My Sincere thanks to Srividya Sanjay for this Excellent Article. Her efforts are highly appreciated.
I also thank Mr.Sriram Lakshman for his valuable comments.
PS fan Sriram Lakshman comments: Emanipadathatheno .. Any time SindhuBhairavi is used to express a sentiment less than happy through PS, it is poignance at its dampening best and immensely touching!!! Listen to "engE neeyO nAnum angE unnOdu" and any promise you would make about your not being affected will be a false promise. The song featured here is so evocatively rendered by PS that one ends up overlooking the compositional beauty embedded !!! I am referring to the phrase starting at "kalathani doralO" (pardon my mistakes in Telugu), the phrase that ends the charanams, the phrase that oscillates and swings retracing its path backwards a little more each time and then peters out into a muted protest. The protest had been more vociferous at the start of this beautiful phrasing that swings and winds into completion. . An emotionally titillating phrase that and tastefully rendered by the one and only. An exceptional pick and song clearly portrays the soul connect between the creator and the miraculous songstress !!! Strangely enough, as I recall, the ending phrase for the charanams of engEyo neeyum nAnum angE are on similar llnes, not the same, not a copy but similar.
PS fan Sriram Lakshman comments: Amara shilpi jakkanna.. Great ....with Saluru (as in the case of MSV) fixing the "Sa" (Shadjam) becomes an issue (and I am praising him smile emoticon, the tune sounds as if its been set to Bagesri, sometimes Ragesri...and in certain places neither of the two smile emoticon ......PS those days did not have time to sing too many kannada songs and several of her call sheets awarded to Kannada songs ended up being cancelled owing to paucity of time. This created a little bit of misunderstanding with the likes of VijayaBhaskar etc.....but come Saroja Devi.......it seems to be PS all the way regardless of the language
An excellent , evergreen melody which will always be remembered by classes alike for its great lyrics and superb rendering. In short: simply a classic according to any standards.
Brief narration of the movie and song: Dr. Chakravarthi belongs to the class of evergreen movies which can be watched by young and old generations alike. A movie with excellent story, screenplay, music, brilliant performances, it is a classic in all fields.
As the title suggests, it is the story or time line of a doctor whose name is Chakravarthi(played by ANR), his struggles, his happiness, his relationships, his failures, etc. He and his sister Radha( played by Geetanjali) are orphans and it is his sister who takes care of him and is a part of his success. She suffers from an incurable illness and is on a death row. Sowcar Janaki plays the role of haughty,arrogant sister in law of geetanjali who is in love with ANR. However our hero is in head over heels with another doc (played by Krishna kumari).
Before the doctor could reveal about his affair to his sister, she is on her death bed and as a final wish asks him to marry her sister in law sowcar. So both the docs sacrifice their love and chakravarthi gets married to sowcar. However Sowcar and ANR are not on good terms with each other because of their difference in nature and opinions.
There is also a parallel plot in the story played by Savithri and Jaggiah. They are a couple happily married. Savithri (also called Radha in the film) is a writer, singer, basically an introvert and prefers to be alone or rather a family oriented person not belonging to a crowd. However her husband wants her to be more socially active. Jaggiah and ANR are childhood friends. They meet after a long time and then the story begins to build. ANR develops a strong bond towards savithri (considers her as his sister, because of her name and also she also plays veena, sings well etc (close resemblance to geetanjali)) and tries to be more close to her . Initially she misunderstands him but later comes to know of his true feelings. However this relationship is misunderstood by all other members of both sides especially the spouses (Jaggiah and sowcar). How this is resolved and the couples unite together is the story. A simple plot, but keeps the viewers sustained because of excellent screenplay and songs. A movie which will be memorable for its numbers.
This song is picturised on Geetanjali in the film when ANR visits her. Her husband and sister in law are all seated listening to her. Geetanjali’s excellent portrayal makes the song look terrific on the screen.
P.S rendition: Though a short role, Geetanjali’s character is so dignified and powerful in the movie and that’s because of this song. This song is difficult for any singer because it is a 50 -50 combination of emotions. It can’t be termed completely pathos or categorized as melody. The character is in a mixed state of feelings .She is happy to see her family around her and sad that she has to wither away soon.
P.S tries to balance both melody and pathos in her voice, and her clean diction makes this song so wonderful adding that touch of dignity to the number . Her crystal clear voice makes this song truly touch the heart of listeners any time , any generation. Truly reflects the genius of the singer. I cannot imagine any other singer rendering like PS.
About the song for non telugu speaking audiences: Through his song a sister conveys her feelings to her brother , about their bond , how they have been for each other and that even though she will not last long she will always be there in her brother’s heart.
List of songs ( 1960-1964)
to be continued..
( Part1 ) ... ( Part 3)
I also thank Mr.Sriram Lakshman for his valuable comments.
PS-SRR
In this Article we are going to discuss the movies got released between 1960-1964.
In this Article we are going to discuss the movies got released between 1960-1964.
In
this era, we are going to see some excellent compositions of SRR rendered by
PS. Their musical journey was at its peak during the 60’s and 70’s.The songs
that came out during this period can be termed as simply “incomparable”in terms
of its composition, lyrical value or rendition. SRR’s instrumental compositions
with PS be it veena, sitar or piano are marvelous and one could perhaps never
such a combination again in the field of music.
Let’s
start with Rani Ratna Prabha (1960)(same name dubbed in tamil) a NTR,Anjali
devi starrer which had good numbers.Ghantasala’s “Ninna kanipinchindi solo was a
super hit, PS had a few melodious duets with PBS like Anuragamu virise, yekkadaDaagavo sipayye, Oho andaala maharaja, kanulalo kulukule , Magavariki etc though she didn’t have a
duet with ghantasala.
Bhaktha
Jayadeva (1961), a musical devotional on the life of poet jayadeva had some
brilliant compositionsby SRR. ANR portrayed the role of Jayadeva while Anjali
devi was cast as his wife. SRR composed tunes forJayadeva’s compositions like Dheerasameere, yaaramita vanamalina sung by
PS,Ghantasala evoked a feeling of pure bhakti and joy while the duet "naaduprema bhagya raasi" is a melodious romantic duet.Other songs of PS in this movie
are Raavela swami eevela, a viraha geetam etc.
Bharya
bharthalu(1961) was awarded the National Film award for the best feature film
in Telugu. It is a clean family entertainer stressing the need for moral conduct
and discipline among individuals and the sanctity of marriage. ANR, played the
role of a playboy initially chasing after women and Krishnakumari, his wife who
changes him for better. However in this process both of them have to undergo
struggles and how they overcome and understand each other makes the movie
plot.SRR’s tunes are simply simply superb.Who can forget “Yemani paadethano” a
pathos veena number of PS in which she maintains a voice full of melancholy,
yet does full justice to the ghamakas and swaras needed in the song, for eg:
the parts 1)Pasidi theegala, panjaram edhigo, 2) kalatha niduralo kaanchina
kalale Gaali medalai koolina vela” , she adds a ghamaka after end of every phrase raising the song to
higher levels. Other beautiful duets with Ghantasala in this movie are
“Sukumara , ninu chera” and "madhuram madhuram ee samayam". One more solo is
“Ranga Rangeli” for a vamp character.
PS fan Sriram Lakshman comments: Emanipadathatheno .. Any time SindhuBhairavi is used to express a sentiment less than happy through PS, it is poignance at its dampening best and immensely touching!!! Listen to "engE neeyO nAnum angE unnOdu" and any promise you would make about your not being affected will be a false promise. The song featured here is so evocatively rendered by PS that one ends up overlooking the compositional beauty embedded !!! I am referring to the phrase starting at "kalathani doralO" (pardon my mistakes in Telugu), the phrase that ends the charanams, the phrase that oscillates and swings retracing its path backwards a little more each time and then peters out into a muted protest. The protest had been more vociferous at the start of this beautiful phrasing that swings and winds into completion. . An emotionally titillating phrase that and tastefully rendered by the one and only. An exceptional pick and song clearly portrays the soul connect between the creator and the miraculous songstress !!! Strangely enough, as I recall, the ending phrase for the charanams of engEyo neeyum nAnum angE are on similar llnes, not the same, not a copy but similar.
S.Rajeswara
Rao got out the versatility of PS in movies like Aatmeeyulu, Dr.Chakravarthi,
Eddaru mitrulu,Chaduvukunna amayilu, Aatma gowravam, Amara shilpi jakkana etc
where PS sang almost every song in these movies covering almost all characters
character i.e from heroine to comedian.
Yet every song looked different and was not monotonous. The greatness in PS
singing is that she doesn’t do mimicry or gimmicks unlike other singers and it
doesn’t even look like she is modulating her tone. Every song appears natural,
free flowing and easy and though SRR compositions are tough, she makes it
simple by her brilliant rendition. We will have a look at these movies as we
move along the list.
Eddaru
mitrulu(1961) (Iru nanbargal in tamil) had ANR, Rajasulochana,E.V.Saroja and
Sharadha(in a comedy role) with beautiful music from SRR. The duets by PS,
Ghantasala like “Paadavela Radhika”, "Kushikushiga navvuthu”, "Oho nine cherega”, "Ee musi musi navvula", "hello hello o ammayi" were all super hits.she also
rendered a comedy song with madhavapeddi in “Chakkani chukka” and "Oho fashionla" with PBS along with a solo “Navvali Navvali”. While
Paadavela Radhika is a classic sung for E.V.Saroja, Ee musi musi, a melody for
Raja sulochana, chakkani chukka is a comedy number sung for sharadha. PS sang
like 10 numbers in the movie for both the heroines as well as the comedy
character. Such was SRR’s trust in PS.
Aaradhana(1962)
had ANR playing the role of a doctor who goes blind while Savithri and Girija playing the heroines. “Nee cheliminede korithini’, a pathos for Savithri when she comes to know that her beloved
is already engaged to Girija. PS sings it with such sadness thoroughly
depicting the state of a dejected lover. “Venneloni vikasame” is a beautiful
melody sung for Savithri when she tries to cheer up the mood of the blind hero.
This song unlike the previous has to have hope and promise of a bright future
which PS brings naturally. Another song “Oho mamayya” a duet sung with
ghantasala , a comedy number for Girija and ANR. In this song we can clearly
see the voice difference, it would appear differently for Girija. In this movie
we can see various shades of optimism, pessimism and comedy in PS voice.
Bheesma(1962)
(with the same dubbing name in tamil), a mythological drama based on the life
of bhisma, a character from Mahabharatha starring NTR,Anjali had good classics
from the maestro.PS sang for the characters of Ganga, and Amba(Anjali). Bhramadeva sukha bhagaya vidhata, a beautiful Hymn in praise of Lord Bhrama by PS and
Ghantasala creates a feeling of devotion while “Jo jo bala" a classic lullaby
would soothe one’s turbulent mind and make it relaxed. "Manasu loni korika" is a
sweet duet picturized on Amba(Anjali) and salva king(Kantha rao). “Mahadevasambho” is a different type of devotional song wherein the seeker (Amba) wants
the Lord to grant her the power to seek
revenge(against Bheesma). It is a difficult number where the singer has to
combine the feelings of hurt,vengeance,
pleading and at the same time convincing. PS did such an amazing job. Another movie with good music.
Kulagothraalu(1962)
, a social awareness movie prohibiting caste system and discrimination had
super hit music by SRR. ANR and Krishna kumari played the lead roles. The duets "Chelikadu ninne Rammani", "chilipi kannula theeyani" are memorable melodies heard even
today. Other songs include shakuntala dushyanta drama- vinuma priyathama and a
bhangra number "Oh vannela chinnela cheliya" which is fast paced and entertaining
In
tamil SRR composed music for Vikramathithan (1962) , in which PS rendered mugathaiparthu, anbin uruvam neeye, Kannipennin roja, and vannam paduthey, all wonderful
numbers. "Venmugile konja neram nillu" is a n outstanding number.
Chaduvukunna
amayeelu(1963), another musical hit under SRR-PS combination again had all
songs rendered by PS. “Vinipinchani raagale”( SAvithri,ANR), a complete classic
by PS with humming by Ghantasala is a masterpiece.Other memorable numbers
include “Okate hridyam kosamu”(PS sang for both the heroines Savitri and
Krishnakumari in this number),neeko todu kavali –PS,GS (E.V.SAroja, ANR), kila
kila navvulu –PS,GS(Krishnakuamri,ANR),Adavari matalo(Krishnakuamri,ANR)
thereby proving the singing prowess of PS.
PS fan Sriram Lakshman comments: vinipinchaniragale .. The tune around "valache valache manase" at the end of the
first stanza is indeed the pivot phrase and every other tune phrasing seems to
be veering towards that "punch" phrase, except when PS puts that
through, it is a "three step" flourish. Yes, delivered in decreasing
intensity and increasing loving tenderness and elegance and style, an
impossible combination !!! I am sure I felt the womanly coyness too thrown in
for good measure.....Multi-dimensional, expressive singing where every note and
word is released as a judicious concoction of womanly suave feature and
heightened aesthetics
Pooja
phalam(1963),(Pooja palan in tamil) is considered a classic with some
melodious numbers by SRR. PS rendered 3 songs which can be considered as some
tough compositions. "Suranandana"
picturized on savithri is a classic while ‘Edhi challani Velaina” is a soothing melody
for the heroine savithri who tries to calm down the hero who is heart broken
(because of love failure). "Yendu daagi unnavo" is a short and sweet devotional
number. The real surprise in this movie is a short version of "pagale vennela" rendered by PS. While SJ sang the full version for Jamuna, PS sings it for
savithri(only a few lines) , but amazing rendition.
Amara
shilpi jakkana(1963) (ANR,Sarojadevi), (amara shilpi jakkancharya in
kannada) was a wonderful movie on the life of the sculptor
jakkana. Movie had several classics rendered by PS. In this movie, PS fans can
appreciate her ability to render classical dance based numbers to perfection.
Andala bomma tho, Nagumomu Choopinchava, surasundara mohana are all examples of
these dance numbers. This movie also has mellifluous duets by PS,GS like manasevikasinchara (PS humming is gorgeous), Niluvuma neelaveni and Edho edho sung competently by these great singers.
Tarama varadha is a beautiful devotional by PS,GS on chenna kesava perumal.
PS fan Sriram Lakshman comments: Amara shilpi jakkanna.. Great ....with Saluru (as in the case of MSV) fixing the "Sa" (Shadjam) becomes an issue (and I am praising him smile emoticon, the tune sounds as if its been set to Bagesri, sometimes Ragesri...and in certain places neither of the two smile emoticon ......PS those days did not have time to sing too many kannada songs and several of her call sheets awarded to Kannada songs ended up being cancelled owing to paucity of time. This created a little bit of misunderstanding with the likes of VijayaBhaskar etc.....but come Saroja Devi.......it seems to be PS all the way regardless of the language
Bobbili
Yuddham(1964), a historical drama
depicting the war between Bobbili kings and the French had some remarkable
music by SRR. PS again proves her expertise in rendering songs like “Ninu seramanasayaera” for L.Vijayalakshmi, a totally dance based number(suiting the
temperament of classical song fans), mutyala chamma chaka(for jamuna), a folk
song which is melodious to one’s ears,a classic duet “Muripinche andale”with GS
and “Andala ranive”, a duet in a very light hearted manner teasing the hero.
Desadrohulu(1964) (dubbed as Desa drogigal
in tamil) had a beautiful melody “Jagame marinadhi” by PS,GS for
NTR,Devika really transforms the world
of the listener ( as the song stitle suggests) into something more beautiful
and pleasant. Another number “Yemi neramu” was pathos by PS.
Dr.Chakravarthi
(1964) could be reckoned as one of best combination films of SRR-PS. All the
songs except one was rendered by PS for the 3 lead heroines Savithri, Krishna
kumara and Sowcar Janaki. Apart from that, she lent her voice to Geetanjali,
and dance artiste ( bongarala raja song with madhavapeddi).
Let’s
analyse some songs from this evergreen musical hit.
Song:
Paadamani nannu adagavalena (Lyricist: Athreya)
Category/Mood of the song:
classic/pathos/melody/Relationship-sister/brother/instrument - veena An excellent , evergreen melody which will always be remembered by classes alike for its great lyrics and superb rendering. In short: simply a classic according to any standards.
Brief narration of the movie and song: Dr. Chakravarthi belongs to the class of evergreen movies which can be watched by young and old generations alike. A movie with excellent story, screenplay, music, brilliant performances, it is a classic in all fields.
As the title suggests, it is the story or time line of a doctor whose name is Chakravarthi(played by ANR), his struggles, his happiness, his relationships, his failures, etc. He and his sister Radha( played by Geetanjali) are orphans and it is his sister who takes care of him and is a part of his success. She suffers from an incurable illness and is on a death row. Sowcar Janaki plays the role of haughty,arrogant sister in law of geetanjali who is in love with ANR. However our hero is in head over heels with another doc (played by Krishna kumari).
Before the doctor could reveal about his affair to his sister, she is on her death bed and as a final wish asks him to marry her sister in law sowcar. So both the docs sacrifice their love and chakravarthi gets married to sowcar. However Sowcar and ANR are not on good terms with each other because of their difference in nature and opinions.
There is also a parallel plot in the story played by Savithri and Jaggiah. They are a couple happily married. Savithri (also called Radha in the film) is a writer, singer, basically an introvert and prefers to be alone or rather a family oriented person not belonging to a crowd. However her husband wants her to be more socially active. Jaggiah and ANR are childhood friends. They meet after a long time and then the story begins to build. ANR develops a strong bond towards savithri (considers her as his sister, because of her name and also she also plays veena, sings well etc (close resemblance to geetanjali)) and tries to be more close to her . Initially she misunderstands him but later comes to know of his true feelings. However this relationship is misunderstood by all other members of both sides especially the spouses (Jaggiah and sowcar). How this is resolved and the couples unite together is the story. A simple plot, but keeps the viewers sustained because of excellent screenplay and songs. A movie which will be memorable for its numbers.
This song is picturised on Geetanjali in the film when ANR visits her. Her husband and sister in law are all seated listening to her. Geetanjali’s excellent portrayal makes the song look terrific on the screen.
P.S rendition: Though a short role, Geetanjali’s character is so dignified and powerful in the movie and that’s because of this song. This song is difficult for any singer because it is a 50 -50 combination of emotions. It can’t be termed completely pathos or categorized as melody. The character is in a mixed state of feelings .She is happy to see her family around her and sad that she has to wither away soon.
P.S tries to balance both melody and pathos in her voice, and her clean diction makes this song so wonderful adding that touch of dignity to the number . Her crystal clear voice makes this song truly touch the heart of listeners any time , any generation. Truly reflects the genius of the singer. I cannot imagine any other singer rendering like PS.
About the song for non telugu speaking audiences: Through his song a sister conveys her feelings to her brother , about their bond , how they have been for each other and that even though she will not last long she will always be there in her brother’s heart.
Song:Paadamaninann adugathaguna :A beautiful melody with great lyrics and excellent
rendering.
Song situation Savithri (also called Radha in the film) is a writer, singer, basically an introvert and prefers to be alone or rather a family oriented person not belonging to a crowd. However her husband (Jaggiah)wants her to be more socially active. Jaggiah and ANR are childhood friends. They meet after a long time. And Jaggiah invites ANR, sowcar to their home. Savithri is not comfortable to act as a hostess. When ANR requests her to sing a song, she politely declines. However Jaggiah forces her to render one. She is sort of unhappy that her husband does not respect her wishes and so the question “Paadamani nan adaga thaguna? (why are u asking me to sing in front of others when I am not comfortable?
P.S rendition: Simply superb. A clear melody.
About the song for non telugu speaking audiences: this song is about a wife chiding her husband for not considering her wishes to be left alone and why he is prodding her to sing in front of new faces??(comparing herself to the plight of Radha in front of several gopikas(visitors) .
Song situation Savithri (also called Radha in the film) is a writer, singer, basically an introvert and prefers to be alone or rather a family oriented person not belonging to a crowd. However her husband (Jaggiah)wants her to be more socially active. Jaggiah and ANR are childhood friends. They meet after a long time. And Jaggiah invites ANR, sowcar to their home. Savithri is not comfortable to act as a hostess. When ANR requests her to sing a song, she politely declines. However Jaggiah forces her to render one. She is sort of unhappy that her husband does not respect her wishes and so the question “Paadamani nan adaga thaguna? (why are u asking me to sing in front of others when I am not comfortable?
P.S rendition: Simply superb. A clear melody.
About the song for non telugu speaking audiences: this song is about a wife chiding her husband for not considering her wishes to be left alone and why he is prodding her to sing in front of new faces??(comparing herself to the plight of Radha in front of several gopikas(visitors) .
COMPARING
BOTH NO”S of P.Susheela : The director has picturised both characters of Radha
(played by geetanjali, Savithri) so beautifully in the movie. Both of them are
talented, well versed in veena and music, calm dignified, caring and homely.
After his sister’s death, ANR longs for that affection and he spots all those
in his friends wife(savithri). Interestingly , savithri is also introduced by a
veena song. However the difference is the sister singing it willingly while the
other does it reluctantly and PS rendering for both the situations.
For the sister character she mesmerizes the audience with a balance of melody, sadness, gambeeram while in this song she has to chide and be mild . She just flows along and her voice sways beautifully………. Not an inch of similarity between the no’s. We can clearly distinguish the difference. While atreya penned the song for sister character, Dasarathi wrote for the other. Long live the songs in the heart of music lovers………….
For the sister character she mesmerizes the audience with a balance of melody, sadness, gambeeram while in this song she has to chide and be mild . She just flows along and her voice sways beautifully………. Not an inch of similarity between the no’s. We can clearly distinguish the difference. While atreya penned the song for sister character, Dasarathi wrote for the other. Long live the songs in the heart of music lovers………….
Other
notable songs by PS:
1)Neevuleka veena –PS for savitri –An evergreen viraha song rendered using sitar as base
2) Ee mounam ee bidiyam – PS+ Ghantasala for ANR,Krishnakumari – Good and hummable melody
3)Ungarala – P.Susheela, Madhavapeddi, - this is a Punjabi folk dance where SRR makes use of drums and beats. A peppy number of the 60’s.
4) Nijam cheppave pilla – P.Susheela. Vasantha – This is a roller coaster where PS starts off in a quick tempo for sowcar, then she slows down making it a melody for savithri and then she alternates this cycle continuously in the song. The transition here has to come abruptly which is very difficult to manage, yet PS does it with such an ease. A must hear number.
1)Neevuleka veena –PS for savitri –An evergreen viraha song rendered using sitar as base
2) Ee mounam ee bidiyam – PS+ Ghantasala for ANR,Krishnakumari – Good and hummable melody
3)Ungarala – P.Susheela, Madhavapeddi, - this is a Punjabi folk dance where SRR makes use of drums and beats. A peppy number of the 60’s.
4) Nijam cheppave pilla – P.Susheela. Vasantha – This is a roller coaster where PS starts off in a quick tempo for sowcar, then she slows down making it a melody for savithri and then she alternates this cycle continuously in the song. The transition here has to come abruptly which is very difficult to manage, yet PS does it with such an ease. A must hear number.
PS fan SriRam Lakshman comments: An
endearing facet of this song is how the dynamics alternate between the tune for
the ebullient Sowcar and the one for the much grounded, serious and passionate
love as portrayed by Savitri. Accordian overlapped with flute greets us and
ushers us into the celebrating mood commencing with the refrain "nizam
cheppave pilla" and compelling interludes keeping pace with the racy
start. Voila, all of a sudden strains on the Veena set to Waltz creep in and
what you have is another piece of Saluru-PS flow of melody that is soothing and
like a breath of fresh air. Saluru on most occassions vows to paddle through
unknown waters and unchartered territories and pulls it all off admirably !!!
The tuning for the Savitri piece is testimony enough. The singing as expected
is exemplary and exhibits the "melody dichotomy", two contrasting flows
of melody co-existing in harmony. I loved the phrasing for the end of the
charanam for the Sowcar piece that paves the way for the more melodious part of
the tune to happen. Enjoy !!!
Mai
Ravana(1964) another mythological drama had 7 good numbers by PS like Nenu nee aadhalenno, Neevena, Sri raghava,Anjaneya
dandakam etc. Mulla
kireetam(1964) was a remake movie from Malayalam movie "Snapaka yogannan". "Aalinchi paalinchi brova" and "Yera vesi vela" are a beautiful christian devotional songs.
Manchi
Manishi(1964) starring NTR,Jamuna,Jaggaiah had SRR-T.Chalapathi Rao as MDs. PS
sang 3 beautiful duets with Ghantasala in the movie: 1)Anthaga nanu choodaku –
classic melody. When PS says “Shh matadaku, it is cute! 2) Ee musi musi navvula
– A very good melody. 3)Rananukunnavemo – A
teasing number on a lighter vein absolutely
delightful to hear.
List of songs ( 1960-1964)
| Year | Language | Movie | Songs | ||
| 1960 | Telugu | Raani rathnaprabha | Magavaariki telisindhi | ||
| 1960 | Telugu | Raani rathnaprabha | ohoho andaala maharaaj | ||
| 1960 | Telugu | Raani rathnaprabha | kanulalo kulu kule kalisi | ||
| 1960 | Telugu | Raani rathnaprabha | Anuraagamu virise ee reyi | ||
| 1960 | Telugu | Raani rathnaprabha | Yekkada Daacavo sipayee | ||
| 1961 | Tamil | thasaavathaaram | om enum mandirathil | ||
| 1961 | Telugu | bhaktha jayadeva | ravela samy ee vela | ||
| 1961 | Telugu | bhaktha jayadeva | Dheera sameere yamuna | ||
| 1961 | Telugu | bhaktha jayadeva | Naadhu prema bhagya | ||
| 1961 | Telugu | bhaktha jayadeva | Yaramita vanamalina | ||
| 1961 | Telugu | bharya bharthalu | Yemani paadethano | ||
| 1961 | Telugu | bharya bharthalu | Madhuram madhuram | ||
| 1961 | Telugu | bharya bharthalu | Oh sukumara ninu | ||
| 1961 | Telugu | bharya bharthalu | Ranga rangeli sukhalanu | ||
| 1961 | Telugu | bharya bharthalu | Niluvakalni Valapula rani | ||
| 1961 | Telugu | iddaru mithrulu | chakkani chukka sarasaku | ||
| 1961 | Telugu | iddaru mithruru | paada vela radhika (solo) | ||
| 1961 | Telugu | iddaru mithruru | oho fashanlo seethakoka | ||
| 1961 | Telugu | iddaru mithruru | Paadavela radhika | ||
| 1961 | Telugu | iddaru mithruru | Hello hello oh ammayi | ||
| 1961 | Telugu | iddaru mithruru | Kushi kushiga navvuthu | ||
| 1961 | Telugu | iddaru mithruru | Navvali Navaali | ||
| 1961 | Telugu | iddaru mithruru | Ee musi musi navvula | ||
| 1961 | Telugu | iddaru mithruru | Oho Oho ninne korega | ||
| 1962 | Tamil | vikramathithan | mugathai parthu | ||
| 1962 | Tamil | vikramathithan | anbin uruvam neeye | ||
| 1962 | Tamil | vikramathithan | kannip peNNin rOjaa | ||
| 1962 | Tamil | vikramathithan | vannam paaduthey | ||
| 1962 | Tamil | vikramathithan | venmughilE konja neram | ||
| 1962 | Telugu | aaradhana | Ooho mamayya edhemayya | ||
| 1962 | Telugu | aaradhana | Nee chelimi nede korithini | ||
| 1962 | Telugu | aaradhana | vennelaloni vikasame | ||
| 1962 | Telugu | bheeshma | mahadeva sambho | ||
| 1962 | Telugu | bheeshma | Jo Jo jola | ||
| 1962 | Telugu | bheeshma | Nee Radhanu Nene | ||
| 1962 | Telugu | bheeshma | Manasuloni korika | ||
| 1962 | Telugu | bheeshma | Brahma deva sukhabhagya | ||
| 1962 | Telugu | kulagothralu | saki sakunthala | ||
| 1962 | Telugu | kulagothralu | vinuma priyathama | ||
| 1962 | Telugu | kulagothralu | chelikadu ninne ramani | ||
| 1962 | Telugu | kulagothralu | Chilipi kannula theeyani | ||
| 1962 | Telugu | kulagothralu | Oh vannela chinnela | ||
| 1962 | Telugu | kulagothralu | ne nallani jadalu puvvulu | ||
| 1963 | Kannada | AmaraShilpiJakkanna | cheluvantha chennigane | ||
| 1963 | Kannada | AmaraShilpiJakkanna | eno entho jummenditu | ||
| 1963 | Kannada | AmaraShilpiJakkanna | manase madhuvandite | ||
| 1963 | Kannada | AmaraShilpiJakkanna | nillu nee nillu nee | ||
| 1963 | Kannada | AmaraShilpiJakkanna | surasundara mohana | ||
| 1963 | Telugu | chaduvukunna amayeel | Neeko thodu kaavali | ||
| 1963 | Telugu | chaduvukunna amayeel | Kila kila navvulu | ||
| 1963 | Telugu | chaduvukunna amayeel | vinipinchani raagaale | ||
| 1963 | Telugu | chaduvukunna amayeel | Adavari matalo ardham | ||
| 1963 | Telugu | chaduvukunna amayeel | Okate hridayam kosamu | ||
| 1963 | Telugu | pooja phalam | Pagale vennela (short version) | ||
| 1963 | Telugu | pooja phalam | Edi Challani Velaina | ||
| 1963 | Telugu | pooja phalam | Suranandana | ||
| 1963 | Telugu | pooja phalam | Yendhu daagi vunnavo | ||
| 1963 | Telugu | pooja phalam | neruthuno ledo | ||
| 1963 | Telugu | pooja phalam | sarasarammuluga-solkam | ||
| 1964 | Telugu | amarasilpi jakkana | Nagumomu choopinchava | ||
| 1964 | Telugu | amarasilpi jakkana | Andhala bommatho | ||
| 1964 | Telugu | amarasilpi jakkana | Niluvuma niluvuma | ||
| 1964 | Telugu | amarasilpi jakkana | Tarama varadha | ||
| 1964 | Telugu | amarasilpi jakkana | Yedho yedho | ||
| 1964 | Telugu | amarasilpi jakkana | Manase vikasincha | ||
| 1964 | Telugu | bobbili yuddham | Andala ranive | ||
| 1964 | Telugu | bobbili yuddham | Muripinche andale | ||
| 1964 | Telugu | bobbili yuddham | Muthyala chamma chakka | ||
| 1964 | Telugu | bobbili yuddham | andala raanive (ver2) | ||
| 1964 | Telugu | bobbili yuddham | andala ranive-ver3 | ||
| 1964 | Telugu | bobbili yuddham | Nee meedha manasaiyara | ||
| 1964 | Telugu | desadrohulu | Yemi Naa neramu | ||
| 1964 | Telugu | desadrohulu | Jagame marinadhi | ||
| 1964 | Telugu | doctor chakravarthi | Oh ungarala bongurula | ||
| 1964 | Telugu | doctor chakravarthi | Paadamani nannu -sad | ||
| 1964 | Telugu | doctor chakravarthi | Ee Mounam Ee bidiyam | ||
| 1964 | Telugu | doctor chakravarthi | Neevuleka veena | ||
| 1964 | Telugu | doctor chakravarthi | Neevulekhaveena(sad) | ||
| 1964 | Telugu | doctor chakravarthi | Paadamani nannadaga | ||
| 1964 | Telugu | doctor chakravarthi | Nijam cheppave pilla | ||
| 1964 | Telugu | mai ravana | Nenu nee gadhalenno | ||
| 1964 | Telugu | mai ravana | Neevenaa neevenaa | ||
| 1964 | Telugu | mai ravana | Atulitha raama bhanamu | ||
| 1964 | Telugu | mai ravana | athadu | ||
| 1964 | Telugu | mai ravana | Aadima shakthivyi | ||
| 1964 | Telugu | mai ravana | Niluvadipudu nee | ||
| 1964 | Telugu | mai ravana | prabhuvinchi | ||
| 1964 | Telugu | mai ravana | pathalambuma | ||
| 1964 | Telugu | mai ravana | sree raaghavam dasaraha | ||
| 1964 | Telugu | mai ravana | anjaneya dhandakam | ||
| 1964 | Telugu | Mulla kiritam | Aalinchi Paalinchi brova | ||
| 1964 | Telugu | Mulla kiritam | Eara veesi valavese | ||
| 1964 | Telugu | manchi manishi | Anthaga nanuchoodaku | ||
| 1964 | Telugu | manchi manishi | Rannanukunnaremo | ||
| 1963 | Tamil | Bheeshma (D) | Brahma deva in telugu | ||
| 1963 | Tamil | Bheeshma (D) | Jo Jo laali in telugu | ||
| 1963 | Tamil | Bheeshma (D) | mahadeva sambho in telugu | ||
| 1963 | Tamil | Bheeshma (D) | Manasuloni korika in telugu | ||
| 1963 | Tamil | Bheeshma (D) | Nee Radhanu in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | chakkani chukka in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | Ee musi musi in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | Hello hello oh in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | Kushi kushiga in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | Navvali Navaali in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | oho fashanlo in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | Oho Oho ninne in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | Paadavela radhika in telugu | ||
| 1963 | Tamil | iru nanbargal (D) | paada vela (solo) in telugu | ||
| 1963 | Tamil | rani rathnaprabha (D) | Anuraagamu virise e in telugu | ||
| 1963 | Tamil | rani rathnaprabha (D) | Yekkada Daacavo in telugu | ||
| 1963 | Tamil | rani rathnaprabha (D) | ohoho andaala in telugu | ||
| 1963 | Tamil | rani rathnaprabha (D) | kanulalo kulu in telugu | ||
| 1963 | Tamil | rani rathnaprabha (D) | Magavaariki in telugu | ||
| 1963 | Tamil | Sri gowri (D) | deevinchu maa in telugu | ||
| 1963 | Tamil | Sri gowri (D) | ninu edabaayara in telugu | ||
to be continued..
( Part1 ) ... ( Part 3)
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