Birth centenary of the versatile TMS: A Tamil voice like no other

March 24 was the birth centenary of Thoguluva Meenatchi Iyengar Sounderarajan, one of the foremost playback singers of Tamil cinema. Popularly known as TMS, he was often described as the quintessential Tamil playback singer. It would not be an exaggeration to state that his voice had an impact on three generations of music lovers.

Born in 1923 in a small middle-class Sourashtrian family in Madurai, Sounderarajan was attracted to music from a young age. His father was a temple priest and this is probably one reason that TMS got exposed to music at a tender age in the form of bhajans. However, he could not take a course in music since he came from a poor family.

The music lessons he learnt from Carnatic music teachers such as Sarangapani Bagavathar and Karaikudi Rajamani Iyengar, were made possible by the financial assistance given by fellow Sourashtrians. From the beginning, TMS was an ardent fan of actor and singer MK Thyagaraja Bagavathar (MKT) and improved his singing skills by practising the songs sung by MKT.

After knocking on many doors of the big names in the film industry, TMS finally got an opportunity to lend his voice for the song Raadhey nee ennai vittu pogathadi from the 1950 film Krishna Vijayam. The very first song that TMS sung was noticed and appreciated because his voice resembled that of MKT.

From beggar to stardom

TMS sang three more songs in this film and all were well received. Despite the popularity, a second chance did not drop on his lap immediately. In 1950, he got a chance to sing the song Annamitta veetiley (Manthiri Kumari) but he didn’t get any credit for it. The song was also mediocre.

Again, in 1951, he sang a song even as he enacted the role of a beggar in the film Devaki. In a chat with Shaji Chen, who writes on music, TMS had once shared, “I beg in that film by singing a song Theeraadha thuyaraley paazhaagiye. But I didn’t get credit for the song. However, I got credit as ‘TM Sounderarajan – Beggar’ in the title credits. What I have earned in my life has been nothing but my fans. That is the alms given by the God to me.”

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After many unsuccessful attempts, TMS got the song Konjum kiliyana pennai from the 1954 film, Koondukkili. It was the only film in which MGR and Sivaji Ganesan acted together for the first and the last time. For MGR, it was his 32nd film and for Sivaji Ganesan, it was his 17th film and for TMS, it was just his 9th film.

MGR had just started getting lead roles and Sivaji Ganesan, who was enjoying the success of his debut film Parasakthi (1952), had reached a stage where he could demand who he wanted in his films. And, Sivaji wanted CS Jayaraman, the actor and playback singer who had lent his voice for him in all his film until then. But the music directors convinced Sivaji to give TMS a chance to sing in the film Thookku Thookki (1954).

The voice of top stars

For TMS, his early days were strewn with challenges. But, later, he went on to become a much sought-after playback singer for both of Tamil cinema’s biggest stars — MGR and Sivaji.

TMS changed his voice, tempo and modulation according to the body language of MGR and Sivaji Ganesan. This is probably why songs by TMS were identified as an ‘MGR song’ or ‘Sivaji song’ by a regular film-goer. After the popularity of Thookku Thookki songs, there was no turning back for TMS.

TMS and his face-off with artistes

Like his songs, TMS was also known for his face-offs with other fellow artistes. He had a short temper but at the same time, he could quickly forget his fight and work with the same person again. In 1969, during the making of Adimai Penn, MGR ordered TMS to complete the song recordings before leaving for the day.

TMS, who had organised his daughter’s wedding ceremony that day, was miffed with the command. He left the studio without recording the song, and the opportunity then went to a debutant named SP Balasubrahmanyam (SPB). That marked the arrival of SPB, who shot to fame with the song Aayiram nilave vaa.

Once MS Vishwanathan criticised TMS, saying his rending of the song Mera naam Abdul Rahman (Sirithu Vaazha Vendum, 1974) didn’t meet his expectations. TMS lost his temper and left the studio in a huff, saying that he would never sing for MSV again.

However, knowing TMS, MSV went to his house and prostrated in front of the singer. He told him that only TMS could sing the song. TMS was mollified and accepted his request and returned to the studio to complete the song.

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After the entry of composer Ilayaraaja, the songs coming to TMS started to dwindle. Though the duo has given some wonderful numbers like Annakkili unnai theduthey (Annakkili, 1976), Nallavarkellaam saatchigal rendu (Thyagam, 1978), Nandooruthu nari ooruthu (Bairavi, 1978), Sindhu nadhikkaraiyoram (Nalladhoru Kudumbam, 1979) their association ended abruptly.

One possible reason for their break-up could be that Ilayaraaja, who had composed for three films by then, felt that TMS had mistreated him on the stage during an event, held in Malaysia in the 1980s, by comparing his songs with those of another musician, G Ramanathan.

Not all his face-offs ended badly. Once, TMS refused to sing the prayer song at the award ceremony during the 100 day celebrations of the film Baga Pirivinai (1959), because he felt that playback singers were not recognised on par with actors and composers. It was after that that playback singers began to receive awards.

Contribution to Tamil bhakti music

Besides films, TMS had contributed much to Tamil bhakti music. His faith in God was so unshakable that he even demanded the then popular lyricist Kannadasan (who was an atheist for some years) to change the lines of the song Kadavul manithanaga pirakka vendum from the film Vanambadi (1963).

The second line of the song goes like this: ‘Avan kaadhalithu vedhanaiyil saaga vendum‘. TMS objected to using the words ‘saaga vendum‘, meaning ‘should die’, and refused to sing those lines. Kannadasan then replaced those words with ‘vaada vendum‘, meaning ‘should wilt’.

When TMS entered the film world in the 1950s, there were singers who were also good at acting, like MKT, Madurai Somu and KB Sundarambal, who were popularising Tamil bhakti music.

In TMS’ time, there were singers like Seerkazhi Govindarajan and Bengaluru Ramaniammal who were making waves in Tamil bhakti music. However, TMS stood out because of his metallic voice. His songs on Lord Murugan were particularly appreciated. It is interesting to note that TMS, despite being born in a Vaishnavite family, identified himself as a devotee of Murugan, a Shivite god.

Being an ardent devotee of Murugan, TMS had written, sung and even composed many memorable songs like Karpanai endraalum karchilai endraalum (penned by lyricist Vaali), Ullam uruguthaiyyaa (penned by Aandavan Pitchai aka Maragathavalli), Kanthan thiruneer aninthaal, Mann aaanaalum tiruchenduril mann aaven, etc. They are much sought-after songs during the Tamil month of Margazhi and have become a part of Tamil bhakti culture.

In the 1964 film Arunagirinathar, TMS had not only sung the famous Muthai tharu pathi thirunagai but he also acted as Arunagirinathar, a poet saint and a devotee of Lord Murugan. In his lifetime, TMS had sung more than 10,000 songs. He breathed his last at 90 years on May 25, 2013.