What Eswari does to this song is fantastic – she doesn’t give it a monochromatic shade of love, but packs in all its shades so sensitively that you know that it is not an ordinary mind at work. An extraordinary composition, the song has folk inflections and typical folk phrases it is soft, breezy and melodious. Operating within a folk framework, the song, in my opinion is among the most beautiful love songs. Veera Sankalpa (1962, music by Rajan-Nagendra). Let us take the song “Sityaako Sidkyaako” from the film, Altering the very meaning of the creative process itself, in Eswari’s music, the melody began in the composer’s mind and ended in the singer’s articulation of it. In her, the song and the singer were not separate entities. The thought and its physical manifestation fused in Eswari’s music. Her exceptional voice range could manoeuvre complex ideas and a gamut of emotions at the speed of the mind – sensuous to spiritual, all at one go. She was prodigious to say the least – her sophistication, versatility, effortlessness… would make one want to believe that there is something to music beyond the rigours of sadhana. LR Eswari, the playback singer who was a rage in the South Indian film industry during the Sixties and Seventies, is the finest example of an unschooled genius. On listening to their singing, if one feels it is a phenomenon it is not an amplified statement. There’s something curiously common about several playback singers of yesteryear – most of them have had no formal training in music in their formative years.
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