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M. S. Baburaj
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M. S. Baburaj
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Key Information

Mohammad Sabir Baburaj (3 March 1929 – 7 October 1978) was an Indian music composer. He is often credited for the renaissance of Malayalam film music.[2] Baburaj has rendered music to many evergreen Malayalam film songs.[3]

Early years

[edit]

Baburaj was born on 3 March 1929[4] in Kozhikode. His early childhood was spent in destitution and poverty. His father, Jan Muhammed Khan, who was a Hindustani musician from Bengal who frequently held concerts in Kerala, deserted his Malayali mother when he was very young, and returned to his native Kolkata. Baburaj thus became fatherless, often singing songs in trains to make a living. But as luck would have it, a policeman, Kunjumuhammed (he was called Kunjumuhammed ika), an enthusiast of music from his native town of Kozhikode, noticing the boy's vocal talents, decided to virtually adopt him.[5][6]

Music career

[edit]

One of his greatest achievements was the introduction of Hindustani strains into Malayalam popular music. He successfully composed melodies based on Hindustani Ragas and blended Malayalam lyrics into them. Most of the lyrics were written by eminent Malayalam poets like P. Bhaskaran and Vayalar.[7]

Baburaj learned basic lessons of Hindustani music from his father from a very young age, but he could not learn it for long due to his father's demise.[clarification needed] In search of pure music, young Baburaj visited West Bengal, Mumbai and Sri Lanka. He learned to play the Harmonium during this period.

He came back to Kerala to a precarious existence. He sang on the streets of Kozhikode to earn his livelihood. Police constable Kunju Muhammed,[8] who was a fan of Baburaj's father, adopted him[clarification needed] and brought him up.

Later he started composing music for the Malayalam dramas in the Malabar region and thus slowly entered the field of music direction. In 1957, he composed music for the Malayalam film Minnaminungu, by Ramu Kariat, thus entering the Malayalam film industry. Then he worked with director P. Venu and composed classic songs like "Anuragaganam Pole", "Ezhuthiyatharanu Sujatha", and "Kalichirimaaratha Penne" for the film Udhyogastha (1967).

Baburaj was also an accomplished singer and harmonium player.

Legacy

[edit]

The Baburaj – P. Bhaskaran – Yesudas combination produced many of the most memorable Malayalam tunes of the 1960s and 1970s. Most of his classic duets were sung by P. Leela, K. J. Yesudas and S. Janaki, each recording solo Baburaj compositions as well. Many of Baburaj's songs remain very popular in Kerala, with songs like "Oru Pushpam Maatram" frequently rendered on stage at various events.[9][10][11]

The Manorama Music company chanced upon an old audio cassette of Baburaj rendering some of his own compositions in a platform of friends' circle. The cassette named 'Baburaj Padunnu' was re-mixed and became an instant hit.[12] The tracks gave Kerala a rejuvenated taste of Baburaj's music with his unique style of soulful singing.[13] Though a successful composer, Baburaj was never a careerist, but kept his focus on his art. Today, various clubs and musical organisations conduct stage programs in honour of Baburaj ('Babukka' to his friends and acquaintances[14]), and give the proceeds to his family. During his time, money was not easy to come by for artists,[15] and Baburaj never managed to earn much, dying in poverty. "Thrikkakkare theerthakkare" sung by P. Susheela in the 1978 film Yagaswam, directed by Hariharan, was his last recorded song.[16]

In 1983, Baburaj posthumously received the Kerala Sangeetha Nataka Akademi Award in Light Music category.[17] In 2014, Baburaj was awarded Kamukara Music Award posthumously, instituted by Kamukara Foundation. The award was received by his wife Bicha Baburaj.[18]

Personal life

[edit]

Baburaj married Bicha, daughter of Kallayi Kundungal Moideen and Bichamina, in 1956. They had nine children, Sabira, Deedar, Gulnar, Abdul Jabbar, Shamshad, Roshna, Zulfikar, Farhad and Shamna.[19][20]

Death

[edit]

Baburaj died on 7 October 1978 in a general hospital in Madras (now Chennai) at the age of 49 after suffering a massive haemorrhagic stroke.[21]

Notable songs

[edit]
  • Thamasamenthe Varuvan Pranasakhi
  • Pranasakhi
  • Anuraga Ganam Pole
  • Oru Pushpam Mathramen Hridayathil Sookshikkam
  • Vaasantha Panjami Naalil
  • Ezhuthiyatharanu Sujatha
  • Kanneerum Swapnangalum Vilkkuvanaayi Vannavan Njan
  • Eeranuduthumkondambaram Chuttunna
  • Aadiyil Vachanamundaayi
  • Kalichirimaaratha Penne
  • Vichana Theerame
  • Innale Mayangumbol
  • Thankam Vegam
  • Chandramimbam Nenjilettum
  • Pavada prayathil
  • Annu ninte Nunakkuzhi
  • Vellichilankayaninjum
  • Kadali Vazha Kayyilirunnu
  • Surumayezhuthiya Mizhikale
  • Pathiravayilla Pournamikanyakku Pathinezhoe Pathinettoe Prayam
  • Pottatha Ponnin Kinavu Kondoru Pattunoolonjala Ketti Njan
  • Panja Varna Thatha Pole Konji Vanna Penne
  • Pranasakhee Njan Verumoru
  • Thaliritta Kinakkal Than Thamara Maala vangan
  • Thaane Thirinjum Marinjum
  • Sooryakanthee... Sooryakanthee...
  • Oru Kochu Swapnathin Chirakumayi
  • Kadale Neela Kadale
  • Akale Akale Neelakasam
  • Ikkarayanente Thamasam
  • Pottithakarnna kinavinte
  • Anjana Kannezhuthi
  • Arabi Kadaloru Manavalan
  • Kanmani Neeyen
  • Kanmaniye Karayathurangu
  • Adyathe Kanmani
  • Innente Karalile
  • Oru Kotta Ponnundallo
  • Nadikalil Sundari Yamuna
  • Thamarakumbilallo Mama Hrudayam
  • Maamalakalkkappurathu
  • Thedunnathaare shoonyathayil
  • Anuraaga Nadakathin
  • Aadanumariyaam
  • Jeevitheswarikkekuvaanoru
  • Kottum njan keettilla
  • Kaanan pattatha kanakathin manimuthe
  • Vinnile kavil pularumbol (Priya)
  • Kanninu Kannaya Kanna (Priya)
  • Kanneeraloru puzhayundakki (Priya)
  • Aadanumariyam kamuka hridayathe (Priya)

Discography

[edit]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

M. S. Baburaj

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M. S. Baburaj (3 March 1929 – 7 October 1978) was a pioneering Indian film music renowned for his contributions to , where he revolutionized the genre by integrating elements of and ghazals during the 1950s and 1960s. Born in to a Bengali Hindustani singer father, Jan Muhammad Sahib, and a Malayali mother, Baburaj learned the basics of music, including the harmonium, from his father amid early financial struggles following his mother's death. He began his professional career in theater in 1951, composing for plays like Sons of Inquilab, before transitioning to films as an independent music director with his debut Minnaminungu in 1957, which featured popular songs such as "Ithra naal ithra naal ee vasantham." Over his career, Baburaj scored music for approximately 20 films, including landmark works like (1960) with hits such as "Paalanu Thenanu," (1964) featuring "Thamasamenthe varuvan," and Moodupadam (1963) known for "Thaliritta kinakkal thalir." His compositions often highlighted the voices of singers like and , in collaboration with lyricist , creating enduring melodies that blended emotional depth with classical influences. Baburaj, affectionately known as Babukka, died on October 7, 1978, in Madras after suffering a massive hemorrhagic , leaving a lasting legacy in South Indian music.

Early life

Birth and family background

Mohammad Sabir Baburaj, known professionally as M. S. Baburaj, was born on 9 March 1929 in , , . His father, Jan Muhammed Khan, was a Hindustani from who performed concerts across and taught Baburaj the basics of music, but died when Baburaj was young. His Malayali mother raised him but passed away soon after, plunging the family into dire . These losses led to financial hardship, with Baburaj often singing on streets and trains for survival during his early years. A police constable named Kunju Muhammed, an admirer of Baburaj's father, noticed the boy's talent and virtually adopted him, offering stability and support in . Raised in modest circumstances amid ongoing economic struggles, Baburaj received only limited formal due to the family's constraints. His early interest in music was shaped by his father's Hindustani background, though formal training was curtailed by these hardships.

Musical influences and training

M. S. Baburaj was a self-taught musician who developed his skills primarily through personal practice and immersion in local performances rather than formal education. He learned to play the harmonium independently and began performing as an accompanist in cultural events and local mosques in the Malabar region, where he also sang devotional and folk pieces in non-film settings. These early experiences honed his vocal abilities and introduced him to the rhythmic and melodic structures of regional music traditions. In his youth, constrained by poverty from his family's circumstances, Baburaj traveled to places including , , and , seeking opportunities to deepen his musical knowledge. During this period, he absorbed the intricacies of , including ragas and talas, as well as semi-classical forms like ghazals, , and Sufi devotional songs, alongside diverse folk traditions from various regions. These formative exposures shaped his versatile style, blending North Indian elements with South Indian sensibilities before he transitioned to professional composition.

Professional career

Entry into film music

M. S. Baburaj began his involvement in the film industry in the early through supporting roles, including assisting established composers and contributing as a harmonium player. His early contributions were rooted in his skills as a and live performer, drawing from Hindustani traditions that set him apart in a field initially centered on live performances and radio work. Baburaj's transition to full composition occurred in 1957 with his debut as an independent music director for the film Minnaminungu, directed by , where he provided the score and marked his entry into as a . This debut featured initial songs sung by close associates such as Machad Vasanthi and later collaborations with prominent playback artists like , blending his Hindustani influences with film narratives penned by lyricist . Gaining acceptance proved challenging in the Indian film circuit, which was predominantly influenced by Carnatic musical traditions, as Baburaj's emphasis on Hindustani elements initially faced resistance from industry norms favoring classical Indian styles. Despite these hurdles, his persistent integration of northern melodic structures laid the groundwork for a distinctive evolution in film music.

Key compositions and collaborations

M. S. Baburaj composed music for approximately 100 films between 1957 and 1978, marking a prolific phase that established him as a cornerstone of the industry's melodic tradition. His work spanned a diverse range of genres, from dramas like (1964) to poignant narratives such as (1970), where his scores blended emotional depth with innovative orchestration to enhance storytelling. These compositions often featured soulful ragas that resonated with audiences, contributing to the commercial and critical success of films produced under studios like Udaya Pictures and Merryland Studio. Baburaj's collaborations with leading playback singers were instrumental in shaping his signature sound, with S. Janaki rendering approximately 128 songs, contributing to 94 tracks, and voicing approximately 50 numbers, creating timeless duets and solos that captured the nuances of romance and longing. He frequently partnered with esteemed lyricists and , whose poetic verses—such as those in Pareeksha (1967)—complemented his melodic structures, resulting in hits that topped charts and endured in public memory. Notable examples include "Anuragaganam Pole" from Udyogastha (1967), a tender melody sung by that exemplifies his early fusion of Hindustani influences, and "Oru Pushpam Mathramen" from Pareeksha, a Yesudas solo that became an anthem for . These partnerships not only amplified the emotional impact of his film scores but also influenced subsequent generations of composers in . Beyond cinema, Baburaj extended his artistry to non-film endeavors, including private recordings of Moplah songs and compositions for dramas, where he explored folk and classical elements in live performances across . Works like those in the Gandhi Centenary Songs album (1969) and drama scores for troupes such as KPAC highlighted his versatility, often featuring his own vocals and harmonium accompaniment to foster cultural preservation and community engagement. These efforts, though less documented than his , underscored his role in enriching Malayalam's broader musical landscape.

Innovations in musical style

M. S. Baburaj's innovations in musical style marked a significant shift in film music by fusing Hindustani ragas with lyrics, resulting in accessible ghazal-like film songs that emphasized lyrical poetry and melodic introspection. At a time when composers predominantly drew from Carnatic ragas, Baburaj boldly incorporated slow-paced Hindustani ragas such as Jaunpuri to create soulful compositions that resonated with local audiences. This approach not only democratized classical elements but also transformed film songs into vehicles for emotional narrative, as seen in tracks like "Thamasamenthe Varuvan" from . Baburaj's adept use of the harmonium added profound melodic depth to his orchestrations, allowing for intimate and layered expressions that enhanced the introspective quality of his work. Self-taught on the instrument during travels to and , he integrated it seamlessly with strings like the to evoke nostalgia, diverging from the orchestral norms of the era. Furthermore, he pioneered the introduction of Sufi rhythms into South Indian cinema, infusing compositions with a mystical cadence that blended seamlessly with structures, as evident in songs such as "Innale Mayangumbol." His techniques pioneered emotional depth in playback singing, fostering a "" in film scores by prioritizing rhythmic subtlety and melodic warmth over elaborate arrangements. Baburaj's commitment to evoking melancholy and through minimalist influenced subsequent composers, establishing a template for heartfelt playback that captured the nuances of human sentiment. Departing from the dominance of Carnatic traditions, Baburaj emphasized folk and poetic elements in his , weaving regional rhythms with Urdu-inspired phrasing to create culturally hybrid soundscapes. This synthesis grounded his music in Malayali ethos while drawing from broader Indian poetic heritage, resulting in enduring scores that bridged classical sophistication with everyday accessibility.

Personal life

Marriage and family

M. S. Baburaj married Bicha, daughter of Kallayi Kundungal Moideen and Bichamina, in 1956 after a romantic courtship that began during neighboring preparations. The couple lived in modest circumstances in , where financial strains from Baburaj's early poverty occasionally affected family stability, yet Bicha provided unwavering emotional support throughout their life together. They had nine children: Sabira, Deedar, Gulnar, Abdul Jabbar, Shamshad, Roshna, Zulfikar, , and Shamna. Bicha stood by Baburaj during his musical career, acting as his sounding board for compositions and helping manage household responsibilities amid their growing family. Bicha passed away on December 12, 2021, at the age of 83. His frequent travels to Madras for film assignments created challenges for the family, often leaving Bicha to handle daily life and child-rearing alone, though the household remained a source of encouragement for his artistic pursuits. Several family members have honored Baburaj's legacy through music, including his great-granddaughter Nimisha Salim, who performed tributes to his songs and made her playback singing debut in 2021. The family has also actively protected his musical contributions, as seen in legal actions to safeguard rights to his compositions.

Later years and challenges

In the 1970s, M. S. Baburaj's opportunities in the Malayalam film industry diminished, with fewer composing assignments amid evolving musical trends and competition from newer talents. His work became more sporadic, though he continued to deliver notable scores, such as for the 1977 film Allahu Akbar, directed by Moidu Padiyath and starring and , which included songs like "Ambili Thaarayil" rendered by . Baburaj's health deteriorated during this period, as he was plagued by illness that hindered his professional endeavors and personal life. These challenges were compounded by financial strains from irregular work, leading to significant personal hardships and despite his widespread popularity as a . Limited industry recognition during his lifetime exacerbated these difficulties, leaving his family in dire financial straits and adding to the stresses of supporting them.

Death and legacy

Circumstances of death

M. S. Baburaj suffered a sudden haemorrhagic stroke, leading to his hospitalization in . He passed away on 7 October 1978 at the age of 49 in a general hospital there. His body was transported to for the funeral, where family and close associates gathered for the rites amid profound grief during the initial mourning period. Pre-existing health challenges from his later years, exacerbated by chronic illnesses, had weakened him prior to this event. The sudden loss left his family in severe financial distress, with no or substantial savings to fall back on, compounding their emotional turmoil as they navigated immediate hardships without adequate support from the industry.

Posthumous recognition and influence

Following his death in 1978, M. S. Baburaj received notable posthumous honors for his pioneering role in film music. In 1983, he was awarded the Award in the light music category, recognizing his enduring contributions to the . In 2014, the Kamukara Music Award was bestowed posthumously on Baburaj by the Kamukara Foundation, established in memory of Kamukara Purushothaman; the honor, which included a cash prize of ₹25,000, a statuette designed by artist Bhattathiri, and a citation, was accepted by his wife, Bicha Baburaj. Bicha Baburaj, who co-authored a 2013 on her husband's life, passed away on December 12, 2021, at the age of 83. Baburaj's compositions have maintained widespread popularity in decades after his passing, with evergreen tracks such as "Thamasamenthe Varuvaan" from (1964) frequently performed at cultural events and celebrated as one of the finest songs in history. His melodies continue to resonate in media, stage renditions, and digital platforms, drawing new generations to his blend of emotional depth and melodic innovation. Baburaj's influence extends to later composers, including , who credited him for introducing unique percussion styles and Hindustani elements to music, building on these foundations in his own orchestral arrangements. This fusion of Hindustani strains with local sensibilities, pioneered by Baburaj, sparked a revival in film scoring, inspiring sustained experimentation in ghazal-inspired and cross-cultural compositions. Efforts to preserve Baburaj's legacy include family-led initiatives, such as the 2013 memoir Babukka: Thaliritta Kinavile Virunnukaran, co-authored by his wife Bicha Baburaj with P. Zakir Hussain, which chronicles his life, collaborations, and struggles through personal anecdotes, photographs, and a discography. In 2023, his granddaughter Nimisha Salim announced a biopic directed by Vinod Sukumaran, narrated from her perspective to explore Baburaj's innovative integration of ghazals, , and Hindustani classical elements into , while addressing myths about his background and lack of formal awards. Tributes have further sustained his impact, exemplified by a 2016 musical in organized by Nimisha Salim, featuring renditions of his film songs and the release of a commemorative , attended by music luminaries like to honor his timeless appeal. Television documentaries, such as ' Annorikkal episode on his memories and ' Yathra series, have also documented his journey, ensuring his cultural significance endures through public and familial commemoration.

Notable works

Selected film songs

One of M. S. Baburaj's most celebrated compositions is "Anuragaganam Pole" from the 1967 Udyogastha, a poignant rendered by playback singer with lyrics by Yusufali Kechery, blending elements of the to evoke deep emotional longing in the story of a woman's sacrifices for her impoverished family. This song remains a staple in music anthologies for its lyrical depth and melodic fusion of classical influences, symbolizing enduring themes of and perseverance in mid-20th-century cinema. Equally iconic is "Oru Pushpam Maatram" from the 1967 film Pareeksha, a romantic sung by to lyrics by , capturing the film's narrative of familial bonds and unrequited affection through its simple yet poetic evocation of a single flower as a for cherished memories. Its cultural impact lies in highlighting Baburaj's ability to craft accessible melodies that resonated with audiences, becoming a timeless expression of subtle romance in playback singing. "Thamasamenthe Varuvan" from the 1964 horror-drama , composed in the Hindustani raga and sung by with lyrics by , infuses a Sufi-like mystical quality into the film's ghostly tale of a haunted mansion and forbidden , underscoring Baburaj's innovative use of evening ragas to heighten atmospheric tension. The track's enduring legacy stems from its role in elevating film's musical experimentation, often cited as a bridge between folk mysticism and classical traditions. In the 1967 film Udyogastha, "Kalichirimaaratha Penne" features K. J. Yesudas's vocals over Yusufali Kechery's lyrics, delivering a folk-infused that ties into the protagonist's lighthearted yet introspective journey of supporting her family amid personal challenges, blending playful rhythms with subtle storytelling. This composition exemplifies Baburaj's versatility in incorporating regional folk elements, contributing to its status as a beloved track that reflects Kerala's oral heritage in cinema.

Non-film discography

M. S. Baburaj's non-film discography features a collection of private recordings and albums that emphasize his Hindustani-influenced vocal style, including ghazals and bhajans composed and performed during the and . These works, often captured in informal sessions, reflect his early training in and collaborations with Malayalam poets for Urdu-Malayalam fusion tracks. Notable examples include bhajans drawing from devotional traditions, such as "Jaihind Paaduka" from Gandhi Centenary Songs (1969). A key posthumous release is the cassette and album Baburaj Paadunnu, discovered as an old audio recording by Manorama Music and remixed for re-release in , achieving commercial success with 15 tracks of Baburaj's own vocals. The album includes live-style performances such as "Thane Thirinjum," "Manimaran Thannathu," and harmonium-accompanied solos, preserving his intimate musical expressions outside cinema. Earlier non-film efforts encompass albums like Ee Duniyaavil Njan Ottakkaanu (1962), featuring Baburaj's solo renditions, and Yudhakandam (1966), a thematic collection with his compositions. He also contributed to Gandhi Centenary Songs (1969), blending elements in collaborative tracks. Family and labels have preserved additional live recordings and harmonium solos from this period, highlighting fusions with poets like for non-cinematic pieces.

References

  1. https://www.saregama.com/blog/m-s-baburaj/
  2. https://www.thehindu.com/features/cinema/cinema-columns/old-is-gold-minnaminungu-1957/article6578332.ece
  3. https://www.thehindu.com/news/cities/kozhikode/baburaj-through-his-wifes-eyes/article8578151.ece
  4. https://www.themoviedb.org/person/1390466-m-s-baburaj?language=en-US
  5. https://www.thehindu.com/books/books-reviews/bichas-baburaj/article4904806.ece
  6. https://timesofindia.indiatimes.com/entertainment/malayalam/movies/news/baburaj-biopic-depicting-his-life-and-evolution-of-film-music-in-the-works/articleshow/98115835.cms
  7. https://nettv4u.com/celebrity/malayalam/composer/m-s-baburaj
  8. https://www.academia.edu/47869059/Bolly_wooded_devotion_Hindustani_Film_Music_Genre_in_Malabar_and_its_Sonic_Vernacular
  9. https://musicalavenues.blogspot.com/2014/02/ms-baburaj-legendary-musician.html
  10. https://en.msidb.org/displayProfile.php?category=musician&artist=MS%20Baburaj
  11. https://www.imdb.com/name/nm0045101/
  12. https://en.msidb.org/movies.php?musician=MS%20Baburaj&tag=Search&limit=97
  13. https://oldmalayalamcinema.wordpress.com/2013/03/16/s-janaki-and-ms-baburaj-the-best-melodies-by-the-nightingale-in-malayalam/
  14. https://psuseela.blogspot.com/2015/06/psusheela-sings-for-malayalam-composer.html
  15. https://www.imdb.com/title/tt0254446/
  16. https://en.msidb.org/nonmovies.php?tag=Search&musician=MS%20Baburaj&limit=23
  17. https://www.newindianexpress.com/cities/kochi/2009/May/22/baburaj-mehfil-to-enthral-music-buffs-51409.html
  18. https://english.mathrubhumi.com/news/kerala/ms-baburaj-b121f6df
  19. https://keralakaumudi.com/en/news/mobile/news.php?id=706458
  20. https://timesofindia.indiatimes.com/entertainment/malayalam/music/ms-baburajs-great-granddaughter-nimisha-makes-playback-debut/articleshow/85843768.cms
  21. https://timesofindia.indiatimes.com/entertainment/malayalam/movies/news/makers-of-neelavelicham-get-a-legal-notice-from-ms-baburajs-family-for-using-the-songs-without-permission/articleshow/99136866.cms
  22. https://www.imdb.com/title/tt0281567/
  23. https://timesofindia.indiatimes.com/city/thiruvananthapuram/yesudas-offers-help-to-composer-baburajs-widow/articleshow/15688704.cms
  24. https://keralasangeethanatakaakademi.in/awardspdf/
  25. https://www.business-standard.com/article/pti-stories/baburaj-selected-for-kamukara-music-award-114051700695_1.html
  26. https://www.thehindu.com/news/cities/kozhikode/a-melodious-obsession/article29493758.ece
  27. https://swara.blogspot.com/2005/03/raveendran-legend.html
  28. https://www.thehindu.com/news/cities/kozhikode/A-granddaughters-tribute-to-Baburaj/article15620380.ece
  29. https://www.youtube.com/watch?v=RWCLsS4bg68
  30. https://en.msidb.org/s.php?875
  31. https://www.youtube.com/watch?v=xhS0JB8lQXI
  32. https://www.youtube.com/watch?v=5zfPT1r3020
  33. https://en.msidb.org/s.php?376
  34. https://lyricalbeautyblog.wordpress.com/2016/09/30/thamasamenthe-varuvan-musically-mystique/
  35. https://www.youtube.com/watch?v=pVM7r9QVOfM
  36. https://www.youtube.com/watch?v=97mBBlsuWdI
  37. https://en.msidb.org/a.php?7257
  38. https://gaana.com/album/baburaj-paadunnu
  39. https://musicbrainz.org/release/6ca84c05-6927-4b5e-b0e0-7bf7bd0f6680/disc/1
  40. https://en.msidb.org/nonmovies.php?tag=Search&musician=MS%2520Baburaj&alimit=24&limit=1&sortorder=2&sorttype=1
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