In a class by himself, Debabrata Biswas’s singing was marked for its exceptional depth of emotional expression verging on the dramatic. His early gramophone recordings of Tagore songs brought out in the early 1940s demonstrate soulful full-throated expression of melody with a strict adherence to the rules and norms of tradition. Of some of the rules written and unwritten, he felt obliged to break in the early 1960s – considered by most to be his heydays. His renderings in this period show amazing power of voice and modulation, compounded with an overt emotional expression of a kind hitherto unpractised by his contemporaries and even himself. It showed a greater variety of emotional expression from the thunderous and rumbling to the soft and mellow. Somewhat audacious and overpowering in his personal feelings and mores, his enunciation of the words of over-used and hackneyed Tagore lyrics extracted new meanings and freshness from the compositions. Some of his numbers which go deep into the heart of the listeners s are Akash bhora surjo tara, Je ratey mor duarguli, Pinakete lagey tonkar, Tomar kache ebor magi, Chokher jole laglo joar, Swapne amar mone holo .