Alcoholic continues Yo Yo Honey Singh’s festish for assorted spirits and he is clearly the best in creating catchy songs built around them. Manali trance goes a step beyond mere spirit, into the realm of hallucinogens, and in Neha Kakkar’s appropriately intoxicating vocals, this one’s a heady mix too. Hard Kaur composed Aashiq Mizaaj, in comparison, is utterly derivative and only forces the dancy enthu. Vikram Nagi’s Ishq kutta hai is no different, while Lonely is unintentionally hilarious, thanks to Anu Malik’s vocals. Arko’s (lyrics too!) Meherbani is mellow and pleasant, and beautifully handled by Jubin. Yo Yo tipsy soundtrack.

Keywords: The Shaukeens, Yo Yo Honey Singh, Arko Mukherjee, Vikram Nagi, Hard Kaur

G phaad ke is a bloody catchy mix – Divya Kumar and Shefali Alvares scorch the dance floor with their enthusiasm. The tune moves in intriguingly captivating directions before comfortably settling on the addictive hilke nacho hook. Paaji tussi such a pussy cat has a heady, corny twang and along with its hilarious lyrics, it’s a riot! Siddharth Basrur, Rahul Pandey and Shruti Pathak are superb in the lilting Haseena tu – the almost conversational tune is wrapped in a punchy package, topped with the thumping percussion. Rekha Bhardwaj is an oddly interesting inclusion between Jigar and Priya Andrews in Mileya mileya, but the trio deliver the breezy tune darn well, complete with a lovely sax signature all through. Khamma ghani depends on the solid vocals of Papon and the man is rock solid, owning the melancholic tune, with generous support from Smita and Vidhi for the hook. The composing duo reuse their kick-ass Telugu song, Meher meher, from D For Dopidi – as they should – in Jaise mera tu. It worked brilliantly in Telugu and it easily fits here, with its harmonium-led melody! Happy Ending ends Sachin-Jigar’s middling 2014 score card in bouncy style! (barring Finding Fanny’s solo).

Keywords: Sachin-Jigar, Happy Ending, 200, #200

More than the tribal sounds in Theeyattam, the composing duo’s sensibilities hits on notes far beyond the conventional, into world music, including Walid Ben Saleem’s Arabic rap. But it’s all wrapped up really well in Amala C’s scorching vocals, till Neha herself graces the song, mid-way. Maane and Raave are absolutely delightful, with Anil Ram and Haricharan, taking turns joining Neha to sing them, both with highly engaging rhythm structure and beautiful tunes that keep on surprising! Maane, in particular, has a free-flowing vibe that is so endearing! Iyobinte Pusthakam’s soundtrack makes up for being short, by being top notch!

Keywords: Neha S. Nair, Yakzan Gary Pereira, Iyobinte Pusthakam

I started getting serious about Ilayaraja’s non-Tamil music only in 2010-11. It was a very random effort, no doubt initiated by Geetha’s Jothe Jotheyali. In 2012, I wrote a formal request on Milliblog asking readers to suggest Ilayaraja’s songs from Malayalam, Telugu and Kannada that are worth listening to. Considering the man has composed generously in Telugu and to a lesser extent in Malayalam and Kannada, tons of recommendations poured in the comments section. I have gone on a sustained effort to collect good songs (meaning: songs I like) from all the suggestions and trying on my own to listen to the rest of the soundtracks if I liked one song.

Since 2012, I have made tons of playlists with Raja’s non-Tamil songs and have loved their company on long drives to places like Bandipur, Wayanad and Coorg.

The best part of discovering Raja songs late in life, long after I have saturated on his exhaustive Tamil repertoire is the fact that I get to relive my 80s life! It’s like a road from the 80s that I haven’t visited in a place I lived back then (Sri Rangam, for instance) and finding that road now, in its 80s condition!

It’s a feeling I can’t quite explain – suffice to say, it is magical!

Of course, there are tons of songs that I’m not particularly keen on liking now, in my current state of mind, but there are a LOT of songs that sound absolutely wonderful even today.

So, here’s me finally listing those songs that have given me immense joy. When I was speaking to a friend recently, he said he has never heard of Raja’s non-Tamil songs but for the stray Geetanjali types (one of the reasons no song from the film features in the list), that too because of its Tamil version. This was a predominant sentiment back then when I was in Tamil Nadu – there was very limited exposure to Kannada, Malayalam and Telugu film music and our limited exposure to those film industries was mainly through Doordarshan’s Sunday afternoon ‘award’ films (I still recall seeing the Kannada film Thabarina Katha on DD, the film tha gave Charuhasan a National Award!).

The following list is also firmly pre-2000 Raja repertoire and is in no way meant to be complete. These are just the few that I managed to listen to and liked enough to recommend to you. You could very well shout aloud, ‘How dare this doesn’t include Guru’s Devasangeetham?’. It was suggested and it was in my long list, but as I said, this is just an introduction. Now that I have exposed you to Raja’s non-Tamil music, if you liked what you heard here, feel free to go on a trip on your own and explore the rabbit hole.

If you think I’m missing some obviously good songs, do add them in the comments. Chances are I may have heard it, but it was way below in my favorite list… but if I do find a good song that I haven’t heard, that’d be a super bonus to this post!


01. Emani ne – Mantri Gari Viyankudu
This is that song which I’ll name as my most favorite Telugu song by Raja. The kind of song that has me going weak in my knees! Irresistable in every way – the magical tune, the interludes… everything!

02. Eduta neeve – Abhinandana
I prefer this melancholic version of this tune in Abhinandana (1988), compared to the more masala version in an earlier Telugu film, Anveshana (1985), where Raja made the same song as ‘Ilalo’. It completely baffles me as to why the man would reuse the tune, that too in the same language, and that too both starring Karthik! But I’m thankful that he did!

For the record, Ilalo, from Anveshana.

03. Kalaya nijama – Coolie No.1 (Dil churaliya)
The video for this song is severe kasamusa matter, so watch it only you are alone :) But what a song!!! A sorta of precursor to Avatharam’s Thendral vandhu and very very similar to Chatriyan’s Maalayil yaaro, in form! For some reason, I also continue singing a Hindi song after ‘Anigunna aadathanamaa ikanaina melukonuma’, for some odd reason. The song happens to be M M Keeravani’s ‘Dil Chura Liya Saathiya‘ from Saaya!

04. Suman prati sumam – Maharshi
A song that sounds like a Telugu commercial version of Karpoora mullai ondru… a must-hear!

05. Keeravani – Anveshana
Absolutely mind-boggling Keeravani-based song by Raja. The interplay between SPB’s singing and the music… the violin interludes and the way the violin joins at the end of every line in anupallavi… all absolutely delectable!

06. Nirantaramu vasantamule – Preminchu Pelladu

07. Ade neevu – Abhinandana
Even though Raja created this song in Tamil first, for a 1985 Vijaykanth starrer (Amudha Gaanam), it is in the Telugu version that I love the song (KJ Yesudas sings in Tamil, while SPB sings in Telugu!). There’s something very-Bharathiraja about this song – as the chorus starts, I imagine angels in white dancing in the background! Abhinandana seems to be one of those films that has a knock-out soundtrack – almost every song is brilliant!

08. Alli billi – Chettukinda Pleader

09. Ekkada ekkada – Ladies Tailor
The song starts only at 1:31… you have been warned, given the extremely corny video! Lovely song, but!

10. Mata rani mounamidi – Maharshi
Raja used the same tune in a Tamil film too, in the same year! In the Ramarajan starrer Shenbagame Shenbagame, for the song ‘Manja podi‘, but with the song’s pace reduced!

11. Manasuna palikina sarigamale – Sankeerthana

12. Urakalai godavari – Abhilasha

13. Vennello godari – Sithara
A song that strongly reminds me of Manadhil Urudhi Vendum’s Kanna Varuvaaya! Same Gowri Manohari raaga? The song is of course reused from Nizhalgal’s ‘Dhoorathil naan kanda un mugam’ that preceded the Telugu version.

14. Nee meeda naaku – Rakshasudu

15. Eppudu eppudu – Aakhari Poratam
A delightful mixture of Punnagai Mannan’s Mamavukku kuduma and Rajathi Raja’s Malayala karayoram!!


01. Geetha sangeetha – Geetha
My all-time fave Kannada song – even overtakes Jotheyali! SPB’s voice, the guitar and the anupallavi is to die for!

02. Jotheyali jothe jotheyali – Geetha

03. Hero hero – Ajeya
Kick-ass 80s attitude :)

04. Naguva nayana – Pallavi Anupallavi
This being Mani Ratnam’s debut, Tamil folks may have heard this song. This song is also special because of its view of 80s Bangalore!

05. Ee daaha – Shikari
Couldn’t find a YouTube link! This is Raja’s own Engeyum Eppodhum!

06. Sringara henninda – Nagara Bayalu

07. Nanna neenu gellalare – Nee Nanna Gellalare
I believe this is the only Rajkumar film which had music by Raja!

08. Oh preme – Pallavi Anupallavi

09. Kanavarisu – Shikari

10. Yava shilpi kanda kanasu – Januma Januma Anubandha
I prefer this over crowd favorite Thangaali, from this film! Strong memories of Oh maane maane from Vellai Roja!


01. Thumbi vaa – Olangal
This song has been reused by Raja in almost every language, but the original (I believe this is it!) is still the best!

02. Poovaai virinju – Adharvam

03. Swapnangal – Season
Very, very free-flowing Raja!

04. Thaimavin thanalil – Oru Yatramozhi
Magical music!!!

05. Kalkandam chundil – Onnanu Nammal

06. Konji karayalle – Poomukhappadiyil Ninneyum Kathu
Strongly evokes Ilamai Kaalangal’s Isai Medayil, another equally deadly song!

07. Thamara kili paadunnu – Moonaam Pakkam
Such a sweet song!

08. Thazhampoothaalil – Oomakkuyil

09. Vezhambal kezhum – Olangal

10. Puzhayorathil – Adharvam
Raja did resuse the tune in a Tamil song (Sariya thavara naan kaadhalichadhu), but the Malayalam version is in a different level!

Ghunghat, based on Bulleh Shah’s Kafi crackles with guitaring that almost has a conversation with Sharmistha! Mohammad Ahsan Papu’s flute and Louis Pinto’s drums offer splendid support too! The other song based on Bulleh Shah’s Kafi, Sayon, is a wonderfully pleasant melody, and besides Sharmistha’s adept handling of the complex tune and Papu’s flute work wonders. Champakali offers a splendid elaboration of the raag Champakali, with all its mysterious fervor, with the guitar work going on a new high towards the end! The band’s interpretation of Malkauns, using Aaj more ghar, roars, with imaginative guitar exposition by Mekaal. The Bhimpalasi-based Bheem too sees Mekaal trailing the song closely to make his guitar a lovely companion to Sharmistha, including an interesting detour mid-way! Megh invokes Chashme Baddoor’s iconic Kahan se aaye, based on raag Megh, and along with Kinarey, a poignant Yaman-based bandish, they are the two best songs by Sharmisthain the album! Sindhi, with lyrics by Sharmishta herself, sees Mekaal and Papu in superb form yet again. It takes time to get conditioned to a female vocalist for Mekaal Hasan Band, and even as Sharmistha seems to struggle in some of the higher notes, the overall experience is extremely rewarding!

Keywords: Andholan, Andolan, Mekaal Hasan Band, Mekaal Hasan, Sharmistha Chatterjee, Amir Azhar, Mohammad Ahsan Papu, Louis Pinto, 200, #200

The title song sees the trio playing a superbly flamboyant and addictive tribute the classic Spaghetti Western music. Shankar Mahadevan and Sonu Nigam are in blistering form here and even indulge in some cool yodelling! Sweeta rides on the cool vaudevillain sound, a tune bordering on Pancham’s Jeevan ke har modh pe (Jhoota Kahin Ka) and Adnan Sami’s fantastic vocals! Baawra‘s orchestration and tune are consistently enchanting, given the highs and lows they travel, even as Shankar Mahadevan and Nihira Joshi Deshpande rock the vocals, especially Shankar! Nihira offers wonderful company to Arijit Singh too, in Sajde, a song with a mod sound, but with the quinessential soul of a lilting Punjabi folk melody. Bol beliya beautifully play off the haunting hook to create a foot-tapping number, accentuated by Shankar-Siddharth’s dad-son combo and Sunidhi. Daiyya maiyya is too fragmented as a song to make an impact, while Happy budday makes up for what it lacks in novelty with Sukhwinder Singh’s spunky vocals and a lively sound. Nakhriley sounds like an 80s track with an identity crisis problem in current times. There’s a lot to like in Kill Dil’s soundtrack, with its expansive range, awesome singing and an all-round buoyant outlook!

Keywords: Kill Dil, Shankar Ehsaan Loy, 200, #200

Krsna builds on Pancham’s original Pyar mein dil pe on predictable lines, but Bappi Lahiri, with his verve, is the real hero of the song! Krsna’s other track, Khamakha has a nice conversational feel to it and Mohit Chauhan’s is the best version among the three. Sonu Nigam’s version of Arko’s Dildara is the best – a pleasant and instantly likeable melody, while In da club, composed by Ikka Singh and Intense (!) is a tacky (!!) Honey Singh knock-off. Krsna continues to disappoint from the high of Tanu Weds Manu, but Arko seems to be improving for the better!

Keywords: Tamanchey, Krsna, R.D.Burman, Arko Pravo Mukherjee, Ikka Singh, Intense, DJ Khushi

Ghoor ghoor ke is catchy, no doubt, but is too simplistic, and not fitting the standards Ram Sampath is known for. Tod de kataar is progressively worse – despite Labh Janjua’s spirited singing, the tune has hardly anything interesting. The title song has a foot-tapping retro sound to it, but where Ram really wins is in the two softer songs – Hum tumhe kaise bataye, a soulful ghazal with a modern sensibility in sound, well sung by Aman Trikha and Tarannum Malik, and Bitua mora, where Mohit breathes life into the poignant tune. Overall, a rather muted effort from Ram!

Keywords: Ram Sampath, Ekkees Toppon Ki Salaami

Bombay Makossa – Chingari (Ranjit Barot, U Shrinivas, Etienne Mbappe)
I came to know about this album 15 days before Shrinivas passed away and was waiting for the mid-September release date given that it has both Ranjit Barot and Shrinivas in it. Unfortunately, we saw the untimely demise of Shrinivas 3 days after the album released. I forgot to buy the album on the day of the release since I was in hectic work-related travel then, but when the news of Shrinivas’s death arrived on Twitter first, I was instantly reminded of this album that I missed. I rushed to iTunes and bought the album right away. I’m deinfitely not qualified enough to write a review for this album, or would need to spend a LOT more time researching the nuances and raagas used in the album, but at the outset, it sounds phenomenal to me… is all I can say. Shrinivas mandolin lietrally is the soul of the album, or at least the most notable and identifiable element.
Buy the album on iTunes, Amazon or Bandcamp.
More on the album, here.

Aao na, Bismil, Khul kabhi, Do jahaan & Jhelum – Haider (Hindi – Vishal Bhardwaj)
One of the best soundtracks in Hindi, in recent times. The soundtrack is amazing, both on its own and on screen, complementing the script. I’ve a special soft corner for film makers who can also compose and there are not many like this – this sort of multi-tasking and being good at both is bloody rare… and amazing!

Ocean To Ocean – Susmit Sen Chronicles
That the album released is news to very few, sadly. But the good thing out of it is that there’s a new online label for indie music – Songdew! I notice many, many artists in Songdew, besides a fairly well-established system for online music buying (most songs priced at a very reasaonble Rs.15, much like OKlisten) and also artist promotion. I had to get this off my chest – I have never been able to comprehend or enjoy Indian Ocean’s music (one reason why I ddi not review their new album, Tandanu), but I find it extremely odd that I happen to like Susmit Sen’s music much more easily and readily. Like this album, as also his debut solo (Susmit Sen Chronicles) album, Depths of the Ocean. Songs like Eighth and a Half, Ocean to Ocean, Serendipity are fantastic listens!
Sample the songs and/or buy it from Songdew.

Poo avizhum, Prabhalamaagavey & Endi ippadi – Enakkul Oruvan (Tamil – Santhosh Narayanan)
As I have already said, Santhosh is the most exciting composer in India, today, for me. He gives me the same high that I recall having, waiting for Rahman albums in the 90s. That bated breath-level waiting on what the composer has in store for me this time, with each album. Of course, people like Rahman, Amit Trivedi, Sunny M.R etc. do that for me, but Santhosh’s consistency in surprising with out-of-the-box inventiveness is staggering! Endi ippadi is a glowing example of this!

Meherbaan, Uff, Tu meri & Title song – Bang Bang (Hindi – Vishal-Shekhar)
I still recall the phenomenal score the duo put together for Siddharth Anand’s earlier dud, Anjaana Anjaani, and it looks like they have good ‘tuning’ between them. The title song is a particularly groovy listen!

Clouds, U Know & Breakfast can wait – Art Official Age (Prince)
The man who was a symbol earlier is now back in his own name… and releases 2 albums at the same time – Art Official Age and PlectrumElectrum. The latter is a complete washout with everything being utterly banal and preditable (Prince is backed by a 3-woman rock trio, 3rdEyeGirl in this one). The former too is only moderately interesting, disappointingly so. Of the 13 tracks, I could find just these 3 songs worth my time… they’re pretty cool and funky though, transporting you back in time.

Telipotunna, Anthe premanthe & Andari rathalu – Dikkulu Choodaku Ramayya (Telugu – M.M.Keeravani)
It’s hard to believe M.M.Keeravani has 217 albums to his credit – this is his 218th, it seems! To see him offer tough competition to newbies like Santhosh Narayanan by doing what they would have done, in his own style, is a delight! Telipotunna is something I’d have guessed as Santhosh’s music, if I hadn’t known the composer’s name!

Aaramagiri – Bahaddur (Kannada – V.Harikrishna)
A rather Harris Jayaraj’ish track – no, not the jaded current Harris, but the earlier, reasonably interesting Harris :) Playful and catchy at the same time, with a simple hook to root for.

Manam kothi – Kalkandu (Tamil – Kannan)
A decent enough melody, made better by Haricharan. Precitable interludes (Yuvan’ish), but overall, good listen.
Listen to the song on Saavn.

Arziyaan – Jigariyaa (Hindi – Raj-Prakash)
The one song that bubbled up from the very, very predictable soundtrack with multiple composers. Vikrant Bhartiya sings this one pretty well, and even the breezy, but templatized, tune easily works.
Listen to the song on Saavn.

Benjilaga vacchindira, Pada pada – Kai Raja Kai (Telugu – J.B)
Revanth and Rajesh handle the friends-singing-about-lou trope in JB’s rhythmic tune well in the former, while the the latter is a rarity these days – a heroine-seduction song, an obvious one at that! Umaneha sings it in a whispery voice to remove all doubt about the heroine’s intentions, but this a good tune and orchestrated well too!
Listen to the songs on Saavn.

Devathai & Verarum – Poojai (Tamil – Yuvan Shankar Raja)
After Saami, where Harris Jeyaraj produced a wonderful soundtrack, most of Hari’s films have music that gets lost as fast as the films’ hero traveling in black Scorpios. Poojai is no exception – stale, and almost by-the-books music, though Yuvan is smart enough to infuse some life even here, much like (or, several degrees lesser) his dad used to do for dud directors and their dud scripts back in the 80s.

Sach kahoon, Kismat se & Khatta meetha – Raunaq (Indipop – A R Rahman)
I was dreading this collaboration of Rahman with a person like Kapil Sibal, of all the people, with his political motivations, general pointlessness and meaningless posturing, but really glad that the composer in Rahman completely salvages the album, along with a set of stellar singers.
Sample music from Raunaq and buy, on iTunes.

Hey sutrum bhoomi, Kaligalam, Yaar & Yaarum paarkama – Nerungi Vaa Muthamidathe (Tamil – Madley Blues)
After a fairly odd debut in Sutta Kadhai, I did not expect the Madley Blues duo to make such a tremendous comeback. This 4-song album is a cracker throbbing with energy!

Aathi, Pakkam vanthu & Selfie pulla – Kaththi (Tamil – Anirudh)
I would have expected Anirudh’s first outing for a Vijay film to be even more explosive (like Imman’s 2nd with Vijay, in Jilla), but that was not to be. It’s generally a good album, but when Anirudh is made to do things out of his comfort range, like that family-song that only S A Rajkumar has mastered so far (Paalam), things fall apart dramatically. These 3 songs are lively enough though.

Ra ra rowdy, Yentha vaaru, Aa seetadevi & Yedo – Rowdy Fellow (Telugu – Sunny M.R and Anil R)
I’d love to see more from Sunny M.R – people outside Andhra hardly even know about his existence. For a change, oddly enough, for no explainable reason, I think he’d suit really really well in Malayalam cinema.

Pilla & Padahaarellainaa – Current Theega (Telugu – Achu)
Has Achu signed a life-long deal with the Mohanbabu family? Why is he only doing their films? Given that he has shown his skills even in Tamil (the severely under-rated Maalai Pozhudhin Mayakathile), he’s only getting better, though mired in projects like this where he has to compose several average songs to bubble up gems like these Padahaarellainaa.

Manwa laage & Dance like a chamiya – Happy New Year (Vishal-Shekhar)
No, I dodn’t expect anything out of a Farah Khan film and she doesn’t disappoint at all. This is as templatized as it can get, a veritable tick-the-boxes kind of soundtrack, plus her trademark mish-mash songs that combines multiple songs into one. It’s getting tiresome now.

Gulabi, Ra rakumara & Prathi chota – Govindudu Andarivadele (Telugu – Yuvan Shankar Raja)
After Thirudan Police, Yuvan delivers well, not in Tamil, (or in Hindi – Raja Natwarlal was so standard-issue other composers’ stuff, not even Yuvan’s!), but in Telugu. It’s also surprising that director Krishna Vamsi has been flirting with composers randomly – his last 6 films had 6 different composers (including one Tamil import – Vijay Antony, for Mahatma). Good to him getting good results with Yuvan.

Aila, Pookkalae & Mersalaayitten – I (Tamil – A R Rahman)
As a standalone soundtrack, much like Endhiran, I felt I was very average. I’m sure the songs, again like Endhiran, would come magically alive on screen, given Shankar’s penchant for extravagant song picturisations (the best in India?). But of course, if the soundtrack is released before the film and we have the opportunity to only ‘listen’ to them, this is merely an average soundtrack.

Ovvondrai thirudugirai, Oru rosa & Sangi mangi – Jeeva (Tamil – D.Imman)
Imman continues to surprise… and enthrall! The Raja’esque turn in Ovvondrai is mind-boggling – it took me right back to Raja’s 80s music!
Listen to the songs on Saavn.

Ek mulaqat & Gannu rocks – Sonali Cable (Hindi – Amjad-Nadeem & Mikey McCleary)
That this multi-composer album sounds pretty good is testimony to the films producer’s – Rohan Sippy – music sense, given hos consistently he has managed to extract good music from assorted composers for all his productions/films! His loyalty to Mikey McCleary too is a good deal, given that he gets some great music out of the jingle-man!

Uchi mala pillayare – Kannakol (Tamil – Bobby)
If this is the same Bobby who composed for films like Sollamale and Nesam Pudhusu, I do wonder where he vanished! This album is mighty sub-standard, overall, but this song stands out with a breezy tune and something that may have been sung by Mano ina different era (here it is sung by Haricharan). The Pallavi and Anupallavi reek of Raja style and are pretty melodious!

Nenjilaara, Ishqwala & Veyilpoyal – Bhaiyya Bhaiyya (Malayalam – Vidyasagar)
A Vidyasagar, that too in Malayalam, always would have something interesting! Nenjilaara is a pleasant surprise, incorporating Bengali lines beautifully with Malayalam lines. Even Ishqwala has has generous Bengali peppered throughout and has a catchy tune reminiscent of Raja of 80s that’s almost a Vidyasagar trademark now. Veyilpoyal is yet another trademark Vidyasagar goodness that can easily be used for any Tamil hero – fantastic title hook and a pleasant, easy-on-the-ears tune. The song picturisation took me all the way back to Naseeb, where Rishi Kapoor tries to manage a drunk Amitabh! :) Also, I so, so wish Satyam Music (Malayalam) bothers enough to add full singer credits in their juekbox – they have nothing here, sadly.

Dintana seems simplistic, but is also catchy, powered by Rahul Sipligunj. Chembistri‘s is all over the place, mixing sounds into an odd concoction. Composer Ramesh Vinayagam rocks with his vocals in Andari rathalu, with a very-very-Keeravani tune – beautifully folk! Even the title song rises above the standard kuthu templates to let Kalapana rock the tune. The soundtrack’s highlights are Telipotunna, with Ramya Behara singing her heart out for an unusually tuned song; and Anthe premanthe, where Keeravani uses Mohana’s vocals in the most interesting manner! Trust veteran Keeravani to keep reinventing himself and produce odd little crackers like this!

Keywords: M.M.Keeravani, Dikkulu Choodaku Ramayya

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