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What makes MSV pleasantly different?-XIV

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PostPosted: Mon Sep 22, 2014 3:15 pm    Post subject: What makes MSV pleasantly different?-XIV Reply with quote

Dear Friends,


It does not call for an exhaustive exercise to substantiate the title. Still, as one tries to pile together the varied skills of MM, “judgment” does have a role in affirming the qualities which determine the ratio of success – given the conditions of the industry at the time of his prime activity. There was a general consensus that MM would do what suits the occasion –the most. The ability to determine the “best fit” for an occasion is prudence in judgment.
There have been movies where MSV had settled for one voice, irrespective of the number of songs. Interestingly, all the songs from the movies have registered success from their days of arrival.

The movie “karpagam” had all the songs rendered by P Susheela.
All the songs of ‘policekAran magaL’ were assigned to S Janaki.
Songs from both the movies have stood their appeal undiminished over decades.

Well before LR Eswari could stake claims as a recognized singer, it was MSV who tapped her ability to render – the ‘not-so-easy’ to render pieces. The echo-filled resonance of her voice in ‘veedu varai uravu’ of “aalaya maNi” is a case in point.

‘THANGARADHAM VANDHADHU’ -- “KALAIKOVIL” -- Balamurali Krishna and P S [1964]. Though BM was a well known exponent of carnatic music, to get him to sing for a movie was perhaps something unimaginable those days. Singers of his calibre and stature would keep off movie efforts those days however ‘paying’ the proposition was. Such was the dichotomy in the 2 domains –classical and cine. Probably, MSV’s admiration for and rapport with BM made it work. But, what we are interested is about – the phenomenal success that the song registered. This is where I admire MSV’s judgment in choice of voice.

Also, let us recall MSV’s cajoling of TMS to play a Cliff Richard rendition in ’yAr andha nilavu’- “Shanthi”
While the hitherto sighted instances relate to the using of voices known to TFM lovers, his exploits of ‘less known’ voices is eloquent proof of his prudence in judgment.

‘nee varuvai ena nAn irundhEn’ -- “ sujatha”. The song turned out to be a mega hit though at that point of time –Kalyani Menon was unknown in TFM. Kudos to MSV for his voice selection.

‘enna pArvai undhan pArvai’ – “kAdhalikka nEramillai” This song catapulted KJ Jesudoss’ popularity among TFM lovers and overnight his prospects as a playback singer shot up.

‘iyarkai ennum iLaya kanni’ – “shanthi nilayam” – PS , SPB . it is another instance of a male singer getting a mega break in his career. Certainly the song was a harbinger in SPB’s career and MSV’s prudence came to the fore in this song.

The introduction of VaNI Jayaram to TFM through that all-time great ‘malligai en mannan mayangum’ from “Dheerga Sumangali” is another fantastic example of how MSV chooses to offer chances to new comers and ensures success.
In film career –the success on first appearance means a lot to a whole career and MSV has opened up new vistas in the life of several new entrants to the field of music.

More to follow

Warm regards K.Raman Madurai
Prof. K. Raman
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