SPB: A Musical History - Part 6: SPB and Raja - The early years
SPB was establishing himself as the major singer in Telugu and Tami music field in the early 70s. In 1976, Illayaraja, who was a friend of SPB, made his debut in 'Annakili'. Illayaraja was at that time assisting music G K Venkatesh and also playing harmonium in SPB's light music troupe. Raja, for various reasons could not use SPB in his first couple of movie. It is said that 'oru naal unnodu oru naal' (Uravadum Nenjam) was the first recorded song but 'naan pesa vandhen' was the first released song of Raja SPB combination.
SPB was to sing his major hits for Raja in the 80s but they gave a lot of superb songs in 1970s as well. We must remember that Raja was entering a music industry which had some entrenched singers and a lot of actor singer combination. So throughout the 70s, you keep seeing movies in which SPB is not featured at all. Raja was using a large set of male singers in those time including SPB, TMS, KJY, Jeyachandran, Malaysia Vasudevan and not to mention, Raja himself. Of these, TMS belonged to the earlier era and his style of singing did not really suit Raja's tuning. Additionally TMS came from that school of MSV, which believed in spontaneous improvisation in the song (sangatis) whereas Raja wanted his singers to sing exactly how he taught them.
One more major change was happening in Tamil film world which helped in SPB's quick ascend to the top. In 1977, MGR's ADMK won the Tamil Nadu elections and MGR became the Chief Minister. He would no longer act. At the same time a man called Sivaji Rao, re-christened as Rajnikanth, was emerging as a major player to watch. The extremely talent Kamalahasan was also rising to the top. Which meant there were now lot of new entrants and they didn't find fresh voices. SPB would go on to become the voice of both Rajanikanth and Kamalahasan, similar to how TMS was the voice of Sivaji and MGR. Sivaji's graph was also slowly going down. Added to this was the emergence of Raja. This meant that the old order was changing and a new order was emerging. SPB and Raja would play a major part in the emergence of this new order. Raja more than SPB.
Raja knew fully well about the versatility of SPB as well as the versatility of Janaki. He got Janaki to sing his first song for Annakili, though Susheela was the prima donna of those times. Raja started using SPB for various situations and for various actors. He slowly started utilizing the versatility of SPB. SPB too knew about Raja's enormous talent. Their combination went on to give us a huge treasure trove of evergreen melodies.
The difference in singing for Raja versus singing for other music directors was that Raja gave no scope for the singer to improvise. SPB loved improvising and music directors like MSV and KVM allowed that but Raja did not, even though SPB was his friend. That sense of discipline gave many songs a sense of gravitas and the effect was much higher on the listener.
Let us look at some of the songs of SPB Raja in the late 70s. We will look at the 80s songs in a later post.
Let us not worry about which was the first song they recorded together and hear 'oru naal unnodu oru naal' from 'Uravadum Nenjam' (1976)
https://www.youtube.com/watch?v=mMSvrjeC-yo
This is what is called a dulcet duet. S Janaki sets the mood with that husky tone. Raja's orchestration was a revolutionary for that period. Here Raja uses SPB's sweetness of voice and his soft tone effectively.
'naan paesa vandhen' from 'Paalooti Valartha Kili' (1976) too uses the same qualities of SPB, the sweet voice and that soft tone.
https://www.youtube.com/watch?v=9ZNJncW2220
The same combination of SPB and S Janaki, which would give us so many gems, give us an amazing song here. (I am sure Raja fans would be hearing to the bass in this song, especially in the pallavi). Songs such as these were firmly in SPB's territory and made use of his best asset, his melodious voice.
One more such soft song, this time with P. Susheela. 'thalattu pillai onru thalattu' for 'Achani' (1977).
https://www.youtube.com/watch?v=bUVw61DqKVA
An amazing Madhyamavathi ragam based melody. Once again uses the tone of SPB's voice effectively. The contrast in the tones of SPB and Susheela has always been fascinating for me. SPB has the soft tone while Susheela's voice is a 'strong' one. Yet, the combination works well.
Songs like the ones we saw accentuated one of SPB's strengths, his melodic voice. Raja then went on to accentuate the other strength of SPB, his high energy singing. Raja started using SPB for high energy songs. Especially those songs where the hero had to sing a high energy number on stage, holding a mike in his hand. For such songs, Raja invariably called SPB.
This was probably the beginning. 'ennadi meenakshi' from 'Ilamai Unjaladugiradhu' (1977)
https://www.youtube.com/watch?v=Hyf4_C_EuLk
This is an enduring image of Kamalahasan from those times, the late 70s to early 80s. A disco suit, glittering rights, his patented dance moves and a mike in his hand. (He later handed the mike to Mohan). This song has the need for both high energy and drama, two aspects which SPB reveled in. This song was a humongous hit when the movie was released.
If he gave that high energy song for an upcoming Kamal, he gave this high energy song for an upcoming Rajni. 'raman andalum' from 'Mullum Malarum' (1978)
https://www.youtube.com/watch?v=k4Szjiw9Ih0
In many ways this song would define the persona of Rajni. (The role Raja played in establishing Kamal and Rajni with his melodies cannot be underestimated). SPB's brings out the 'I don't care' attitude so effectively in the song. Later everyone would demand that SPB always sing the 'intro' song for Rajni. It must also be noted that in Tamil SPB did not have to morph his voice according to the hero like he had to in Telugu. Here the heroes were new and people immediately accepted SPB's voice for them.
When it involved wine and women, SPB was invariably called by Raja. You can understand why when you hear this song. 'sorgam madhuvile' from 'Sattam En Kaiyil' (1977)
https://www.youtube.com/watch?v=3HBStgLppTg
SPB's 'voice acting' and his 'pa pa rapapa' works wonderfully in this song. That deliberate slur in the voice and the small changes in tone, everything adds a lot to the song. (The surprising part is that according to SPB, Raja would instruct him to do this. Strictly speaking, this was not spontaneous improvisation. It was a part of the requirement!!)
Here is one more such song. Not a drunken song but a high energy, heavy beats song. 'abhisheka nerathil' from 'Azhage Unnai Aradhikkiren' (1978).
https://www.youtube.com/watch?v=-SKGLOjn5JA
Here too SPB's voice modulation makes the song so much better.
Raja in the initial years had this selection process I think. (Though with Raja nothing can be written in stone). When the song was more classical music oriented, he called upon Yesudas. If the folk flavor was strong, he called Malaysia Vasudevan but whenever Raja wanted to introduce newer sounds and tuning to Tamil film audience, he turned to SPB.
Let us take 'kodi inbam' from 'Nenjil Aadum Poo Onru'.
https://www.youtube.com/watch?v=UwT5htkPn8I
This song definitely sounds nothing like the standard songs of that period. Raja gives a wonderfully new tonal color in this song. I am not sure if the film was released. The song was probably played on radio those days. Here, SPB is used to provide that touch of modernity. Janaki, as he wont, is outstanding.
Let us take a look at this song, which was a major hit then. 'ilamai enum poongatru' for Pagalil Oru Iravu(1979)
https://www.youtube.com/watch?v=yej6UCRLvuk
This song became a sensation both for its tune and orchestration. Here you see the control that Raja demanded out of SPB. You can hear him controlling himself during the 'ore veenai ore ragam' phrase. In other songs he would have let go himself. This control adds a lot to this song, which is more philosophical in nature. Raja knew exactly what he wanted and I am sure SPB would have learnt a lot about when to use what voice. Even those places where he had to laugh, he had to do it quickly. This control also ensures SPB's voice tone does not change throughout the song. I am amazed at how controlled SPB is in this song.
Another forte of SPB was humor and Raja exploited this aspect as well. Let us hear, 'appane appane pillayar appane' from 'Annai Oru Alaiyam' (1979)
https://www.youtube.com/watch?v=IvllpwFcAi8
This fun tune would have made SPB happy for this plays on his strengths.
Bharathiraja was a good friend of SPB. He was the one who introduced Raja to SPB. Yet, ironically SPB could not sing for the first movie of Bharathiraja, '16 Vayadhinile'. Nor could he in the next three super hit movies, 'Kizhakke Pogum Rayil', 'Sigappu Rojakkal' and 'Puthiya Vaarpugal'. He got his chance in 'Niram Maradha Pookal' (1979). Not sure if they wrote the lyrics keeping in mind that SPB was singing his first song for Bharathiraja. 'mudhal mudhalaga kadhal duet'
https://www.youtube.com/watch?v=2887UY_nuH0
Observe how brilliantly SPB mimics another voice in the second charanam and how well Raja had structured it as a part of the song. It sounds so natural and doesn't feel like a gimmick. Raja and SPB would go on to give many many more such fun songs. (And that small 'aiyaiyo')
Another example of a fun and innovative song is 'en kanmani en kadhali' from 'Chitukuruvi' (1977)
https://www.youtube.com/watch?v=cLJluxRG9g0
Raja has a great sense of humor and this song is one example. SPB's voice works well here as the tune is basically a classic melody. SPB sings with his feather soft touch. Here too he is in full control mode, never going beyond his brief.
Raja typically chose Malaysia Vasudevan for folks song or he sang them himself. Whenever he called upon SPB, SPB did a good job. Here is the famous 'uchi vagidendhuthu' from 'Rosapoo Ravikaikari' (1979)
https://www.youtube.com/watch?v=AZHaUExsVd4
As you see SPB does a good job and the song was a big hit. At the same time I think Malaysia Vasudevan and Raja had a certain rawness in their voice which made them more suitable for folk songs.
Raja knew that he could not restrict SPB only to fun songs. SPB could also deliver emotional songs with aplomb. Here is 'poo pole un punnagaiyil' from 'Kaveri Maan' (1979)
https://www.youtube.com/watch?v=L1Ffkbbjj04
This link has two versions of the song. You can observe two things here. SPB does not make any changes in his voice to suit Sivaji. Second, there is absolutely no improvisation here.
Here is another emotionally charged song, 'raja enbar' from 'Bhuvana Oru Kelvi Kuri' (1977)
https://www.youtube.com/watch?v=aoBCEV-faes
This emotional song for Rajni works so well in SPB's voice. Again, the voice is kept under perfect control by the music director. This song has all the scope for SPB to put in his own twists but Raja ensures it doesn't happen to keep the mood consistent throughout the song.
I hope I have given you an idea of how Raja's entry helped SPB. He was now getting songs that made him take up challenges, he was getting songs which exploited his complete range and probably pushed him into areas where he hadn't gone earlier. Raja's sound would change more dramatically in the 80s and SPB would be a constant companion, delivering this new sound. We will see about it in a later post.
It is not to say that the late 70s SPB belonged only to Raja. That is far from the truth. Other music directors too gave him some wonderful melodies during this period. We will talk about them in the next post.
Now, let us listening, without any analysis, to some more songs of the late 70s Raja. You will know why SPB Raja is such a magical combination. Each of these melodies is a gem and due to paucity of time I had to leave some other amazing songs.
'va pomayile' from 'Poonthalir' (1979)
https://www.youtube.com/watch?v=-0BjR-ipr7U
After hearing this song you will easily understand why SPB had such high regard for SPB
'kanmaniye kadhal enbadhu' from 'Aarilirundhu Arubadhu Varai' (1979)
https://www.youtube.com/watch?v=bQPlbAVFeR4
This Mohanam based melody is an all time evergreen favorite of many people
'meghame dhoodhagava' from 'Kannan Oru Kai Kuzhandhai' (1978)
https://www.youtube.com/watch?v=HNxfIbY7Ff0
'thirutheril varum silaiyo' from 'Naan Vazha Vaippen' (1979)
https://www.youtube.com/watch?v=_n1EL3EUKu8
( Can give my one year salary just for the prelude. Also I am tempted to comment about K R Vijaya but will remain silent)
'mayile mayile' from 'Kadavul Amaitha Medai' (1979)
https://www.youtube.com/watch?v=Gf6Xixp8lA8
In his early days, in an interview (probably to a Malayalam magazine), Raja stated this was one of his favorite numbers
'vizhiyile malarndhadhu' from 'Bhuvana Oru Kelvi Kuri' (1977)
https://www.youtube.com/watch?v=6KrG9aDqt3E
And finally a song pallavi which reflects our sentiments when we think of SPB and Raja. 'engengo sellum en ennangal' from 'Pattakathi Bhairavan' (1979)
https://www.youtube.com/watch?v=31uYesmPybs
We will meet in the next part, which will be about SPB songs for music directors other than Raja in the late 1970s period of Tamil film music.
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