Music, once admitted to the soul, becomes a sort of spirit and never dies. – Edward Bullwer-Lytton.

A few musings on favorite songs – mine, and yours – of legendary SPB.

*** Each title is a link to the audio/video of the song.

UPDATE – Oct 11, 2020

Valai osai (Sathya: Tamil) Personally, I think this is one of the best compositions ever – from Isaignani Ilaiyaraja or any music director from India. Sheer brilliance orchestrated in a racy tune augmented by SPB’s stellar rendition, ably supported by Lata’s female vocals. The BGM, way ahead of its time, is a beautiful orchestration of some fine sounds originating from virtually, a myriad of instruments covering all genres. You name the instrument, and a perfect subtle tune/note coming out of it is in there. The depth in the first line of Pallavi – valai osai kalakalakalavena kavidhaigal padikkutu kulukulu thendral kaattrum veesuthu – sets the tempo from outset and doesn’t wane all through. The utterance of “kaatrum” in this number, needed that extra emphasis on “r” to up that notch of impact. When SPB croons – “chinna penn pennalla vanna poonthottam” with his personal touch of modulation – you can’t help but imagine the naivety of the subject electrifying a vibrant garden. The vocals for “Neengatha neengaram naanthaaney nenjodu nenjaga nindrene” is immaculate – matches or even excels the emotion conveyed by lyricist. It oozes conviction, and  defiance on the same note.

Oct 2, 2020

• Saathiya tune kya kiya (Love: Hindi)  Breezy symphony painted on a glossy and vibrant canvas of 90’s Bollywood. I bet it will dial back many a minds and hearts to nostalgic school, college, Archies and Yamaha RX-100 days.  While the song is immensely popular, I reckon the original eenade yedo ayyindi (Telugu) is a class apart. Nuances in BGM is the differentiator – heavy synthetic instrumentation in the Hindi number contrasts natural freshness in the original version, which is full of life with that extra notch of soft-bass and soothing flute. What is constant and consistent between the two? SPB’s melodious rendition in tandem with Chitra’s matching vocals. This song never ages(!)
• Unna nenachein paattu padichein (Aboorva Sahodarargal: Tamil)  Pathos and oozing intense energy in all aspects, music and words, this timeless classic was packaged in the legendary marquee film. Lyricist must have penned the song with Balu in mind, and so did Isaignani Ilaiyaraaja, composing the tune. It starts of slow and deep, and rides a racy wave – a midget expressing his sorrow and deep love, all in one ode. Kannirendil naan thaan kaadhal yenum koattai, katti vaithu paarthein athanaiyum oattai – couldn’t have been sang any better within the realms of the tune. You can certainly feel the void being expressed, can’t you?

Sep 30, 2020

• Aavesamanta aalapanele (Aalapana: Telugu)  An interesting prelude with juxtaposed classical notes sets the tone for a brilliant composition. Leads right into a great fusion of folky and semi-classical. The words, the rendition is just soothing; blending and modulating in perfect unison. The effortless ease in naa lona saage aalapana is undoubtedly as smooth as the railway pulley cart smoothly cruising on the rails,  If the rising of sun at crack of dawn were to be vocalized, it might sound like the nuance of nidura leche naalo hrudayame.
• Keladi kanmani paadagan sangadhi (Pudhu Pudhu Arthangal: Tamil) Over the archaic Walkman or contemporary Airpods, this song oozes melody and rejuvenation. What is unique about it? The words, music, and rendition give a comprehensive all-encompassing surround experience even with a lack of modern music production technology back in the 80s. Kudos to Isaignani and triple kudos to the messenger, SPB.
• Ilamai enum poongaatru (Pagalil Ore Iravu: Tamil) I wish this song remained audio-only, and was never picturized as it was originally done. Well, if only wishes were horses(!) Only SPB could pull this with panache – not utter the “r” in poongatru, and still make it sound just perfect. SPB’s soulful rendition strikes the right chord in you. The fluidity in modulation for gangai nadhikku mannil anaya, might challenge the gentle ripples in a stream of water maneuvering the rocks. 

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PREVIOUS

• Naguva nayana madhura mouna (Pallavi Anupallavi: Kannada) 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: Telugu) as an intense endeavor by a pious Sankara Sastry to invoke God.
• Kaattu kuyilu manasukulle (Thalapathi: Tamil) painted, on a larger-than-life canvas with a broad brush, the aura of bonding and festivities.
• Suvvi suvvi suvvalamma (Swathi Muthyam: Telugu) screamed the innermost strengths of an autistic simpleton.
• Vetri nichayam idhu vedha sathiyam (Annamalai: Tamil) packs a vehement punch, oozing inspiration.
• Pehla pehla pyaar hai (Hum Aapke Hain Koun: Hindi) intensely captures the naivety of two hearts deep in love.
• Chippi irukuthu muthum irukuthu (Varumayin Niram Sigappu: Tamil) portrays the internal conflict of an unemployed youth hiding love under his resolve.
• Sach mere yaar hai (Sagar: Hindi) – there couldn’t be a better ode to friendship across the strata of society.
• Brahma murari (Lingashtakam: Sanskrit) to kick-start your spiritual morning, or aayarpadi maaligaiyil (Krishna Gaanam: Tamil) as a lullaby for the night.
• Kanaa kaanum kanngal mella (Agnisatchi: Tamil) 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.