Side A: Mata Parasakthi - Ragamalika - Adi - Subrahmanya Bharati
Ennai Kathu - Hemavathi - Adi - Papanasanam Sivan
Dharma Samvardhani - Madhyamavathi - Rupakam - Dikshithar
Vellai Tamarai - Bhimplas - Adi - Subrahmanya Bharati
Mahalakshmi - Sankarabharanam - Misra Chapu - Papanasanam Sivan
Kalamam - Kavadi Chindu

Side B: Himachala - Ananda Bhairavi - Adi - Syama Sastri
Lalitha Pancharatnam - Ragamalika
Karunai - Begada - Misra Chapu - Mazhavi Chidambara Bharati
Bharati Deviya - Karaharapriya - Adi - Purandharadasar
Sharanu Sharanu - Chenchurutti - Annaiyya
Pasuram (Abirami Andadhi) - Sindhu Bhairavi

Sumitra Vasudev, one of the prime disciples of Smt R Vedavalli creates music that is a blend of her talent and her guru's training. Each one of the so many songs rendered is lovely and one might consider buying this album for adding to his/her collection.

However, there is something on the flipside. There is little by way of 'Carnatic content' in the album--only one small-length alapana (of Karaharapriya) and no kalpana swaras, at all. Those who want to learn some good songs in praise of Devi, would find this a more worthy buy.

The album starts with a lovely ragamalika on Mata Parasakthi by the renowned Tamil poet, Subrahmanya Bharati. As Sumitra takes the listener through Kapi, Hamsanandi, Hindolam and Behag, her rich voice nicely blended with sruthi produces lovely music. Perhaps the best piece of the album comes next--Ennai Kathu of Papanasanam Sivan in Hemavathi. Hemavathi (58th Melakarta) is a dicey raga and you might easily mistake it for the more popular Vachaspathi, if you don't watch the 'ga' carefully. By far, the only Hemavathi piece that does rounds in the concert halls is Dikshitar's Sri Kanti Matim. Ennai Kathu sounds to be a beautiful piece, very becoming of Sivan.

Next comes the Madhyamavathi piece, Dharma Samvardhini of Dikshithar. Perhaps Sumitra should have chosen a slightly slower gait than she has. After all, the listener's ears are tuned to Dharma Samvardhini sung in a leisurely gait. The Madhyamavathi is followed by the famous Vellai Thamarai. You take a bet you'll touch your eyes with a handkerchief as you hear this, for it is not only a lovely song in a great raga sung elegantly, but also is reminiscent of the peerless Madurai Mani, whose name is inextricably entwined with this song.

The rest of the album has the same standard all through. The famous Himachala Tanaya of Syama Shastri and Bharati Deviya in Karaharapriya deserves special mention. The Abirami Andhadi is the piece made popular by the movie Adiparashakthi.

One thought that strikes the mind is that the practice of packing so many bits into a space of 60 minutes, better be avoided. Fewer pieces could have been selected and a couple of alapanas or swaras swaras thrown in, so that there is little more than just a touch of Carnatic in the album ?