Madhura Murali, Oka Radha Iddaru Krishnulu, 1986 Ilaiyaraaja's minimal use of guitar, violin, flute and female chorus accentuate the maudlin quotient generated by Balu's lullaby kind of rhythm.ĥ7. On-screen scenario: Two young lovers, instead of racing toward matrimony, sprint toward death as both appear fighting losing battles with their terminal illness.īalu sings with rare tenderness and depth at a gentle pace, as if death is to be welcomed with open arms for that eternal, peaceful sleep. Picturised on Nagarjuna and Girija Shettar. The coughs in between remind you of Dorukuna Iti Vanti Seva of Sankarabharanam. Very few words in the Lyric create the scope for blissful repetition of the same phrase(s) that extracts the last possible nectar through elaborate raagas and variations, the undulations, the stratospheric crescendo and the smooth landing on ocean foam. The Kannada / Hindustani masterpiece won a National Award for Balu, an extraordinary achievement for someone, who neither trained in the Carnatic tradition nor learned Hindustani formally, and whose mother tongue was Telugu. Umandu Ghumandu Ghana Gar Je Badara, Sangeetha Sagara Ganayogi Panchakshara Gavai, 1995 In under four minutes, Balu delivers a warning-caution in an utterly earthy, entertaining way, adopting two distinct voices of the devil and the impostor in the same number.ĥ5. The song takes potshots at the modus operandi of marketing gurus who tempt masses through greed, credit-fueled crass consumerism, immoderate sense gratifications, and false promises of comforts and pleasures. The underlying theme is about conmen, scamsters and frauds masquerading as godmen, miracle magicians and holy saints. On-screen scenario: A procession of a 'new God' seated on a palanquin while the impostor's agent-messenger, the Devil/Satan, tempts man by denigrating God and glorifying his master.īalu's versatility as expressed in this alternative voice, the ' Doosra', so to speak, comes through in this comedic number. Picturised on Vijay Chander and Nutan Prasad Most homes were riven with chauvinism, exploitation of women, domestic abuse, and progressive, liberal attitudes were yet to germinate.Īround that time, this number proved to be a timely wake-up call.ĥ4. Absolutely funny voice of a comedian, and yet thought-provoking song.Īge-old prejudices and anachronistic mindsets got perpetuated in Indian society merely because they were not questioned as the majority middle-class were immersed neck deep in the hurly-burly of the hectic rat race. Perhaps no other music director could tap Balu's capacity for comedy better than Chakravarthi. On-screen scenario: Comedic squabble of a male chauvinist husband and his combative, rebellious wife, watched by their two bemused, upset, exasperated children who speak wiser words and threaten to take matters into their own hands. Patiye Prathyaksha Daivame, Aame Katha, 1977 In singing this number in a way that indicated empathy and understanding, Balu established that even a means to entertainment like music can be mightier than sword when infused with social relevance and purpose.ĥ3. On-screen scenario: Jobless graduates gather in New Delhi to while away their time and lament about unemployment and the general state of disarray, cluelessness, drift and lack of purpose in society.Ī sharp rebuke or censure of the establishment and the political class, the sarcastic solo struck a chord among youth in South India as they could relate to it. Picturised on Kamal Haasan and a group of young men. This is an innovative ballad involving man-marionette conversation on life's inexplicable twists and turns.ĥ2. Singer Ramola may have sung her way into the hearts of millions with the robotic voice of a defiant, maverick puppet that is snubbed and chided relentlessly, lovingly, by the hero (Balu's voice). On-screen scenario: To revive the spirits of a silently suffering young divorcee and a mother of an infant, a widower-colleague (and a ventriloquist) uses his puppet to articulate in a fun or humorous way some seemingly irreconcilable aspects of life, patently irrational desires or initially impossible goals that can prove smart and possible in extraordinary circumstances. Picturised on Kamal Hasan, Jaya Sudha and 'Junior' Itu Atu Kaani Hrudayam Thoti ('Junior, Junior'), Idhi Katha Kaadu, 1979 Now, we present the fiinal part of this special.ĥ1. S P Balasubrahmanyam passed away in his 75th year, and so we celebrate the singer with 75 of his top songs, in a multi-part special. Siva Sankar looks at S P Balasubrahmanyam's fantastic repertoire.
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