Reflections on the peerless P Susheela, who’s found her way into the record books.
When I learnt that P Susheela had found her way into the Guinness Book of World Records and the Asia Book of Records for singing the most number of songs in Indian languages, there were two reactions. The first, a smile – for the singer was such a part of my growing-up years. By the time my generation came along in the 1970s, Susheela had already completed two decades of singing, but because audio-cassette recording shops had not yet proliferated, music still meant only whatever was aired on TV and the radio – you breathed it all in, old songs, new songs, and it all became part of your consciousness. This was possibly the last generation whose music wasn’t just their music, the music of their times, but also the music of their parents’ times, their grandparents’ time.
The second reaction was that of incredulity. According to the Guinness Book of Records, Susheela has sung 17695 songs. The Asia Book of Records has the number as 17330. And apparently, these are just the songs she sang from the 1960s onwards, which leads one to wonder just what the figures would be if we included her output from the previous decade. I got down to some number-crunching. Even if we stick to the figure 17000, and spread it over the three decades during which Susheela sang the most songs, the 1960s to the 1990s, the average is 1.5 songs a day. And it’s not just the singing. It’s learning the words, the tune. It’s learning the enunciation (because those days, you couldn’t get away sounding like today’s Tamil-film heroines, those imports from Ludhiana who give interviews to the Chennai media about how they love idlis). It’s getting in sync with a live orchestra, where one mistake meant that the song would have to be recorded all over again. You have to really like what you are doing to do this day after day, year after year, decade after decade.
But then, what was not to like? There must have been days you’d sing a duet with TM Soundararajan. Say, Paattukku paatteduthu. Nearly six minutes of song, with two vocal parts and several instrumentalists, including someone who appears to be playing a theremin. It is the theremin, right? What other instrument could sound so eerie, as though the breeze were transforming, before your eyes, into a quavering ghost? Where did MS Viswanathan get it, and how did he find someone to play it? But enough about the theremin. The song itself isn’t just one set of tunes for the lines in the opening part and another set for the stanzas. Each stanza is a kind of variation on a theme – similar-sounding, yet different. And the rhythms aren’t even. Some lines are syllabic, some melismatic. How many days must Susheela have spent on this single song, and how many songs did she cram into other days in order to make up that average?
Then there must have been days with PB Srinivas on the adjacent microphone. Like the day the Viswanathan-Ramamurthy duo decided to adapt a couple of lines from a Mexican bolero titled Besame mucho and make Anubavam pudhumai. The result: a sensuous tune that unfurls like smoke from a post-coital cigarette. And what pleasures along the way. One of the repeating lines is whistled. The first line of Susheela’s stanza is whispered into the night. Or think of the day the same singers were recording Kaatru veliyidai Kannamma, the words by Subrahmanya Bharathi. PB Srinivas sings the opening line. Susheela, as Kannamma, hums, as though mimicking the gentle breeze he’s alluding to. His words get more intoxicating. He says that when he utters her name, it’s like tasting nectar. So he utters the name again. And again. Kannamma… Kannamma… The listener has it easier. He just has to wait for Susheela’s voice, with its hint of nasality in the higher registers, the aural answer to the mole on Elizabeth Taylor’s cheek.
Even the days there was no one else, when it was just a solo, it mustn’t have taken much for Susheela to will herself to work. Imagine missing out on Chittukuruvi mutham koduthu, for instance. Or Pakkathu veettu paruva machan. Or Oru naal iravil. Or Kalyana pandhal alangaaram. Maybe I am focusing too much on songs from the sixties, with not a mention from the Ilayaraja era, not even Susheela’s lovely, languorous humming that opens the prelude of Paadavandhadhor gaanam. But when the number is 17695 (or 17330), you need a book. And assistance from those who know the songs she sang in Telugu, Kannada, Malayalam, Hindi. The only Hindi songs I knew of hers are the ones from Akbar, the dubbed-in-Tamil version of Mughal-e-Azam, so I decided to check what else was out there. To my amazement, I found a song by, of all people, Bappi Lahiri. It’s a duet with Kishore Kumar, from a 1986 potboiler named Singhasan. Susheela doesn’t sound very interested in the song, which goes Tere liye maine janam liya. Could you blame her? It’s like hiring Sherlock Holmes because you can’t find your reading glasses.
P Susheela has often been compared to Lata Mangeshkar. Not only are their voices similar – they’re both sopranos – they are also held responsible for the virginal image of the heroine. But can you really blame them? Silvery, high-pitched voices aren’t exactly the best at projecting breathy sex appeal, even if there was an Anubavam pudhumai here, a Naanamo there. This type of voice is regarded less reverently in some quarters. When I played these songs to some non-Indian friends, raised on a diet of rock and jazz singers, they winced at the higher notes. And then I started noticing the extraordinarily high pitches in the songs, some of which are listed above. It doesn’t bother me. It doesn’t make me re-evaluate Susheela’s marvellous songs, her marvellous singing. It’s just an extra level of awareness, like realising your house is a little draughty when a guest points it out. But to you, it’s always been home, it always will be home.
An edited version of this piece can be found here. Copyright ©2016 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
sanjana
April 9, 2016
Lata and Susheela. Both are similar in some respects only.
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sanjana
April 9, 2016
Susheela has a much more sharper voice. Her telugu songs are a treat to listen. There were equally well appreciated singing talents during her period like P.Leela, Jikki, Bhanumathi.
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Sifter
April 9, 2016
Gosh, I was waiting, thinking, willing you to write about one of my absolute favourite singers. Thank you, it was worth the wait. Still to figure out how to add songs in the comments, but am looking forward for them to come in the comments ahead 🙂
This was possibly the last generation whose music wasn’t just their music, the music of their times, but also the music of their parents’ times, their grandparents’ time – Can’t agree with you more.
Lol at the imports from Ludhiana giving interviews to Chennai media about how they love idlis 🙂 🙂 It’s like hiring Sherlock Holmes because you can’t find your reading glasses 🙂 🙂 🙂
Theremin. Wow. Did you remember it because of the recent Clara Rockmore’s Google doodle?
Her nasality never once made me wince; unlike most of the rest.
Playing these songs to non-Indian friends? I would only say that they have their legends, we have ours. I don’t get their extreme falsetto or over the top gospel registers etc too. But like a lot of them all the same. If they wince at the high registers, you are right, it shouldn’t bother us at all.
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Madan
April 9, 2016
Silvery, high-pitched voices aren’t exactly the best at projecting breathy sex appeal,
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Shalini
April 9, 2016
As morning treats go, this piece beats even pain au chocolat. Thank you. After the Lata – Guinness record debacle I’m afraid I cast a wary eye on all claims of “most songs sung” but then that’s not really the point of this article is it? One cannot “record” the immeasurable joy these artistes have provided us beauty-starved souls over the decades.
That bit about the reaction of non-Indians to the high-pitched voices of Indian female singers brought a wry smile of remembrance for the time when a college roommate asked if “she always sounds like a little girl” upon hearing Lata singing “haye re woh din kyon na aaye”. 😦 Even with my partiality for the younger sister, that stung, for as you say – Lata and her era are home.
I haven’t come across much by P. Susheela in Hindi either, but a friend introduced me to this lovely number from “Daku Bhupat” many years ago. Hopefully it makes up for the Bappida “gem”. 😀
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Santosh Kumar T K
April 9, 2016
maybe i have said this before but will say this again: i so wish we telugu readers/audiences/consumers had someone like you to give the mainstream space the respect it deserves by investing this much.
the telugu space — often derided for not pandering to the liberal agendas (rightfully so, mostly!) — had so much going for it in the mainstream, it required writers of a careful eye, patience, love and respect to unearth out the innumerable gems. without this nice core, it would have been impossible to sell the garbage it effortlessly sells today. they might not appear to be so, as their neighbors are, but the telugu audiences are very critical and hard to please. however obscenely successful the garbage is, they know it as garbage. so said space must have had something brilliant going on — unnoticed and unarticulated — back then to gain the acceptance and respect.
p susheela, chiranjeevi, chitra, kodandarami reddy, yandamuri, ntr, anr, svr, chakrapani, venkatesh, nagarjuna, s janaki, ilaiyaraaja, k v mahadevan, m m keeravani, suhasini, jayaprada, jayasudha, k vishwanath, ramgopal varma, jandhyala, and SPB.
sigh, BR, sigh!
maybe i have said this before but will say this again: i so wish we telugu readers/audiences/consumers had someone like you to give the mainstream space the respect it deserves by investing this much.
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lakshmi
April 9, 2016
Here are two Telugu songs:
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Ana
April 9, 2016
What a singer..
Admire the way she would effortlessly bring in subtle variations and style in songs below: (if we assume that she didnt improvise and all the credit should go to MSV, KVM or IR)
–Indru vandha inba mayakkam (kasethan kadavulada)
–the line”thamizh engal uyarvukku vaan” and the corresponding line in the second stanza sung in different styles (“thamizhukkum amudhendru” from panchavarnakkili)
–the way she spells the word “thedi” in the pallavi of aasayila paathikkatti (enga ooru kavalkaran)
–the forgotten female version of raasave unnai kaanadha nenju (vaidehi) where she would have sung the tunes different to Jayachandran (there is an SPB version too !)
–Not so popular “Paruvam pona paadhayile..” from dheivathai
–The way she sings “thaalattu paada” in unnai ondru ketpen (the colossal pudhiya paravai)
–Bringing the mood in front of us in songs like maalaip pozhudhin mayakkathile or kanna karumai nira kanna
etc. etc. etc.
Though the conditions were such during her times, it is unfortunate that she is not celebrated enough for the fact that she would render the full song with impeccable pronunciation (for someone who can’t speak fluent tamil yet), clarity and induce her individual style as well.
her ardent fans include stalwarts like IR, Vairamuthu, SPB, ARR and others..
Vairamuthu’s love for her is obvious (sugamana kural yaar endral suseela vin kural enben–Youth, hello suseela aunty….ellorum ennai manniyungal-amarkalam, asha bhonsle suseela kural ondru koodi aalapanaigal seidhal ennavaagum podi–poovellam kettu paar)
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Iswarya
April 10, 2016
Thanks BR, for this terrific article. First thing, I’m so so glad that we didn’t have to wait for this piece to appear as an obituary. With some of our legends, that’s exactly what happens. (I’m thinking here especially of TMS and MSV.)
Second, what an awesome choice of songs to highlight! Apart from some of your exquisite images like “sensuous tune that unfurls like smoke from a post-coital cigarette,” and “aural answer to the mole on Elizabeth Taylor’s cheek,” it was your savouring the sounds of a ‘Paatukku Paateduthu’ or ‘Kaatru Veliyidai’ that made this write-up so completely transporting.
As for “the last generation whose music wasn’t just their music, the music of their times, but also the music of their parents’ times, their grandparents’ time,” I guess I should just count myself exceptionally lucky. Having been born at a time when radio was rapidly disappearing from households, I feel glad at least about living in the age of the internet with its gargantuan memory where little gems from the past are all tucked away. As for stumbling upon those rare treats and looking out actively for them, in other words, developing a taste for the music of bygone times, it helps that the better half is from an age when radio (apart from occasional LPs) was the only entertainment available to the common man. Totally owe my PS-love to that factor.
The Guiness record thing actually made me wonder once again about why there is no longevity for singing voices anymore. Especially since I was listening to “Konjam nilavu” online today and the question whatever happened to that Anupama became a subject of discussion around. Consequences of living in the age of impatience and quick decay, I guess.
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Yoganand Netrakanti
April 10, 2016
Except for a very few songs in other languages, Lata mostly sang in Hindi. But Susheela has the unique credit of singing in all South Indian languages, and also in Hindi. Except for P. Bhanumathi, Susheela has lent her voice to all the top-most heroines in the South Indian heroines,. She has sung songs with almost all the popular singers under popular music directors f or the last six-decades.Infact, she is credited with singing all the veena-songs (songs where the herorines play Veena in the movies) in Telugu. Unlike Lata, Susheela also recited Sanskrit slokas on Hindu gods and goddesses.All the navarasas were emoted through her voice. She has a crystal-clear voice that utters the words and sounds of other language songs not only Telugu. A website developed in her name has updated her autobigraphy is really a treasure-trove not only for the fans of P. Susheela but also for the fans of music.http://psusheela.org/
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Yoganand Netrakanti
April 10, 2016
“…they[Lata and Susheela] are also held responsible for the virginal image of the heroine” was your comment/opinion on the voice. Put it other way, Lata and Susheela voices are the virginal, original and auditory symbols of the heroines. Their voices were in sync with the body-language of the heroines during the songs.
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Aditi
April 10, 2016
Among the recent crop, I must say Shreya Ghoshal has somehow mastered the technique of making very high pitches sound melodious rather than shrill.
I wonder why duets are usually tilted in favour of the comfort of the male voice. Even sopranos like Chitra struggle to sing high notes in songs like Malargale from Love Birds, and Uyirey from Bombay. Makes some parts of the songs very difficult to listen to. If only they had recorded them a scale (or even half) lower. Would that be so difficult a scale for a singer like Hariharan? Genuinely curious.
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Madan
April 10, 2016
when a college roommate asked if “she always sounds like a little girl”
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brangan
April 10, 2016
Iswarya: It’s strange though. Yes, the Internet has everything, but from what I see, people seek out what they know, feel nostalgic about. So again, we’re in the same boat. I don’t see too many youngsters seeking out pre-Ilayaraja songs, for instance. Just like the “classics” buck stops with RD Burman in the north. Kids won’t go earlier than him.
And thank you for picking out the two instances of imagery I’m especially happy about 😀 Though someone said I’d used the post-coital imagery somewhere earlier, and I can’t seem to remember the piece.
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Madan
April 10, 2016
If only they had recorded them a scale (or even half) lower. Would that be so difficult a scale for a singer like Hariharan? Genuinely curious.
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sanjana
April 10, 2016
Neevuleka veena palukalenannadi from Dr.Chakravarthi.
Neevu ravu nidura radu from Poolarangadu.
Chandana charchita, Jayadeva’s Ashtapadi from Geet Govinda.
Lata
Yeh zindagi usiki hai from Anarkali. Something straight from the heavens
Bole re kathputhli from Kathputhli. Picturised on Vyjayantimala. Film Kathputli.
Jyothi Kalash chalakhe from Bhabhi ki Chudiyaan.
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sanjana
April 10, 2016
Some chirpy songs by Susheela in tamil, mostly duets.
Paal vannam paruvam kandu. Is it from Paasam?
Then unnum vandu maamalarai kandu from Amaradeepam. Check this song by Jikki in the same film, Pachchai kilipadudhu.
Some sad song from Pasamalar. Malarnthu malarada by Susheela and T.M.
Yeh Shaam hai Thanhaiyi by Lata from Aah.
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sanjana
April 10, 2016
After Lata, Rafi, and Geeta Dutt, every singer sounds like them without touching their greatness and individuality. It is not perfection that wins hearts but it is more than that. The films associated with those singers, their history. They are legends. Legends may have some limitations but they dont diminish their contribution. And Susheela is a legend along wirh P. Leela for telugu and tamil films. Quality plus Quantity.
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sanjana
April 10, 2016
It is not necessary to be raspy and breathing hard to convey certain emotion.
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sravishanker1401gmailcom
April 10, 2016
BR : “Post Coital cigarette” Agree with Iswarya – Amazing phraselogy and imagery !
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Madan
April 10, 2016
After Lata, Rafi, and Geeta Dutt, every singer sounds like them without touching their greatness and individuality
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sanjana
April 10, 2016
Udit Narayan displayed sweetness with his own style.
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Srinivasa Yogananda Rao Netrakanti
April 10, 2016
The Voice that Lulled A Thousand Souls
Was this the Voice that Lulled A Thousand Souls
And swept the numberless numbers of delirium?
Sweet Susheela, make us immortal with a song.
Your songs touch forth souls: listen where it raises!
Sing, Susheela, sing, bring us our souls again.
Here will I dwell, for heaven is in your songs,
And all is mass that is not Susheela.
I will be Patron, and for love of thy melody,
Instead of thy, shall World record be sack’d
;And I will not combat with weak Melodies,
And hear thy songs in plumed heart;
Yea, I will bound other Audios in the hell,
And then return to Susheela for a melody.
O, thou art sweeter than the evening air
Surrounded in the music of thousands of songs;
Pouring art thou than raising Juniors
When she appear’d to hapless Musicians;
More melodious than the melodious singers of the songs
In want of allurement worded songs;
And none but she shalt be their singer!
This is a parody of the Scene XIII of the play ‘Doctor Faustus’ by Christopher Marlowe (1564-1593). This parody is not to hurt anybody but to express my liking for the voice of P. Susheela.
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Srinivasa Yogananda Rao Netrakanti
April 10, 2016
Why there is no reference to the songs sung by P. Susheela in other South Indian languages? There is [‘nuptial’] “Hot Romantic Song”) song in Telugu sung by her along with Illayaraja, who composed music. The song is shot on Venkatesh and Tabu. A perfect syncronisation between the heroine’s body language and the voice of that perfectly transports young and old to a very romantic world of their imagination. how luxuriuos the backdrop to the song. The intermitent pauses that come in the songs are very characteristic in P. Susheela’s voice.https://youtu.be/MXHNV5zFwdE
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Ravi K
April 10, 2016
Brangan wrote: “By the time my generation came along in the 1970s, Susheela had already completed two decades of singing, but because audio-cassette recording shops had not yet proliferated, music still meant only whatever was aired on TV and the radio – you breathed it all in, old songs, new songs, and it all became part of your consciousness. This was possibly the last generation whose music wasn’t just their music, the music of their times, but also the music of their parents’ times, their grandparents’ time.”
The situation is reversed with young people here in the US. Kids in the 1960s or 1970s probably wouldn’t be caught dead listening to their parents’ music from the 40s or 50s, but young people from the past 20 years or so are quite interested in music from the 60s, 70s, and 80s. Plenty of young people are into The Beatles, Pink Floyd, The Rolling Stones, David Bowie, The Smiths, etc. Hell, punk rock is 40 years old now! I guess listening to pre-1970s Indian film music would be like kids in the West listening to doo wop or skiffle.
My parents grew up in the TMS/Susheela era, and though I grew up in the US, my dad bought tons of cassettes and CDs of that era’s music. He also rented a lot of old movies, mostly from the 60s, but some from the 70s too.
Iswarya wrote: “The Guiness record thing actually made me wonder once again about why there is no longevity for singing voices anymore. Especially since I was listening to “Konjam nilavu” online today and the question whatever happened to that Anupama became a subject of discussion around. Consequences of living in the age of impatience and quick decay, I guess.”
In previous eras the singing was dominated by a small group of singers. The group was even smaller for female voices. I think it was Rahman who broke that open and started constantly looking for new voices, though before that IR did use a more varied roster than MSV, KVM, etc. Heroes today are not tied to one or two singers for a long time the way they used to be. P. Susheela wasn’t necessarily associated with specific heroines as much as she was the default voice of heroines in general, unlike how TMS was associated with Sivaji and MGR.
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brangan
April 11, 2016
Regarding the “dominated by a small group of singers,” I’ve never felt this a problem. I’ve heard some people say they don’t like the same voices all through the album, but when you buy an album by your favourite western singer or abida parveen or shubha mudgal or jagjit singh or whoever, isn’t the voice the same throughout? The important thing is how good the singer is in projecting the words, emotion etc. Hence the TMS-PBS-PS era, the Rafi-Kishore-Lata-Asha era, the SPB-KJY-Janaki era…
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Iswarya
April 11, 2016
The important thing is how good the singer is in projecting the words, emotion etc. Hence the TMS-PBS-PS era, the Rafi-Kishore-Lata-Asha era, the SPB-KJY-Janaki era…
Exactly. These voices became so iconic, that they virtually represent a particular period and its movies. Even in my school days, I remember a sort of vague grouping like Hariharan-Karthik-Shankar Mahadevan-Sadhana Sargam-Swarnalatha-Chinmayi etc. I mean, not the kind of monopoly that TMS-PS had, but at least a clutch of recognisably distinct voices. But the voices today seem virtually indistinguishable and therefore totally replaceable. Does anyone else feel that way or is it just age catching up with me? 🙂
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Ravi K
April 11, 2016
I don’t have a problem with those singers representing an era, especially when they were such phenomenal singers. It’s comforting to have singers associated with certain eras. That association can transport us back to certain eras and makes them seem like part of the family.
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Ravi K
April 11, 2016
Here are a couple of rousing, upbeat P. Susheela songs:
I think she had a little more crossover into these kinds of songs than Lata did in Hindi. LR Eswari did a lot of the “Asha-esque” songs.
BTW, one thing to keep in mind when listening to these old songs on YouTube clips, DVDs, VCDs, is that the majority of home video releases for these films were transferred to the PAL format, which results in a 4% speed-up of films, which were shot at 24fps. Even many of the NTSC DVDs and VHS tapes were converted from PAL.
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Sifter
April 11, 2016
@ Ana- Double Thumbs up….for the “Indru vandha inba mayakkam (kasethan kadavulada)”
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Naveen
April 11, 2016
i do not follow telugu, but i feel PS and KSC have their best in their mother tongues. for PS, i feel the “Vidhata talapuna” from Sirivennela song has her at her best. what a clarity of tonugue and flow. i dont get a single word of the song, but always felt this is probably her best so far.
https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&sqi=2&ved=0ahUKEwivx42BnIbMAhXKoZQKHQw8AbgQyCkIHTAA&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DvaLtLiiQu5g&usg=AFQjCNGfCS_JuUMds3x-7Aey3ZeKgus8tg&bvm=bv.119028448,d.dGo
similarly for KS chitra, the “manjal prasadavum” song from Nakshathangal,
https://www.google.co.in/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&sqi=2&ved=0ahUKEwivx42BnIbMAhXKoZQKHQw8AbgQyCkIHTAA&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DvaLtLiiQu5g&usg=AFQjCNGfCS_JuUMds3x-7Aey3ZeKgus8tg&bvm=bv.119028448,d.dGo
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priyazzillionthoughts
April 12, 2016
Brangan saab. Always an admirer of your style of writing but this article took my breath away. Such amazing use of phrases and imagery! Hats off to you.
Be it the post-coital cigarette smoke imagery or the one about Elizabeth’s Taylor’s mole…I actually found myself saying “Wow!” aloud on that quiet morning.
Your observation about the Hindi song hits the bull eye. “It’s like hiring Sherlock Holmes because you can’t find your reading glasses.” I heard the song after reading this article and yes, she does sound bored. 🙂
About the use of the theremin in Paattukku paatteduthu…I’ve of late been very interested in this instrument and its use in Indian film music. I’ve been trying to remember this particular haunting song. Thank you so much! By the way, how well this instrument lends itself to our ‘peyi songs’! There are many such songs which though not technically ‘peyi songs’ are sure to send a shiver up your spine. We must make a list of those. Think Jency. Just like how Ilayaraja so insistently gave some particular songs to Jency, he has given some to PS. Perhaps he thought only she could give it the innocence or the nasality…only he will the reasons. Some great songs, I must say.
Yes, and like how many readers have pointed out, the Telugu classics deserve an entire article. I heard somewhere that when PS recorded her first song in Telugu in a song with the legendary Ghantasala, he was a little impatient with the novice struggling to get her notes right. Like fate would have it, by the end of his career, PS was already a reigning star and she had to patiently wait for the fading star to get his failing voice to cooperate. Such is life!
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brangan
April 12, 2016
Via email…
Narasimham: Those who read the above referred article wrongly presume P.Suseela to be a Tamil singer since your ‘critic’ highlighted her contribution to Tamil cinema only while more than 80% of her songs are in Telugu. It is regrettable that there is no mention of a single song of the nightingale in Telugu while she contributed innumerable songs in Telugu either solo or with legendary Ghantasala or S.P. This is not the first time your paper committed such a mistake. When the great actor, singer Bhanumati passed away similar reporting was done and on my pointing out your the then Readers Editor responded expressing regrets.
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sanjana
April 12, 2016
It was not easy for a newcomer to foray into the musical scene in the 1950s with the domination of eminent female vocalists like P. Leela, M. L. Vasanthakumari, Jikki among others ruling the playback industry. Yet, Susheela made her own mark with her distinct and clear vocals. The year 1955 saw Susheela raising to popularity with her back to back hit songs both in Tamil and Telugu film industries. Missamma released in 1955 had hugely popular songs backed with strong carnatic classical essence. Susheela created a huge impact among the listeners with her effortless renditions of the toughest notations. The same year released Tamil film Kanavane Kan Kanda Deivam made her a household name in Tamil Nadu.
Thus began a huge legacy of Susheela, who sang in almost all the films produced since 1955 through 1960s and 1970s till 1985. The legendary Tamil musicians Viswanathan – Ramamurthy duo wrote some of the most evergreen songs of Cinema history in the voice of Susheela. Her duets with the acclaimed singers Ghantasala in Telugu, T. M. Soundararajan in Tamil and P. B. Srinivas in Kannada marked a new era of duet songs in the South Indian music industry. She, along with T. M. Soundararajan went on to record more than hundreds of songs with Viswanathan – Ramamurthy.[11] Susheela’s blockbuster Kannada song “Viraha novu nooru taraha” for the film Edakallu Guddada Mele is listed as one of the top 10 evergreen songs in Indian cinema. Her combination with actress Jayanthi is very popular in Karnataka.
Wiki.
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Honest Raj (formerly 'V'enkatesh)
April 12, 2016
Nobody is denying the fact that she has recorded more songs in her mother tongue, but 80% in a single language is very unlikely. TMS, PBS, KJY, PS, SPB, SJ, Chitra, Unni Krishnan, et al, are all considered Tamils in TN!
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Naveen
April 13, 2016
i don’t understand the 17k number, i believe she has sung over 40k songs. what is the filter that has been applied?
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vijay
April 14, 2016
Playback singing as an art-form is on life support. And melody as a genre is increasingly seen as passe. So not surprised that the discerning among the youngsters are seeking out the oldies. Rahman, unwittingly or not, started a trend of use-and-throw when it came to singers. Most singers who sang for him in the 90s or even the early 2000s are not singing for him or anybody else.why? Some of them seem contented to be glued to the judge’s seats in reality shows.
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Madan
April 15, 2016
vijay: As somebody who grew up in THE Rahman decade (the 90s, just to be clear 😉 ), I cannot agree more. At the time, it was an interesting journey but somewhere along the way I have lost interest and began to listen to more and more old melodies (along with Raja’s contemporary releases, selectively, but we’ll not go there 🙂 ). Now and then a nice tune will catch my attention but mostly I am out of it. In any case most people today listen to music on their own devices so there’s hardly any conversation or sharing of music anymore (except, funnily enough, on the net). Earlier at least we got to know of good songs based on what friends and school/collegemates were listening. Bhulla Ki Jaana was a rage even considering it was already mid noughties. It would be difficult today, more so for a non film artist, to make a splash like that with pure melody which is probably why it doesn’t happen anymore.
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Anon
April 17, 2016
…like smoke from a post-coital cigarette.
🙂
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Naveen
April 18, 2016
happened to listen to Kannan oru Kai Kuzhandhai…awesome. PS in full form. another gem from the maestro. found many links to others’ attempt of this song, but nobody could even cross the first two lines comfortably
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sameoldnewbie
April 19, 2016
Iswarya: “Thanks BR, for this terrific article. I’m so so glad that we didn’t have to wait for this piece to appear as an obituary.”
Yes, thanks BR! My first thought on seeing the post was ‘Oh no! RIP Ms. Susheela’ (I had found out about the great Manorama’s passing away on this site only). Was quite happy to find I was mistaken about it after quickly skimming through the article. Lovely writing as usual.
Iswarya (again): “But the voices today seem virtually indistinguishable and therefore totally replaceable. Does anyone else feel that way or is it just age catching up with me?”
I can kind of understand why you would think so but just wanted to say one voice that stands out for me within the current crop of singers is that of Sid Sriram. He sings along with Anirudh in Yennai Maatrum Kaadhale song – and for me that song highlights the difference. Anirudh – a decent singer – is like you say a generic kind of singer with a not-very-distinguishable voice or quality of singing. Sid’s voice on the other hand has some kind of old-soul quality and the way he pronounces the words and brings out the emotions in them is quite mesmerising (to me at least). He has only sung a handful of Tamil songs and I do wish he sang more often.
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Bharathiraja
April 21, 2016
Paattukku paatteduthu eerie sound is unlikely from theremin. It must be from Music Saw which gives similar sound like theremin.
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Madan
April 24, 2016
I don’t find say Haricharan indistinguishable from Satyaprakash. Even Armaan Malik sounds pretty good on Foolishq. It’s not the singers, it’s the compositions. The compositions lack character or definition. And I don’t know if I should blame the composers themselves too much. Sonu Nigam once said that these days the producer/director only approaches the composer days before the planned audio release and expects them to come up with instant compositions. If this is really true, it doesn’t help matters at all. And of course Bhai has already informed all and sundry that you don’t need singers anymore, just melodyne to cover up the fact that many of today’s so-called actor-singers can’t really sing.
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blurb
April 26, 2016
BR: The other place you used the post-coital imagery was in OK Kanmani review I think.
“After the “Naane varugiren” number, check out Dulquer’s face. He’s got that precise lids-half-closed look that says “I’ve had great sex and I’m feeling drowsy now.” I can’t recall, readily, another film that’s shown us this post-coital sluggishness.”
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kalai
September 29, 2017
To Mr.Baradwaj Rangan.. Great Article Sir. ! I need to clarify your doubt behalf of P.Susheela Fans. We have Submitted the song list of 17695 to break the record of Asha which is 11002 .. It took long time to verify the list. meantime we have approached Asian book of Records with a updated list of 18330 song count.. But some magazines printed it as wrong as 17330 songs. If you see the certificate it is mentioned as 18330 only. Now our count crossed more than 19000 songs which needed to be updated by Guinness Records. Still collections are Going on. Sure. we will prove it more than 20000 songs.
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Sri
October 10, 2022
Thanks much BR for the article.Being a telugu person and a guy born in 80s,I could not find a voice match to P Susheela especially in higher notes where her voice is not shrill and still melodious.
To me she is the voice of South India and deserves all the appreciations and laurels Lata got.
My day will not end without her songs .
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brangan
October 11, 2022
Thank you, Sri. That is my firm opinion, too — that Sushila is the best female singer the south ever got.
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