 15:YADUKULA KOKILA/FILM:KALIVAKKU/YESUDAS
SONG 16:GAGANA NEELIMA/FILM:KALIVAKKU/YESUDAS
SONG 17:SAMAGANA LAYA/FILM:KALIVAKKU/YESUDAS
Three songs in the movie,Five Star Hospital(1997), directed by Thaha retained some of the inherent qualities of Ravi:Maranno nee nilavil,Ithra Madhurikumo and Vathil Thurakku Kaalame.It had one song by K G Markose-Anadi Gayakan.Lyrics were by Yusuf Ali.Maranno nee nilavil reminds me of the Naushad songs in Dhwani.
SONG 18:MARANNO NEE/FILM:FIVE STAR HOSPITAL/YESUDAS
 There is nothing home to write about the songs in Manassil Oru Manjuthulli(2000).It was the only movie directed by Mumbai business man,Jaikumar Nair with serial actors Krishnakumar and Praveena in lead roles.Along with M D Rajendran,Suresh Ramanthali too wrote lyrics.
Ravi's only Malayalam album,Aavani Kanavukal (1997)had 10 songs.Six solos of Unni Menon,one duet of Unni Menon with S Janaki,One each of Janaki and Daleema.Both Unni Menon and Manoj Krishnan had their versions of one song,Chundathu Thenulla...
While Ravi was very active in Malayalam,Ousepachan,reputed Malayalam composer,lifted a 1965 Hindi tune of Ravi and used it in the Priyadarshan movie,Megham(1999).
SONG:NJAN ORU PATTU PADAM/FILM:MEGHAM/YESUDAS
SONG:O MERE ZOHRA JABEEN/FILM:WAQT/MANNA DEY
 
Ravi died a  sad man-in his final years,he was harassed by his estranged son,Ajay Shankar and his wife,the Marathi actress,Varsha Usgaonkar.Ravi lamented that his son and his wife wanted to throw him out of his house(The Deccan Chronicle,27 December,2011).Ravi's wife had died in 1986. 
Reference:1.malayalachalachithram.com 2.malayalasangeetham.info.3.My talks with Manoj Krishnan,Ravi's assistant

See my post,THE DUET:BENGALI EMBRACES MALAYALAM
 

  

Friday 14 November 2014

THE DUET: BENGALI EMBRACES MALAYALAM

Salil-da had another wife, Malayalam was a mistress

Malayalam owes it to the serendipity of Ramu Kariat.In the mid-1960s he was determined to make a cinematic statement. He was mesmerized by the scriptwriter of Do Bigha Zamin(1953) and music composer of Madhumati(1958). Ramu Kariat, Director of the epoch-making film, Chemmeen(1965), met that script writer and composer, Salil Chowdhury. Madhumati had two stalwarts and was scripted by Ritwick Ghatak; its Editor was Hrishikesh Mukherjee, who later edited Chemmeen, Ezhu Rathrikal and Nellu.

 
Salil Chowdhury
It was not music that changed Salil's life; it was the story, Rikshawalla that he wrote in the early 50s. His close friend Ritwick Ghatak wanted to make it into a film. But when Bimal Roy visited Kolkata, Ritwick made Salil tell him the story. It was shot in Hindi in 1953 as the famous Do Bigha Zamin. Bimal Roy wanted initially Salil to write the script only but was asked to do the music later. Rickshawalla finally made in Bengali in 1955 was a flop. His debut in Bengali was Poribortan(1949).It had a chorus and a solo,Abujh manre bal morey.Debabrata Biswas, whom he knew from the Indian People's Theatre Association(IPTA )days, sang the debut song for him(source: Wikipedia). Debabrata had sung some of Salil's protest songs.Mahabharoti(1994) was Salil's last  Bengali movie.

Salil Chowdhury(1922-1995) was born in Kothaliya, Sonarpur in the 24 Parganas district of West Bengal; it was also the birthplace of Subash Chandra Bose. Salil spent his childhood in the village, of Harinavi. His father, Dr Gyendra Mohan Chowdhury was working in a tea garden in Assam. The childhood days Salil spent in Assam made him a musician. His father had inherited a lot of Western classical records and a gramophone from the departing Irish doctor. Salil listened to Beethoven, Mozart, Chopin and Tchaikovsky. He heard the chirping of birds in the jungles and listened to Assamese folk music. Mozart, who died at 35 and created six hundred compositions, was his favourite. He used to joke later that he was Mozart reborn. He taught himself flute. He learnt Piano, violin and Esraj.

He also imbibed progressive ideas from his father who used to stage plays with the coolies and tea garden workers. According to Reghu Chakraborty, Salil's friend and close associate, financial difficulties, pushed Salil to choose music as his vocation. His father, who resigned from his job in Assam, died suddenly. It fell on Salil to look after the family were eight brothers and sisters. When he joined the Bangabashi College in Kolkata in 1944, he became part of the Communist Party. He took part, as a worker in the peasant movement, in the Tebhaga struggle of the Kisan Sabha. At that time,share-cropping peasants had to give half their harvest to the owners of the land; the demand of the tebhaga (sharing by thirds) movement was to reduce the share to one-third. His first protest song was Bheschhe baaner Jale, when he was only 21.

Sabita
Salil joined the IPTA of the Party as a flute player. The song, Kono ek gayer Bodhu he composed when he was 27 became very popular. It infused a new wave to Bengali music. In the mid-sixties, he drifted away from the movement disliked the infighting in the party, the petty jealousies over his success and the Party's attempts to control the artistic content of his work.

One more incident shook his life: he fell out with the singer, Hemant Kumar.

Manna Dey with Sulochana
It was just after the split in the Party that he got the call from Kerala. Chemmen released on 19 August 1965 won the national award for best feature film and Marcus Bartley won the gold for Cinematography at the Cannes Festival. Salil Da introduced Manna Dey to Malayalam, though Manna Dey had married Sulochana of Kannur in Kerala, in 1953. Sulochana rehearsed him for several days to get the pronunciation right. Her father Kumaran had a business in Mumbai. She sang the duet, Ami Tomaro Shongey Bendeehi amaro pran with Manna Dey at a Rabindra Sangeeth recital organized by the Indian Cultural League in May 1948. Manna Dey was teaching Rabindra Sangeeth in Mumbai. Love blossomed."I can claim without the slightest hint of embarrassment that all the love songs I ever sang following our marriage are dedicated exclusively to her," he wrote in his autobiography.

SONG 1: MANASA MAINE VARU/FILM:CHEMMEEN/MANNA DEY
 

Now, let us listen to the Bengali version by Yesudas and Sabita in the 1979 movie, Srikanter Will. Several people are curious why Salil didn't retain, Manna Dey. This is the only song people don't dare to attempt in Kerala-where is the initial humming of Manna Dey when Yesudas attempted?

SONG:NAAM SOKUNTALA TAAR/FILM:SRIKANTER TAAR/YESUDAS,SABITA


Here is the one by Hariharan, for the dubbed version of Chemmeen in Hindi, Chemmeen Lehren(1980). The movie was dubbed into English as The Anger of the Sea.

SONG: PYASA HAI MAN KYA KARU/FILM:CHEMMEEN LEHREN/HARIHARAN


The original of Puthanvalakkare is, Bagh Mein Kali Khili in the 1965 Hindi movie, Chand aur Suraj.

SONG: BAGH MEIN KALI/FILM: CHAND AUR SURAJ/ASHA BHOSLE


Kadalinakkare was based on the Bengali folk song,Hay,Hay,Herilam by Nirmalendu Chowdhury.Salil da wanted Lata Mangeshkar to sing Kadalinakkare; She had a fever, so, Yesudas lent the voice!

SONG: HAY HAY HERILAM/NIRMALENDU CHOWDHURY

   
Salil Da composed music for 70 Hindi,41 Bengali and 27 Malayalam movies and one Malayalam album.111 songs in Malayalam. Out of 27, four were background scores: Abhayam(1970), Dweep(1977), Vellam(1984)and Vasthuhara(1991). After Chemmeen, the next in Malayalam was Ezhu Rathrikal(1968), directed again by Ramu Kariat. It had the Bengali, Kamal Bose, as a Cameraman. Lyrics again by Vayalar Rama Varma. The song, Kaadaru Masam by KJ Yesudas is still fresh.

SONG 2:KAADARU MASAM/FILM:EZHURATHRIKAL/YESUDAS
 

But the rendering of a five-line poem, evoking the depth of night, by PB Sreenivas is haunting. It has no percussion, only the piano chords to seize the mysteries of the night. The only song PB Sreenivas did for Salil is my favourite. The lyric is unique.

SONG3:RAATHRI,RAATHRI/FILM:EZHU RATHRIKAL/PB SREENIVAS



I remember  Kakkakarumbikale sung by Yesudas, Anto, KP Udayabhanu and Latha Raju too. The song, Makkathu Poyvarum was composed by Latha's mother, Santha P Nair in Salil's absence. Salil scored background music for the 1970 movie, Abhayam directed by Ramu Kariat. The music was by Dakshina Moorthy. It had 13 songs/poems.

For the first time, ONV Kurup teamed up with Salil Da for Swapnam (1973) directed by Babu Nanthancode. Madhu and Nanditha Bose were the leading pairs. All five songs are still remembered: 1. Mane Mane 2.Kanakuyile 3. Nee Varu Kavyadevathe 4. Sarike, En Sarike 5. Sourayudathil. Babu the director, later left movies and became a priest, with the name, Brother Thoma. His last movie had this name on the credit card. He was an Adayar Film Institute product. He studied Cinematography, and was a tutor in the Institute for a brief period, under T Vaiyadurai, his guru and dept Head. He worked there for two years there as a production manager. Cameraman Nivas and actor Sudheer were his friends. Nivas had been the cameraman for Bharathiraja, and through him, Babu knew Bharatiraja.

His first movie was Dhakam (1972), in Tamil, and it was a flop. He was assisted in the script by Vaiyadurai and K K Raman; Vaiyadurai wielded the camera. The cast included  Muthuraman, Nandita Bose, Sundarrajan, Pandharibai, Rajakokila, Renuka Parvathi, and Jayaseelam. One of the lyricists on the credit card is Bharati- Bharathiraja?

After becoming Brother Thoma, he gave up chappals. He was seen walking barefoot on the Merina beach, in the scorching son. He didn't join any Church and was a self-styled evangelist. He used to deliver public sermons in Nagercoil towards the end. Former minister B Wellington and owner of Madras Cafe, Narayanan decided to launch a movie project with Baby. When they boarded the train from Cochin to meet him in Chennai, he took a train to Kerala, to avoid them. Thus he left filmdom.


SONG4:NEE VARU KAVYADEVATHE/FILM:SWAPNAM/YESUDAS


Original of Mane, Mane was,the 1971 Tarun Banerji Song, Aarderi nei Aschi.

SONG:AARDERI NEI AAMI ASCHI/TARUN BANERJI


It was recycled into Hindi by Salil, using Yesudas, in 1978, for an unreleased film.The song was,Gaa Mann mere gaao Tarane.
  
  
In those days, novels were adapted into movies. Chemmeen by Thakazhi Sivasankara Pillai, Abhayam by Perumbadavam Sreedharan and Swapnam by P Kesava Dev. The next film of Ramu Karyat was adapted from Nellu by P Valsala(1974). It was the debut movie of Cinematographer Balumahendra and actor Mohan Sharma. Prem Nazir and Jayabharathi were in lead roles. Jayabharathi was brought in because Saradha refused the role of a tribal woman. Ramu asked K G George, SL Puram Sadanandan and Valsala to write the script. He took portions from the three and re-wrote. Hrishikesh Mukherjee was the Editor again.
There were four songs penned by Vayalar. Though people think that Manna Dey sang only one song, Manasa Maine, he sang, Chemba, Chemba with Jayachandran in Nellu.

SONG5: CHEMBA CHEMBA/FILM:NELLU/MANNA DEY, JAYACHANDRAN


Lata Mangeshkar sang her only song in Malayalam,Kadali,Chenkadali.Yesudas and Madhuri sang,Neelaponmane and Kadu Kuliranu by P Suseela. 

Original of Chemba Chemba was O bhai re bhai from the Bengali movie, Marjina Abdullah(1973).

SONG:O BHAI RE BHAI/FILM:MARJINA ABDULLAH/MANNA DEY


Kadali,Chenkadali was adapted from Sandhya Mukherjee's song, Sajani, Go Sajani.

SONG:SAJANI GO SAJANI/GEETHASREE SANDHYA MUKHERJEE


See the original of Neelaponmane.

SONG:O NEEL NEEL PAKSHI/ GEETHASREE SANDHYA MUKHERJEE(1973)

  
Director N Sankaran Nair used Salil Da's talents for five of his films Leela (1975), Thulavarsham (1976), Madanolsavam (1978), Ee Ganam Marakumo (1978) and Chuvanna Chirakukal(1979). All the songs in Madanolsavam are evergreen hits. ONV once again teamed up with the Kamal Haasan movie, Rasa Leela. Four songs in the movie have stood the test of time;1.Manaykale Thathe 2.Neeyum Vidhavayo 3. Nisasurabhikal 4. Ayilyam padathe penne.

SONG 6:MANAYKALE THATHE/FILM:RASA LEELA/YESUDAS

                                          


But my favourite is Neeyum Vidhavayo by P Suseela because of the lyrical quality. The widow played by Jayasudha asks the full moon, You too a widow?

SONG 7:NEEYUM VIDHAVAYO/FILM:RASA LEELA/P SUSEELA
                                       
  

 It was during the research for this post that I  discovered, one song in Thulavarsham, Swapnadanam  Njan, was written by my former colleague, Chovallur Krishnan Kutty. Vayalar wrote,Keli nalinam andYamune Nee Ozhuku .These three were composed by Salil Da. Dakshina Murthy was the other composer. Hema Chowdhury was the heroine.

SONG 8:SWAPNADANAM NJAN/FILM:THULAVARSHAM/S JANAKI


Madanolsavam took Salil da to new heights, with ONV. All six songs were instant hits:1.Madaprave Va 2.Sandhye 3.Mele Poomala 4.Ee Malar Kanyakal 5.Nee Mayum Nilavo 6.Sagarame Santhamaka Nee...Nee Mayum Nilavo is ethereal, and my second favorite of Salil. A rare gem.

SONG 9:SAGARAME/FILM:MADANOLSAVAM/YESUDAS


SONG 10:NEE MAYUM NILAVO/FILM:MADANOLSAVAM/YESUDAS


Mele Poomala was sung by Salil's second wife, Sabita (Banerjee) Chowdhury with Yesudas. Salil had three daughters with his first wife, Jyoti (the marriage was on July 14,1952): Aloka, Tulika and Lipika. In Sabita, two daughters: Antara the singer, and Sanchari and the sons, Sanjoy and Bobby.

Aurina Chatterji, granddaughter of Jyoti, and daughter of Lipika, who lives in Mumbai/Toronto, Says that the Jyoti family used to refer to him as Bapi dadu. He was an infrequent visitor at,16, Hi Krest, Perry Cross Road, Bandra, Jyoti's house. Salil, according to Aurina, was a benevolent ghost. The walls of the house were plastered with his photographs. Salil was a tutor to Jyoti in Philosophy. Malayalees have an answer here, in why he gave only copies to Malayalam. It was definitely an aberration. Vayalar Rama Varma's wife's younger sister, Bharathi, became Vayalar's wife. I have seen the first wife as a domestic servant in my place, Tripunithura. N Mohanan, writer, and son of Lalithambika Antharjanam, who was with the Sahitya Akademi called me once to say that the Akademi has sanctioned a pension to Vayalar's wife. But they found he had another wife.
Aurina Chatterji

Now, we have another revelation in Malayalam by Saraswathi, daughter of Karoor Neelakanta Pillai, writer. She says, there was a proposal from Vayalar. As far as I know, Vayalar loved only one woman, the actress, Ragini, who was married to Madhavan Thampi. I was sitting in the actress, Padmini's home in Chennai, in 1987, talking to her. The children in the colony were playing cricket outside. Suddenly, two girls appeared in the room. One girl, I knew-Amala, is now the wife of Telugu superstar, Nagarjuna. The other girl was dark. Padmini, the one-time heroine of Rajkapur, introduced her as Lakshmi; the daughter of Ragini. The Travancore sisters, Lalitha, Padmini and Ragini, danced and were in the limelight for long. Ragini enjoyed her drinks. A genius may have other relationships. To be frank, the Jyoti branch is better. Aloka was a Professor, liked by her students.


Now I quote Aurina, verbatim:
One day, in our Bapi-bedecked hall, my older cousin told me in conspiratorial tones that Bapi had another wife and he had other children and that is why he lived in Calcutta, and that is why we rarely saw him.

Ramu Kariat

Aurina says then that she was a happily stupid child. She continues: I didn't think of my mother's devastation, nor the stigma of my grandmother in the 1960s in India....he once accompanied Charlie Chaplin on Piano...But for all his generosity, when it comes to the outside world, like so many luminaries before and after him, Bapi was less than exemplary in his personal life. He had abandoned a devoted wife, a wife he had fallen for while he tutored her in Philosophy, a wife he had secretly married much to the chagrin of her Brahmin father, a wife who selflessly clothed and fed and mothered many of the Film and Cinema aspirants who followed Bapi from small town Bengal. He abandoned his three little ones, the musically named Aloka, Tulika and Lipika, who to my shock and eternal admiration, harbour no regret against their deeply loving but absent father. He always disappeared behind the fragrance of his tobacco pipe...

Young Salil

Finally, Aurina asks some questions about him if he were alive now: What was it like to hide in toilet holes to escape the British? Did you really think Stalin was a good man? How about Brezhnev? Can you teach me how to create harmonies? What are your thoughts on Putin? What do you think of the CPI(m) now?
(Salil died when Aurina was 12)
Salil with pipe


 
SONG11:MELE POOMALA/FILM:MADANOLSAVAM/YESUDAS,SABITA
Sankaran Nair's Ee Ganam Marakumo saw the ONV-Salil combine again hitting the charts. The four songs in the movie are still known 1. Ee kaikalil 2.Kalakalam 3.Onapoove,Omal Poove 4.Rakuyile Urangoo...

Salil again tried Sabita with Yesudas.Rakuyile Urangoo had its original in Raat kuheli in the Bengali film,Rai Bahadur.Its Hindi version is  Chaand Kabhi in Sapan Suhane.

SONG 12: RAKUYILE /FILM:EE GANAM MARAKUMO/YESUDAS, SABITA


 For Salil,1975 was successful. Three commercial directors, Kunchako, Bhim Singh and P A Thomas commissioned him, proving  Salil a huge success in mainstream Malayalam Cinema. Kunchako invited him for Neelaponman,  Bhim Singh for Ragam and PA Thomas for Thomasleeha. It is also amazing to note that Kunchako used Marcus Bartley as the Cameraman for Neelaponman.A Cannes winner for Kunchako!The three songs out of five, penned by Vayalar are still hits:1.Kaadu Karutha Kadu 2.Kilu kilum 3.Theyyam Theyyam Thare.Theyyam Theyyam was based on his Bengali classic, Dhitang dhitang bole sung by Hemant Mukherjee(1954). Lata Mangeshkar's version followed in Aawaz (1956).

SONG:DHITANG DHITANG/HEMANT KUMAR


Salil met Hemant Kumar for the first time, in the house of Debabrata Biswas, in the early 40s. After joining the Communist Party in 1946, Salil spent most of his time in Jashoda Bhavan, where he took part in political discussions. In one such discussion, Krishno Bandopadhyay suggested to Salil to request Hemant to sing his songs. Salil met Hemant at his Indra Roy Road residence 1n 1948. The party had become illegal after the Calcutta Thesis. Hemant asked Salil to come up with something new since it was a difficult time. Salil went back and finished the half-written song.Kono ek Gayer Bodhu was born.Salil went undergroundHemant himself recorded it as a Puja number was a sensation.

SONG:KONO EK GAYER BODHU/HEMANT KUMAR


Its tune was copied in the 1979 film, Devadasi by Salil himself.

SONG 13: ORU NAL VISANNERE/FILM: DEVADASI/YESUDAS


Sharmila Tagore was there in Chuvanna Chirakukal.Among the four songs by ONV, people remember two. Neeyoromal was based on the 1973 Bengali song, Nayone tari from, Pasher Bari, sung by Dhananjaya Bhattacharya.Parannu poi nee came from, Mone pode Sei, in Antarghat.Hindi version is Kishore Kumar's Man kare Yaad in Aakhiri Badlaa.

SONG 14: NEEYOROMAL KAVYA/FILM:CHUVANNA CHIRAKUKAL/YESUDAS

 
Don't you think, this is a copy of Neelaponmane? Copying a Malayalam song himself!

SONG: NAYANE TARI/FILM:PASHER BARI/DHANANJAYA BHATTACHARYA

                                        
 

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