Other early songs he sang were duets with P. Susheela, "Iyarkai Ennum Ilaya Kanni" in the 1969 film Shanti Nilayam, starring Gemini Ganesh, and "Aayiram Nilavae Vaa" for M. G. Ramachandran in Adimaippenn.[47] His first song with S. Janaki was "Pournami Nilavil Pani Vizhum Iravil" in Kannippenn. He was then introduced to the Malayalam film industry by G. Devarajan in the film Kadalppalam.[48] As per Balasubrahmanyam, "Ye Divilo Virisina Parijathamo" from the 1973 Telugu film Kannevayasu composed by Satyam gave an amazing turning point to his singing career.[49]
Balasubrahmanyam came to international prominence with the 1980 film Sankarabharanam. The film is considered to be one of the best films ever to emerge from the Telugu film industry.[55] Directed by K. Viswanath, the film's soundtrack was composed by K. V. Mahadevan and led to an increase in the usage of Carnatic music in Telugu cinema as well as in other languages. Not a classically trained singer, he used a "film music" aesthetic in recording the songs.[56] Balasubrahmanyam received his first National Film Award for Best Male Playback Singer for his work. His first work in Hindi films was in the following year, in Ek Duuje Ke Liye (1981),[57] for which he received another National Film Award for Best Male Playback Singer.[15]
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Balasubrahmanyam began to record more songs in Telugu and other South Indian languages, especially for Ilaiyaraaja with S. Janaki, the trio considered to be highly successful in the Tamil film industry from the late 1970s and throughout the 1980s. The songs were based on classical music, such as in Saagara Sangamam (1983) and Rudraveena (1988), for which both Ilaiyaraaja and Balasubrahmanyam won National Awards for Best Music Director and Best Male Playback Singer respectively.[58] South Indian actor Chiranjeevi admits that '''SPB''' voice is one of the main reasons of his success.[59]
Balasubrahmanyam recorded three songs for A. R. Rahman in the latter's debut film Roja. He had a long-time association with Rahman right from Roja. Other popular songs include "July Maadham" from Pudhiya Mugam, which also marked the debut of singer Anupama,[67] "Mannoothu Manthayilae" from Kizhakku Cheemayile which was a folk number and he almost sang all songs in the musical love story Duet and "Thanga Thaamarai" from Minsara Kanavu which fetched him, the sixth and latest of his National Film Awards for Best Male Playback Singer to date.[68][69]
Balasubrahmanyam's association with Hamsalekha began after the latter's successful venture Premaloka in Kannada. Balasubrahmanyam sang the most songs for Hamsalekha in Kannada. He received his fourth National Film Award for Best Male Playback Singer for the song "Umandu Ghumandu" from the Kannada film Ganayogi Panchakshari Gavayi (1995), which was a Hindustani classical music-based composition by Hamsalekha.[58]
Ghantasala, short for Ghantasala Venkateshwar Rao, was a singer whom Telugu listeners worshiped. His strong voice, combined by his felicity in rendering classical ragas as well as his amazing rendering of padyams, made him a demigod in Andhra Pradesh. Not only the listeners, the whole of film industry was in awe of his voice. Heroes wanted him to render their songs. He was 'the' voice of NTR and Nageshwar Rao. The music directors were ready to set challenging tunes, like 'Siva Sankari' of Pendyala Nageshwar Rao for example, because they were sure that Ghantasala would deliver it flawlessly.
The movies made in those times included Mythology, Historical, Social and Comedy. The Mythology movies were helped enormously by the presence of NTR, who became Lord Krishna for everyone and other stalwarts like S V Ranga Rao, who was incomparable in roles like Duryodhana, Keechaka, Hiranyakashipu and Ravana. Most importantly, the mythologies were served well by the voice of Ghantasala. His padyam renditions were much awaited by his fans. The bhakti songs he sang for these mythologies still reverberate all across Andhra and Telengana.
To give you an idea about how important Ghantasala was to producers and directors, let me narrate an incident that SPB himself told in a TV program. Ghantasala, towards his end, was having lot of health issues. That affected his singing as well. Rama Naidu was producing a film called 'Prem Nagar', with Nageshwar Rao and Vanisri as lead actors. K V Mahadevan was responsible for the music. Ghantasala was called to render the songs. His health was not good and he had voice trouble. He told Mahadevan that he was unable to sing and that Mahadevan should get someone else to render the songs. This news reached the ears of Rama Naidu. He called Ghantasala and told him, "How can I produce a film where in the titles, against 'Playback Singer' I do not have the name of Ghantasala. Whatever it is, you must sing these songs for me". Ghantasala sang those songs. You can clearly hear the struggle. The songs became super hits.
In other words (and really generalising a big topic), if the MSV-era composers were known for their "flow", Raja is more "metric". He creates little instrumental dams, and frankly, only the finest voices can course past them and make you say: This is not just a Raja song, but also the singer's song. It's not just about singing with 'sruthi suddham' or keeping tune, but imparting your personality to a song that's already brimming over with Raja's personality. And SPB did this over and over. You see this in 'Geetham sangeetham' (Kokkarakko). You see this in 'Thamaraikodi' (Ananda Kummi). You see this in the great Raja-SPB "sad songs" like 'Poguthey poguthey' (Kadalora Kavithaigal) and 'Theerthakarai orathiley' (Theertha Karayinile).
Oh, the unrelenting astonishments of the Raja/SPB collaboration. Most of my southern industry music knowledge is restricted to Tamil/ Telugu / Malayalam cinema, but if you've been there at the time, it was impossible to escape the odd Kannada hit like 'Yaava shilpi kanda kanasu' (Janma Janmada Anubandha), with the synth bursting out of your tiny two-in-one speaker, or 'Saavira jenumagalu' (Nyaya Gedditu). That's another amazing thing about SPB. He sounded like the star on screen. Like how TMS used to modulate himself for MGR and Sivaji Ganesan, SPB had star-signature tricks up his sleeve. You listened to 'Pattu kannam' (Kakki Chattai), and you'd swear it was actually Kamal laughing in that song and not SPB. That same year, 1985, you listened to 'Penn maaney sangeetham paadi vaa' (Naan Sigappu Manidhan), and you'd swear it's a Rajini voice. Part of this is surely our own nostalgia, the fact that we've already seen the sequence and matched actor and song, but surely there's something more. And SPB always brought that something more to these songs.
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GV Prakash, composer
We worked in a few instances. We first collaborated for the Ayyayyo track from Aadukalam. He was really happy about it because he got to team up with his son, SPB Charan, for the song. Ayyayyo turned out to be a huge hit as well. It was a fantastic experience for someone like me to work with him. I found him to be extremely gentle and humble. He will be dearly missed. Most of the iconic songs in our cinema were sung by him. We have all learned a lot from his work.
SURESH KRISSNA, DIRECTORĀ
SPB was a friend of everyone. He was ever-smiling and had no enemies. He always made sure to understand the script and the setting of the song to give an output that suited the film. This is the reason why his songs are huge hits as visuals too. He has been an integral part of all my films and I was there with him when he recorded his first Hindi song. Whenever he sang the intro number for my films like Annamalai, Veera or Baasha, I knew that they would be a hit even before their release. And they have all stood the test of time and are popular even now. He always sent me voice notes instead of texts, so it always felt like he was with me. He last spoke to me on August 2. My wife and I hoped he would recover and return soon. It is devastating to realise that he is no more.
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Most songs of SPB-Mohan combo reflected the pain of love failure, becoming the favourites of many love-lorn youths till the late 90s. Songs such as Illaya Nila (Payanangal Mudivadhillai), Vaa vennila (Mella thiranthathu kathavu), Sangeetha megam (Udaya Geetham) and Nilaave Vaa (Mouna Raagam) are considered evergreen hits. 0852c4b9a8
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