Balu vis-à-vis SPB.

Every Wiki page of a person would capture – along with arc of the subject’s lifetime – two distinct dates. It was in this one profile, that my heart could never accept to see that finality.

My distinct recollection of the first-time hearing Balu’s voice was in the bygone era of dial-radio transistor, relaying Vividh Bharti programme on All India Radio. Those were the quiet weekend afternoons with Amma zestfully readying my cup of Horlicks. I couldn’t quite comprehend the words, the emotions, or the context. But what bore deep in my heart was the voice – not fully baritone, yet enough bass, but incredibly melodious and more importantly – full of life. I reckon, ye teega puvvuno (Maro Charitra) set the course for my fanboy journey that sailed beyond four decades. The versatility in Balu’s voice was unparalleled, the diction was spotless. The commitment, dedication, and love for singing was unquestionable.

Some film visuals would match the spectacular range and depth of the vocals – Raakamma kaiya thattu, a foot-tapping number by Isaignani from Thalapathi was breathtaking; Thakita tadimi (Sagara Sangamam) with Kamal Haasan at the helm, matched the brilliance of Balu behind the scenes.

Some would fall a dud, and not render justice to the stunning vocals – brilliant orchestration and rendition of Chinna pura ondru (Anbe Sangeetha) was quite contrary to the eyesore rushes on screen; Namoora mandara huvve (Aalemane) seemed to lack the acting prowess to match Balu’s melodious playback singing.

We have often heard the social norm of putting a face to the name and voice. Balu takes the kudos and credit for reversing it. Yes, he put his legendary voice to many a marquee name and face. For decades, he was the voice of the NTRs, ANRs, Rajnikants, Kamals, Chiranjeevis, Mohans, Salmans et al – each association stamped with a brand and uniqueness. It was the Rajni-Balu synergy that endured test of times over generations and reached towering heights. When Balu crooned O Maria (Sagar) for young Kamal to woo gorgeous Dimple Kapadia, SPB made inroads into millions of hearts pan India.

The repertoire of songs is virtually endless. It’s quite a tall order to pick one and not pick another in a general sense. It’s more apt to pick a song that resonates to your context or corner; your moment, emotion, and experience in life. I’ll bet there is at least one covering every spot in the entire spectrum.

Naguva nayana madhura mouna (Pallavi Anupallavi) portrays subtleties of human emotions spoken and unspoken, as a way of life; beautifully picturized in the backdrop of Bangalore of the 80s.

Shankara nadasarirapara (Sankarabharanam) as an intense endeavor by a pious Sankara Sastry to invoke God.

Kaattu kuyilu manasukulle (Thalapathi) painted in a broad brush the aura of bonding and festivities.

Suvvi suvvi suvvalamma (Swathi Muthyam) screamed the innermost strengths of an autistic simpleton.

Vetri nichayam idhu vedha sathiyam (Annamalai) packs a vehement punch, oozing inspiration.

Pehla pehla pyaar hai (Hum Aapke Hain Koun) intensely captures the naivity of two hearts deep in love.

Chippi irukuthu muthum irukuthu (Varumayin Niram Sigappu) portrays the internal conflict of an unemployed youth hiding love under his resolve.

Sach mere yaar hai (Sagar)there couldn’t be a better ode to friendship across the strata of society.

Brahma murari (Lingashtakam) to kick-start your spiritual morning, or aayarpadi maaligaiyil (Krishna Gaanam) as a lullaby for the night.

Lastly, my all-time favorite. Kanaa kaanum kanngal mella (Agnisatchi) is a melodious rendition of expressing empathy to an ailing schizophrenic. When Balu’s deft touches of modulation carves out the nuance – vilakku yaetri vaithal kooda nizhal pola thondrum nijame – it is certain to moisten the eyes.

Language isn’t a barrier. Music is mute in that sense. Along with us, a trinity will dearly miss you. Live-stage, there wouldn’t be your cherubic presence. Microphone, standing alone with no flawless vocals to ingest. Acoustics, quietly tucked away in the back, serving up a blend with a certain void.

RIP, dear SPB. You infused life into this song – idhayam oru koil – from Idhaya Koil. I couldn’t resist picking a leaf out of it to give it back to you, as my ode.

இசையும் ஒரு கோயில்
அதில் ஒலிக்கும் உன் பாடல்
இதில் வாழும் தேவன் நீ
சொற்களை மலராய் கவியும் சூட்டுவான்
இசையை தீபமாய் ஞானியும் ஏற்றுவான்

உயிரில் கலந்து பாடும்போது
அதுதான் பாடலே
ராகங்கள் ஒரு கோடி தாளமும் புதிதில்லை
பல்லவி பல கோடி சரணம் புதிதில்லை
பாட இல்லை நீதான்
அதுதான் புதிது

உன் பாடலில் ஜீவன்
எதுவோ அது நீயே
இசையும் நீயும் ஒன்றுதான்
எங்கே பிரிவது

பாட்டும் நீயும் போனது
காதல் என்ற பாதையில்
பிரிவும் நேரம் வந்தது
காலம் செய்த கோலத்தில்

பாதை ஒன்று ஆனபோதும்
திசைகள் மாறுமா
உனது பாதை வேறு
இசையின் பாதை வேறாகுமா

மீராவின் கண்ணன் மீராவிடமே
பல பாடலின் ஜீவன் நீ ஆனாயே
இருப்பாய் என்றும் எங்களுடன்
என்றும் ஒலிக்கவே

இசையும் ஒரு கோயில்
அதில் ஒலிக்கும் உன் பாடல்.