(Rishitha Jaladi, Intern Journalist)Vijayawada: In the life of India’s film music, there have been a few star vocalists. They have governed the entertainment world for quite a long time, catching the creative mind of Indians. Many have clutched their distinction for a few decades, here and there additional. For example on account of Mohammad Rafi and Lata Mangeshkar – they remained whizzes for very nearly forty years.
Shoppers of this music have recovered their voices and tunes, they have resignified them in their everyday lives with affection and energy. It is a wonder that hasn’t blurred even after the majority of these voices have left from the human world.
One could undoubtedly list six to seven voices that have lived on as singing sensations from the late forties to now. Inquisitively, among them, you won’t discover any from the southern strongholds. Additional fascinating is the way that artists like Hemant Kumar and Kishore Kumar, who created a decent group of work in their home regions, earned the pined for public status just when they came to sing for Hindi movies or Bollywood.
It is additionally obvious that P.B. Sreenivos, S. Janaki, P. Susheela, and others from the south didn’t gain public notoriety however they were marvelous artists, comparable to the “public” norms, now and again in any event, unbelievable it. As a result of the area of the Hindi entertainment world, its size, reach and effect, different ventures were viewed as less huge, as likewise the individuals who were a piece of it. So what established the “public” was Hindi, yet unexpectedly, the Hindi itself was to a great extent comprised of rich, territorial ability. From the Burman to Mangeshkar to Khayyam.
On the off chance that somebody figured out how to bust the “Madrasi” picture in Bollywood and become a skillet Indian wonder, it is S.P. Balasubrahmanyam. No territorial artist before him accomplished what he did. Yesudas and Vani Jayaram had just made their essence in Hindi movies, yet their excursions were restricted. SPB sang across 16 dialects, more than 40,000 tunes, and became wildly successful in Hindi film.
He sang for Naushad, Kalyanji-Anandji, RD Burman…, and turned into the voice of all the top legends, Rajesh Khanna to Dharmendra to Anil Kapoor to Salman Khan. When SPB was brought to sing for Ek Duuje Ke Liye (1981), almost 10 years after Vani Jayaram’s heavenly accomplishment with “Bole Re Papi Hara” (Guddi, 1971), arrangers Lakshmikant-Pyarelal communicated misery over this obscure “Madrasi” artist. Chief K. Balachander would not yield, and with it, he guided the start of sublime days in Mumbai for SPB, even as he was among the busiest playback artists in the South.
It isn’t that Bollywood approves a vocalist, and it isn’t that provincial achievement is sub-par. It isn’t even that these artists needed for such acknowledgment, they were stars in their territorial entertainment worlds. However, it is to comprehend what makes an artist a public wonder.
What comprises SPB’s music that made him one of the most searched after voices across the entertainment worlds? There could be numerous reasons, and this is a simple example. Initially, the similarity he bears to the melodic persona of Mohammad Rafi. For a mind-blowing duration as an artist, SPB has held the notable Mohammad Rafi near his heart. He legend venerates him and considers him to be master.
He confesses to being profoundly moved by the music of the incredible vocalist, as he likewise recognizes that he imitated Rafi’s style to the point of trying too hard. Referring to Rafi’s interpretation of “Eh Mera Patra Padkhar” from the film Sangam as a model, he says: “The camera first catches the wonderful blooming trees afterward focusses on the saint.
From an outer, scene it progressively moves towards the inside scene. On the off chance that a vocalist can’t catch the magnificence of that internal feeling which is as great as the outside, what’s the point? Simply tune in to how Saab Saab expresses the wZindagindagi’, it’s amazing!” SPB clarifies with wonderful force.
In his 2008 book, “Bollywood Melodies”, Ganesh Anantharaman catches what SPB describes. With a voice that “characterized song and accomplishment in film music”, Rafi made “hotshots out of common stars with his vocal virtuosity.” He could, scholars state, make unpretentious alterations to his voice to get one with the on-screen persona.
Truth be told, Rafi’s voice made numerous professions, and entertainers sought that he would sing after them. This, fortunately, was not just something that SPB profoundly appreciated, he was fit for it as well. A few stars of the South, have admitted to this, one such is the late Kannada entertainer Vishnuvardhan. Like Rafi, SPB could leave the anecdotal condition of ‘being’ to stream towards change, that is to ‘become’ the other.
This, in SPBs case, happened both musically and insightfully. He could get the language and its expressions right, he additionally had a moment handle on the melodic soul. This is of significance, for, in any event, when artists like Kishore Kumar and Lata Mangeshkar sang for the south, the way wherein they took care of language was a certain giveaway.
SPB’s singing busted the legend of formal training as well. He had no preparation for music. As he regularly proclaims, he knows no hypothesis of music nor is his music a result of the thorough sadhana of the old-style structures. SPB discusses gaining from a few masters and each, various parts of music.
With an expressive, adaptable light baritone, SPB has easily coordinated acoustic boundaries that an artistic circumstance required. Nonetheless, there were difficulties for SPB. At the point when chief K. Vishwanath approached him to sing for a Carnatic traditional performer in the Telugu film, Sankarabharanam (1980), SPB immediately wouldn’t take up the proposal as he was not a prepared artist.
However, Vishwanath forced him, and SPB proceeded to win his first public honor for Sankarabharanam. Indeed, even on account of Ganayogi Panchakshari Gawai (1995), the Kannada film dependent on the life of the visually impaired Hindustani music visionary Panchakshari Gawai, he “fled from the venture”. In the end, he did sing and won the public honor for this as well.
A prepared audience can undoubtedly tell that the SPBs version of the Carnatic or Hindustani tradition is a long way from reality, yet he praises his defects by catching the embodiment of the class. He gives them a sensational catalyst and what he does is an “execution” of the traditional and not simply the old style.
There’s the delight of music in SPB’s non-verbal communication. There’s a bliss, he can’t conceal his feelings or keep down his gratefulness for the superb. Each time he sings a melody that he has sung a hundred times previously, he delivers it with the energy of the first run through.
He guarantees that you experience what he is encountering. His flexibility is apparent from the sheer assortment he has sung. “Vedam Anuvanuvuna Nadam”, the Telugu tune from Sagara Sangamam is so staggeringly not quite the same as the rises of “Ene Kelu Koduve Ninage” from the Kannada film Geeta.
Tune in to the riotous “Ilamai Itho” from the Tamil film, Sakala Kala Vallavan and the smooth “Palnilavile” from the Malayalam film Butterflies or the sentimental “Dil Deewana” from Maine Pyar Kiya, every one of these tunes have an alternate character.
SPB’s music is a safeguard of creative energy. Music isn’t just an introduction of strategy or style, yet the pith of life itself. It isn’t simply lovely and elaborate, it is a discussion. Perkiness consequently, isn’t the nonattendance of rules, however an imaginative view of it. In SPB’s singing, there is an oddity for the internal movements of life and living. SPB is his own, yet he likewise has the lavishness of Rafi, the enthusiasm of Kishore Kumar, the mournfulness of Mukesh, the reality of Manna De, the sentiment of PB Sreenivos, and the expressiveness of Janaki.
He can represent the turning points of artistic music as it was in M.S. Vishwanathan and the contemporary standpoint of Rahman also. In his music that has traversed more than fifty years, there is a brief look at a few consummate considerations on Indian film music. It exemplifies the terrific excursion of this class.
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