This song “Emiyee Vintha Mohamo” stands spectacular to this day for it features four stars of the day and three male voices, the debutante SP Balasubrahmanyam for Sobhan Babu, and Eelapata Raghuramayya and PB Srinivas. In 1966, he recorded his first song in the film Sri Sri Sri Maryada Ramanna, starring the comedian Padmanabham. Apparently he was too young for his first break to happen just then but graciously the composer promised to offer him an opportunity when he finds one. A competition like that also led him to his first composer, SP Kodandapani. Although he did not win this competition, Janaki, he recollects earmarked him and suggested him to sing for films. He met his childhood superstar and idol, S Janaki in one such competition where apparently, songs from cinema had to be avoided and he hence had to write one on his own and design a tune.
Although his dream was to become an engineer, music – especially songs of Mohammed Rafi – was something that would chase him wherever he went, and occasionally something he followed as well by way of singing competitions in Nellore, that he cycled to and often won.
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He was, beyond that, a professional and committed listener and an organic singer. He of course grew up with the rustic tunes that his father sang as a Harikatha exponent, during practice sessions. He recollects nearly in every occasion that he was not a trained singer. SPB’s own story is very unusual for the tales that we gather of singers in Indian cinema, especially in the South Indian “industries”. My ringtone is Pantulamma’s Sirimalle Neeve and my caller tune, Ilayaraja’s Mounamelanoyi.
Not a wedding goes by without Pelli Pustakam’s Srirasthu Shubhamastu and since the passing of AP’s former CM, Rajasekhara Reddy (whose death was perhaps the first one that I remember indelibly), his Aa Naluguru theme has become a staple for such an event (alongside the Bhagavad Gita rendition of SPB’s predecessor, Ghantasala).
Of the 40000 songs that he sang, it appeared like there was something for every occasion. They feel themselves in him, but what does he feel when he sings? We will never know. He is an immensely experiential singer so much so that it is virtually impossible to separate the audiences’ own experiences from the song of SPB. The cliché goes that art belongs to its audience – how very true for Balu. His notes were elements of that “marumalle thota” (the jasmine garden) and from them emerged the ‘Madhumasa Vela’ of the title the mellow grumble in “Udayinche Bhanubimbam” was what painted the rising gentle yellow sun alluded to in the line, and the subtle sigh nestled in the phrase “Vikasinchaledu Kamalam” lamented the lotus that had not bloomed.įrom then to now, as I grew, SPB’s songs and voice grew on to me and with me. It talked of a flower’s stalk and a singing cuckoo, in short, all that were beautiful in life’s experiences but little had I realised that they had been made beautiful by SPB’s spell. At the age of six, the age when I began listening to music intently, showing stimulus to melody, and paying attention to lyrics, feeling was what flowed in “Madhumasa Velalo” (1977). To claim that nearly every song I heard at the turn of the millennium, in Television Broadcasts, Advertisements, and radio programmes, day in and day out, was his would not be an outright exaggeration. My journey with SP Balasubrahmanyam may have begun even before I had learned that a song in a film had a playback singer.
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Have you noticed how SP Balasubrahmanyam says the letter? That’s how you say it.” And that is where it begins, the tie with Balu for a Telugu how to utter each syllable in the language. Enraged by my mispronunciation, my father said: “You need to soften your ‘cha’ Revanth. One such night, talking about the diminished moon, I said “chandamama”. Listening to music and chatting over it till midnight, we descend to sleep. Every summer, owing to the unbearable heat and suffocation of the sometimes-much-despicable Hyderabad, my family spends nights on the terrace of our building.
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