‘Angopangam’, the semi classical song in the hugely popular film Devasuram (1993) is a favourite among the fans of KS Chithra, often called the Vanampadi (nightingale) of Malayalam music. But the song has a backstory that many don't know — music director MG Radhakrishnan had initially hired another singer for it. But when it turned out that the singer didn't possess the skills to pull off such a complex composition, Chithra was brought in, and the song was recorded in a single take. “She was flawless, a singing monster if one may call her that,” recalled singer MG Sreekumar, who is also the late composer's brother. It was, in fact, Radhakrishnan himself who had initiated Chithra into the world of playback singing a decade and a half before ‘Angopangam’, in Kummatti (1979).
In a musical journey spanning over four decades, Chithra has sung over 25,000 songs in various Indian languages, and also in Malay, Latin, Arabic, Sinhalese, English, and French. She is the recipient of six national awards and several other awards in various languages and was honoured by the Robert Albert Hall, London. In July this year, Chithra turned 60, and the occasion calls for a walk down memory lane. It is a daunting task to profile a consummate achiever like KS Chithra who continues to surprise us even after four decades. So here’s a humble attempt, with focus on her Malayalam film music journey.
Since the 80s, Chithra has been omnipresent in the world of Malayalam film music. Her entry was perfectly timed — she came at a time when the old guard of singers (S Janaki, P Susheela, Vani Jayaram) had mostly left the film music scene and a new generation of musicians had emerged (MG Radhakrishnan, Raveendran, Johnson, Jerry Amaldev, Ousepachan, and SP Venkatesh, among others). One of my earliest memories of a Chithra rendition is ‘Alorungi Arangorungi’ from Ente Mamattikuttiyammaykku being played on the school bus when I was in kindergarten. ‘Alorungi Arangorungi’ was her first superhit. Even though S Janaki had been the first choice for the song, composer Jerry Amaldev had suggested a singer from Kerala as a cost-cutting measure. “Chithra became a household name with that song. From then on, there was no looking back,” said music historian Ravi Menon.
“I don’t think there is another Malayali who is so unconditionally loved and accepted by those from the state like Chithra. For them, she is family,” said Ravi.
Her soothing, honeyed voice lent a yearning poignancy to ‘Aayiram Kannumayi’ (Nokketha Doorathu Kannum Nattu), a subtle longing in ‘Ariyathe Ariyathe’ (Oru Kadha Oru Nunakkadha), and the anticipation of love in ‘Pudamuri Kalyanam’ (Chilambu), ‘Chembarathi Poove’ (Shyama), and ‘Manjal Prasadavum’ (Nakhakshathangal). The Chithra signature was evident in the wistfulness of the Raveendran melody ‘Pularkala Sundara’ (Oru May Masapulariyil), the exquisiteness of ‘Chandanam Manakkunna’ (Achuvettante Veedu), the comfort of ‘Vaishaka Sandhye’ (Nadodikattu), the perfection of ‘Shyama Meghame’ (Adhipan), and the sweet lilt of ‘Kannanthumpi Poramo’ (Kakkothikkavile Appooppan Thaadikal).
Her career reached its zenith in the late 80s and early 90s, which witnessed her gaining equal mileage in the Malayalam and Tamil industries. She averaged 15-20 songs a year during that period in both languages.
Chithra, according to Ravi, did not have any serious competition during her prime. Even though Sujatha Mohan rose into prominence during the 90s, both singers were able to coexist with their unique styles. “All the composers depended on Chithra. Her goodwill was a big factor. She was sought after by musicians of every generation. She was as flexible as water — equally adapted to a musician like Raveendran, who allowed singers to improvise, and Johnson, who strictly insisted on singers following his notes,” recalled Ravi.
KS Chithra with music director Johnson / Facebook
Even though Sujatha was often preferred for unconventional numbers, Chithra proved that given a chance, she can ace the earthiness of an ‘Ezhimala Poonchola’ (Spadikam), the subtle playfulness of a ‘Puzhayorathil Poonthoni’ (Adharvam), and the piece de resistance in the list — the erotism of a ‘Maleyam Marodalinju’ (Thacholi Varghese Chekavar). Her absolute mastery over the craft is evident from the way she maintains her control over her voice even when touching the highest pitch.
Singer and composer Sharreth, in a recent interview, recalled the making of ‘Maleyam Marodalinju’. “She thought it was a bhakti song and sang it with utmost devotion. I somehow didn’t have the heart to tell her the real situation. She even scolded me for joking while briefing her on the ‘devotional’ song. It was only recently that I explained the meaning of the song and she was outraged. Her naivety is touching,” he said.
In one of her recent interviews, Chithra said that she has only received basic training in classical music from K Omanakutty, who is the sister of Radhakrishnan and Sreekumar. But her base in music was so strongly laid that she can master any song with ease, unlike her contemporaries. AR Rahman, with whom she had some of the most flavourful collaborations, once said that during her prime, Chithra could finish up to 20 songs in a day. More recently, when he composed music for Maniratnam’s OK Kanmani (2015), Rahman patiently awaited her return from a foreign trip as he couldn’t think of anyone else who could do justice to ‘Malargal Ketten’.
For Chithra, it was no mean task to stand on her own at a time when the legendary KJ Yesudas ruled the playback scene in Malayalam. Johnson is said to have been overwhelmed after hearing her version of ‘Madhuram Jeevamritha Bindu’ (Chenkol), which was originally composed for Yesudas, that he shook Chithra’s hands. Her version was, however, not used in the movie.
Illustrating Chithra’s prowess, Ravi pointed out that she sang smoothly at a time when the backing of technology was absent. “‘Alorungi Arangorungi’ is a clear favourite. ‘Paadariyen Padippariyen’(Sindhu Bhairavi), which looked simple, was actually a complex song. ‘Yedhedho Ennam Valarthen’(Punnaigai Mannan) is also among the favourites. Nandanam’s ‘Karmughil Varnente’ is similar to Mohammad Rafi’s ‘O Duniya Ke Rakhwale’ that is sung in a high pitch,” said Ravi.
“Johnson master used to say that Chithra was like blotting paper. He would compose six or seven tunes for a song and the producer would opt for the fourth. The music director would have forgotten which one it was, but Chithra would remember it. Her memory was incredible,” said Ravi.
Despite receiving limited formal training in music, Chithra’s knowledge of music became evident in her improvisations and an unplanned composing stint. It is said that Raveendran tutored her the humming for ‘Kalabham Tharam’ (Vadakkumnathan) over phone, but eventually asked her to do it according to her will. So the version you listen to is also composed by her.
“Raveendran master trusted me. So he would suggest a raga base and ask me to sing. The same goes for SP Venkatesh and AR Rahman, who would give you the freedom to improvise. Rahman will record all versions and just pick the one he liked. Sometimes what I liked might not be there in the final version. As far as a singer is concerned, you need to follow the orders of the music director,” Chithra once observed.
She inspires awe and affection among peers and juniors as well. Her contemporary Sujatha once said that Sharreth’s compositions are so complex that they can be pulled off only by Chithra.
Interestingly, from the 80s to the early 2000s, Chithra used to sing solo versions of popular duet songs that weren't used in the films, mostly collaborating with SP Venkatesh.
Singer Aravind Venugopal listed some of his favourites from the duets she has sung, starting with ‘Onnam Ragam Padi’ (Thoovanathumbikal) which Chithra sang with his father G Venugopal. “Next would be a cliché, ‘Maleyum Marodananju’ which is technically topnotch and has great instruments. The third is ‘Ilaveyil’ (Artist), which is very similar to her sweet personality,” he said. Like most people, he is in awe of Chithra’s humility. “You cannot explain legends like SP Balasubrahmanyam and Chithra. She is a rare breed who keeps getting better as she ages,” Aravind said.
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KS Chithra with SP Balasubrahmanyam / Facebook
Chithra’s humility and earnestness shine through in reality shows. She takes her stints as a judge in reality shows very seriously — there are no attempts to bring all the attention to herself, rather she is an avid listener who is genuinely happy to see fine talent. Be it in offering corrections or constructive criticism, she exudes a rather Zen energy. “The young singers of today are bequeathed numerous opportunities, thanks to reality shows,” she once said.
“These days, there are so many singers and therefore many more challenges. I don’t really encourage singers to take playback singing as a full time profession. I think professional singers should have a plan B today,” said Chithra. It is true that today, due to the large number of singers in the industry, it has become difficult to recognize singers by their voice. The voices of Yesudas, Chithra, S Janaki, or Sujatha were so familiar and distinct that you didn’t need to check for the credits.
The innumerable songs sung by Chithra contain lessons and experiences that can greatly influence students studying music. In the views of journalist and Carnatic music student Anasuya Menon, no other singer can sing with the kind of perfection that Chithra manages. “My favourite has to be ‘Anjali Anjali’ in Duet because of the humming, as I think no one can sing with such perfection. She brings a childlike innocence in ‘Cheera Poovukalkku’ (Dhanam), simplifies a complex semi-classic song like ‘Ente Sindoora Rekhayil’ (Sindoora Rekha), elevates the delicate lyrics in ‘Pularkala Sundara’ (Oru May Masapulariyil), and brings such intense devotion to ‘Hey Krishna’ (Kizhakkunarum Pakshi),” she said.
Besides appearing as a judge in reality shows, Chithra has also collaborated with up and coming music directors, oftentimes making dreams come true for several of them. Singer and composer Hesham Abdul Wahab couldn’t get over the fact that Chithra graciously did the humming and other small bits for his ‘Minnal Kodiye’ (Hridayam).
Sushin Shyam, who composed one of Chithra’s recent hits ‘Theerame Theerame’ (Malik) “Only Chithra chechi can sing high pitch songs with perfection. That’s why I gave her ‘Theerame Theerame’ ,” said Sushin, who flew down to Chennai to record the song. It was a song that showed that her voice has only refined over the years, keeping the sweetness and clarity intact.
However, Chithra has candidly admitted in an interview that age has affected the range of her voice. “Earlier I could sing in high pitch. But now, when singing on stage, I scale down the pitch. I was a bit apprehensive when I sang in Neelavelicham. I think self-awareness is important for a singer,” she had said.
Over the years, along with her voice texture, what has stayed consistent is her shyness on stage. At a time when it is a prerequisite for a singer to also be a performer on stage, Chithra remains unassuming, preferring to quietly do her job and leave the stage. “I have grown up watching S Janaki ma’am standing stoically on stage and bringing out all the expressions in her voice. Even my guru used to tell me to stand or sit in one place when I sing as it affects the clarity of my voice, and I have followed it. I don’t have the grace to make it work. So it is better to stick to what I am good at,” Chithra said in a recent interview with Manorama News. Yet, she admits to being in awe of singer Rimi Tomy, who can easily win over the audience with her infectious energy and confidence.
KS Chithra / Facebook
That Chithra belongs to the old school that unquestioningly agrees to the guru’s orders is evident. Once while recording a Tamil song, when Chitra wondered if the lyricist could alter a word that she thought was insulting to her gender, the lyricist wasn’t pleased, and the music director was forced to postpone the recording. Later, a music director admonished her, asking her to focus on her singing and not interfere in others’ business. Chithra has obediently followed that dictum to date.
Chithra’s first National award reached six years after her debut in playback singing, for her first song ‘Paadariyen Padippariyen’ in Tamil in the film Sindhu Bhairavi (1985). Chithra has said that the song was live-recorded with just two or three instruments. In her debut year, she sang 10-12 songs in Tamil, and the numbers only increased with each passing year.
“Ilayaraja has used her skills the most. Chithra is a perfectionist, that even if the composer okays it, she will insist on bettering herself. Rahman also used her prolifically. In Telugu, she was Keeravani’s favourite. He used to call her Yanai (elephant). He felt that like the proverbial elephant that didnt know its strength, she too doesnt know hers. That perfectionism, along with her goodwill, has helped her grow,” said Ravi.
How can you forget the playfulness of ‘Kuzhaloodhum’ (Mella Thiranthathu Kathavu), the intense yearning in ‘Yengae Enathu’ (Kandukondain Kandukondain), the poignancy in ‘Uyire Uyire’ (Bombay), the fluidity in ‘Kannalane’ (Bombay) and ‘Anjali, Anjali’ (Duet), and the joy in ‘Manna Madurai’ (Minsara Kanavu) and ‘Injerungo’ (Thenali)?
Till the early 2000s, Chithra averaged 15-20 songs a year in Tamil cinema, and in the last decade, though the numbers drastically reduced, they were unmistakable gems. The semi-classical soothing ‘Malargal Kaettaen’ (OK Kanmani), and the tantalisingly romantic ‘Konchi Pesida Venaam’ (Sethupathi) would be right on top of the list.
Chithra’s most memorable Hindi songs were in her debut film Love, composed by Anand Milind. She has sung in around 200 Bollywood films. However, only a handful of them like ‘Kehna Ki Kya’ (Bombay), the mellow ‘Payalay Chunmun’ (Virasat), the warm ‘Hum Tum Se Na’ (Ziddi) to the riotous ‘Yaron Sunlo Zara’ (Rangeela) managed to hit the mark. It was the album song ‘Piya Basanti’ that really connected her to the Hindi audience.
“Maybe diction was an issue and Chithra used to say that there was a north Indian lobby, and it was difficult for a South Indian to make it big there,” said Ravi.
Chitra made her Telugu debut with a version of Sindhu Bhairavi’s national award-winning ‘Paadariyen Padippariyen’. Other favourites include ‘Jallanta Kavinte’ (Geetanjali) and ‘Kannanu Le’ (Bombay).
“A change set in post 2010. The concept of film music changed — songs weren’t important, duet songs were less, and background scores were more. Technology helped in manipulating voices and suddenly a genuinely talented singer like Chitra wasn’t required anymore. Thankfully, Chithra was there when Malayalam film music needed her most. The new composers still approach her for songs that they know can only be sung by a Chithra,” said Ravi.
Neelima Menon has worked in the newspaper industry for more than a decade. She has covered Hindi and Malayalam cinema for The New Indian Express and has worked briefly with Silverscreen.in. She now writes exclusively about Malayalam cinema, contributing to Fullpicture.in and thenewsminute.com. She is known for her detailed and insightful features on misogyny and the lack of representation of women in Malayalam cinema.