RD Burman : : A music composer of unparalleled talent!
On 68th birth anniversary of RD Burman ;-
Dada Moni, Ashok Kumar or SD Burman himself made a historical mistake when either of them gave a nickname “Pancham” to RD Burman. RD was master of Saat Sur and he should have been given name “Saptam”. There is no second RD Burman. He was a master piece a gem in the field of music.
He was generationless music composer. Audience belonging to any age and era can enjoy his music. On one hand he created the music which could represent the those days generation and on other hand he carried whole generation to the height of music. He defeated everyone in terms of versatility. He was Kishor Kumar in that sense. RD’s predecessors took care of purity and many remained devoted to Indian classical music and instruments only. RD did not feel any hitch in using his knowledge of western classical and Jazz.
Gulzar and RD met during the recording of Gulzar’s first song “ Mera Gora ang lai le” in Bandini and they became life long friend and except Mausam where Madan Mohan gave music, Gulzar remained in company of RD and duo always created magic. We all know that famous anecdote where RD famously had asked Gulzar to bring newspaper so that he can compose music for news headlines published there because Gulzar had asked him to compose music for the song “Mera Kuch Saman tumhare pass parha hai” for his film Ijaazat.
Music was very good and quality was super class in the hands of music maestros like Naushad, Shankar Jaikishan, O.P Naiyar, SD Burman, Anil Biswas, Madan Mohan, C.Ramchandra, Ramlal, Sardar Malik, Ghulam Mohammad, khaiyam, Hemant Kumar, Kalyan Ji Anand ji, Laxmikant Pyarelal, Salil Chaudhary , Vanraj Bhatia etc but youth was not properly represented by their music. Advent of RD made this distinction. He created musical language of youth and he together with Kishor Kumar’s youth ful voice paved ground for romantic and energetic songs for Dev Anand, Rajesh Khanna, Randhir Kapoor , AB, Vinod Khanna but he created a wonderful musical aura around Hindi Cinema’s most youthful face Rishi Kapoor.
Audience had not listened before a song like “O Hansini” For Rishi Kapoor he created many immortal songs and every song is able to change the mood of a depressive person. They are mood changer, mood lifter. RD got full support in the voice of Kishor Kumar that’s why he used to say that there is none like Kishor Kumar as far as versatility is concerned. Though he is not trained singer but KK can sing any song of any type, be it classical, semi classical or a disco song.
If RD was instruments he used in his composition then Kishor Kumar was his voice. RD shined in his capability to know exactly which song should be given to which singer. Often musicians prefer their favourite singers and RD often relied on Kishor Kumar but he knew very well who could sing which song.
How RD’s magic left magical impression on people can be understood with the example of Kishor Kumar and Mohd Rafi. Inspite of giving many good songs Kishor Kumar never got lime light and it was all Rafi’s show. Except SD Burman most of the old music directors preferred Rafi.
When Burman Dada felt sick during recording of songs of Shakti Samanta’s Aradhana. RD got the responsibility and he did not shy to use Kishor Kumar in the film. Film has two songs in the voice of Kishor Kumar and two songs in the voice of Rafi but nation got crazy when Mere sapnon kee rani was released. With this film, super hit phase started for Rajesh Khanna in acting, RD’s in music composer and Kishor Kumar’s in play back singing.
This sudden explosion of performances of team of RD + KK, created tough phase for Rafi and as hindi cine industry only salutes rising star, film makers avoided a great singer Rafi.
But same RD when got opportunity to compose music for Nasir Hussain’s Hum Kisi se kam nahin, then he gave Rafi the song, Kya Hua tera vada, This song resurrected the play back singing life of Rafi.
RD and Gulzar team’s stories are so famous and they brought honey to the ears of audience. While Gulzar brought above human words, RD decorated those words in to his wonderfully pleasant music.
RD was married to Asha Bhonsle and their team gave us many beautiful songs including wonderful non filmi album “Dil Parosi hai” but he has left a rich legacy of songs where he has created music for Lata Mangeshkar’s voice also.
As he knew very well which song would suit whom so he used suitable singer only.
If during last 15 years more than 80% remix songs have been based on the songs composed by RD, then it suggests his impact on the audience.
Sadly he did not get filmfare award before 1983 when he got for his mediocre work Sanam Teri Kasam. RD came on surface again and again. He had given Shabbir Kumar a good chance in Betaab and Shabbir kumar had got chance to sing for Amitabh Bachchan in Colie and Mard. But came Saagar and whole nation was swinging under the intoxication of “Chehra hai ya chand khila hai” in the voice of Kishor Kumar.
RD’s another specificity was to give always wonderful music. No matter which kind of film he has got he created music from his heart and gave his soul to the music. Jeeva is not a film which deserves songs like ”Roz Roz ankhon tale” but RD boss created this song with the support of voices of Asha Bhonsle and Amit Kumar.
Many such crap films are there where one can go to see them if has listened music before under the impression that when music is so good then film also should be good. Many shelved films have eaten his wonderful creations.
He did not shy to accept that he took inspiration from ABBA’s Mama mia. Whenever he did this he said but with clear understanding that he took one or two note, improvised them and then used in Indian context. He loved Jazz.
He had international appeal. His song In every city was included in New York Parade in Mid 80s.
He was a child when he composed a song and when he visited sets of Fantoosh film he was astonished to find that his father SD Burman had stolen his tune. Song was “Aye meri Topi palat ke aa”.
What his songs can create?. It was a gathering of around 100 young people belonging to different nations, different languages. Gathering was happening in a big hall of a hotel and there was a girl who was hosting cultural program for the guests. DJ was there and he was playing songs whichever she was demanding. Then she asked that all people have to give 1-2 songs from their country and DJ will collect those songs within the night and full next day and next evening they will be played. Next evening songs of many countries were collected. People had gathered dancing numbers and they were in full mood to make a dhamal. Songs in different languages were played and people were mad in dance and then suddenly a song from India was played and everybody stopped immediately and once song got rhythm crowd went wild on a song whose words they were unable to understand. It was due to sheer music of the song.
Song was “Dum Maro Dum” from Dev saab’s Hare Krishna Hare Ram.
Atleast in that gathering of people of multi ethinicity this song scored parallel with Shakira, Bon Jovi, Madonaa, Michale Jackson, Ricky Martin, Robbie Williams etc’s hit dance numbers.
Hindi cine industry should feel shame as they did same with RD what they did with Rafi. Gulzar does not make many films. After some gap he had got 1942- A love story. And its always a fight with songs of this film especially ek ladki ko dekha to.
RD’s music provides a height to this song and Kumar Shanu’s average singing does not allow to hear it again and again.
Would that Kishor Kumar was alive then this song could have been an immortal song.
RD Burman had a typical face and personality and that’s why Mehmood who gave him first break in Chhote Nawab, made him actor also in his film Bhoot Bangla and vow it’s a treat to watch RD in that role with his thick glasses on his innocent eyes.
He did not disappoint in any role he took. When he sang he sang it with so much élan that songs and his singing became inseparable.
Be it Mehbuba Mehbuba of Sholay or Humko tumse pyara kaun in zamane ko dikhana hai or many other songs.
There are many known stories about his method of working. His likings and dislikings. He was for music and his life was for music only. And such devotion is not seen easily.
Though we like that RD or some one of his calibre comes in to hindi films but it does not seem possible. But he remains alive through his songs and music of present day’s music directors, who very often take inspiration from his old creations.
Its useless to try to mention his good songs as he has a very long list.
We are fortunate that RD created music in our times.
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
Shawshank:
Its sad but true, now technology is heavy in comparsion to real talent. time will not come again. what old singers sang in one stretch, todays singers sing them in parts, sometimes one line at a time. Its all collage now.
Not just to criticize present day’s singing scenario but seriously beats have become heavy on singing.
Rehman’s songs are more like Michael Jackson’s songs. In their songs in first hearing you dont hear what singer is singing except may be few words of mukhrha.Orchestra is too heavy in comparison to words. Atleast Hindi film music has tradition where instrumental sound allows words to give clear impression. When words are not there then Rehman’s music is good.
Rehman is better than many of the present and perhaps he can be one of the best as far as BMG is concerned but he is not always best in play back music composition. Except Vishal Bhardwaj he has no competition.
If we close eyes do we recall atleast 5 Rehman songs which are entirely different than each other?
But yes he can be very good in theme based music.
But separate songs from film and there is something which lacks.
It would be interesting to follow back calculation. Rehman would have seen same success in the the films music if he had started in 1970s when old were quite active and RD and Rajesh Roshan had knocked the scene?
Thats an awesome article. I was humming the songs mentioned as I was reading through. RD sure had a great international appeal. Especially the song “Dum Maro Dum” is such a crowd puller. My rock band was requested to perform a 20 min medley at our company’s annual day function. Our setlist had Gn’R, Deep Purple, Limp Bizkit, Bon Jovi, but didn’t feel complete till we included “Dum Maro Dum” and rocked the night
RK, you really research your stuff..Thnx once again for such an informative piece.
RK. Good article.
However I dont agree with this.
“Though we like that RD or some one of his calibre comes in to hindi films but it does not seem possible. ”
Never say never. I guess we have many composers these days who are as talented or as hardworking as him. Also I think they are more popular than him. I guess AR Rahman is in that league, if not surpassed him.
F.B:
Yes Dum Maro Dum has universal appeal.It makes atmposphere mast.
Krysh: not any research. they are memmory based threads. could not have recalled atleast today if Shailesh had not commented and then read about RD’s birth anniversary on net
RK,if it is so,hats off!Salute!
RK, you are right about his international appeal.
Long before I knew that movies were being made in India, I knew the music of RDB and Asha Bhosle. I discovered him with two of my other music loving friends, and while only I am the only fan of Indian cinema among us, all of us are in love with Indian filmi and Qawwali music stemming from our love of his melodies (and Asha’s voice).
I no longer even remember exacbly what the song was that we heard, but I believe it was Mehbooba Mehbooba.
Another great post, RK…
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Yes after RD any other guy who was really refresing during 70s was Rajesh..I think the best lori(lullaby) till date is from Kunwara Baap..And then RRs music in Yeh Jo Hai Zindagi,Julie,Yaaraana,Man Pasand,Des Pardes,Doosra Aadmi is any day much more melodious than his reinvention in 80-90s with his brother’s films..
Experimenting with new sounds and still focusing on melody was hallmark of Rajesh Roshan, though RD was miles ahead.
RK, thanks for this article!
Regarding comparison between Kishore Kumar n Mohd Rafi, my views are slightly different. I have heard people say KK was the most versatile n untrained singer, where as Rafi is supposed to be trained and not regarded as versatile. Even read a similar article in Hindustan times. I think it is a big misunderstanding.
Do people know Rafi Sahib has given his voice for Kishore da(in 2 films).
Rafi Sahib was not at all trained in classical music.
At times when Kishore da was given difficult classical songs, he use to say ‘yeh gana to Rafi Sahib ke liye bana hai’. He was not too comfortable with classical songs as compared to Mana dey n Rafi.
Mana dey while singing for the famous jugalbandi duet with KK in film ‘Padosan’ asked the music director, how can I be defeated by KK in the film it does not make any sense:) Mana Dey was a trained singer. He regarded Rafi as the best playback singer.
Rafi Sahib took a long gap from the film industry, when he returned RD sahib alongwith KK had taken a centrestage.
As you rightly said RD revolutionised the film music with western influences. The other musicians could not compete. The songs were simple and were comparatively catchy, which suited KK’s voice. RD n KK remain the most popular of all time. There was time when Kumar Sanu was more popular than Rafi:)
All of them were genius without doubt and cared for each other!!
Great tribute to RD Burman. It was the music of RD Burman and Asha Bhosle (especially “Dum maro dum” and “Chura liya hai tumne”) that was my introduction to filmi music (I am not Indian) and it was revelatory, practically a religious experience. It’s great, great stuff.
t!
perhaps you may search that song of RD which was included in New York Parade, perhaps year was 1984. That shd be interesting to listen. I had seen photo of RD sitting together with some American musicians. Cant recall their names.
In India Times of India had given a good coverage.
Its very amusing to know that you have been listening Asha Bhonsle, though understanding of words would be a problem for you. Does her base voice appeal you more:)
krysh:
You are on dot, when recall ” Aaa ree aa jaa nindiya tu le chala kahin uran khaotole pe” from Kunwara baap. what a song and what a singing by KK.
Not to forgot Priyatama’s Koi Roko na Diwane ko.
But lets be limited to RD this time. we can cover RR someother time. He also has done great work in 70s.He made use of flute in many of his songs as SD Burman had used in his songs.
Pancham Beats Vol 1 – a collection of some songs of Rahul Dev Burmans and before each songs a bit of discussion between the trio Gulzarsaab, Asha Bhosle and Paanchmda.
[we had a mention of this album before... there are more gems in the album]
Manjeet: Rafi and KK are two light houses and their lights though often crosses each other but they both show us path when we need musical sollace. What I said abt KK was said by RD himself abt versatility of KK. They are very different, I cant imagine KK singing Bade miyan diwane ins ame was Rafi sang and Rafi singing O Hansini as KK sang. Then there are songs which both could sing and they even sang them. Like in MQS, KK sang rote hue aate hain sab for AB and Rafi sang same song in sad mode for VK.
But they complemented each other. Parda hai parda in AAA has only one line from KK when AB sing in high tone, to akbar tera naam nahin, just listen and watch the energy coming in to the song.
Rafi indeed sang 2-3 songs for KK but that was mainly due to because KK became quite busy in his films as an actor and had no time for singing.
Till 1970, we dont find a single song KK sang for Dilip saab, but later he sang for him in Bairag and Sagina.
But in his bad phase Rafi sang so beautiful song” Patta patta butta butta haal hamara jane hain” for AB in Ek Najar. Kahin ek masoom najuk se ladkee etc are prerogative of Rafi or we say ghazals, but in rest he had good competitions from KK, especially in sad songs or romantic songs.
I think story abt classical song is not betwen kk and Manna de but it was for Mirza Ghalib or Baiju Bawara where Manna de had to sing against Bade Ghulam Ali Khan saab, and as he was singing for Bharat Bhushan who wins the singing competition and Manna DE had said how could I win against Khan saab. this is pure abusrd. But then these are films.
what different singers means differntly we can see in haqeeqat’s song ” hoke majboor usne bhulaya hoga” four singers four flavours:)
Hey! Sorry completely out of topic, but I was wondering if there’s anyone out here in Canada whose working on some film productions. I’m a Communication Studies student here and i’m interested to work on something.
Carla: thats pleasant to know. thats suggests music has no bounadry and this can reach to anyone and can appeal to anyone.:)
Mehbooba for me was the greatest Hindi film track ever composed! Until the day I learnt that the tune had been lifted from Demis Roussoss
@ RK – I have always loved music, and have always listended to music from other countries even if I never understood the lyrics. Because, as much as I love music, sometimes the lyrics don’t matter as long as you have found something that you love to listen to.
Although, Asha is largely responsible for my expanding Hindi vocabulary. I even have a Mehbooba on my mobile phone ;)
@ Vijay – Ouch. I don’t wanna listen…
RK,
I completely agree with your point about Roz Riz Aakhon Tale. That crappy film did not deserve such a gem. I put together a list of my 25 fave RD songs here:
http://urgetofly.blogspirit.com/archive/2007/06/27/rdb.html
I strongly feel that many of RD’s great compositions did not get popoularity when they were released because in those days success of music depended largely on the success of the film. In some ways, my favourite gindi film composer Madan Mohan also faced a similar predicament. Except a few, most of the films he composed music were not A-grade hit films, and that restricted the popularity of his soulful compositions
I love R.D Burman’s music. But whenever the topic of R.D Burman comes I say that he was more famous and his work was most liked after his death. And everytime people talk about the music of old times R.D Burman’s name comes first. But I think Laxmikant-Pyarelal were the most famous music directors and they were No.1 in the 70’s 80’s. It’s sad that many don’t even mention their name.
Thaks RK for this past.
U seriously considered my request.
But i think this is very short post on person like RDB. expecting more from you soon… RDB and about madan mohan also.
RK, once again a fantastic article on RD.
Well, you almost covered everything about RD, the song you mentioned
“Sanam teri kasam” was one of the finesr works by panchamda.
Manna dey finally acknowledged the talent of kishoreda in “padosan” competition song. He had started admiring Kishoreda as a singer after that movie.His interview in posted on “youtube”. Search for kishore kumar in “youtube” there are like 13-14 interview clips which have been posted.
People unncessarily compare “Panchamda” with “A R Rehman”. I know many people who admire “Panchamda’s” compositions but like none of “Rehman”. It is a stark reality that compositions styles are completely different.
Aditya, its true. RDB gave music to so many films which went in to oblivion as soon as they were released. He gave music to Amitabh Bachchan’s films like Majboor etc but it was not super hit films and he did not get chance to work with AB in super hit films. Later he gave music in Mahan which was also a flop film.
in hindi films backing of super stars (actors directors)can be a prerequisite to be attached with best of the films. After the time we can admire the good work but big films do matter in market. When Masoom was released we knew its a wonderful and class music but big names were not associated with the films.
It never went easily in to my acceptance that Hujur Is kadar bhee, like beautiful song can be given such visual presentation. Song picturisation can be a only lacking in an otherwise exceptionally brilliant film by Shekhar Kapoor.Song is of too better quality than its picturisation.
Justin: post Dosti, their debut film, and for which they won national award, LP always enjoyed ride of popularity, they remained associated with big film makers. Their popularity can be understood with the simple fact that abbreviation of LP(Long Play) records were often taken as abbreviation of initials of Laxmikant Pyarelal.
Its not true people dont recall or mention their names. when someday we cover a post on them we will find numerous comments.
I read somewhere that Pyarelal ji is again ready to compose music for some film or its SRK production Om Shanti Om where he is composing some special item song?
Among the pairs of music composers, ShankaR Jaikishan, Kalyanji Anand ji and Laxmikant Pyarelal remain very popular.
Shailesh: What has not been said abt RDB before.
we only can try to mention his name specifically on days like his b day else he is prseent all around in terms of his songs.
Remixers just dig the treasour RDB has left behind him and earn their livelyhood. People just go in state of joy when read and hear Gulzar saab’s tales about Pancham da. People dont think twice before buying his music. Its never old.
I think no other music director enjoys this status post his physical death.
Nitin: thanks for so elaborative and informative comment. Is it possible to have that international album of RD? Is it available?
Is not it extra ordinary that all the star sons in 80s were launched through films having music by RDB.
Love Story- Kumar Gaurav, its wonderful music made Kumar Gaurav a craze. Amit Kumar’s voice suited him so perfectly. his second film Teri kasam had good music. then his third Star had music by Biddu and film was not a success. then came Romance and Lovers both had music by RDB and Kumar Gaurav tasted bit success again.
Rocky- Sanjay Dutt’s debut film had nice songs and they brought film a value.
Betaab- Sunny Deol’s debut film. Shabbir Kumar became a hit male singer after this film. Still today, Jab hum jawan honge is as fresh as it was in 1983.
Anand aur Anand- Suneil Anand’s debut film.
and RD’s speciality can be seen in the song “Teri nazar hai mujhpe meri nazar hai tujhpe” from the film Burning train where he has used Asha Bhonsle in two different type of songs in one song. She sings semi classical for Hema Malini and western free style type for Parveen Bobby. and how smoothly orchestra changes its phases. a wonderful song.
and then Sunny films “Jane kya ahde wafa hote hain” Lata’s song for Amrita Singh.
we safely can borrow and repeat late Raaj Kumar’s dialogue when he used to say ” Jaani film chale na chale Raajkumar to chalenge( Buddy, film works or not Raajkumar will be a success)
same way films got success or not, RD Burman’s music always got success.
Tarun: Sanam Teri Kasam can be one of the finest work by Pancham da, as you are saying, but only as far as matching with the theme of the film is concerned.
Independently I am not sure we can listen and like its songs in same league as we can listen Aandhi or Namkeen or countless numbers of RD.
Disco was a small phase in films and thats why STK, gets a limited scope. But yes its music will always be remembered whenever disco music will be discussed.
Surely AR Rehman and RD Burman and for that matter all the good music composers have different and distinctive styles hence comparisons dont do justice to anyone. Music has vast world and countless musicians can search something new.
RK, I have the digitized version (mp3) of the album ‘Pantera’. Let me know your email ID and i’ll send them across to you.
hi RK
thanks indeed for writing such a soul stirring piece on RD. as is known now RD is just being discovered, thats mainly because of the depth in his music which is yet to be fully explored. we dint have great music systems then and largely his musical depth went uncovered. many of his musical and sound innovations are still covered with cobweb. he never liked to repeat himself and therefore innovation became his trademark. not to mention his background scores for movies. i think his background scores are going to be noticed & researched big time as old films get digitised and the quality of the background music stands out to attention.
by the way i knew puncham uncle since i was three years old, he was our neighbour , and we had some unforgettable moments with him. he was way too simple for the kind of star he was, played cricket with us and allowed us to pluck fruits out of the trees in his bunglow. i also was also witness to most of his song and background music recordings for well over 20 year period till his last movie.
i noticed that some ppl r unhapy about his copying from western numbers, while i share their anguish, let me point out that mehbooba mehbooba for instance, hasnt been copied excepting for a few opening bars, we cant say it was a blatant copy, and anyways , mehbooba is infinitely superior to the original, notice the coke bottle blowing sound used as main rhythm, such is the genius of RD. one shud also know the circumstances in which it was composed, it was incorporated as a last minute thing at the insistence of ramesh sippy’s wife who had hummed that number after returning from london where she had attended a live band night where demi roussoss had performed. shoot of sholay by then was completed and this song was added at the last minute 2-3 days before it went to sensor, hats off to RD who got the song written and composed and to what a great effect. because they dint have time he cudnt get asha to sing along ( as he intended ) as she was busy elsewhere. even sippy cudnt shoot it in banglore where the movie was shot, the song was shot at some andheri studios in bombay.
anyways, RK keep writing , boss u r doing a great service to RD
all of u r welcome to get in touch with me
RK- I am familiar with the stuff that you have posted in this article. I appreciate your effort though. I am sure you could find most of the stuff at www.panchamonline.com and www.ourhfm.com.
Yes, I agree that there are many movies such as Aandhi, Masoom whose music may be categorized as semi classical. But to post a comment that Sanam teri kasam belonged to a Disco era and out of synch is unjustifoed. Songs such as
Kitne bhi ti karle….,
Dekhta hoon koi…,
Sheehse ke gharon main…
were Kishore solos and were awesome.
As far as “Jaane jaan o meri jaanejan…” is concerned, it is unconventional and extremely melodious with an excellent orchestration and the same can’t be compared with songs from Disco Dancer/Dance Dance even through latter took the toll on panchamda’s compositions in mid 1980’s.
Vijay: Thanks for the link you sent. I could hear the songs there. All I can say is- whenever RD had composed a song inspired by any source he had admitted it. At present I cant produce his sayings for Mehbuba, but he had admitted that its inspired version. In the list, given on that website, few songs are matching, like Tera Mujhse hai pehle ka nata koi.
But I see it like this also:
RD’s fame is not dependent on Mehbuba and the songs given in that list. He did not earn his fame because of these songs but many other songs. And when an able music composer and for that matter any creative person create something inspired by other sources then he adds something of his own also. Ex. Mehbuba, RD’s version has pauses at right place and has more energy in orchestra.
Sometimes even greats give tribute to other’s works.
But my disappointment may be less than yours as you lived with impression that Mehbuba was his greatest composition. For me it was always a catchy number . Thats why I am not disppointed.
rajeev:
thanks a lot for writing such an informative comment. You have given whole acount behind the Mehbuba song. If Mrs Sippy was not having recording of the song and RD had not listened to the original song before than he did brilliant work as you have said also that RD’s version is better than the original song.
Its a chain to like RD’s music. Gulzar saab’s imagination often catches a sunny morning in winters or dew drops on leaves and RD matched his imaginations through his music. Gulzar saab- RD- Sanjeev Kumar – good literature- good films – —etc
its a chain. and then you are in love with natural beauty, be it mountain or sea, folk song or abstract kind of song etc ….. You start liking something which is not available with others.
Tarun: Nitish had posted the links of websites devoted to RD Burman [comment 23].
Though I could not get your link of ourhfm.com. That seem to be some group for members only.
Anyway, RD Burman was not a pardanasheen personality that few can know about him and few cant. I am not in his close relation, that I could know something which you or others dont know. What we read since childhood in magazines, newspaper etc we recall those things while writing on someone. And it can be very little to know a person like RD Burman.
Only few people know more. If Gulzar saab had not told than who was going to know about the story behind Mera kuch saman tumhare pass parha hai.
same way many others might have shared their tales about RDB. Rajeev (comment 31) knew him personally so he was able to throw more light on him and recording of Mehbuba song.
Idea of writing something on any one is not write a complete biography of that person but to start a discussion. For that purpose only comment section has existence else scholars who write better than many of us have already written on the things covered here on this website.
we can only try to remember and discusss about some films, some filmi personalities.
I have cassette of STK but I dont recall playing it more than 2-3 times in these so many years as they never left that impression while for so many other compositions of RD, I had buy cassettes again and again because they were destroyed because of repetitive playing.
Liking is very subjective thing. For some reasons I never found STK’s music as appealing as RD’s other compositions. and I admit my little or no knowledge about music can be the biggest reason behind this. I never could see the elements in that music which you could see.
Rajeev:
It just occured to my mind. I dont know if you would be able to shed some light on this as well but still….
In Sholay, just before the song Mehbuba Mehbuba,
Thakur says to Jai and Veeru that Hariya or Hariram (whoever) arranges armaments for Gabbar Singh and Gabbar will meet gypsis in a day or two, Loha garam hai mar do hathora.
and then we see Gabbar Singh enjoying the dance of Helen in the background of song of Jalal Agha.
if Mrs Sippy was not insisting this song, that means Sholay had no song at this juncture of the story?
How they were going to show Jai and Veeru at the meeting place of Gabbar Singh and Hariya?
hi RK
yea, actually there was no song planned but a direct attack on gabbar’s den …how boring it wud have been without mehbooba number which now counts as a stand out moment of the film .
i read some comments about mehbooba above and i feel that whether RD fans like it or not the fact is that d mehbooba number is a career defining moment for RD. tho of course he never realised it then that he was creating history of sorts thru mehbooba, he kept on crooning great many numbers like tum kya jano from HKKN ( shades of mehbooba in it ), a raunchy number from bulundi ( the new year party number playing in d background )it goes ..aey dil se dil mile meri jaa , pyar pyara hai from zameen asman, you stop from jurmaana, kal kya hogaa kisko pataa from kasme waade, aey hasin gulbadan aur jawaan from karishmaa, opening notes in the nishaa song from STK, dil dena khel hai dildar ka from ZKDH, suno sitamgar mere mere, suno aey dilbar mere mere from Zabardast, rousing title music of burning train and great gambler, voice manipulations in the theme music of Abdullah and countless maverick voiceovers in background scores .
so i think though for fans mehbooba has stuck but RD moved on
thats y i feel RD is stil to be explored
Dear RK,
It is a great piece , just a small correction, Hoga Tumse pyaara kaun was sung by Shailendra Singh and not by RD. But he has sung great songs in Bengali and lot of them he converted into hindi which was sung by Kisore Kumar, Lata & Asha
Sanjeev : Thanks for correction. It was Dil Dena khel hai dildar ka which was sung by RDB. I mixed two songs. :(
Could you please name few songs sung by him in bengali which later Kishor Kumar, Asha Bhonsle or Lata Mangeshkar sang in Hindi.
It will be quite interesting to know
Thanks
RK : There are many songs but I would like to name few big hits like :
1. Meri Bheegi Bheegi Si from Anamika(Mone Pare Ruby Rai)
2. Tere Bina Zindagi Se Koi Shikwa to nahin from Aandhi ( Jete Jete Pathe Holo Deri Tai to Paari Ni)
3. Jaane jaan dhhondta phir raha from Jawaani Deewani ( Jaani ne Naa kotahye tumi haarye Gacho)
4. Jeevan Ke har mor pe from Jhhotha Kahin Ka ( Shono Mon Boli Tomaye)
I have all these songs in my library and if you want I can mail the same to you.
Sanjeev, the second song you mentioned: “Jete Jete Pathe Holo Deri”, it’s a masterpiece !! Beautiful rendition by RD. IMO this is RD at his singing best. RK and all Pancham Bhakts must check this song. I wonder why RD sung very less such kind of soul-stirring songs.
Only Hindi song I recollect which RD sang in the same league as “Jete Jete” is: “Yeh Zindagi Kuch Bhi Sahi” from Romance (1983)
Great Review ! RD ek ehsaas hain. Hain Na rrey ?
Please keep up the good job. Thank you.
Regards
Panchamwala
Nitin: Pancham Da’s bengali songs are just wonderful. Sanjeev sent me 3 songs and they were just beautiful. Thanks a lot Sanjeev.
Rupal: Thanks for comment. Now RDB really remains an Ahsaas.
with no connection but ur comment suddenly reminded me the duet of Aap ki Kasam,
Karwatein badalte rahe saaree raat hum aaki kasam(Lata Mangeshkar and Kishor Kumar),
a so romantic duet with so much mountain feelings imbibed in the song.
With Pancham Da it has been a wonderful thing that even if he starts with a fantastic tune for Mukhra but as songs goes ahead then somewhere in between the song he reaches to the pinnacle with the singer’s singing and like in this song when Lata Mangeshkar starts singing, Ruth Jayen hum agar to tum mana lena sanam, kuch gila ho to gale humko laga lena sanam, carries that heighest point in this song.
Thats marevellous singing.:)
(Zahreela Insaan – O Hansini)
http://www.musicindiaonline.com/music/hindi_bollywood/s/movie_name.2104/
(Namkeen – Aanki Chali Banki chali, Badra)http://www.musicindiaonline.com/music/hindi_bollywood/s/movie_name.1435/
(Libaas, Sili Hawa and khamosh sa afsana)
http://www.musicindiaonline.com/music/hindi_bollywood/s/movie_name.1251/
(Jeeva – roz roz)
http://www.musicindiaonline.com/music/hindi_bollywood/s/movie_name.1057/
(Sunny- jane kya baathai, jane kya ahde wafa)
http://www.musicindiaonline.com/music/hindi_bollywood/s/movie_name.1887/
@Krishn,
thanks for songs. Hardly any RDB lover will be there who would not be loving these songs.
So different from each other and display different areas of singing and they all affect audience differently and yet they all are so equally or more appealing than each other.
Each song has capacity to sway the audience with its mesmerising effect and at that time that particular song looks like one of the best and start another one and it start carrying away the listener.
rdb+gulzar
Aanki Chali Baanki Chali, Namkeen
http://www.youtube.com/watch?v=ebeaY8pE0AY
Phirse Aaiyo Badra Bidesi
http://www.youtube.com/watch?v=YMQzIew4NH8
Musafir Hon Yaaron
http://www.youtube.com/watch?v=woYpl85_l6A
Khamosh sa afsana
http://www.youtube.com/watch?v=gVvUsbsASWs
thodi si zameen – SITARA
http://www.youtube.com/watch?v=BOeZc9WlEHM
RD Burman – Mehbooba mehbooba – sholay
http://www.youtube.com/watch?v=3oRCdaoxNVU
dum maaro dum – hare rama hare krishna
http://www.youtube.com/watch?v=xVdca5TZ6X0
O Hansini -ZEHREELA INSAAN
http://www.youtube.com/watch?v=VvFSFLI5G6A
chand mera dil
http://www.youtube.com/watch?v=rW6VdPb08EQ
Roz roz ankhon tale – Film Jeeva
http://www.youtube.com/watch?v=vri9—WT-4
tu pyar tu pret
http://www.youtube.com/watch?v=JEBr0ExVXwQ
great rdb+lata song – sajna o sajna
http://www.youtube.com/watch?v=ESihTfyEnpQ
O Ghata Sanwari…
http://www.youtube.com/watch?v=FcRHaWIyLVs
krishn(50): You mentioned the wrong songs. Both these songs are great, no doubt, but sadly not composed by RDB, but by LP.
51…
ooopsss sorryy…
i did realise my mistake after 5 minutes posting…
but by then i was alreday away… nd in mean time …ur expert eyes got it…
my mistake has a history… an interesting 1….
i ve been collecting hema malini songs nd in my cd songs of hema with many composers r present…
sorry again 4 mistake…
hi Nitin Shitole
please send me digitized version (mp3) of the album ‘Pantera’. my e id is shelu21@rediffmail.com
Wow…missed this wonderful chain of posts. Yet to go through the original post but RK – I was browsing one of the response and I was amazed. Can you please listen “independently”, to the full album of Sanam Teri Kasam and revert back to me !! I agree with Tarun that even independently it is one of the finest album. Kishore songs ke kya kenne. Kitne Bhi Tu Kar Le – it has the youthful touch which cannot be described in words. Sheedhe Ke Gharon Mein – no need of explaination for this gem. Dekhta Hoon Koyi, still makes my flirt with girls/women after 10 years of marriage. The power in RD’s voice is simply unmatched. I can give my entire savings to any god damn singer on the earth who can sing “Janaa aaa aaa aaa aaa aaa aaa aaa” – the shivering/kampan , with that punnch !! and finally Jaane Jaaa !!!! Ooooooooooooooooooo One of the topmost songs where RD and Asha are made for each other. I am simply fida on the South Indian styled singing of the word “Dhin” by Asha in “Dhin tinaak dhin” !! wowwww !! what an album man !!
@KCP,
1982 –
RDB – Sanam Teri Kasam, Teri Kasam, Badse Dil Wala, Ye Wada Raha, Angoor, Zamane ko Dikhana Hai, Daulat, Satte Pe Satta, Shakti, Bemisal
and then few of others
Khayyam – Bazar, Dil-E-Nadan,
LP – Prem Rog, Deedar-i-yaar,
Bappi Lahri – Namak Halal,
STK is best among the list of RDB’s films only?
One of the finest albums can be a true saying but than those finest albums also can have upper, middle and lower levels. No?
RK – First let me come to the mistakes :
Aradhana had 3 Kishore songs. Contrary to the popular belief, SDB was never sick for any song of Aradhana. I have photographs of Shakti Samanta’s sittings with SDB. I have Kishore Kumars interview where he says that SDB checked his voice before the recording of the song “Kora Kaagaz Tha”. I have interviews of Amit Kumar, Manohari Singh, et all who say that SDB was very much there when Kishore proposed the tune of “Mere Sapnon Ki Raani” to SDB. RD was certainly given full independent responsibility ( like always during the making of Guide, Jewel Thief etc ) to give his individual stamp on the orchestration/instrumentation. Also there is an interesting kissa of Kishore Kumar not being available to SDB for a numerous films in the 50’s and 60’s ( As confirmed by SDB and Kishore Kumar, both the interviews which i have and would present on PFC later in life, in relevant posts ). Kisore Kumar was not available ( I would not say for Aradhana-Rafi-songs, till my research is over ) in the first week of February and the Rafi songs were recorded on 5th Feb 1969, when Kishore was constantly shuffling with 3 live shows, Madhubala’s illness and making of Door Ka Raahi and its music. This was my only objection to Brahmanand’s documentary – that let us leave SDB’s soul peaceful, with respect to Aradhana’s music :-). Second mistake of yours was that Majboor was not RDB music.
Anyways coming to a few more comments on the comments :
Anybody who made these comments are in the reverse process of redemtion “I guess we have many composers these days who are as talented or as hardworking as him. Also I think they are more popular than him. I guess AR Rahman is in that league, if not surpassed him.” Talented than RD these days ? Ha Ha Ha. Hardworking than RDB in “making music” these days ? Ho ho ho. Popular than RDB these days for “music” ? Ha Ha Ha. A R Rehman in that league ? Ho Ho Ho.
RK I am of COMPLETE opposite view of yours. For me Karaoke of ARR’s music is sheer suicide. I simply cannot stand. No soul at all, just beats. His usage of voice for me is simply amazing. Having said that I simply love a few of his Hindi songs ( aakhir kitne kiye hai usne, to be compared to a great like RD ?. Forget RD – he cannot be compared to any great of the yesteryears. In my opinion the Gems of Bappi Lahiri would be more than the total output of ARR ( including trash, which is in abundance ). Even Annu Malik has given more gems than ARR ( ofcourse Bappi and Annu have given more trash numbers than ARR too )
Manjeet saab @9. Do you know that Rafi saab has given voice to Kishore for more than 2 films and for comedy songs too ? So you say that Kishore told Rafi to give his voice to Manna or Rafi for comedy songs ? Kishore Kumar is a phenomenon not only in the film world but in private life also he is a person who can be studied and grasped and be simply amazed by the sheer brilliance of the man in every aspect of life. So please stop reading website articles and then believing them till you have done a proper homework, yourself. You say that “He was not too comfortable with classical songs as compared to Mana dey and Rafi”. You know that it is a film industry and there were sex abuse, groupism, etc even in the 30’s and 40’s. So Kishore Kumar getting slotted by the Industry into a comedy acting/singing style, just wonder what the hell he must have gone through in the industry. Its a separate subject of research in itself, about kishore running away from semi/classical singing even if he was asked to do so, right from the first time he was asked in “Aa Mohabbat Ki Basti” by Anil Biswas, inspite of his near and dear ones telling Anilda not to take Kishore for this classical oriented song. Just to sum up his classical ability, ONE example is enough to shut the disgusting trap of he could not sing or create – the song CREATED by Kishore Kumar and demonstrated to Lata Mangeshkar to sing : http://www.musicindiaonline.com/p/x/tUbrqyXOCd.As1NMvHdW/ . His bengali “NON FILM” songs are full of classical nuances, not found in Hindi film songs. I can quote his views on “FILM” songs from Illustrated weekly interview of April 1985 about classical singing, lateron. Rafi Sahib DID NOT TAKE a long gap from the film industry. From 1970 till 1980, he sang a total 82 songs less than Mr Kishore Kumar ( who was the leader in that decade any which ways ). If you want yearly figures in this decade, just shout.
I dont agree with Rajeev at all ( he never specifically and explicitly said that RD told Rajeev that RD made the song in haste/hurry and hence a copy ! Its ridiculous and an insult to the talent of RD. So knowing RD personally and then trying quoting media related rumours can confuse people like RK ). Mehbooba had enough time but Ramesh Sippy insisted on that Gypsy number. In fact I have a MP3 interview ( I will surely dif it out and quote it word by word on the making of Mehbooba ) of Ramesh Sippy where he said that he was to sing that song himself but then gave up. RD is known to create gems in a jiffy.
And yes RK. RD’s bangla songs are mindblowing. He sang some of his career best songs in non-film bangla. “Nodir paade utthhchhe dhuaan” is a must listen to you RK. If you have not heard it, you dont know the real RD man !!
wow !! itna bada post maine bahot saalon baad likha hai !! aakhir kyo na ho – subject jo itna close hai !!
It is so sad that RD got only two Filmfare best music director award for Sanam Teri Kasam(1982) and Masoom(1983).(Not counting 1942 A love story as he was not there to receive the award).He surely deserved three more for Yaadon Ki Baraat(1973),Hum Kisi Se Kum Nahin(1977) and definitely for Saagar(1986).He also deserved the national award for Ijazat but strangely though Asha Bhonsle and Gulzar both got their awards for Mera Kuch Saaman R.D was ignored.Gulzar writes about this:
When I gave him ‘Mera kuchh saamaan tumhare paas pada hai’ (Ijaazat), he waved the lyric aside and said, “Huh, tomorrow you’ll bring me the front page of The Times of India and expect me to compose a tune around it. What is this blank verse you’re giving me!” Ashaji was sitting there, she started humming the phrase, “Mujhe lauta do.” He grasped it immediately; from that one phrase he developed the song, which was quite a feat! This time Ashaji and I got National Awards. Poor fellow, he did all the work and we enjoyed the ‘kheer’.
@KCP,
wah wah, today you wrote perhaps most lengthy comment on PFC. Thanks for additional inside infos.
Man you should have written responses separately so that people could read easily. Now even I dont get you are responding to me or some other comment.
Sanjeev had sent me few bangla songs of RD and I have listened to them.
Because you have touched so many points so I will cover them separately.
Take care if you have got such time man:)
@Sanjeev can you please mail me some good bengali songs of R.D apart from the one you have mentioned.My mail id is aandy1980@gmail.com
@Kcp,
Re: ARR, perhaps you have missed (?) mark in the end.
But I must say that I have never been closed to any music director whoever he is and I am not die hard fan of one single person that I would like every creation of his/her.
All of them have given mediocre and even weak and bad songs whether we talk about music directors or singers. Everybody has faulted at times. 100% yield is impossible and as far as human being is concerned to acheive 100% success rate is next to impossible because he is not independent in his doings and even small thing like temporary mood affects his creativity. He is not machine.
But these bad creations dont affect their over all assessment of their talents but at same time we can not be fanatic making rally behind them.
Bappi Lahri has given some good songs, Anu Malik has given some good songs and ARR has also given some good songs.
Old masters can not be compared with new music directors as they composed music when technology had not interefered in the music and every effect created was done on human level.
They did not manoeuver the vocal and instrumental parts in any way and what has come to audience its same as it was recorded.
But every time has its own people. In present time we can not ignore ARR. If he is able to bring a good song in totallity then he is more than welcome for music lovers.
I will be deaf or blind towards contemporary hindi cine music if I dont appreciate Kehne Ko Jashne bahara hai in Jodha Akbar.
and then there are some songs which carry the tradition coming from the 40s and 50s.
His time is different. old masters can not be compared with him as its unfair. but at same time his good work can not be sidelined.
an open music lover has to embrace music coming from all quareters.
@Kcp,
Re: Majboor, I have confused between Majboor and Narendra Bedi’s Benaam on more than 4-5 occasions. Reason perhaps is the song – Aadmi jo Kehta hai which is very much in the style of RDB on both Vocal and instrumental level (for me atleast). I dont find typical LP signature in this song.
@Kcp,
since you are in to the research on KK and RDB, you may find it fruitful to meet Rajeev also whenever you visit Bombay.
Its always possible that even creators give confused account of their own work because its not neceesary that they keep record of every thing they have been doing. Often chronological order quoted by many creators has been found faulty. and they tell different thing about same incident to two different people. It has happened with many.
For me these facts and data etc dont matter because I am not in to the data collection or research on any of the filmi person.
But any kind of info. can be helpful for you.
I have never been in to data collection and whatever data comes to me it comes via watching of the film when names appear on screen.
If its mathematical kind of data, i mean there is no joy associated with this data then it brings an allergic phase to my mind. There should be some juicy anecdote to accept that data else its of no use for me.
Its quite boring.
Except a book on Shalimar I have not bought any film related magazine or book till now. First and perhaps last film book was a book published on Shalimar. It had few still photographs taken from the film and entire story was given there. This book I saw in a small book shop in 1997 and bought it. This should have been published when Shalimar was released in late 70s.
If any star dust kind of magazine came my way I read those but deliberately I have not bought any magazine till now. Though few true data collectors have been living in my surrounding from time to time. Few were die hard data collectors of cricket and few were devoted to music and few had inclination toward films. I belonged to none of them but they were always with me so many things I listened while they talked.
Like you are quoating many things and I am reading and knowing it. Few things may stay in the mind and become part of memory. But basic data comes through the watching of film and listening of music. Rest all is fine if it comes on its own. I dont remain in search.
This does not interest me after initial level that who was responsible for the music of Aradhana, SDB or RDB. Both are dear and my purpose is solved with the good music, whether it was created by father or son. If ever i have to write a book then perhaps I will take care of such data. So just to mention an anecdote I may quote what I have heard or read, but it does not contain any additional value for me. Value lies in the songs and music.
@Kcp,
In last,
You should not sit on the information and many things you know directly from the creators, unless you are planning to write a book. Take out time and write about right things. If its not shared with people then its of no use. Its like your personal childhood album where you have been collecting stamps of different countries.
Just write about them.
If you dont spread word about good then dont complain about bad that weaker has been taking the news. Spread a word about stronger. That much is in one’s hand.
@Anindya (58) Award to a single creator is always an unjustified act. Moreover Awrads dont matter when so many good music directors are active. Filmfare or national award data in the 50s is purely mathematical in nature and it does not increase or reduce the importance of master music directors. If SDB did not get for a particular year then it does not affect us today and perhaps it did not affect him then also because most of the music directors were working with filmmakers/actors, with whom they were more close. almost everybody was giving good music.
How to even differentiate between two films of LP in 1978, Satyam Shivam Sundaram and Mein tulsi tere angan ki?
Both had fantastic music.
and then RDB, Rajesh Roshan, OP, Kalyan ji Anand Ji, Salil Chaudhary, Khyaam, Jaidev, Vanraj Bhatia all were active in full form in 70s and one got and rest were left each year.
Awards dont make a statement in long term.
True RK but I do feel bad when I know that Guide,Teesri Manzil,Hare Rama Hare Krishna,Pakeezah did not get any awards in music.Maybe I am biased towards some films and want to see their names in the awards history.
RK@59 I wanted to attend the comments of only You, manjeet and rajeev, which were clearly separated into different paras ! Anyways I will try and be more clear in future :-)
RK@69 Thats the whole point RK. Bappi and Annu ( and many others like RR etc ) have not been overall assessed by general public. They are considered as trash and in my view, they have more “number” of gems than ARR. Proportionwise ( good to trash ) I would rate them equal or better than ARR. Remember I am not comparing the eras but just numbers. I fully agree with you when you say “an open music lover has to embrace music coming from all quareters” but at the same time its not forbidden to trash music that is trash :-)
RK@63 Yes it would be great to meet Rajeev with so many anecdotes to share. With regards to mathematical data it is always important if you are studying the artist in-depth. It could reveal lots of things, even about its personal life. Juices come only if the farmer sows seeds and trees grow and fruits reach the juice centre !! For me I like to be a farmer driking his own fruit juice :-) The process is very exciting for me. I love film related books. I always make a point to buy Hindi music/film books or go to libraries.
RK@64. Amit Kumar had also offered me to write a book, 4 years back, but life is very busy. Trying my best to find time whenever I can and meet the personalities. If at all I write, it will be something very very different, the matter as well as the presentation. For the past 10 years, I have always tried to express my views and trivias ( small one liners mostly, due to lack of time ) on various internet forums, as time permits.
@Kcp(67),
Bappi Lahiri has done more than 200 hindi films.
Anu/Annu Malik has done more than 150 hindi films.
ARR might not have given music in more than 30-40 hindi films and may be less. We have to consider the selectivity while drawing any conclusion or do any comparison. If we remember only 15-20 films of Bappi Lahiri out of 200 films and in Annu’s case we remember only 7-10 films out of 150 films then it has to affect their over all assessment. Nobody can do anything in it. This is mathematical way.
In musical way, they will be remembered for the good songs they have composed. All the three have musical talent and we can not trash their music. we can trash weak and bad songs composed by any of them.
We can not close the eyes from anybody’s talent. Personal choices and preferences are different matters.
Comparison of ARR with Bappi Lahiri like senior music director is not fair and even Annu Malik had started composing music in 1981-82 so atleast 10-11 years before ARR made an entry with Roja in hindi films. All the three music directors have been singing but Annu as a singer can not be put in to the category of BL and ARR. They are in upper level than AM.
Then ARR’s music range is bigger than Bappi Lahiri as far as background music is concerned.
so only common area remains the preparation of play back music where they can be compared.
and this only can be decided if they are given same instruments at a stage and random but common themes are given to each of them and then they create songs based on the available raw material without the help of any technological manoeuver.
This is the only neutral way and you know its not possible.
So in the end we are left with the finished products coming out of recording studios and we have to be satisfied with that end product and that should be the ground to judge without going in to the process of creating those songs.
@Kcp (63),
I dont think mathematical data helps in arts to a great extent.
Mathematical data says that Naushad never took (I am not aware and may be he used) Kishor Kumar’s voice in any of his film.
OP Nayyar never asked Lata Mangeshkar to sing a song for him.
OP did not treat Mukesh as a good singer and in the league of his personal favourite Rafi.
Rafi sang 2-3 songs for Kishor Kumar (Its mathematical figure and Juice attached with it may be this that KK was busy in acting at that time and did not have time for play back singing and if we believe OP then he wanted to teach a lesson to KK and hence he asked Rafi to sing a song for him).
So if we bring mathematics in above mentioned and many such cases then we have to draw the conclusion that Naushad, OP etc did not believe in the talent of KK, Lata and Mukesh.
But it can not be reality. This was just personal preference and ease of working with some chosen people.
People have not been cooking up themselves that SD was sick while Aradhana was under the making process. After some years things dont remain perfectly in the chronological orders. You see if we go on doing micro research then we can find that SDB was not that ill on the day he recorded song/s of Guide but he was sick during its making is a fact told by SDB, Vijay Anand, Dev Anand etc. so in philosophy a photo does not tell much more than the story of that particular minute when Photographer had taken that photo. A person can fall and die just after Photographer has clicked the camera and photo will reveal that man was completely healthy and was standing on his own feet, when people will see it later.
There can be more than one version behind the Abhiman’s song Loote koi man ka nagar.
There can be more than one version behind the song Mora Gora Rang le le and we have to admit that Manhar Udhas and Gulzar saab are available to say the exact truth but anecdotes go on and on. and so many people have been saying since many years that Bandini was not Gulzar saab’s first film and he had written lyrics before that also.
So unless an authentic book comes out with the full approval of GS we can enjoy these anecdotes and they are not lies. They are in the air because concerned people have not tried to say the truth. Its not fault of people and these things don’t harm anyone. This is not something that somebodyelse is taking credit.
Re: Juice, 2+2=4 is mathematics and without any joy attached with it.
Do aur do ka jod hamesha chaar kahan hota hai
soch samajh walon ko thodi nadani de maula,
is juicy thing and I am not sure if I have to be a farmer to enjoy this juice. If Nida Fazli has created something, I can enjoy that without being a farmer. I dont have to create myself such a couplet.I dont have to know on which table Nida Fazli saab used to write, which pen he used, which time of day he used to write and what he used to wear and eat. Certainly if his autiobiography and biography are published then it will be a pleasure to read but till then people can enjoy his poetry. To know about poet is an additional thing and so many times its not even necessary.
Those who do research may be more interested in this matter.
Every fact is good to know but its not essential to enjoy the creation.
—
Time is not an excuse. Just write it. If you have a wish you will write it. It does not matter you write only one page a day and its finished in 4 years or 5 years. To do is better than not doing it at all. Readers, you will have many.
Just start. Call Amit Kumar to tell that you have started writing.
If you dont write, you will be passing through anger whenever you will find people dont know reality about Kishor Kumar and if you dont write, even this anger is of no use.
If you are living with so many limitations and find that its impossible for you to start writing then provide all the material lying with you to some one who can do justice with the topic. But if you think matter should come out then you have to do efforts.
@Anindya(66), It pinches at times that many gems like Guide, Sangam etc were not awarded in music department. It has been happening and it will be happening till awards are not given to recognise best efforts in a given year. Only sometimes a first or supereme can be chsoen in the arts and especially in a medium like films else they should be awarded on the basis of grades.
Today we can only feel astonishment that Yash Chopra, Salim Javed, Shashi Kapoor (and perhaps Nirupa Roy also) and the film itself got award but Amitabh Bachchan did not get in the category of Best actor. Though he easily could have shared it with Sanjeev Kumar (Aandhi). And no award to Sholay?
But longevity of these fine products and performances has given them the awards. Sholay denies to die from the memory of audience. Amitabh Bachchan is Deewar. Guide’s music sells, Guide is still seen with a respect and affection.
Filmfare awards have lost their charm but these films and actors who did not get at a given time continue to allure audiences.
This should matter.
RK (69): kcp can confirm this, but I read somewhere that Kishore Kumar sang a song for Naushad in 1975 for a film called Sunehra Sansar, but that song was not used in the film or disc.
@Aditya,
Yes I have heard that Naushad was compelled by director/producer/ distributers etc to ask Kishor Kumar to sing song/songs for him in early 70s. I dont know how true this anecdote is and I never knew it was for Sunehra Sansar.
and this is also possible that this anecdote is confused with KK singing first time for Dilip Kumar (perhaps in Sagina) but this film’s music was not given by Naushad.
Kcp will certainly be having some info about this.
Unless he starts writing his book, he has to be pushed again and again.
I read some articles that during late eighties RD faced financial difficulties.Also he was offered less work.That he was getting less work from producers in Bombay we all know but he was also recording non-film songs specially in bengali which were hits.What I dont get here is WHY was he facing “financial problems”?His father was a very popular music director working with the biggest banners.He himself has worked for close to two decades with all the biggies in the industry.He never produced films which flopped.He was still in the list of top 5 music directors even during the “lean phase” of his career.
@Anindya (73),
I think there is some confusion. I guess you are talking about Rishi Kapoor’s interview on Bday of Pancham da (last year). As I can recall, Rishi Kapoor had said that Pancham called him and told him that directors and producers were not taking his music in their films and he did not want work for the sake of money because he had got enough money but he wanted work for the sake of his creativity. He wanted to use his music in the films. Rishi Kapoor was unable to help him in this aspect.
Financial problems should not be there in his case. But such a man of passion certainly needs work. He was an artist and not a manager who could arrange opportunities, marketing and many kinds of manipulations to keep him in the market which works at the mercy of producers and distributers holding the flag of commercial success at a given time.
The person who is busy 24X7 in the music can not follow the tricky games to be in news. He is heavily dependent on his past work and creativity only and sadly these things dont matter when an industry is passing through a phase when mafia type people and people having blessings of mafias control the functioning.
New and new talent should come and its a welcoming thing but when more talented people are sidelined because if they remain in the field then less talented and cheap labour will not survive then things take sad turn.
We can call it luck also otherwise Ijaazat is still sold and thought at that time it was found as quite unconventional album and beat based music had taken the central stage but still Non-filmi albums had started selling more in number than before.
RDB’s lean phase after 1985 till his death, can be studied as a period when new and new music companies were fighting to get share in the market and they had their own team of singers and musicians and their success was certainly not based on better quality.
Marketing gimmicks had taken the central stage by then. People did not feel any hitch to promote their low quality work by heavy marketing and often false propaganda.
All those stories about Ataullah Khan !!!!
Today marketing can bring a low quality product as better package than the good creative work and people are hypnotized atleast for sometime to follow the trend set by market.
we can feel satisfaction that in long terms better quality products prevail more but an artist is a living entity and his life suffers because of this blind attitude. It can not be compensated.
Thanks for the update RK.Even I think it is work which was interpreted by some journalists and writers as equivalent to money.He did not need money,he needed work.But I think during his so called “lean period” he gave some of the best and classy music which then got lost in the crowd of ek do teen and one two ka four.Now they are considered as classics.Case in point parinda,Ijazat.Tumse milke and Pyar ke mod pe,specially the latter is one of the best songs I have heard in a long time.A lot has already been said about Ijazat and rightly so.So sad he did not have any child.The immense talent of the Burmans ended with his life.
@Anindya,
His music did not get a decline till last. KK’s death certainly took away his singer from him but his tunes maintained the top quality.
He used quality of singing of Suresh Wadekar very effectively in Libaas around same time and in Parinda also.
Tumse Milke in Parinda is very good song.
He used so effectively SPB in Aja meri Jaan. SPB has this special quality to switch swiftly between high and low voices and notes and RDB used this so beautifully in the title song of Aja meri jaan.
Kishore kumar sang for a duet with Asha bhosale for suhara sansar.bt latr on naushad dropped the sond.can we get a soundtrack of this.
Also rd in one interview said that original singer(kishore ?) had a sore throat and so he recorded mehbooba.
DEAR MR.RK-plz plz provide me panter(digitalised version),i will be greatful to u> u can send it to my email address-sanjan35@yahoo.co.in/ anjans_2007@rediffmail.com
Can anyone gat me the bengali song(means the same music) of “Kahi na ja aaj kahi mat ja” from Bade dilwale?
Thanks in advance
RDBin an interview said that original singer( kishore?) could not come due to sore throat? so he recorded mebooba in his voice.
was rdb unhapy about kishore’s rehersals of this song?
was kishore unhappy about the barking dog soundin the song and he avoided singing.
was asha to sing mehbooba originally was it a duet?
we all would like to now true answers from musicians of hat day like “basu manohari”, bhupinder singh
also was rd upset of kishore favoring shymal mitra and so he gave rafi a big brek in hkkn.
we all need to now.
in 1980 rd ecordedveryessith isore.
whenever he recorde less with kishore he sfered comercially see 1984, 1986.so away rd did mstake i leting rafi ise thru hkkn.
leae we want inside stries.