He revelled in constantly changing musical phrases, and I think SPB wouldn’t quite have turned out to be the SPB we know if he hadn’t spent all that time with the mellisai mannar. I would argue that MSV is the greatest composer SPB sang for, because he composed for the voice, first. MSV is looking for a new voice that he can bend to his will, and SPB is that voice. Fast-forward to 1971, and you’re listening to ‘Maadhamo aavani’ ( Utharavindri Ulley Vaa ), and maybe the jaw drops a little at how SPB’s voice drops at ‘Nayagan vendra naal…’ It’s a signature MSV tune-twist, of course, but you’re also probably thinking: Wow, new singer, maybe there is something to you, after all…īy the mid-70s, the not-so-new-any-more singer has totally won you over. Luckily, MS Viswanathan doesn’t think so.
It doesn’t sit well on either MGR or Gemini Ganesan, the leading men of those two films. You’re probably saying: Well, not bad for a new singer… SPB’s voice is so fresh, so young - if it were a face, it would have acne and the barest wisp of a moustache. So you grow up listening to TMS and PB Sreenivas and AM Raja - and suddenly, it’s 1969, and you hear ‘Aayiram nilave vaa’ ( Adimai Penn ) and ‘Iyarkai ennum ilaya kanni’ ( Shanti Nilayam ).
I can’t imagine a world without his music, which is why I’m wondering what it would be like to have been born in the 1950s. To me, SPB is the ultimate comfort listen. Maybe ice-cream is a good way to sum up SPB.
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