SP Balasubrahmanyam was a lesson in decoding tradition while keeping with the times

He may have voiced a music teacher in Sankarabharnam and a dancer in Salangai Oli, but inadvertently, SPB set me on a path that traversed Indian and Western music. Film music can often be easier on the untrained ears than classical vocals, yet with SP Balasubrahmanyam it was like a subliminal lesson in decoding tradition while keeping with the times. To think that a playback singer with no training in classical music would so seamlessly be the leading voice of so many films steeped in classical music, says something about SPB ’s ability to mould his voice. Classical music was such an intrinsic part of our upbringing, that film music, especially those based on classical music are “elders-approved”, because they become a great way to introduce the younger generation to the aesthetics of musical disciplines without being overwhelmed by their complexities. I looked at my mother for reconfirmation, who thankfully explained, “Raag Malkauns in Hindustani is Ragam Hindolam in Carnatic music.” Impressed, he asked if I’ve been training in Carnatic music, and I said, “No uncle, I know it from the movie Sankarabharnam.” And I sang the opening lines of Samaja Vara Gamana from the film, before Asha Bhosle said “Arre, yeh toh SPB ka gaana hai.” The movie is a great introduction to Carnatic classical music, with SPB’s golden voice being a compelling guide to the rich tradition that backs the film’s soundtrack.