Wednesday, May 22, 2013

The Titillating Voices of Two Tamil Playback Singers.



        
  









    
     Female playback singers generally make a stronger impact of their voices, as great melody makers, high pitch deliverers of eternal numbers and at times, as titillating singers with an intoxicating appeal of sweetness and sensuous ecstasy. The last category of singers is special and even rare to come across. During the Nineteen fifties and Sixties, a voice of charm and stimulation,ruled Tamil film music, with an authentic sense of attraction.It was Jamuna Rani, who with her nasal voice frame and mesmerizing way of singing, conquered human ears with a challenging reach and force of clarity.
    So intoxicating were the songs like ‘Aasaiyum En Nesamum’ [Gulebahavali], ‘Kaalai Vayasu’ [Dheivapiravi] ‘Maamaa Maamaa’[Kumutham] and the two songs 'Athikkai Kai Kai' and ‘Aadhi Manidhan Kadhalukkupin’ from Bale Pandia. The other sensually exciting numbers were ‘Pakkathile Kanni Pen Irukku’, {Padikkadha Medhai}'Paalaatril Theinadudhu,' [Koduthu Vaithaval] 'Yaaradi Nee Mohini', {Uthama Puthiran } ‘Kadhalai Sodhithu Paarkattuma,’ [ Kaidhi Kannaayiram ] and 'Sollattuma Sollattuma' {Thai Pirandhal Vazhi Pirakkum }. Except the first two solo numbers mentioned here,all the other songs were mostly duets, with one or two, forming the group song type.
    Jamuna Rani could also bring out the essence of deep sorrow through her voice magic as it could be felt in the songs 'Kaavirithaaye Kaavirithaaye' from Mannaadhi Mannan and ‘Sithirathil Pen Ezhudhi Seerpaduthum Maanilame’ from Rani Samyuktha. Though Jamuna Rani frequently joined A.L.Raghavan and Sirkazhi Govindarajan for quite a few fascinating duet songs, it was her solo numbers that carried a special charming appeal.Among the songs  for which she shared her voice with other female singers,the most remarkable and remembered song is 'Punnagai Mannan Poovizhikannan' that she sang with P.Suseela in 'Iru Kodugal'.Jamuna Rani was ruling the roost with her distinct voice attraction, until L.R.Eswari took over the reins in the Nineteen Seventies.
   L.R Eswari's singing style could be said to have perfectly replaced the titillating voice of Jamuna Rani, in Tamil Film Cinema prone to rope in multi talents.Though both the singers have  substantially adorned the Telugu film music with equal efficacy, L.R.Esawari’s contribution to Tamil film music as well as to Tamil devotional songs, remained stable and voluminous. The  records for her most vigorous song, ‘Elandha Pazham’ from Panamaa Paasamaa sold vigorously at every nook and corner of Tamil Nadu,made her a busy playback singer ,for the next decade. Her notably intoxicating songs were ‘Vandhaalenna’ {Nee} ‘Palingunaloru Maaligai’'Ammammaa, Kannathil Kannam vaithukkollu’ {Vallavan Oruvan} ‘Kadhodudhaan Naan Pesuvein’{Vellivizhaa}’Idhu Maargazhi Maadham’ {Praaptham} and 'Paattathu Raani' {Sivandha Man}.The two similarly focused, happy-go lucky numbers were, ‘Adi Ennadi Ulagam’ {Aval Oru Thodar kadhai}and ‘Adi Podi Paithiakkaari’ [sung with P.Suseela] from Thaamarai Nenjam. 
     The other song delivered in a similar mode to that of Jamuna Rani's 'Punnagai Mannan' {Iru Kodugal} was 'Malarukku Thenral Pagaiyaanaal' {Enga Veettu Pillai} with P.Suseela. Some of her most popular duet songs were,' Thulluvadho Ilamai' { Kudiyirundha Koil} 'Muthukkulikka Vaarihala'{Anubhavi Raajaa Anubhavi}’Idhu Maalai Nerathu Mayakkm’ {Karpooram} 'Singapporu Machaan’ {Singapore Seemaan}'Naan Maandhoppil Ninrirundhein’ {Enga Veettuppillai}and 'Inimai Niraindha Ulagam' [Ninaithaale Inikkum}.Her most celebrated song was 'Pirandha Idamthedi Nadandha Thenrale' {Naan Aanaiyittaal}.The three famous group songs with which she got fully involved were, 'Vaaraayen Thoezhi Vaaraayo’ {Paasa Malar}‘Manamagale Marumagale Vaa Vaa’ {Saradha} and ’Kangalum Kaavadi Sindhahattum’{Enga Veetuppillai}.
    Not more than half of her rich Tamil play back singing has been mentioned here. L.R.Eswari was the most wanted and greatly sought after singer for more than two decades, for her unique voice frame, throw of energy and sensuous appeal. The difference between Jamuna Rani and Eswari was marginal, in the sense that Rani always carried the nasal richness with which she sensually excited, stimulated and soothed the human ears.; whereas, Eswari with her open voice, was ever ready to bring in a variety of sensations and sentiments that would charm, challenge and checkmate even those determined not to hear her voice. In a  world of melodies, Jamuna Rani and L.R.Eswari had their voices ruling, with titillating and enchanting rhythms, with a kind of influence surpassing linguistic and psychologically restrictive aural barriers. 
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