Write-up Coutesy: Srividya Sanjay, United Satates
Melody King S. Rajeswara Rao’s tryst with cinema came unexpectedly in the form of a talent-scouting Huchins Recording Company to his native Vizianagaram in 1934. A child prodigy, he could identify the ragas at the tender age of four and by the time he was seven, he started giving stage performances. His father, Sanyasi Raju, was a famous miridangam player for the concerts of Dwaram Venkatasamy Naidu and was also a lyricist. Huchins spotted "master" Rajeshwara Rao when he was only 13 years old and took him to Bangalore along with his father from where his life as a musician and stage actor started. Though he acted in stage plays and earned appreciation for his work , his heart was only on music and so he learnt Hindustani classical from Saigal and Mullick. He had already mastered playing the tabla, dholak, and miridangam without the help of a guru. Later he learnt the piano, harmonium, mandolin and the electric guitar too. By this time he had acquired the knowledge of orchestration, of how to mix the sounds of different instruments.
Melody King S. Rajeswara Rao’s tryst with cinema came unexpectedly in the form of a talent-scouting Huchins Recording Company to his native Vizianagaram in 1934. A child prodigy, he could identify the ragas at the tender age of four and by the time he was seven, he started giving stage performances. His father, Sanyasi Raju, was a famous miridangam player for the concerts of Dwaram Venkatasamy Naidu and was also a lyricist. Huchins spotted "master" Rajeshwara Rao when he was only 13 years old and took him to Bangalore along with his father from where his life as a musician and stage actor started. Though he acted in stage plays and earned appreciation for his work , his heart was only on music and so he learnt Hindustani classical from Saigal and Mullick. He had already mastered playing the tabla, dholak, and miridangam without the help of a guru. Later he learnt the piano, harmonium, mandolin and the electric guitar too. By this time he had acquired the knowledge of orchestration, of how to mix the sounds of different instruments.
S.Rajeswara Rao’s entry into films began
with the tamil film “Vishnu leela” in 1938. From then on he went on be a music
director for films like Illalu, bala nagamma, chandralekha ( famous for drum
dance), Jayapradha, etc. He mainly worked for gemini studios during this time
(1940’s -1950s) and gave many hits. Later after quitting gemini, he began to
work with B.N.Reddy and teir first successful combination was
“Malleswari.“Aakasa vidhilo(Ghantasala, bhanumati), pilichina (bhanumati),
manasuna mallela(bhanumathi) are some memorable hits which are heard even
now.The female singers used in this era were Balasaraswathi, Jikki and Leela.
Apart from the film music, he was also successful in creating private albums
with his father as his lyricist.
Some light music numbers include “paata paduma
Krishna”, ummeda Oka saari", "Kopamela Radha",
"Podarintilona", "Rave Rave Koyila", "Challo
Gaalilo"(which is very popular). Among the classical ragas, Rajeswara Rao
likes Bhimplas, Sindhu Bairavi, Kafi, Kalyani, Pahad, and Malkauns, which he
has used most in his songs. Some of the memorable films for which he composed
music are: "Vikramathithan", "PremapAsam", "Paanai
Pidithaval Pagyasali", "Amaradevi", "Iru
Sagotharagal", "Aval Yaar" besides "Chadralehka".
Tamil-Telugu bilinguals: "Allauddin Adbhutha Deepam", "Mangamma
Sabatham", "Apoorva Sagotharaagal", "Missiamma", and
"Chakradhari". Telugu: "Chenchu Lakshmi",
"Bheesma", "BhaleRamudu", "Iddaru Mithurulu",
"Kulagothralu", "Baktha Jeyadeva", "Amarasilpi
Jakkannachari", "Baktha Pragalatha", "Rangula Ratnam",
"Vipranarayana", "Dr Chakravarthy", and "Chitti
Chellue". Hindi: "Chandrelehka" and "Nishan", Thandra
Paparayudu, Kurukshetram etc. Rajeshwara Rao was awarded the honorary doctorate
"Kalaprapoorna" in 1979 by the Andhra University. He was appointed
"Asthana Vidwan" by Tirumala Tirupathi Devasthanams, during which
period he composed music for Annamacharya Keerthanas sung by Ghantasala. These
are a few interesting details about lalitha sangeetha samrat S.Rajeswara
Rao.(Details – extracted from “The Hindu”). In this article we are going to
have a look at PS-SRR combination which was a super hit in the late 50s, 60’s
and early 70’s. He has composed music for around 150 movies in all languagaes. It is estimated that PS could have rendered about 800 numbers
for SRR in all the languages he composed music.
PS-SRR(1950’s)
In this article and the following ones, we are going to have a look at the wonderful numbers of PS-SRR beginning from late 50s, to mid 80’s. It is estimated that PS could have rendered about 800 numbers for SRR during this span. PS started singing for SRR since mid- fifties beginning with a small number “Naariga nayana” from Raju Pedha(1954). During the fifties, P.Leela and Jikki were at the peak in female playback singing and PS had just started off. However, within a few years PS was able to establish herself as a top singer due to the songs she was offered from stalwarts like SRR,MSV, Pendyala,Adhi Narayana Rao etc. PS started off slow for SRR by singing for child characters ( Raju Pedha, Chenchu Lakshmi, etc) and second heroines (Appu chesi pappu koodu, missiama etc), in the early fifties. However she was offered songs consistently by SRR during this period ( even though not for lead characters) and by late fifties she became one the main singers for SRR and their combination resulted in creation of golden classics and melodies which lasted until early seventies. We are going to look at some songs of PS –SRR decade wise with also some comments on certain songs from PS fans. Let’s have a look at few songs during the 1950’s. “Naariga naayana” could be the first song rendered by PS for the movie “Raju Pedha” in 1954. She was offered two songs for the second heroine Jamuna in the 1955 bilingual (Telugu –Tamil) film Missiamma by SRR. Balanu raa madhana (ariya paruvamada) song set in karaharapriya ,a solo dance based classical number sung to perfection and brindavanamadi andharidhi (brindavanam in tamil), a duet by PS and A.M.Raja became very popular. Hemanth kumar was so impressed with the tune of “Brindavanam” that he retained it when he composed songs for the hindi version of Missiamma. Missiamma was one of the Super-hit movies of those days. It was remade in malayalam as "Miss Mary" in mid 60's.
P.Susheela’s voice during this period could be compared to that of a fresh blossoming flower in the garden of music endured with great fragrance and beauty. Her voice, so fresh and sweet like a downpour of nectar created a soothing and relaxing feeling in the minds of the listeners. Her songs became instant hits and many MD’s and directors in the South started comparing her to Latha Mangeshkar (which of course is not considered apt by her fans). Heroines like Savithri were mesmerized by her numbers and wanted PS to be the prime singer for them.
Some other songs in the early fifties include 1956 film charanadasi(notable numbers like murisenu lokalu a duet with ghantasala,oho viyogini, a sad solo, some padhyams etc). Charanadasi was dubbed in tamil as “Madharkula
manikkam”. The classical based dance
song“Maruvakuma mano ramana” is set in "kafi" Raga heared in Tamil as “Isai arase kalanidhiye”.
Allauddin adbhuta deepam(1957) had 6 numbers of PS in telugu and also the dubbed version in tamil ( manasantha needhira (kannukku nerile in tamil), ninu valachi (aasaiyudane en rasa varuvar), andhala konetilona (selodum neerodai) , "Pilla Pilla Raa ( Kannippenne vaa )"
Aada petanam (1957) had 4 songs sung by PS(nee korake, rara,tara sasankam, evaro cheppindi).Bhale amayeelu ( dubbed version in tamil Iru sahodarigal)(1957) had savithri and Girija in main roleswith PS singing 7 numbers(some notable numbers- andalu anubandalu(kadhalinal,muddulolikevoyi (thanga silaiye vaada, a beautiful lullaby,etc). Telugu devotional “Chenchu Lakshmi”(dubbed version in tamil)(1958) is one movie which had rare gems in the form of songs and padhyams sung by PS for the child character Prahaladha. Each and ever song is an example of finest composition and rendition. Who can forget Palakadalipai seshathalpamuna(Deva deva), Kanalera kamalakanthuni (kann edhire), Srinadhuni (narayanan thiruvadi malar), the padhyams from potana bhagavatham (mandara makaranda, endhu kaladu etc.) She also rendered “Chettuleka galava” a folk duet with PBS in telugu which was popular on vividh bharathi even though the movie version had Ghantasala, jikki version of the same song. Each and every song creates a devotional fervor taking the listener to a state of divine joy and ecstasy. What an amazing rendition!!!!!!!!!
Appu chesi pappu koodu (ka vangi kalyanam in tamil) (1958) had 3 numbers from PS for the second heroine Girija (kalam kani kalam (kalam ella in tamil), ( neeku vinipincha leda(un cheviyil) to name a few.
Nammina bantu(1959), a social awareness movie set in the backdrop of rural village had ANR and savithri palying the lead roles had beautiful melodies composed by SRR. “Chengu chenguna”, a solo on farming animals and their contribution towards development of society rendered by PS with a whiff of innocence and purity totally suited the great actress Savithri playing the role of village belly.One more beautiful melody “Entha manchi vadavu ra” by Ghantasala and PS is memorable. The song “Raithu meri patti” by PS and ghantasala is a song dedicated to the plight of farmers.
In this article we have covered the songs sung by PS in telugu and tamil in the 1950’s.
We will continue our journey through the 60’s with some extraordinary and soul stirring compositions of PS-SRR combination, which by the way haunts us to this day in the next article.
List of songs in 50's
PS-SRR(1950’s)
In this article and the following ones, we are going to have a look at the wonderful numbers of PS-SRR beginning from late 50s, to mid 80’s. It is estimated that PS could have rendered about 800 numbers for SRR during this span. PS started singing for SRR since mid- fifties beginning with a small number “Naariga nayana” from Raju Pedha(1954). During the fifties, P.Leela and Jikki were at the peak in female playback singing and PS had just started off. However, within a few years PS was able to establish herself as a top singer due to the songs she was offered from stalwarts like SRR,MSV, Pendyala,Adhi Narayana Rao etc. PS started off slow for SRR by singing for child characters ( Raju Pedha, Chenchu Lakshmi, etc) and second heroines (Appu chesi pappu koodu, missiama etc), in the early fifties. However she was offered songs consistently by SRR during this period ( even though not for lead characters) and by late fifties she became one the main singers for SRR and their combination resulted in creation of golden classics and melodies which lasted until early seventies. We are going to look at some songs of PS –SRR decade wise with also some comments on certain songs from PS fans. Let’s have a look at few songs during the 1950’s. “Naariga naayana” could be the first song rendered by PS for the movie “Raju Pedha” in 1954. She was offered two songs for the second heroine Jamuna in the 1955 bilingual (Telugu –Tamil) film Missiamma by SRR. Balanu raa madhana (ariya paruvamada) song set in karaharapriya ,a solo dance based classical number sung to perfection and brindavanamadi andharidhi (brindavanam in tamil), a duet by PS and A.M.Raja became very popular. Hemanth kumar was so impressed with the tune of “Brindavanam” that he retained it when he composed songs for the hindi version of Missiamma. Missiamma was one of the Super-hit movies of those days. It was remade in malayalam as "Miss Mary" in mid 60's.
List of songs in 50's
| Year | Language | Movie | Songs | |
| 1954 | Telugu | raaju peda | naariga naayana | |
| 1955 | Tamil | missiamma | brindavanamum nandha | |
| 1955 | Tamil | missiamma | ariya paruvamadaa valar | |
| 1955 | Telugu | missiamma | Balanu ra madhana | |
| 1955 | Telugu | missiamma | Brindavanamadhi | |
| 1956 | Tamil | madharkula manikkam | oho anadhaiye | |
| 1956 | Tamil | madharkula manikkam | kaadhalin jyothiytidhu | |
| 1956 | Tamil | madharkula manikkam | isai arase kalanithiye | |
| 1956 | Tamil | prema paasam | muralidharaa hare | |
| 1956 | Telugu | bhale ramudu | endunnavo madhava | |
| 1956 | Telugu | bhale ramudu | naa bratukena | |
| 1956 | Telugu | charanadasi | asalu poosinavi | |
| 1956 | Telugu | charanadasi | dustudu joocheninnu | |
| 1956 | Telugu | charanadasi | inti vinumu purushudeti | |
| 1956 | Telugu | charanadasi | Murisenulokalu | |
| 1956 | Telugu | charanadasi | parama dayakara patita | |
| 1956 | Telugu | charanadasi | Gulabila tavuleene | |
| 1956 | Telugu | charanadasi | maruvakuma manoramana | |
| 1957 | Tamil | alavudenum arputha vilakkum | jamukku jamukku | |
| 1957 | Tamil | alavudenum arputha vilakkum | asayudane en rAsa varuvar | |
| 1957 | Tamil | alavudenum arputha vilakkum | kanni penna vaa | |
| 1957 | Tamil | alavudenum arputha vilakkum | kannukku nerile kalai enta | |
| 1957 | Tamil | alavudenum arputha vilakkum | sEladum nErodai meedhu | |
| 1957 | Tamil | iru sahodarigal | kaadhalinal pedamilla | |
| 1957 | Tamil | iru sahodarigal | jorana roopame maratha | |
| 1957 | Tamil | iru sahodarigal | manadhai kavarntha malar | |
| 1957 | Tamil | iru sahodarigal | thangachilaye vaada | |
| 1957 | Telugu | aada pettanam | tarasasankam | |
| 1957 | Telugu | aada pettanam | rara sudhakara | |
| 1957 | Telugu | aada pettanam | evaro cheppindi | |
| 1957 | Telugu | allavuddin adhbhutha deepam | tillalangadi tillalangadi | |
| 1957 | Telugu | allavuddin adhbhutha deepam | Andhaala konetilona | |
| 1957 | Telugu | allavuddin adhbhutha deepam | manasantha needhira | |
| 1957 | Telugu | allavuddin adhbhutha deepam | ninu valachi | |
| 1957 | Telugu | allavuddin adhbhutha deepam | pilla pilla raa | |
| 1957 | Telugu | allavuddin adhbhutha deepam | jamakku jama jamakku | |
| 1957 | Telugu | bhale ammayeelu | Andhala roopamu | |
| 1957 | Telugu | bhale ammayeelu | Muddulokilevoyi | |
| 1957 | Telugu | bhale ammayeelu | anandalu anubandalu | |
| 1957 | Telugu | bhale ammayeelu | lokamuna yevvanulaina | |
| 1957 | Telugu | bhale ammayeelu | parijatha kusumalaga | |
| 1957 | Telugu | bhale ammayeelu | cheekati maatiki | |
| 1957 | Telugu | sathi savitri(old) | challaani thalli | |
| 1957 | Telugu | sathi savitri(old) | dharmaa edhi | |
| 1957 | Telugu | sathi savitri(old) | ya vidyaa sivakusavaadi | |
| 1958 | Tamil | chenchu lakshmi | paadu paadu | |
| 1958 | Tamil | chenchu lakshmi | paal kadal thanile | |
| 1958 | Tamil | chenchu lakshmi | undhanai pol deivam | |
| 1958 | Tamil | kadan vangi kalyanam | un cheviyil cherathatheno | |
| 1958 | Tamil | kadan vangi kalyanam | kallamilla kaadhalilE | |
| 1958 | Tamil | panai pidiththaval bhagyasali | sOlaikkuLLe | |
| 1958 | Tamil | chenchu lakshmi | ingiruppano-sample | |
| 1958 | Tamil | chenchu lakshmi | chenkamala kannanukku | |
| 1958 | Tamil | chenchu lakshmi | Deva Deva thEnathayala | |
| 1958 | Tamil | chenchu lakshmi | kanbEre kamalakanthan | |
| 1958 | Tamil | chenchu lakshmi | narayanan thiruvadi malar | |
| 1958 | Tamil | chenchu lakshmi | thakamudan viyagana | |
| 1958 | Tamil | chenchu lakshmi | vaan ulagin manthaara malar | |
| 1958 | Telugu | chenchu lakhsmi | mandara makarantha | |
| 1958 | Telugu | chenchu lakshmi | chettulekha galava | |
| 1958 | Telugu | chenchu lakshmi | indugaladu -padhyam | |
| 1958 | Telugu | chenchu lakshmi | baavapaavana -padhyam | |
| 1958 | Telugu | chenchu lakshmi | kanjashunku -padhyam | |
| 1958 | Telugu | chenchu lakshmi | sativinchina guruvulu | |
| 1958 | Telugu | chenchu lakshmi | sreenadhu nee | |
| 1958 | Telugu | chenchu lakshmi | ye deva divyaprabava | |
| 1958 | Telugu | chenchu lakshmi | Chilaka gorinka uluke | |
| 1958 | Telugu | chenchu lakshmi | kanalera kamala | |
| 1958 | Telugu | chenchu lakshmi | Paalakadalipai sesha | |
| 1958 | Telugu | aada pettanam | Pasidi merugula balallara | |
| 1958 | Telugu | aada pettanam | Priyuda birana | |
| 1958 | Telugu | aada pettanam | Kavu Kavu mani | |
| 1959 | Telugu | appu chesi pappukoodu | moogavainaemile | |
| 1959 | Telugu | appu chesi pappukoodu | kalam kani kalam | |
| 1959 | Telugu | appuchesi pappukoodu | neeku vinipinchane leda | |
| 1959 | Telugu | nammina bantu | Chengu chenguna ghanthulu | |
| 1959 | Telugu | nammina bantu | Entha manchivadavura | |
| 1959 | Telugu | nammina bantu | raithu meri patti | |
| 1959 | Telugu | nammina bantu | hey jawaadi | |
| 1959 | Telugu | nammina bantu | aalu magalu pondu | |
