Family
He was born as Sripathi Panditaradhyula Balasubrahmanyam into an orthodox Saivite family on June 4, 1946 in Konetammapeta in the Nellore district of then composite Madras State (Now part of state of Andhra Pradesh). He is the second son in a large family of three sons and five daughters. His father SP Sambamurthy was a well-known exponent of Harikatha.
Early Days
Balu took to singing as a hobby during his childhood. He developed an interest in music very early in his life, and had studied notations and learnt to play instruments such as harmonium and flute on his own while listening to his father. His father wished that Balu should become an engineer which brought him to Madras, where he enrolled for the AMIE course. Meanwhile, he also pursued his hobby and won awards at many singing competitions.
In 1964, a Madras-based Telugu Cultural Organisation, organised a music competition for amateur singers. Balu won the first prize, and that proved a turning point in his life. Music director SP Kodandapani took him under his wing. Then offers poured in from Tamil, Kannada and Malayalam movies.
His band
Before he became a full fledged cinema singer, Baalu was the leader of a light music troupe that comprised of
* Anirutta, who was working in Corporation and was the harmonium artist
* Ilayaraja who joined the group as Guitarist and then moved over to harmonium after Anirutta became busy in his regular job
* Baskar, Ilayaraja's brother who was incharge of Percussion
* Gangai Amaran another brother of Ilayaraja who was the Guitarist after Ilayaraja moved over to Harmonium
Singer
Balasubramanyam made his debut in film music as a singer in 1966 with Sri Sri Sri Maryada Ramanna, a film scored by his mentor Kodandapani. He has sung more than 36,000 songs [2]since in more than 5 different Indian languages including Tamil, Telugu, Kannada, Hindi and Malayalam. He holds the Guinness record for having sung the most number of song recordings by any single male singer (the corresponding record for a female singer is held by Lata Mangeshkar).
A gifted singer, he is highly regarded for his incredible vocal range, deep rich voice, and mastery of style, technique and control. These qualities allowed him expression across various genres of Indian music, and he has been highly sought after by many of India's film music composers. His approach to singing is methodical; he perseveres to understand the full meaning of the songs that he sings (many of which are very poetic) and the settings in which these songs are couched in order to most effectively match their requirements with his vocal delivery.
SPB is fairly well-versed in the Hindi language, but has also sung in various other less familiar languages such as Bengali, Tulu and Oriya. He feels that vocal gimmickry cannot mask incorrect accents, and while he concedes that his accent and diction in Hindi are not perfect, insists that accent is secondary to singing within the context of the proper emotions required of the lyrics and moods. He welcomes modern technology in music making as it enhances both speed and results.
Besides the more popular music genre, he has demonstrated his seemingly effortless ability to sing in the various classical music styles of India. For example, The songs he sung in the films Shankarabharanam, Sagara Sangamam, Rudra Veena were based on Carnatic classical music, and the song Umandu Ghumandu in the movie Ganayogi Panchakshari Gavayi was based on Hindustani classical music.
SPB virtually monopolised playback singing for more than 15 years in the Telugu, Kannada and Tamil cinema. He hosts a popular TV show called Paadutha Theeyaga on E-Tv, Paadalani Undi on MAA-TV and Ede Thumbi Haaduvenu on 'E-Tv Kannada'.
Awards and titles
Titles
* 1999 Doctorate from Pottisreeramulu University (A.P). Presented by Governor Rangarajan.
* 2001 Padma Shree Award from the President of India K.R. Narayanan
National awards
* 1979 Sankarabharanam - Telugu
* 1981 Ek Duje Ke Liye - Hindi
* 1983 Sagara Sangamam - Telugu
* 1988 Rudraveena - Telugu
* 1995 Ganayogi Panchakshari Gavayi - Kannada
* 1996 Minsaara Kanavu - Tamil
State awards
* 1981 'Kalai Mamani' by Tamilnadu Government
* Andhra Pradesh Government Award - Received 10 times
* Tamil Nadu Government Award - Received 3 times
* Film Fans' Association (Madras) Award (oldest association in the country) - Received 20 times
Other awards
* September 1, 2002 Life time Achievement Award "Play back King", conferred during TVS Victor Aalaapana Music Awards function for the years 2001 & 2002, at Hyderabad
* August 5, 2002 "Dr. Bezawada Gopala Reddy Award", given during a function in Nellore
* April 7, 2002 Delhi Telugu Academy's 'Rashtriya Vikas Shiromani Award (Life time)' in 2002 on the occasion of 'Ugadi 2002', held in New Delhi
* 2002 Swaralaya-Kairali-Yesudas award
* 2001 Sangeeta Ganga award
* 1990 Film Fare Award for the film 'Maine Pyar Kiya'
* 2006 Raja-Lakshmi Award from Sri Raja-Lakshmi Foundation, Chennai
* Mia Tansen Award Sur Singar Sanjad (Bombay) for best classical rendition of a song from 'Tere Payal Mere Geeth' composed by Naushad Sab
* Innumerable Awards from Magazines & Associations fostering films
Achievements
* Has recorded over 39,000 songs in a span of 40 years, which include film songs and devotional numbers recorded by various recording companies of the country. It's a world record which will be soon entering into the Guinness Book of World Records.
* Has recorded 21 songs in Kannada for the composer Upendra Kumar in Bangalore from 9.00 a.m. to 9.00 p.m. on February 8, 1981 which is a record.
* Has recorded 19 songs in Tamil in a day, and 16 songs in Hindi in a day, which is a notable achievement.
Amba
S. P. Balasubrahmanyam Lyrics
Jump to: Overall Meaning ↴
Tabaka mnie nęka to jest sativa activia
Rap Władysław Szpilman ikona jak Dyrman
Rap to nie zabawa mordo dla mnie to jest przypał
Twój rap gu gu ga ga mój rap to Iliada
Jestem Homer Simpson moja muza to przesada
Nigdy Euro Spoko tylko dana dana
To kraina Słowian a nie welcome wypierdalaj
Ugniatam im zwoje tak jak ciastolinę Play Doh
Mówią mojo playboy myślą że to Baywatch
To jest suko Sopot co to kurwa jest ten bankroll
Tu się zbiera muszle tu się zbiera bursztyn
Twój ziomek się zabuszył z nami teraz coś się dusi
I lata po wydmach a przecież nie wolno
Napisałem dziennik jakbym nazywał się Tyrmand
Nagrywam na wolno piszę to na szybko
A jednak tak można ale zajebałeś zdziwko
Mojo to sutener jeśli rap jest dziwką (idź stąd)
Eh to nie ugu gi gi ga ga
Nie skaczę jak małpa
Dwa tysiące giga mam zapierdolone w rapach
Była u mnie szmata wydziarana
Tera lata na golasa
Tera lata na bosaka
Tera zajada pieczywo Wasa
Mówi że dwa lata temu przyjechała do Trójmiasta
Stary chyba zawiesiła jej się fazka
Mojo Masta Ace gruby bass wchodzi tłusty jak omasta
Jadę do Islamabad Sopot tonie w dymach
Co by się nie odjebało to nie nasza wina
Co miesiąc jest inba lub Amba Fatima
Co c c co miesiąc jest inba lub Amba Fatima
Co miesiąc jest inba lub Amba Fatima
Co c c co miesiąc jest inba lub Amba Fatima
Co miesiąc jest inba lub Amba Fatima
These lyrics are from the song "Amba" by S. P. Balasubrahmanyam. The song uses Polish and English lyrics, so I'll explain the meaning of both parts separately.
First, let's analyze the Polish lyrics:
The lyrics mention Amba Fatima, which could be interpreted as a reference to different people or concepts. Inba and Amba are names that might represent individuals, while Fatima could refer to the Islamic prophet Muhammad's daughter. However, the exact meaning is unclear without further context.
The next line talks about Tabaka, which seems to be causing some sort of annoyance. "Sativa activia" refers to cannabis strains, indicating that the singer feels bothered by the influence of marijuana. This line could imply that the singer is frustrated with the prevalence or effects of cannabis around them.
The lyrics also mention Władysław Szpilman, a renowned Polish pianist who survived the Holocaust, and Dyrman, perhaps referring to Jerzy Dyrman, a filmmaker. It seems to be highlighting the significance of rap as an art form by comparing it to the accomplishments of these icons.
The following lines express the singer's seriousness about rap, stating that it is not just a game but rather a challenge for them. They contrast their approach to rap with someone whose style is portrayed as more simplistic or infantile. This line also mentions Homer Simpson, which could be seen as an ironic comparison to the complexity and depth of their rap style.
The lyrics mention the phrase "Nigdy Euro Spoko tylko dana dana," which translates to "Never Euro cool, only data data." This might be a critique of consumerism or a preference for authentic, genuine experiences over material wealth.
Moving on to the second part of the lyrics, which is in Polish mixed with English:
The lines begin with a reference to collecting shells and amber in a specific location. It then mentions someone who seems to have trouble or is overwhelmed by something. The lyrics allude to writing a diary, comparing themselves to a Polish writer named Tyrmand, known for his diaries and novels. This line suggests that the singer is expressing their thoughts and experiences through their rap, similar to how a writer expresses themselves through their diary.
The lyrics further emphasize the singer's ability to record and write rap at their own pace. They mention surprising someone with their skills, possibly indicating that their talent exceeds expectations. They refer to Mojo as a pimp, using that metaphor to describe rap as a prostitute. There is a command to leave ("idź stąd"), possibly directed at someone who disrespects or misunderstands rap.
The following lines mention having a large amount of gigabytes dedicated to rap. It then transitions to talking about a girl who visited the singer in the past and is now wandering around the beaches naked, suggesting a carefree and liberated lifestyle.
The lyrics mention Masta Ace, a famous American rapper, and a bass that enters the song powerfully. The line "Jadę do Islamabad" translates to "I'm going to Islamabad," which might signify the singer's ambition to travel and succeed. The mention of Sopot drowning in smoke could be a metaphor for being overshadowed by the rap scene.
The lyrics conclude by repeating the mention of Amba Fatima, suggesting that they are significant figures or concepts that recur every month.
Overall, the lyrics seem to touch on various topics, including personal experiences, perspectives on rap, and cultural references. However, the exact meaning and context behind Amba Fatima and other mentioned names remain open to interpretation.
Lyrics © O/B/O APRA AMCOS
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