Earlier I had promised to write on some of PS/G Ramanathan colloboration. Some immediate thoughts on:

1. Raja Yogamae...Anuraga (Vanangamudi/1957/Sivaji/Savitri/P Pullaih/G Ramanathan/P Susheela/Chorus)

2. Chinnanchiru Kuruvigala..Singara Paravaigala (Sri Valli/Sivaji/Padmini/G Ramanathan/P Susheela/Chorus not the 1945 version of T R Mahaligam/Rukmini/AV Meiyappan/A T Krishnaswamy))

3. Thillalangadi.....Therinchikavenum..Alolam (Arasilangkumari/1961/MGR/Padmini/Raja Sulochana/ASA Samy/G Ramanathan/P Susheela/Chorus)

The mentioned songs are rare gems and unusual off-heard melodies of P Susheela and demonstrates her march to achieve perfection in the art of playback singing. Together, these songs entertain, engross and enlighten today's patron with the greatness of the TFM's past, especially that involved P Susheela's voice that soothed our stresses and enwrap us in reveries with her deeply meditative, melancholic but assured and comfortable tone, the second one being Ravvu Balasaraswathi (listening to her early repertoire in "Apavadu" (1941)- Credits: R Balasaraswathi/Raghuramiah/B Appa Rao/Narasimha Rao/Suluri Rajeswara Rao/K S Prakash Rao/Gudavali Ramabrahmam - Kokila Pata - showing she was ahead with her progressive tendencies in reference to her contemporaries or Pasupuleti Kannamba/CSR Anajaneyulu in " Thelli Prema" (1941)- Credits: S V Venkataraman/D Gopalam or Tunguturi Suryakumari in "Chandrahasa (1941) - Credits: Moti Babu/V Seetarama Sastry).

The songs were little discreet with no spotlight, perhaps, Ramanatha Iyer let it be suggested that he did'nt want to eclipse his other monumental works (unmatched accordian prelude in "Kanvazhi Pugundhu Karuthinil Kalandha" - M S Rajeswari/TMS/Marudhakasi/Thooku Thooki or a pioneer waltzy beat in "Ulavum Thendral Katrinilae"- Credits: K. M. Shreriff/Maruthakasi/G Ramanathan/Modern Theatres/Ellis R Duncan/T R Sundaram).

In all the above colloborations, P Susheela was a friend and pupil of G Ramanathan as was Gabriel Faure to Camille Saint-Saens, especially when it comes to cello compositions (Sicilienne being a good example).

Featuring poised woodwinds/percussion and calculated choral accompaniments, these songs blossom into a breezy unbroken melody with GR sticking to his vintage orthodoxy and P Susheela's voice providing the needed long-breathed vocal utterances.

It represented the GR/PS examples of combined structure, virtuosity and musical intellect. These compositions demanded a vocal mastery which P Susheela surprisingly accomodated (listen to "Then payaum Solai..Ilan Thenral Velai from "Raja Yogame" or Kumbalaga Paranthu Vanthu Kummalame Potta from "Chinanchiru Kuruvigala") embodying her individual passionate tonal qualities in each one of them without a flaw. It was like a combination of perfect climate and soil to yield " Valpolicella"-a veronian wine variety.

Her dramatic and musical interpretations of various screen-heroines were invested with a psychological depth which made her performances and recordings definitive and soul-stirring.

The debate surrounding the real quality of her voice continues to be fanned by her devotees and detractors, intermittently reaching fever pitch at times in one of the other on and off running threads...........but this has not diminished her mercurial dominance over the years....after all she is a legend.