His Master's Voice-27

Kishore Kumar (4 August 1929 – 13 October 1987),(Bengali:কিশোর কুমার ) born Abhas Kumar Ganguly was a popular Indian film playback singer. He is also known as an actor, lyricist, composer, producer, director, screenplay writer and scriptwriter. Kishore Kumar sang in many Indian languages including Bengali, Hindi, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya. He won 8 Filmfare Awards for Best Male Playback Singer and holds the record for most number of Filmfare Awards won in that category. He was awarded the "Lata Mangeshkar Award" by the Madhya Pradesh government and from that year onwards, the Madhya Pradesh Government initiated a new award called the "Kishore Kumar Award" for contributions to Hindi cinema.


Kishore Kumar was born into the Bengali Ganguly family in Khandwa, Central Provinces and Berar (now in Madhya Pradesh) as Abhas Kumar Ganguly. His father Kunjalal Ganguly (Gangopadhyay) was a lawyer. His mother Gouri Devi came from a wealthy Bengali family. Kishore was the youngest of four siblings, the other three being Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar.


While Kishore was still a child, Ashok Kumar became a Bollywood actor. (Later, Anoop Kumar also ventured into cinema with the help of Ashok Kumar). Spending time with his brothers, Kishore also started to take a keen interest in movies and music. He became a fan of singer-actor Kundan Lal Saigal, whom he considered his guru, and tried to follow Saigal's singing style. After Ashok Kumar became a big star in Hindi films, the Ganguly family used to visit Bombay regularly. Abhas Kumar changed his name to Kishore Kumar and started his cinema career as a chorus singer at Bombay Talkies, where his brother worked. Kishore Kumar's first film as an actor was Shikari (1946), in which Ashok Kumar played the lead role. Music director Khemchand Prakash gave Kishore Kumar a chance to sing "Marne ki duayen kyon mangu" for the film Ziddi (1948). After this, Kishore Kumar got many other assignments, but he was not very serious about a film career. In 1949, he decided to settle in Mumbai.


Kishore Kumar played hero in the Bombay Talkies film Andolan (1951), directed by Phani Majumdar. Although Kishore Kumar got some assignments as an actor with help of his brother, he was more interested in becoming a singer. He was not interested in acting, but his elder brother Ashok Kumar wanted him to be an actor like himself. He starred in Bimal Roy's Naukri (1954) and Hrishikesh Mukherjee's directorial debut Musafir (1957). Salil Chowdhury, the music director for Naukri was initially dismissive of him as a singer, when he came to know that Kishore Kumar didn't have any formal training in music. However, after hearing his voice, he gave him the song Chhota sa ghar hoga, which was supposed to be sung by Hemant Kumar.

Kishore Kumar starred in films New Delhi (1957), Aasha (1957), Chalti Ka Naam Gaadi (1958), Half Ticket (1962), and Padosan (1968). Chalti Ka Naam Gaadi(1958), his home production, starred the three Ganguly brothers and Madhubala. The film is about romance between a city girl (Madhubala) and a car mechanic (Kishore Kumar), with a subplot involving the brothers. Music director S. D. Burman is credited with spotting Kishore Kumar's talent as a singer, and advancing his singing career. During the making of Mashaal (1950), Burman visited Ashok Kumar's house, where he heard Kishore imitating K. L. Saigal. He complimented Kishore and told him that he should develop a style of his own, instead of copying Saigal.[3] He kept Burman's advice in mind and eventually developed his own style of singing, which featured the yodeling that he had heard on the gramophone records of Tex Morton and Jimmie Rodgers bought by his brother Anoop Kumar.


S. D. Burman recorded with Kishore for Dev Anand's Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed music for Kishore Kumar's home production Chalti Ka Naam Gaadi (1958). Some of their initial films included the songs "Maana Janaab Ne Pukara Nahin" from Paying Guest, "Hum Hain Rahi Pyar Ke" from Nau Do Gyarah (1957), "Ai Meri Topi Palat Ke Aa" from Funtoosh, and "Ek Ladki Bheegi Bhaagi Si" and "Haal Kaisa Hai Janaab Ka" from Chalti Ka Naam Gaadi (1958).[6] Asha Bhosle and Kishore Kumar performed duets composed by S. D. Burman including "Chhod Do Aanchal" from Paying Guest (1957), "Ankhon Mein Kya Ji" from Nau Do Gyarah (1957), "Haal Kaisa Hai Janaab Ka" and "Paanch Rupaiya Baara Aana" from Chalti Ka Naam Gaadi (1958) and "Arre Yaar Meri Tum Bhi Ho Gajab" from Teen Deviyan (1965). C. Ramchandra was another music director who recognized Kishore Kumar's talent as a singer.[4] Their collaborations include "Eena Meena Deeka" from Aasha (1957). Kishore Kumar's work includes "Nakhrewaali" from New Delhi (1956) by Shankar Jaikishan, "C.A.T. Cat Maane Billi" and "Hum To Mohabbat Karega" from Dilli Ka Thug (1958) by Ravi, and "Chhedo Na Meri Zulfein" from Ganga Ki Lahren (1964) by Chitragupta.


Kishore Kumar produced, directed, and acted in Jhumroo (1961). He wrote the lyrics for the title song, "Main Hoon Jhumroo," and composed music for all the songs in the film. Later, he produced and directed Door Gagan Ki Chhaon Mein (1964). He wrote the script and composed music for the film. Its based on the relationship between a father (Kishore Kumar) and his deaf and mute son (played by his real-life son, Amit Kumar). He made another two films called Door Ka Rahi (1971) and Door Waadiyon Mein Kahin (1980). In the 1960s, as an actor, Kishore Kumar built up a notoriety for coming late for the shootings, or bunking them altogether.[7] His films flopped frequently, and he landed in income tax trouble.[3] As a singer, his work in this period includes "Zaroorat Hai Zaroorat Hai" from Manmauji (1961), "Gaata Rahe Mera Dil" from Guide (1965), and "Yeh Dil Na Hota Bechara" from Jewel Thief (1967). In the late 1960s, Rahul Dev Burman worked together on the soundtrack of the film Padosan (1968), in which Kishore Kumar sang the songs "Mere Saamne Wali Khidki Mein" and "Kehna Hai." Padosan was a comedy film starring Kishore Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as a simpleton named Bhola. Kishore Kumar's character in was inspired by the personality of his uncle, Dhananjay Bannerjee (a classical singer). The highlight of the film was a musical, comical duel between Kishore Kumar-Sunil Dutt and Mehmood: "Ek Chatur Nar Karke Singaar".



In 1969, Shakti Samanta produced and directed the film Aradhana, for which the music was composed by S.D. Burman. It is said that after recording two songs for the film, the popular playback singer Mohammed Rafi went to Hajj, where he heard that professional singing is against Islam. Confused, he took a break from singing and went to London to be with his son.[citation needed] Shakti Samanta suggested that Kishore Kumar sing rest of the songs. When the film was released, the songs "Mere Sapno Ki Rani" and "Roop Tera Mastana" established Kishore Kumar as a leading playback singer in Bollywood.[8] Kishore Kumar won his first Filmfare award for the song "Roop Tera Mastana".


Kishore Kumar married four times. His first wife was Bengali singer and actress Ruma Guha Thakurta aka Ruma Ghosh. Their marriage lasted from 1950 to 1958. Kishore's second wife was actress Madhubala, who had worked with him on many films including his home production Chalti Ka Naam Gaadi (1958) and Jhumroo (1961). When Kishore Kumar proposed to her, Madhubala was sick and was planning to go to London for treatment. At this time, she didn't know that she had a ventricular septal defect (hole in the heart), and her father wanted her to wait and consult the London doctors first. Furthermore, at the time he was married to Ruma. After his divorce, because Kishore Kumar was Bengali Hindu (Brahmin) and Madhubala Muslim, they had a civil wedding ceremony in 1960. His parents refused to attend. The couple also had a Hindu ceremony to please Kumar's parents, but Madhubala was never truly accepted as his wife. Within a month of her wedding she moved back to her bungalow in Bandra because of tension in the Kishore Kumar household. They remained married but under great strain for the remainder of Madhubala's life. The doctors in London told Madhubala that she would not live for long. The marriage lasted for nine years, and ended with Madhubala's death on 23 February 1969.


Kishore Kumar's third marriage was to Yogeeta Bali, and lasted from 1976 to 4 August 1978. Kishore was married to Leena Chandavarkar from 1980 until his death. Kishore Kumar sired two sons, Amit Kumar (playback singer) with Ruma, and Sumit Kumar with Leena Chandavarkar. Kumar is said to have been paranoid about not being paid. During recordings, he would sing only after his secretary confirmed that the producer had made the payment. Once, when he discovered that his dues hadn't been fully paid, he landed up for shooting with make-up on only one side of his face. When the director questioned him, he replied "Aadha paisa to aadha make-up." (Half make-up for half payment). On the sets of Bhai Bhai, Kishore Kumar refused to act because the director M V Raman owed him five thousand rupees. Ashok Kumar persuaded him to do the scene. But, when the shooting started, he walked across the floor and, each time he walked a few places, he said, Paanch Hazzar Rupaiya (five thousand rupees) and did a somersault. After he reached the end of the floor, he went out of the studio, jumped into his car, and ordered his driver Abdul to drive away. On another occasion, when producer R. C. Talwar did not pay his dues in spite of repeated reminders, Kishore turned up at Talwar's residence one morning and started shouting "Hey Talwar, de de mere aath hazaar" ("Hey Talwar, give me my eight thousand"). He did this every morning until Talwar paid him.



The film Anand (1971) was originally supposed to star Kishore Kumar and Mehmood Ali in the lead. Hrishikesh Mukherjee, the director of the film, was asked to meet Kishore Kumar to discuss the project. However, when he went to Kishore Kumar's house, he was driven away by the gatekeeper due to a misunderstanding. Kishore Kumar (himself a Bengali) hadn't been paid for a stage show organized by another Bengali man, and had instructed his gatekeeper to drive away this "Bengali", if he ever visited the house. When Hrishikesh Mukherjee (also a Bengali) went to Kishore Kumar's house, the gatekeeper drove him away, mistaking him for the "Bengali" that Kishore Kumar had asked him to drive away. Consequently, Mehmood had to leave the film as well, and new actors (Rajesh Khanna and Amitabh Bachchan) were signed up for the film.  In spite of his "no money, no work" principle, sometimes Kishore Kumar recorded for free even when the producers were willing to pay. Such films include those produced by Rajesh Khanna and Danny Denzongpa. On one occasion, Kishore Kumar helped actor-turned-producer Bipin Gupta, by giving him Rs.20,000 for the film Dal Mein Kala (1964). When actor Arun Kumar Mukherjee died, Kishore Kumar regularly sent money to his family in Bhagalpur. Mukherjee was one of the first persons to appreciate Kishore's singing talent.



Many journalists and writers have written about Kishore Kumar's seemingly eccentric behavior. Kishore Kumar had put a "Beware of Kishore" sign at the door of his Warden Road flat, where he stayed for some time while his bungalow was being done up. Once, producer-director H. S. Rawail, who owed him some money, visited his flat to pay the dues. Kishore Kumar took the money, and when Rawail offered to shake hands with him, he reportedly put Rawail's hand in his mouth, bit it, and asked "Didn’t you see the sign?". Rawail laughed off the incident and left quickly. Kishore Kumar was a loner, and in an interview with Pritish Nandy (1985), he said that he had no friends – he preferred talking to his trees instead. Once, when a reporter made a comment about how lonely he must be, Kishore Kumar took her to his garden. He then named some of the trees in his garden, and introduced them to the reporter as his closest friends.



According to another reported incident, once Kishore Kumar was to record a song for producer-director G. P. Sippy. As Sippy approached his bungalow, he saw Kishore going out in his car. Sippy pleaded him to stop his car, but Kishore only increased the speed of his car. Sippy chased him to Madh Island, where Kishore Kumar finally stopped his car near the ruined Madh Fort. When Sippy questioned his strange behavior, Kishore Kumar refused to recognize or talk to him and threatened to call police. Sippy had to return. Next morning, Kishore Kumar reported for the recording. An angry Sippy questioned him about his behavior on the previous day. However, Kishore Kumar insisted that Sippy must have seen a dream, and claimed that he was in Khandwa on the previous day. Once, a producer went to court to get a decree that Kishore Kumar must follow the director's orders. As a consequence, Kishore Kumar obeyed the director to the letter. He refused to alight from his car until the director ordered him to do so. Once, after a car scene in Mumbai, he drove on till Khandala because the director forgot to say "Cut"! In the 1960s, a financier named Kalidas Batvabbal, patently disgusted with Kishore Kumar's alleged lack of cooperation during the shooting of Half Ticket, gave him away to the income tax authorities. Kishore had to face a raid at his house. Later, Kishore invited Batvabbal home, tricked him by asking him to enter a cupboard for a "chat" and locked him inside. He unlocked Batvabbal after two hours and told him "Don’t ever come to my house again.".



In 1970s and 1980s Kishore Kumar sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Sanjay Dutt, Sunny Deol, Anil Kapoor, Vinod Khanna, Rakesh Roshan, Dilip Kumar, Pran, Vinod Mehra, Chunky Pandey, Kumar Gaurav, Govinda and Jackie Shroff. S. D. Burman and Kishore Kumar continued to work together, including "Phoolon Ke Rang Se" and "Shokhiyon Mein Ghola Jaaye" from Prem Pujari (1969), "Aaj Madhosh Hua Jaaye Re," "Khilte Hain Gul Yahan" and "O Meri Sharmilee" from Sharmilee (1971), "Meet na mila" from Abhimaan (1973), "Pyaar Ke Is Khel Mein" from Jugnu, "Phoolon Ke Dere Hain" from Zameer (1974). In 1975, S. D. Burman composed his last song for Kishore Kumar. S. D. Burman went into a coma for the second time, soon after Kishore recorded the song "Badi Sooni Sooni Hai" for the film Mili. He sang memorable songs with deep soft voice such as "Yeh Jeevan hai", "Zindagi Ka Safar", "Chingari Koi Bhadke", "Kuch to log kahenge", "Jeevan Ke Din", "Chookar Mere Mann Ko", " Aanewala pal janewala Hai", "Koi hota Jisko Apna ". The amazing depth in his voice spelling the philosophy mesmerized listeners. Although not trained classically, he sang "Mere naina Saawan Bhado " a semi-classical song and in the soft romantic version of the song "Hume tumse pyar Kitna " he out-shined the classical version of "Parveen Sultana ". Though he was patronized initially by of one of the greatest composers of India "Sachin Deb Burman", in the Seventies and Eighties he was the lead singer for almost every composer. He is very popular and a craze amongst the youth of the 21st century as well. He was awarded the "Lata Mangeshkar Award" by the Madhya pradesh government and immediately a new award "Kishore Kumar Award" was initiated by the Madhya Pradesh government to honour him. The committee which conferred him the award was chaired by noted classical singer "Kumar Gandharva" and had noted journalist "Pritish Nandi " as a member. Kishore has won the filmfare award for best male playback singer a record eight number of times.



R. D. Burman frequently used Kishore Kumar as the male singer and recorded several songs with him in the 1970s. Some Kishore Kumar-R. D. Burman songs include "O Maajhi Re" from Khushboo, "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Chingari Koi Bhadke" and "Kuchh To Log Kahenge" from Amar Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), "Musafir Hoon Yaaron" from Parichay (1972), "Diye Jalte Hain" from Namak Haraam (1973), "Meri Bheegi Bheegi Si" from Anamika (1973), "Zindagi Ke Safar Mein" from Aap Ki Kasam (1974), "Agar Tum Na Hote" and "Humein Tum Se Pyaar Kitna" from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and "Chingari Koi Bhadke (Amar Prem)" and "Jab Bhi Koi Kangana" from Shaukeen (1986). R. D. Burman recorded several duets pairing Kishore Kumar with Asha Bhosle and with Lata Mangeshkar. Some of these duets include "Panna Ki Tamanna" from Heera Panna (1973), "Neend Chura Ke Raaton Mein" from the film Shareef Budmaash, "Kya Yehi Pyaar Hai" from Sanjay Dutt's debut film Rocky (1981), "Sagar Kinare" from Sagar in [1985], "Aap Ki Aankhon Mein Kuchh" from Ghar, "Jaane Ja Dhoondta" and "Nahi Nahi" from Jawani Diwani, "Kharoshoo" from Harjai (1982).



Apart from the Burmans, Kishore Kumar worked with other music directors as well. The composer duo Laxmikant-Pyarelal (L-P) composed many songs sung by him. Some of their songs include "Mere Mehboob Qayamat Hogi" from Mr. X In Bombay, "Mere Naseeb Mein Aye Dost" from Do Raaste, "Yeh Jeevan Hai" from Piya Ka Ghar, "Mere Dil Mein Aaj Kya Hai" from Daag: A Poem of Love, "Nahi Mai Nahi Dekh Sakta" from Majboor, "Mere diwanepan ki bhi" from Mehboob Ki Mehndi, "Naach Meri Bulbul" from Roti, "Chal Chal Mere Haathi" from Haathi Mere Saathi, "Gaadi Bula Rahi Hai" from Dost, "Ruk Jaana Nahi" from Imtihaan, "Ek Ritu Aaye" from Gautam Govinda, "My Name Is Anthony Gonsalves" from Amar Akbar Anthony, "Bahut Khoobsurat Jawan Ek Ladki" from Dostana and "Om Shanti Om" as well as "Paisa Yeh Paisa" from Karz. Laxmikant-Pyarelal composed several Kishore-Lata duets, including "Achchha To Hum Chalte Hain" from Aan Milo Sajna, "Gore Rang Pe Na Itna" from Roti, "Main Solah Baras Ki" from Karz, and "Din Mahine Saal" from Avtaar, "Tu Kitne Baras Ki" from Karz. L-P also got Kishore Kumar and Mohammed Rafi to sing duets for the films Dostana, Ram Balram and Deedaar-E-Yaar. L-P composed a duet with Kishore Kumar and Alisha Chinoy, "I love you (Kaate Nahin Katate Yeh Din Yeh Raat)" from Mr. India in (1987). Salil Chowdhury recorded songs like "Koi Hota Jisko Apna" from Mere Apne and "Gujar Gaye Din Din" from Annadata. Ravindra Jain recorded "Ghungroo Ki Tarah" and the duet "Le Jaayenge Le Jaayenge" from Chor Machaye Shor and the duet "Tota Maina Ki Kahani" from Fakira. Khaiyyaam recorded beautiful duets with Lata Mangeshkar such as "Hazar Rahein" from Thodisi Bewafaii, Aankhon Mein Humne Aapke Sapne Sajaye Hain, Chandani Raat Mein Ek Bar. Hridaynath Mangeshkar recorded Zindagi Aa Raha Hoon Main from Mashaal. Kalyanji Anandji recorded several songs with Kishore Kumar including Zindagi Ka Safar and Jeevan Se Bhari Teri Aankhein, from Safar, Pal Pal Dil Ke Paas from Black Mail, Apne Jeevan Ki Uljhan from Uljhan, Mera Jeevan Kora Kagaz from Kora Kagaz, O Saathi Re from Muqaddar Ka Sikandar, Khaike Paan Banaraswala from Don, Neele Neele Ambar Par from Kalakar and Pal Bhar Ke Liye from Johny Mera Naam.


Other composers including Rajesh Roshan, Sapan Chakraborty, Jaidev, Chitragupta (composer), Usha Khanna, Sohnik Omi, Prem Dhawan, Vanraj Bhatia and Bappi Lahiri also worked with Kishore Kumar. Rajesh Roshan's film Julie featured songs sung by Kishore Kumar, Bhool Gaya Saab Kuchh (duet with Lata Mangeshkar) and Dil Kya Kare Jab Kisise. Their other songs include Yaadon Mein Woh from Swami, Chhookar Mere Man Ko Kiya Toone Kya Ishaara from Yaarana, Tune Abhi Dekha Nahin from Do Aur Do Paanch and Kahan Tak Ye Man Ko Andhere Chhalenge as well as Kahiye, Suniye (duet with Asha Bhosle) from Baton Baton Mein. Bappi Lahiri also recorded many songs with Kishore Kumar, including Pag Ghunghroo Bandh from Namak Halaal (1982), Manzilen Apni Jagah Hai from Sharaabi (1984) and Chalte Chalte Mere Ye Geet from Chalte Chalte (1976), Saason Se Nahi Kadmose Nahi from Mohabbat in (1987) and duets with (Lata Mangeshkar)) like Taa thaiya from Himmatwala in (1984), Albela Mausam from Tohfa in (1985) and another duet Pyar Ka Tohfa from the same film. During the Indian Emergency (1975–1977), Sanjay Gandhi asked Kishore Kumar to sing for an Indian National Congress rally in Mumbai, but he refused. As a result, Information and broadcasting minister Vidya Charan Shukla (1975–1977) put an unofficial ban on playing Kishore Kumar songs on the All India Radio and Doordarshan from 4 May 1976 till the end of the Emergency!


Kishore Kumar produced and directed some movies in the late 1970s and early 1980s, such as Badhti Ka Naam Daadhi (1978), Zindagi (1981) and Door Wadiyon Mein Kahin (1980): His last appearance as an actor. With patronage from R. D. Burman and Rajesh Roshan, Kishore Kumar's son Amit Kumar became a Bollywood singer in the 1980s. Kishore Kumar also continued singing for several actors. He also did some stage shows, apparently to earn money to pay his income tax arrears. Kishore Kumar stopped singing for Amitabh Bachchan in the mid-1980s, after Bachchan did not do a guest appearance in a film Mamta Ki Chhaon Mein which was produced by Kishore Kumar but called a truce with Amitabh by singing for him in Toofan. He also temporarily stopped singing for Mithun Chakraborty, after Yogeeta Bali divorced him and married Chakraborty. However, later Kumar sang for him in many films like Disco Dancer, Muddat, and Pyaar Ka Mandir.


In the mid-1980s, Kishore Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, Woh Saat Din and also recorded Mr. India. He sang a duet with Alka Yagnik, "Tumse Badhkar Duniya Mein Na Dekha" for Kaamchor in (1982). He also recorded some songs for the film Saagar with R. D. Burman. By this time, he had decided to retire and was planning to go back to his birthplace, Khandwa. On 13 October 1987, his brother Ashok Kumar's 76th birthday, he died of a heart attack in Mumbai at 4:45 pm. His body was taken to Khandwa for cremation. He had recorded his last song a day before he died. The song was Guru Guru, a duet with Asha Bhosle, for the film Waqt Ki Aawaz (1988) composed by Bappi Lahiri for Mithun Chakraborty and Sridevi. Kishore Kumar's song Pal Bhar Ke Liye from the film Johny Mera Naam (1970) was used in an episode of The Simpsons titled "Kiss Kiss, Bang Bangalore. His songs have been featured in several films, including Such a Long Journey (1998) and Side Streets (1998). Sony TV organised the television singing contest K For Kishore to search for a singer like Kishore Kumar. but it went fail, obviously: because he was the one and only!

His Master's Voice-26

Pillavalu Gajapathi Krishnaveni (Telugu: పి.జి.కృష్ణవేణి, Tamil: பி.ஜி.கிருஷ்ணவேணி) aka Jikki (Telugu: జిక్కి, Tamil: ஜிக்கி), was a popular film playback singer from Andhra Pradesh,South India. She sang over nearly 10,000 songs in Telugu, Tamil, Kannada, Malayalam, Hindi and Sinhala languages.

Jikki was born in Chennai on November 3, 1935 to Gajapathi Naidu and Rajakanthamma, who had moved from Chandragiri, near Tirupati in Andhra Pradesh to Chennai for their livelihood. Her uncle Devaraju Naidu worked as music composer with celebrated Kannada theatre legend and movie pioneer Gubbi Veeranna and this gave exposure to the young good looking girl,Krishnaveni,to music and film world.


Jikki began her career as child artist in 1943 and played a minor role in a Telugu movie named Panthulamma directed by Guduvalli Ramabramham. In 1946 she once again hit the silver screen with the movie Mangalasutram, the rehash of a Hollywood movie'Excuse Me'.She was already being noted for her musical prowess and the lilting mellifluous voice although she did not go through any orthodox classical training in music. Soon a chance came her way to sing for the Tamil movie 'Gnanasoundari' in 1948 for which music was composed by the doyen of the film music then, S. V. Venkatraman. This was the turning point in her life. She sang for the heroine, when she was young.


The song Arul Tharaam Deva maathaavey Aadhiyey Inba Jothi... which will be succeeded by P. A. Periyanayaki (for the grown up heroine) became super hit and so did the film. This changed actress Jikki into Playback singer Jikki. Soon Jikki began to sing regularly not only in Tamil and Telugu but also in Kannada and Malayalam films. During those years as most of the Sinhalese films were produced in South India, she sang for Sri Lankan films movies too. She got many chances to sing in all southern languages.


She sung for almost of all music directors of that time. such as S. V. Venkatraman, G. Ramanathan, C. R. Subburaman, S. M. Subbaiah Naidu, S. Rajeswara Rao, T. Govindarajulu Naidu, R. Sudharsanam, S. Dakshinamurthi, C. N. Pandurangan, Adepalli Rama Rao, Emani Sankara Sastry, Master Venu, K. Vara Prasada Rao, T. A. Kalyanam, M. S. Gnanamani, K. V. Mahadevan, Pendyala Nageswara Rao, G. Aswathama, V. Dakshinamoorthy, T. G. Lingappa, P. Adinarayana Rao, P. S. Diwakar, T. R. Papa, T. V. Raju, C. S. Jayaraman, Ghantasala, Vedha, M. S. Viswanathan, T. K. Ramamoorthy, Rajan - Nagendra, Devarajan, M. Ranga Rao, Vijaya Bhaskar, Baburaj, K. Raghavan, K. G. Moorthy, T. Chalapathy Rao, R. K. Shekar, Brother Lakshmanan, Jeevan, Ilaiyaraja, Shankar Ganesh, Deva, and Hindi film music composers, Shankar Jaikishan and C. Ramchandra.


She sang immemorable duets with all the leading male singers with most with A. M. Rajah and others such as T. M. Soundararajan, Sirkazhi Govindarajan, Thiruchi Loganathan, Ghantasala, C. S. Jayaraman, P. B. Sreenivas, T. A. Mothi, S. C. Krishnan, V. N. Sundharam, J. P. Chandrababu, K. R. Ramasamy, A. L. Raghavan, R. B. Ramachandra, S. P. Balasubramaniam, K. J. Yesudas, Malaysia Vasudevan & Mano. She also sang duets with female singers with most notably with P. Leela and others like P. A. Periyanayaki, M. L. Vasanthakumari, T. V. Rathinam, P. Suseela, A. P. Komala, Radha Jayalakshmi, Soolamangalam Rajalakshmi, K. Jamuna Rani, S. Janaki, A. G. Rathnamala and Vani Jairam.


She was married to successful playback singer and music director A. M. Rajah. A.M. Rajah-Jikki duets have been super-duper hits. The Tamil movie 'Then Nilavu' was a big hit also because of these all time great singers. Jikki has also sung many songs in her husband's direction - songs that still play in radio stations. A mother of six children, Jikki lost her husband in a train mishap. He slipped and fell in between the tracks while boarding a train. This was one incident that she could never forget. After her husband's death she stopped singing for sometime. Then she came out of retirement and sang for Ilaiyaraja. She also started a music troupe with her two sons and performed in many countries including United States.


Unlike many singers she was not always after money. Once when she sang five songs for a Tamil film, She asked the producer 'Valampuri Somanathan' to reduce her remuneration because he had given her the opportunity to sing so many songs in a single movie, such is her dedication for singing!


She was honoured with "Ugadi Puraskaram" by Madras Telugu Academy and Government of Tamil Nadu awarded her "Kalai Ma Mani". She had been suffering from Breast Cancer and had surgery, but the cancer soon spread to her Kidneys and eventually the Liver. Several attempts were made to save her life by her close friend and singer Jamuna Rani which were supported by donations through musical nites, medical/financial support from Governments of Tamil Nadu and Andhra Pradesh. Then Tamil Nadu chief minister J.Jayalalithaa and Andhra Pradesh chief minister N. Chandrababu Naidu had granted Jikki of Rs 100,000 (one lakh rupees) from the 'Dr. MGR' trust and Rs 200,000 (two lakh rupees) respectively after hearing her illness and her difficulty to meet the treatment expenses. Finally, she died on August 16, 2004 in Chennai.

His Master's Voice-25

Sirkazhi Govindarajan (Tamil: சீர்காழி கோவிந்தராஜன்; January 19, 1933 - March 24, 1988) was a leading vocalist in Carnatic Music. Govindarajan, born in Sirkali in Madras Presidency)to Siva Chidambaram and Avayambal Ammal in the small town of SIRKALI. Sirkali was the birth place of Thirugnanasambandar, one of the Samaya Naalvar and the 63 Nayanmar of the Saiva faith. It was little wonder that he became a child prodigy performing at the Tirupurasundari Temple at the age of eight on the occasion of the Gnana Paal Festival. His son Sirkazhi G. Sivachidambaram is also a Carnatic singer.



He graduated from the Tamil Isai College in Chennai in 1949 with the Degree 'Isaimani'. He also graduated with the Degree of 'Sangeetha Vidwan'. At the same time, he started rigorous training (Gurukulavasam) under his Guru Sri.Thiruppampuram Swaminatha Pillai, who was then a Professor at the Central College of Carnatic Music, Madras. Under his tutelage and in-depth study, he gained knowledge of the nuances and intricacies of Indian Music, especially, Classical Carnatic Music.

During this period, 1951–52, he won many competitions, conducted by the Sangeetha Vidwat Sabha(Music Academy) and the Rasika Ranjani Sabha. He was the proud recipient of three Gold Medals(First Place) in the austere and hallowed halls of Sangeetha Vidwat Sabha(Music Academy) from Karaikudi Sri. Sambasiva Iyer. "Sangeetha Vidwan" Sirkali won all first places in the three categories: Apoorva Krithis of Sri Thyagaraja swamigal, Ragam-Thanam-Pallavi, and Tamil Classical Songs.


He was conferred the Padma Shri award by the Government of India. The Central College of Carnatic Music was the next institution for his musical enrichment. Govindarajan had also done playback singing in Tamil, Telugu and Kannada films. Madras University conferred a doctorate (Honoris Causa) on him in 1983. He died in 1988, aged 55. His high pitch vocal was so hilarious, even today music lovers remember his songs. such as "Ramana avathara" from kannada movie Bhookailaasa the song still has it's own image, which described entire epic Ramayana in less then minutes which is written by the great lyricist Ku Ra Seethaarama Shasthry .

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Suman Kalyanpur is an Indian singer. She was born on January 28, 1937 in Dhaka, British India. In 1943, her family moved to Mumbai, where she received her musical training. She is married to Ramanand S. Kalyanpur. Suman Kalyanpur's first film song was a duet with Talat Mahmood in Darwaza (1954). Talat Mahmood heard Kalyanpur singing in a musical concert and was highly impressed by her singing. A rank newcomer, her career hit the big league when Talat agreed to sing the duet with her, making the film industry sit up and take notice of her.


She sang for the movie, Mangu (1954), Koi Pukare Dheere Se Tujhe. Kalyanpur provided playback singing for Miyan Bibi Razi (1960), Baat Ek Raat Ki (1962), Dil Ek Mandir (1963), Dil Hi To Hai (1963), Shagoon (1964), Jahan Ara (1964), Sanjh Aur Sawera (1964), Noor Jahan (1967), Saathi (1968) and Pakeezah (1971). She sang for composers Shankar Jaikishan, Roshan, Madan Mohan, S. D. Burman, Hemant Kumar, Chitragupta, Naushad, S. N. Tripathi, Ghulam Mohammed, Kalyanji Anandji and Laxmikant-Pyarelal singing the most songs for the first two in the list. She has sung over 740 movie and non-movie songs.


Kalyanpur sang with Lata Mangeshkar the duet "Kabhi Aaj, Kabhi Kal, Kabhi Parson" under the direction of composer Hemant Kumar. She recorded some popular duets with male singers Mohammed Rafi, Manna Dey, Mukesh, Talat Mahmood, and Hemant Kumar. Some of her memorable duets with Rafi are "Parbaton Ke Pedon Par Shaam Ka Basera He", "Ajahuna Aye Balama", "Tumane Pukara Aur Hum Chale Aye", "Bad Muddat Ke Yeh Ghadi Ayee", "Mujhhe Yeh Bhool Na", "Dil Ne Phir Yaad Kiya", "Tujhko Dilbari Ki Kasam" and "Chand Takata Hai Idhar". With Manna Dey, she sang the popular duet "Na Jane Kahan Ham The" under the music direction of Dattaram.


Kalyanpur also recorded some memorable songs with a classical base, including "Manamohan Man Mein Ho Tumhi", "Mere Sang Gā Gunguna" and "Gir Gayi Re More Mathe Ki Bindiya". She received three times the prestigious "Sur Sringar Samsad" award for the best classical song in a Hindi movie. Suman Kalyanpur's popular songs are here goes, which were always branded Lataji's name on them by mistake by music fans.  usually thought to be sung by Lata Mangeshkar but it was in fact sung by her. The confusion results from the fact that the quality of her voice is almost similar to Lata Mangeshkar's at times.


"Na Tum Hamen Jano" (Baat Ek Raat Ki)
"Chhodo, Chhodo Mori Baiyann" (Miya Biwi Razi)
"Dil Gham Se Jal Raha" (Shama)

"Yun Hi Dil Ne Chaha Tha" (Dil Hi To Hai)
"Bujha Diye Hain" (Shagoon)
"Mere Sang Ga" (Janwar)

"Mere Mehboob Na Ja" (Noor Mahal)
"Tum Agar Aa Sako To"' & "Zindagi Doob Gai Dard Ke Toofano Mein" (Ek Sal Pehle)
"Jo Ham Pe Guzarti Hai" (Mohabbat Isko Kehten Hain)
"Sharabi Sharabi Yeh Sawan Ka Mausam" (Noor Jehan)

"Behena Ne Bhai Ki Kalai Main" (Resham Ki Dori), for which she was nominated for the Filmfare Best Female Playback Award in 1975.

His Master's Voice-23

Mukesh Chand Mathur (22 July 1923 – 27 August 1976), better known mononymously as Mukesh, was an Indian playback singer of Hindi movies. He, alongside Mohammad Rafi, Manna Dey, and Kishore Kumar, left such an impact on the Hindi film industry that they are still remembered to date. Amongst the numerous nominations and awards he won, his song "Kai Baar Yuhi Dekha Hai" from film Rajnigandha (1973) won him the National Film Award for Best Male Playback Singer. Mukesh is also popular as being the voice of legendary actor Raj Kapoor.


Mukesh was born in Ludhiana to Zorawar Chand Mathur, an engineer, and Chand Rani. He was the sixth in a family of ten children. The music teacher who came home to teach Mukesh's sister, Sundar Pyari, found a pupil in Mukesh who would listen from the adjoining room. Mukesh left school after the 10th grade and worked briefly for the Department of Public Works. He experimented with voice recordings during his employment in Delhi and gradually developed his singing abilities.


Mukesh's voice was first noticed by Motilal, a distant relative, when he sang at his sister's wedding. Motilal took him to Mumbai and arranged for singing lessons by Pandit Jagannath Prasad. During this period Mukesh was offered a role in a Hindi film, Nirdosh (1941). His first song was "Dil Hi Bujha Hua Ho To" as an actor-singer for Nirdosh. He got his break as a playback singer for actor Motilal in 1945 with the film Pehli Nazar with music composed by Anil Biswas and lyrics written by Aah Sitapuri. The first song that he sang for a Hindi film was "Dil Jalta Hai To Jalne De". Mukesh was such a fan of singer K. L. Saigal that in his early years of playback singing he used to imitate his idol.[citation needed] In fact, it is said that when K. L. Saigal first heard the song "Dil Jalta Hai...", he remarked, "That's strange, I don't recall singing that song".


Mukesh created his own singing style with the help of music director Naushad, who helped Mukesh to come out of his Saigal style and create his own style. Naushad gave him songs for the film Andaz. Initially Mukesh was the ghost voice of Dilip Kumar in this movie and Mohammed Rafi sang for Raj Kapoor. He delivered many Hits for Naushad in films like: Anokha Pyaar (1948), Mela(1948), Andaz (1949), Shabnam (1949), Yahudi (1958). However later Dilip Kumar choose Rafi as his ghost voice and Mukesh became the ghost voice of Raj Kapoor. In 1974, Mukesh received National Film Award for Best Male Playback Singer for the song "Kai Baar Yuhi Dekha Hai" from Rajnigandha (1974), and Filmfare Awards for the songs "Sab Kuch Seekha Humne" in the movie Anari (1959), "Sabse Bada Naadan Wahi Hai" in Pehchaan (1970), "Jai Bolo Beimaan Ki" in Beimaan (1972) and "Kabhi Kabhie Mere Dil Mein", the title song of film Kabhie Kabhie (1976). A total of around 1,200 songs were sung by him. This number is less than those sung by some of his contemporaries, but the fact is that Mukesh emphasized on quality rather than quantity. The comparatively less songs sung by him in the 70s can be attributed to both the Kishore wave and his failing health due to his worsening heart problem.


Mukesh died of a heart attack on 27 August 1976 in Detroit, Michigan, USA, where he had gone to perform in a concert. His son, Nitin Mukesh, joined him later on. On the morning of August 27, he got up early and went to take a shower. He came out panting and complaining of chest pains. He was rushed to a hospital but was pronounced dead. The rest of the concert was completed by Lata Mangeshkar. His body was flown to India by Lata Mangeshkar, where a grand funeral ceremony was held in the presence of several actors, with personalities of the Indian film industry and fans paying tribute. When news of his death reached Raj Kapoor, he burst into tears, and remarked, "I have lost my voice, which is a testimony to the association of Mukesh's voice (in playback) to the immensely popular songs of Raj Kapoor's films. A famous song of the 50s featured on Bharat Bhushan Aa laut ke aa ja mere meet is another example of his earlier melodies, as is Dil tadap tadapke keh raha hai, picturised on Dilip Kumar.


After Mukesh's death, his newer, hitherto unreleased, songs were released in 1977 in films such as Dharam Veer, Amar Akbar Anthony, Khel khiladi ka, Darinda and Chandi sona. The year 1978 also featured a considerable number of Mukesh's songs in films such as Aahuti, Paramatma, Tumhari kasam and Satyam Shivam Sundaram, where Mukesh sang his last film song Chanchal sheetal nirmal komal for Raj Kapoor's younger brother, Shashi Kapoor. From 1980 onward, Mukesh's voice was heard in many later released films such as Shaitan mujarim, Premika, Patthar se takkar (1980), Sanjh ki bela, Maila anchal (1981), Aarohi (1982), Chor mandali (1983), Nirlaj (1985), Love and God (1986), Shubh chintak (1989), and his last known release of Chand grahan (1997).


Mukesh married Saral Trivedi Raichand alias Bachhiben in a temple in Kandiwali in 1946, at the residence of R. D. Mathur. Saral was the daughter of a Gujarati Brahmin millionaire. With no proper house, an erratic income and what was then considered in India a supposedly "immoral" profession, Mukesh and Saral were forced to elope. Everyone made dire predictions of unhappy days and divorce, but both weathered the lean days and celebrated their thirtieth wedding anniversary on 22 July 1976, four days before his departure for the U.S.A. on 27 July 1976. The couple had five children - Rita, Nitin, Nalini (d. 1978), Mohnish (Taboo - nickname) and Namrata (Amrita). He is the grand father of actor Neil Nitin Mukesh.

His Master's Voice-22

Porayathu Leela (1934–2005), better known as P. Leela , was a popular Indian playback singer. She was awarded Padma Bhushan posthumously in 2006. Porayathu Leela was born in 1934, in Chittur, Palakkad, Kerala to V.K. Kunjanmenon and Porayath Meenakshi Amma. She was the youngest of the three daughters- Sharadha, Bhanumathi and Leela. V K Kunjanmenon was working as a teacher in Ramavarma Higher Secondary School at Ernakulam. V.K.Menon was passionate about music “We were three girls in our family and I was the youngest. My father wanted us to learn Carnatic music and all three of us used to sing well, My father was solely responsible for making me a singer." said Leela.


Starting at the age of 13, she has sung about 5000 film songs in all the South Indian languages Tamil, Telugu, Malayalam and Kannada. She also sang in one Bengali film and in Sinhala movies. Her songs are known for their emotional touch and classical discipline. She made a name for herself by singing in her mellifluous voice both for the film industry and in carnatic music She considered it an honour to have sung in the same period as M S Subbulakshmi, M L Vasanthakumari and D K Pattammal - three giants of Carnatic music. She has worked under all great music directors and has sung with all the major singers of the South Indian film industry.


Leela had a gifted voice. Thiribuvana Manibhagavadhar the uncle of musician T. V. Gopalakrishnan. was her first guru. Later she learnt from Paththamadai Krishna Ayyar and Maruthuvakudi Rajagopala Iyer She trained under Rama Bhagavathar. Leela was trained in Carnatic music by doyens such as Chembai Vaidyanatha Bhagavathar and Dakshinamoorthy Swami. Vadakkancheri Ramabhagavadhar was a very close friend of Menon. He settled down in Madras. Whenever he used to visit Ernakulam, he would invite Menon and Leela to come to Madras to learn music. The headmistress of the school in which Leela was studying advised her father to take Leela to Madras for further training in music. Menon had an ambition of making his youngest daughter a singer.He made it his lifetime mission . Menon resigned his job in Ernakulam and took Leela to Madras in 1944. Both of them stayed with Vadakkancheri Ramabagavathar in Mylapore and the 10 year old Leela started learning in gurukula style. Her father was very particular that Leela should do sadhaka early in the morning. He saw to it that her sole interest was music.


In Madras, Leela had the opportunity of listening to the concerts of singers like Ariyakkudi Ramanujam, S Ramanathan, GNB, Chembai and others. Leela said this 'kelvi gnanam' helped her in a long way in finetuning her music.and moulding her as a singer. Leela sang at many music competitions in the city winning prizes In 1946, Durgabai Deshmukh gave her the first concert in Andra mahila sabha. Leela was giving concerts in various places. Entry into the Film industry. Columbia Recording Company was looking out for a female voice and the manager Ganabathirama Iyer, recommended Leela. She was appointed as their artiste. This paved the way for her entry into the films.



In Tamil, Nandakumar was the first movie to introduce playback singing. A.V. Meiyappa Chettiar came up with the innovative idea of replacing the soundtrack with another voice and the playback system was introduced in Tamil cinema in 1938. It was gradually accepted and many singers entered the movie world. “I was introduced at a time when the actresses were singing for themselves,” reminisces Leela. When she landed in Madras she did not know Tamil or Telugu. She used to write the keerthanais in Malayalam and practice them to perfection. Once she started her career as playback singer she arranged for tutors and learnt other languages. She was offered to sing for a Tamil movie in 1948. Her father was initially reluctant but later he was persuaded to accept. Leela made her debut as playback singer in the movie `Kanganam.' She sang her first song, ‘Sree Varalakshmi’, when she was just 13 years old. C.H. Padmanabhasastry was the music director of the film. She sang all the songs for the heroine in that film.


Kanganam was produced by G.B. Narayanan company. It was released on 10-6-1948. Story was by A.T.Krishnasamy. Lyrics by Kambadasan. K.R. Ramasamy, M.R. Saminathan, Menaka and P.R. Mangalam acted in that movie. In 1948 she sang 'paaduka poonkuyile' for the Malayalam movie Nirmala. Balan, made in 1938, was the first Malayalam "talkie" with a sound track. Mr.T.R Sundaram produced this film for Modern theatres, Salem, with S. Nottani as the director. The film starred Mr.K. K. Aroor, Mr. Alleppy Vincent, Smt. M. K. Kamalam. Mr. Muthukulam Raghavan Pillai wrote the screen play. The film ‘Balan’ produced by T. R.Sundaram was a melodrama with more Tamil influence than Malayalam. In 1948, 'Nirmala was produced by P.J. Cherian and directed by P.V.Krishna Iyer. ‘Nirmala’ (1948) was the first film to explore the possibility of music and songs in Malayalam cinema. The lyrics penned by Malayalam poet G.. Shankara Kurup set to Music by P.S. Diwakar became popular. From then on, the songs became an essential ingredient of Malayalam cinema. Telugu Movies.


In 1949 Leela made her debut in Telugu Cinema singing in 3 films Manadesam, Keelu Gurram and Gunasundarikatha. Singer and music director Ghantasala (with whom Leela has sung the most number of songs) introduced Leela in Manadesam. Manadesam is remembered as Telugu megastar Nandamuri Taraka Rama Rao's debut as a police inspector. Vauhini pictures Gunasundarikatha was produced by B.N.Reddy and directed by K.V.Reddy.The film was released on 29 Dec 1949. Leela sang the songs for the heroine Sriranjani. Songs of the film include Kalakala Aa Lokilemo, Challani, Doravele, Chandamama, Sree tulasi Jaya tulasi, Ammaa mahalaxmi dayasEyavamma became hits .


In the 1950s Leela was busy singing in all the South Indian languages. Her songs in films like Patala Bhairavi, Missamma, Pelli Chesi Choodu, Appu Chesi Pappu Koodu, Gundamma Katha are the greatest melodies and remembered even today after many decades. Vijaya productions' first movie, Shaukaru, did not fare well at the box office. However, the film had great melodies by Ghantasala and Leela. In the film Missamma ( made asMissiyamma in Tamil), the songs by S. Rajeswara rao combined with voices of A.M. Raja, P. Leela and P. Susheela have become immortal, casting a magical spell over the listeners. Vijaya productions sixth film made in the 1957, Maya Bazaar (directed by K.V.Reddy) is a true classic. The song "kalyana samaiyal satham (vivaha bhojanammu)" in the film still stands the test of time. In one of the interviews Leela recalled that while recording the songs of `Maya Bazar, the composer took 28 takes of a song and they used the fifth take. She worked as a music director for a film called ‘Chinnari Pappulu’ (Telugu) in 1968. The film was produced exclusively by women.


This list of Leela’s achievements as singer will not be complete without mentioning the film Lava Kusha (1963). In 1963 Lalitha Sivajothi films (A. Sankarreddy) produced the film Lavakusa in Telugu.The movie created records by running for more than a year. Music was by Ghantasala Venkateswara Rao. The film was directed by C. Pulliah and his son C. S. Rao. Pullaiah directed an earlier version of Lavakusa in 1938. Lava and Kusa are born in the ashram of Valmik Maharishi and are brought up there. Valmiki Maharishi tells them the story of Srirama and Sitha. Lava and Kusa do not know about the true identity of their parents. In the ashram in front of Valmiki, Seetha and other rishis Lava and Kusa start singing the first part of the Raamakatha, "raamakathanu vinarayya". Now to spread the message of Rama, Lava and Kusa get Sitha’s blessings and go to Ayodhya and sing the second part in the streets of Ayodhya in front of the people "vinudu vinudu raamaayana gaadha". A maid who works in Kauslyamatha’s palace takes Lava and Kusa to the palace where they sing the final part of the raamakatha "Sreeraamuni charitamunu telipedammamma". Sri Ramachandramurthy is inside with the golden statue of Sitha (made for the Aswametha yagnjam). Hearing the song Rama comes to the hall . Lava and Kusa complete the song reciting the Sanskrit sloka.


Srimad Narayaneeyam is an immortal sublime hymn on Lord Guruvayoorappan, composed by Melpathur Narayana Bhattathiri. When Guruvayoor Dewaswom decided to bring out the album Narayaneeyam, names of several musicians like MS, MLV were considered and finally the Dewaswom approved Leela to sing Narayaneeyam. “I got the chance to sing Guruvayarappan Narayaneeyam which I consider as an honour...”said Leela. Leela has been conferred many titles like, ‘Ganamani’, ‘Ganakokila’, ‘Kalarathnam’, ‘Ganavarshini’, etc., She was conferred with the ‘Kalaimamani’ title in 1994 by Chief Minister J Jayalalithaa who in her speech said that though the award had come late, she was proud to be the one to bestow it on her. Leela received the first best playback singer award of the Kerala government in 1969. In 2003, Leela was presented the Janmashtami Puraskaram instituted by Balasamskara Kendram for her efforts in spreading ‘Narayaneeyam’, ‘Jnanappana’ and ‘Harinamakeerthanam’ .


Leela got married to a lawyer; but the marriage was not successful.In her later years, Leela was busy rendering classical concerts and light music programs. Leela was staying with her sister’s children in Defence colony, Parangimalai. Her world consisted of her music, her pooja room and memories of her father. V.K.Menon was the man behind the singer Leela. In many of the interviews Leela emotionally recalled “If I am standing in front of you and talking, it is because of my father; he was everything to me. The fame, wealth was all given to me by him. Without him, I am not what I am”.


Leela fulfilled her father’s dreams, enthralling her fans with her mellifluous voice. Her melodies will be remembered and heard forever. Leela sang at many music competitions in the city winning prizes and was noticed by film music composers such as Ghantasala Venkateswara Rao. P. Leela, since her debut in 1948 in the Tamil movie `Kanganam', for two decades and more she was the most sought after `playback singer' in South Indian Cinema. Among several honours is the Kalaimamani award, conferred upon her by Tamil Nadu State Government in 1992. P. Leela had many relatives. Her cousin Porayathu Vimala, P. Vimala's son P. Ravi Kumar and grandchildren, Roshan Ravi Kumar, Rashmi Ravi Kumar and Rhea Ravi Kumar were the closest among them. P. Leela died on 31 October 2005, Monday,at 3:40 AM at Sri Ramachandra Medical Centre in Chennai.

His Master's Voice-21

Ghantasala Venkateswara Rao (1922–1974) was a legendary and distinguished Indian playback singer and music composer of Telugu films and other languages such as Tamil, Kannada, Malayalam, Tulu and Hindi. He was the recipient of the Padmashree award, India's fourth highest civilian award. For nearly more than a quarter of a century, he was the distinguished voice of Telugu films. He composed exemplary music for more than 100 movies in Telugu, Tamil and Kannada films. He composed and sang the Bhagavad Gita just before his death in 1974, (he died of throat cancer, which effected his rendering of famous Gita sloka, as evident from voice failing due to throat cancer can be noted between Part-1 & II of the Bhagavad Gita) a rendition which became highly acclaimed and continues to be as popular as ever. On 11 February 2003, a stamp was released in honor of Ghantasala at Telugu Lalita Kala Toranam, Public Gardens, Hyderabad.


"Gifted with what V. A. K. Ranga Rao called "the most majestic voice", Ghantasala helped Telugu film music develop its own distinct character which remains unparalleled". According to "The Hindu" dt. 11 February 2003 and "The Indian Express" dt. 14 February 1974 the articles sums up Ghantasala as: Such a Divine Talent, who with his songs, could move the hearts of the people. "Ghantasala's blending of classical improvisations to the art of light music combined with his virtuosity and sensitivity puts him a class apart, above all others in the field of playback singing". Ghantasala was "no mere singer" but also a "true poet" who with his melodious voice could comprehend and did give expression to the deepest feelings of love, pity, joy, suffering, piety, happiness and bitterness in a manner no one else could, or did. One cannot help feeling that it would have been hardly possible for him to sing on all those varied themes with such intensity of fervor and likeness to reality, and precision in apprehension, had he not himself lived and experienced these basic emotions inwardly, in as great a manner as any of the great poets ever had. The "Melody King" legendary Ghantasala continues to hold sway over millions of music lovers, crossing generation barriers, with the mellifluous magic spell of his golden voice.


Ghantasala was born to Soorayya, who was a local singer, in a traditional Yanadi family in 1922. During his childhood, Ghantasala used to dance to his father's Tarangams. He lost his father when he was a child, and was brought up by his maternal uncle Ryali Pitchi Ramaiah. He took formal music training from Patrayani Sitarama Sastry, also known as Saluru China Guruvu Garu, and he joined Maharajah's Government College of Music and Dance in Vijayanagram without informing his family. He went through a number of hardships to learn music and went on to become a "Sangeeta Vidhwan". Ghantasala participated in the Quit India Movement of 1942, for which he was arrested and imprisoned for 18 months at the Alipore (Allipura) Jail, Bellary. After coming out of jail, he met "Senior Samudrala", who advised him to try his luck in the film industry as a singer. Upon release from prison, he got married to Savitri of Pedapulivarru. It was in this village that he met Samudrala Raghavacharya, the famous lyricist, who recognised the powerful melodious voice ghantasala was gifted with and inducted him into the film industry in Madras and which changed the course of southern film music history over the next three decades. Before Ghantasala found himself in the spotlight of public attention, through the media of films and gramophone records, he was an accomplished singer with impeccable training in Carnatic music.


Ghantasala went through a number of hardships before becoming a trained vidwaan in carnatic music. Ghantasala got his first break as a singer from All India Radio. Later on, Peketi Siva Ram from HMV studios recorded his private songs. Ghantasala debuted as a chorus singer and for a character role in Seeta Rama Jananam by Pratibha Films. After this, he worked with famous music directors like Gali Penchala and C. R. Subbaraman. His first movie as a music director was Laxmamma. He introduced the technique of changing the voice pitch and diction to suit the actor singing the songs on the screen. People were so enamoured by this that they started imagining the actor singing on the screen just by hearing the song. Ghantasala was a master & peerless at padyam renderings, a unique genre in the Telugu films.


His way with the Telugu padyam (verse) was incomparable. Padyam was a part of the performing arts of Andhra, mostly through mythological dramas, for 50 years. The intent was primarily musical- with what intricate curlicues, what breath control the singer managed being more important than characterisation or serving the needs of the moment in the play. Ghantasala changed all this with his sophisticated interpretation (not on stage but on 78 rpm gramophone records and in films) of the author's intent, the character's intent, the character's turmoil being at once musical and accessible. These verses were rendered without tala (rhythm) as before but he generally had a short, metrical musical interlude doing what background music does in films, setting the stage and emphasising the mental stage of the character. Poets Karunasri and Jashuva enjoyed great regard amongst the literatteurs, but it was Ghantasala who rendered their songs and introduced their work to the man on the street. Long before singers got on to the TTD/Annamacharya bandwagon, Ghantasala recorded at least a dozen sides singing the praise of Lord Venkateswara (not through Annamayya though, only the US LP had Kolani dopariki, alas the pallavi wrongly split!) Ashtapadi-s on a Super Seven disc, Bhagavad Gita on an LP were the other assets he created.


Producer Krishnaveni gave him first chance as full music director for her film Mana Desam, which incidentally was N. T. Rama Rao's first film & which established him once for all as a music composer-cum-versatile playback singer, the most prolific till the mid seventies in Telugu cinema. He later composed music for many popular Telugu movies like Patala Bhairavi, Gundamma Katha, Paramanandayya Shishyula Katha, Pelli Chesi Chudu, Mayabazar, Lava Kusa, Rahasyam, & Pandava Vanavasam and also for popular Tamil & Kannada movies in 50's & 60's wherein each and every rendition was a great hit. Ghantasala also music directed a Hindi Film Jhandaa ooncha Rahe Hamara in 1964 and sang for the film. He lent his voice to many popular heroes of the Telugu film industry and in a career period spanning around 30 years, has sung over 13,000 songs in Telugu, Tamil & Kannada films each being as melodious as the other. The classic film "Lava Kusa" was the biggest block buster in Telugu film history, had a continuous run for 175 days in the year 1963 and each of the rendition in the film was exemplary gem and the film continues to be a favourite of Andhra People even today. The Classic Film Mayabazar (1957) was another film which had a 100-day run in 15 centres and which is widely acclaimed even today. "Mayabazar" was remade in colour in 2010 and the colour version too successfully ran for 100 days in the year 2010.


The song "Siva Sankari" from the film Jagadeka Veeruni Katha (1961) sung by ghantasala in only one take and composed by popular music director Pendyala Nageswara Rao in Darbari Kannada raga with the mixture of Hindusthani and Carnatic classical shades, is believed to be a difficult composition ever composed in film songs. The song continues to receive wide acclaim by music lovers/musicians even today. The famous Hindi Film Singer Mohammad Rafi, who was a contemporary to Ghantasala, had great appreciations for the wonder song Siva Sankari and also for the song Payaninche O Chiluka of ghantasala in film "Kuladaivam" which was sung by Mohammad Rafi as Chal ud Ja re Panchi in Hindi film bhabhi, wherein Mohammad rafi with pure heart made a public statement that the ending raga/alaap in the song, he was not able to do justice similar to ghantasala. This is one of the exemplary testimonies coming from a famous Hindi singer on the genius skills of the legendary ghantasala.


Ghantasala was gifted with a "most majestic voice" that had a rare richness of both quality and quantity. Cultured innovatively, it could actuate the entire diapason of melody from the very sedate to the vivacious and with radiant repose. He could felicitously articulate a wide range of pitch (sruthi), traverse over two and half octaves and amazingly with the same vigour emanate an amalgam of nectarine sweetness and silken stentor. Meticulous clarity, an ingenious twist in punctuation, modulation and intoning, coupled with an import of soulful meditation on every syllable, both lyrical and musical, marked his singing. Backed up by the in-depth knoweldge accrued through intense training and hence the skill in the exposition of Carnatic vocal music, his rendering was paradigmatic of an aesthetically evocative offering of the infinite ramifications of human emotions, the `navarasas'. That was the play-back singer par excellence, Ghantasala Venkateswara Rao, the melody imperial. While he set exquisite music for more than 100 films, he sang more than 13,000 songs in Telugu and Tamil, in addition to many more for the gramaphone companies. He lent voice for almost all the actors in the main and the supporting cast constituting a variety of heroes, anti-heroes, commedians, other charecters of young, middle-aged and old donned by stalwarts in mythological, historical, folk and social films. Such was Ghantasala's versatility. He not only sang with an affected modulation imparting an effect of the tonal qualities of the particular actor to whom he sang play-back but also enchantingly captured the mood along with the special attributes of the character relevant in the particular situation. With passionate urgency in his rendering, he stirred the very souls of all categories of listeners and their unfathomable yearnings alike by his picturesqe visualisation of the lyrical content in the sound medium.


Ghantasala's contribution to telugu film music remains unparalleled. Ghantasala, was undoubtedly, the most difficult act to follow. When the meters of the music and the beauty within the lyrics were reaching their crescendo from the 1940s well into the early 70s, Ghantasala moved alongside them, lending his voice to the most mellifluous tunes and tones that Telugu film industry had ever had the fortune of witnessing. His voice became so intertwined with the familiar faces on the screen that it sounded absurd and incongruous watching the familiar face mime to a different playback. "Vaalmiki" was Ghantasala, "RaamuDu" was Ghantasala, "LakshmanuDu" was Ghantasala, and so was "Chaakali vaaDu" who HAD to be Ghantasala. No matter the character that was portrayed on the screen, be it mythological, social, romantic, devotional, comedy, tragedy etc. when the prose gave way to poetry and background music came to fore, all was excellent with the world, when the characters started mouthing to Ghantasala's playback. Situation was no question, emotion was no problem, pitch was never an issue and tempo played along to his tune - the film industry was truly lucky to have such a consummate singer who had the enormous ability to evoke any emotion, suit to any situation and fit to just any character - hero, villain, comedian, character actor and such. It is no exaggeration to say that Ghantasala probably touched every human emotion that could be visited within the purview of film music, lent his voice to probably every possible situation that could be captured with the 24 frames, swam the breadths and covered the depths of what stands as Telugu film music. His popularity and his wide acceptance were such that it became impossible for anybody to imagine any other voice resonating in the background while the characters in the foreground went through their motions. True, Ghantasala was indeed the toughest act to follow. Ghantasala had the unique distinction of being the torch-bearer of the early revolution in playback singing, continuing with a great aplomb as the Telugu song broke the shackles of traditional/classical artistry while finally embracing and settling with the lighter lilting brethren. He had the marked distinctive advantage of having proved himself of his classical chops very early on in his career, that the detour he took with light music wasn't much of an aberration in his distinguished career. Interspersing a "madi Saaradaa daevi mandiramae" with many "malliyalaaraa maalikalaaraa mounamugaa unnaaraa"s, mixing "haayi haayi gaa aamani saage" with plenty of "khushee khushee gaa navvutoo"s, blending "Siva Sankari Sivaanandalaharee" with a plethora of "Siva Siva moorthivi gaNanaadhaa"s, Ghantasala sailed on both the boats without ever being questioned or looked down upon for his dual loyalties. Ghantasala had the unique advantage of entering the filmdom as both a reputed singer and an established music director, having churned a number of private records - devotional, patriotic, classical and light vocal during the early era of the industry. "Emanenae chinnaari emanenae", "nee kOsame nae jeevinchunadi", "mounamugaa nee manasu paaDina", "oohalu gusa gusa laaDae", "kanupaapa karavaina kanulendukO" " Raave naa Cheliya" and many such sweet melodies made it into Ghantasala's very illustrious repertoire. Of all the 100 or so movies that Ghantasala scripted the tunes for, many of them went on to become chartbusters and most of them remained memorable etching their place permanently in history. Howevermuch restricted context-based and parametric music composition remains, composers, particularly the ones doubling duties, find a way to stamp the tunes with their signatures that is unique by being an amalgamation of the influences of all the composers that they worked under. Moreover there remains at least one album in the singer-composer's career that essentially defines his taste, branding his music along the way. "Lava Kusa" remains one such quintessential work as a composer in Ghantasala's illustrious career. When the journey becomes an intensely personal one involving stirring of the soul, the music rises above the plane of regular and a normal composition and becomes a full blown score, in that, the movie becomes identified with the music, the music becomes the very signature of the movie. Ballads such as "Sree ramnuni charitamunu telipedamammaa", "jagadabhi raamuDu Sree ramuDae", "sandaehinchaku mamma raghu raamu praemanu seetammaa" poems/padyams such as "idi mana aaSramamu echata neevu vasinchu lOka paavani", "navaratnOjwala kAntivantamidi", "stree bAla vRuddhula tega vaeya boonuTa" nicely sum up Ghantasala's richly rewarding illustrious career. The Telugu film music in the mellifluous voice of ghantasala witnessed its unique golden age in playback singing ever known.



The famed heroes of Telugu film industry in the 50's & 60's - N T Rama Rao and Akkineni Nageswara Rao, greatly benefitted by the peerless voice of ghantasala. He served as the Aaasthana Gaayaka (court musician) for the Tirumala Tirupati Devasthanams. The famous & much acclaimed renderings of Ghantasala Venkateswara Rao include private albums, like Bhagawad Gita, Patriotic Songs, Padyalu (a unique genre of Telugu - singing the verses in dramatic style), Pushpa Vilapam, Devotional and folk songs. His recording of "Bhagawad Gita" can now be heard daily in the Tirumala temple. The "Bhagawad Gita" music directed and sung by Ghantasala continues to be as popular as ever even today. Ghantasala breathed life into his rendition of the Bhagavad-Gita and left it adorned as a spiritual treat. His endeavour in bringing the essence of the Gita unto the lay and the learned on the wings of poesy in a mellifluous musical strain left an everlasting imprint on the minds of generations of its listeners. It is one thing for the maestro to render musically more than 10,000 songs in all in general and quite another to import the essence of about 700 hymns of the Bhagavad-Gita in just 100. There have been many who sang the hymns of the song celestial but could not match with Ghantasala. It was amply testified by the endless flow of records and the craze of the connoisseurs who go in for them. No other singer enjoyed such a luxuriant patronge in the contemporary clan of musicians. Ghantasala could captivate his listeners of the 'Bhagavad Gita' through his own style and that of the inherent divine force of the classic.


Gifted with what V. A. K. Ranga Rao called "the most majestic voice", he helped Telugu film music develop its own distinct character which remains unparalleled. He won the "best singer award" in the Telugu film industry every year for three decades, a feat perhaps unachieved by any other playback singer. In the words of popular music director of the south Pendyala Nageswara Rao & noted playback singer P Suseela "Ghantasala alone is the foremost among playback singers who had a full fledged melodious powerful voice range which could accommodate in uniformity, all the three octaves in music quite comfortably". The navarasas of music explicitly found full favour in ghantasala's voice and renditions. The magical influence and spell of melodious music as ghantasala has cast on the Telugu masses and culture with his melodious voice and distinct pronunciation, perhaps cannot be found elsewhere and in any other culture. Popular music director, Pendyala Nageswara Rao channelising his classical musical knowledge, fully utilised ghantasala's great skills in classical renditions and introduced some of the greatest evergreen gems in traditional classical/filmy style in telugu films viz., siva sankari from film jagadekaveeruni katha, Rasika Raja taguvaramu kama from film Jayabheri, Syamala Dandakam - Manikya Veena from film Mahakavi Kalidasu etc. In the words of Pendyala himself, these great renditions have been recorded only in one take by ghantasala. It is not an exaggeration to say that, there has been no singer on par with ghantasala in terms of such classical skills and majestic voice, till date in the film industry after ghantasala's demise.


He has given performances in America, England, and Germany, and had the distinction of performing for the United Nations Organisation. The government of Andhra Pradesh felicitated him on the occasion of 25 years of his film career as Silver Jubilee Celebrations of Ghantasala in Hyderabad on 1 February 1970. More than 30,000 people attended the function celebrated at the Lal Bahadur Stadium, Hyderabad, an event perhaps unparalleled. His illustrious/distinguished and successful career came to end on 11 February 1974, the day he passed away.
The Indian express dt. 14 February 1974 paid a glorious tribute to ghantasala on his death stating that: Tributes paid to Ghantasala Venkateswara Rao, on his death, praise his "Melodious Voice", but these not only sound inadequate, but also fail to grasp the truth of the matter, since he was "no mere singer" but a "true poet" who could comprehend and did give expression to the deepest feelings of love, pity, joy, suffering, piety, happiness and bitterness in a manner no one else could, or did. One cannot help feeling that it would have been hardly possible for him to sing on all those varied themes with such intensity of fervor and likeness to reality, and precision in apprehension, had he not himself lived and experienced these basic emotions inwardly, in as great a manner as any of the great poets ever had. Enlightened listeners to his songs could not help feelings that he had a mature and distinctive "philosophy of life", which he reflected in his songs, and tried to express in a way that words and phrases themselves can never. No wonder many of his songs though sung as part of a film story, have however, managed to acquire an independent stature and meaning of their own, tearing themselves free from the original cinematographic context, in which they were sung. And the people too recognizing the fact, did not tire of listening to him more often outside the theatres than inside them. His impact on both the educated and uneducated Telugu people had been so much, and had brought about such qualitative changes in the day to day "inward" life of the people here, that we can safely assert that life in Andhra today would have been much less exciting and somewhat "drab", but for him, for with him had begun a new era in the emotional life of the Andhras, opening up as he did to them hidden treasures in their range of feelings, which lay either dormant or unperceived till then. New vistas of imaginative experience were laid bare to the Telugu people who were till then looking up to Hindi film music to provide it.


The Legendary Ghantasala continues to be as popular as ever. His statutes have been installed across Andhra Pradesh. No other cine/film singer enjoys such honour. Every year his birth/death anniversaries are celebrated with great importance, in Andhra pradesh, India as well as overseas countries. Ghantasala was honoured only with the "Padmashri" by the Government of India though he was worth to be "Bharatharathna".