R.D. Burman and the sound of his soul - Page 2

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Thanx Qwest da for sharing 😊

R.D.Burman himself just got 2 filmfare but now we have a filmfare award named after him 😊

Filmfare RD Burman Award for New Music Talent

From Wikipedia, the free encyclopedia

The Filmfare R.D. Burman Award for New Music Talent is given by the Filmfare magazine as part of its annual Filmfare Awards for Hindi films.

The award is named the late R.D. Burman. The award commerates new talent in the industry as well as inspiring musicians to break new ground in composing.

The awards began in 1953, however the first award in this category was first given in 1994.

Here is the list of the award winners.

Year Winner
2005 Shantanu Moitra
2004 Kunal Ganjawala
2003 Vishal-Shekhar
2002 Shreya Goshal
2001 Shankar-Ehsaan-Loy
2000 Sunidhi Chauhan
1999 Ismail Darbar
1998 Kamaal Khan
1997 Karthik Raja
1996 Vishal Bharadwaj
1995 Mehboob
1994 A. R. Rahman

THANKS FOR SHARING QWEST BHAI

The rare Pancham A tribute to the composer on his birth anniversary

Dr Rajiv Vijayakar Rahul Dev Burman, born in the monsoon, always showered us with a vast range of melodies and rhythms. Innovative and therefore oftentantalisingly unpredictable, Pancham (as he was fondly called) would be studded with ideas that translated into outr compositions. To state that Pancham was different from the rest was, really, superfluous. From the very beginning, Pancham experimented. Which explained why he had to wait almost for a decade for big time. Effortlessly different from his father, for whom he ghost-composed some fabulous numbers till as late as 1969, he was precisely one film old when he composed Jaago sonewalo (Kishore Kumar) and Aao twist karen (Manna Dey), two absolutely contrasting confections of immense calibre in his second independent outing, Bhoot Bungla. That is not all. Today, when a single item song is enough to make the (transient) career of a composer, it would shock people to know that Pancham's all hit Teesri Manzil score did not translate into a string of assignments for this composer. But for Pancham, it did not seem to matter. For in the less than dozen films he did in the first decade of his career, Pancham went all out to prove his musical mettle with compositions that may not have generated mass hysteria, but were liked then and can be treasured now. Studded around his few chartbusters from Baharon Ke Sapne, Abhilasha, Padosan, Pyar Ka Mausam and The Train were exotica like Lata's Sharaabi sharaabi mera naam ho gaya and Paar lagaa de mere (Chandan Ka Palna) and Bhai battur (Padosan), the Pyar Ka Mausam quartet Chekhush nazarein (Mohammed Rafi), Aap chaahe mujhko, Aap se miliye and Main na miloongi (all Lata) and the Lata-Rafi duets Lehrake aaya hain, Kabhi kabhi aisa bhi to and the Lata seduction number Dil ki lagi ko (Waris). The early 1970s saw Pancham hit the right popular notes. But if he had his 'areas of difference' even among his many Binaca Geet Mala entries, his oeuvre in this phase was also studded with magical --- if less mass-friendly --- numbers galore. Remember how mischievously he borrowed the Salil Choudhury leitmotif in Lata-Mukesh's Kahin karti hogi, the Phir Kab Milogi non-starter that found fame in the fag end of the 1990s through Anamika's remix? Or how he almost sounded his dad in Rafi's Koi aur duniya mein tumsa haseen hai (Pyar Ki Kahani), which along with another Rafi-R D song from the same film, Ek pate ki baat sunaoon has gone into history because they were the first two songs ever lip-synched by Amitabh Bachchan. R D may have had sparse time for Mukesh, but the delightful Lata-Mukesh duet, Sooraj se jo kiran ka naata (Hungama,1971), remains another song to savour, even if shorn of its own historic value as the first ever song enacted by Dum maaro dum girl Zeenat Aman. Pancham, unlike archrivals Laxmikant-Pyarelal, never believed in stepmotherly treatment to assignments that were obviously exercises in cinematic mediocrity. Idealistic, yet paradoxically bad as a career move, this led to many of RD's most innovative and imaginative musical feats getting lost in myriad worthless films, like Kishore-Asha's brilliant Aao, aao jaan-e-jahaan (Gomti Ke Kinare), Kishore-Lata's Ab ke saawan mein jee dare (Jaise Ko Taisa), Kishore-Lata's Jana hai hamein to jahaan (Daulat Ke Dushmun) and, above all, the Kishore classic O hansini kahaan udd chali (Zehreela Insaan). Many more R D ditties also lost the race because of the fact that the films faced an indifferent or a calamitous fate at the box-office. Do ghoonth mujhe bhi pila de (Lata, Jheel Ke Us Paar), Dil se dil milne ka, the Kishore-Lata delight from Charitraheen, Jab tum chale jaaoge (Lata, Bullet), Kishore's Aise na mujhe tum dekho and the Kishore-Asha title-track of Darling darling. Pancham, of course, also faced the occupational hazard that every composer worth his salt has to endure --- of great songs in a film being dwarfed into obscurity by its one or more chartbusters. Thus Lata-Asha-Usha's Dulhan maike chali and Asha's Chori chori solah singaar (Manoranjan), Asha's Jaaoon to kahaan jaaoon (Anamika), Lata's Oye buddho lambo lambo and Manna Dey's Aayo kahaan se Ghanashyam from Buddha Mil Gaya, Kishore-Lata's Bheegi bheegi raaton mein (Ajanabee), Lata's Chalo ri and Lata-Kishore's Parbat ke peeche (Mehbooba) and Asha's Ab jo mile hai (Caravan). This phenomenon of course went well into the 1990s when Shivaji Chattopadhyaya's Yeh safar bahut hai kathin (1942 -- A Love Story) lost out. In the 1980s, R D was creatively and psychologically compromised, but his ability to deliver the occasional humdinger remained intact, evidence of which abounded in low key delights like Saawan nahin, bhadon nahin (Asha-Suresh Wadkar) and Sajti hain yoon hi mehfil (Asha) from Kudrat, Kiski sadayein mujhko bulaye (Red Rose) and Main hoon diya sooni raaton ka (Jai Mahal). There were many more delicious confections in the autumn of his career; creations into which Pancham poured his passion in what were probably these rare moments of confidence unalloyed by insecurity. Tere liye palkon ki jhaalar (Lata, Harjaee), the title-track (Kishore-Asha) of Yeh Vaada Raha, O meri jaan (Asha-Shailendra Singh, Manzil Manzil), Kahin na jaa (Kishore-Lata, Bade Dil Wala), Aasmaan se ek sitara (which Pancham himself vocalized in Raahi Badal Gaye), Lata-Anwar's Duniya badal gayi hai (Hum Hain Lajawab). And finally the Lata beauty Sili hawaa chhoo gayi (Libaas) were examples that proved that Pancham, more than losing form, had lost the will to conform to a retrograde change in tastes.

Like their creator, many of R D Burman's songs never got their due. But where would film music be without such unforgettable musical moments?

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January 5, 2003 Sukanya Verma It is hard, very hard, to list my favourite melodies of Rahul Dev Burman, a man who left behind a legacy of rich, melodious, lively music that transcended the barriers of time and age. How can you pick just a few from a treasure trove? Of course, today, the fact that his music has transcended time, also makes him the remix people's delight. But that's a different topic. Perhaps one of the most noteworthy aspect of R D music was its spontaneity. More important, the ability of his music to connect with people. R D Burman understood the mystery and magic of music. He was, is, and will always be one of a kind. January 4 marked his 10th death anniversary. A tribute to the baby-faced man who made me and most of my generation fall in love with the radio. R D's mellow creations win my vote over his rhythmic, hip-shaking chartbusters from Yaadon Ki Baaraat, Hum Kisise Kum Nahin or Zamane Ko Dikhana Hai. But if I could, I would include all his songs. Even his last couple of films like Gardish and Drohi boasted some catchy numbers. Meanwhile, here is a select pick: Tumne mujhe dekha (Teesri Manzil): Although O haseena zulfonwali and O mere sona re were a rage, my personal favourite is the elegantly composed Tumne mujhe dekha. Raina beeti jaaye (Amar Prem): An unforgettable melody. Truly classic! Dekha na (Bombay To Goa): Fast-paced, foot-tapping and at times crazy, Dekha na had Amitabh Bachchan and the nation dancing to its tune! Diye jalte hain (Namak Haram): One of the most beautifully written songs on friendship treated with complete justice by R D's gentle melody. Mehbooba (Sholay): The strings, the beats and the vocals! Mehbooba was all about vivacity. Mere naina sawaan bhadon (Mehbooba): R D captured the reincarnation theme of the film by lending a haunting touch and a sense of incompleteness to this song. Iss mod se (Aandhi): Gulzar and R D were an unbeatable combination. R D's understated melody was a perfect foil to Gulzar's words. Iss mod pe from Aandhi is one prime example. Aapki aankhon mein kuch (Ghar): Ditto for Ghar. The freshness of this song hasn't staled an inch. Jaane kaise (Shakti): This upbeat romantic number was further enhanced by the use of 'wop wop' sounds in the orchestration. Trust R D to make music out of a racket. O manjhi re (Khushboo): O manjhi re was more an experience than a song. It is so easy to imagine yourself on a boat philosophising about life and its musings. Pyar humein kis mod (Satte Pe Satta): Actually, it is a tie between Pyar humein is mod and Dilbar mere. But what makes Pyar humein kis mod pe special is its sheer boyishness and spontaneity. Kisi baat par mein kissi (Bemisaal): When the pieces of a puzzle fall into place, it makes a perfect picture. The same applies to this song. R D's brooding tune, Anand Bakshi's eloquent lyrics and Amitabh Bachchan's mysteriously sulky disposition fell into place. And a perfect song was created. Do naina aur ek kahani (Masoom): Everything about Masoom rocks. Tujhse naraaz, Lakdi ki kaathi and Huzoor iss kadar are marvels in their own right. But the bedtime lullaby in Aarti Mukherjis divine voice is a personal favourite. Kya yahi pyaar hai (Rocky): Mushy, sweet and melodious. Sanjay Dutt owes his first and most memorable love song to R D. Thodisi zameen (Sitara): R D's sunny music, Bhupinder and Lata Mangeshkar's playful vocals and Gulzar's fascinating lyrics make this one a beauty. Roz roz aankhon tale (Jeeva): This regular Bollywood film didn't deserve such a beautiful song. But then, the only reason anyone would remember Jeeva is this timeless tune. Katra katra (Ijaazat): R D and Gulzar at it again. Asha Bhosle's beautiful voice and R D's zingy melody make Katra an instant winner. Pyar hua chupke se (1942: A Love Story): R D's compositions for Vidhu Vinod Chopra's pre-Independence love story were unlike any other. Pyar hua chupke se's lilting beauty was hard to miss. Ek ladki ko dekha, Kuch na kaho and Yeh safar were some of the others gems in the soundtrack.

Anu Malik pays tribute to R D Burman

Anu Malik | January 04, 2006 15:08 IST

It has been 12 years since iconic Bollywood music composer Rahul Dev Burman passed away on January 4, 1994. But he lives on in the hearts of the innumerable fans of his creativity.

As a tribute to the maestro, music composer Anu Malik recounts the time he first met Panchamda, as R D was fondly called, and how much the master has influenced him.

I met Panchamda for the first time when I was just 17 years old. I was at a film centre to watch a recording. I have this vivid memory of Panchamda recording and Ashaji [Bhosle] singing. I can't remember the song but I remember they were top-class musicians.

In those days, before they started recording, they would rehearse. When I saw Panchamda coming out of the recording studio, I rushed towards him.

Asha Bhosle plans an RD surprise

I was brash then. And I said, 'Sir namaste, how did you make Gulabi aankhen jo teri dekhi [from the 1970 movie The Train].' He told me ban gaya bas ban gaya [it just happened]. He spoke very fast and went away.

I was still waiting and the door was ajar. I peeped in.

I could see that suddenly, at the last moment, he changed whatever music he had composed and whatever his musicians were playing.

Today, I find the same trait in myself -- I change my music at the last moment if I find it is not gelling.

There is another most touching memory of him that I have. He was recording at Sunny Super Sound, and he had had a bypass surgery.

When I met him, I touched his feet out of reverence.

I saw a big cut on his leg I asked him, 'Dada what is this?'

He told me that it was for the bypass. A vein had to be taken out from his leg. I was very moved by the whole thing. I could not believe my hero, my idol, was in so much in pain.

I saw the pain of this great man.

I read his interview where he had said he had his first heart attack when he had composed loads of tunes for top producers directors and they were rejected. I saw the callousness of the industry through Panchamda.

I have a learned a lot from him, apart from the music that we grew up on. His personal life, which was quite painful, has inspired me.

I still keep on listening to his music. We all grew up on his music. I worship him.

Incidentally, when you called up, I was listening to the song Tumne mujhe dekha [from the 1966 movie Teesri Manzil] composed by Panchamda.

And when you reminded me that it his 12^th death anniversary, it was a bit too much to handle for me.

He was a complete and versatile composer. He could give you an Amar Prem and a Teesri Manzil at the same breath --which, if you notice, I have done when I did while I composed Judwaa and Refugee and Virasat and Border. They are two different genres of music.

He had a lot of romance in his tunes. There was loads of magic in his music. It was zestful and youthful.

You could identify with Panchamda's music. It made you fall in love. It made your heart beat. It made you feel you are young. You can still remember the first time you looked your lover in the eye for the first time. Those moments are trapped in his music. You pick up the score of Jawani Diwani or Teesri Manzil and your heart starts hurting.

You fall in love with those tunes a million times because he made music from his heart -- the way I make it now. That was the USP of his music, which I have tried in my music -- by making melodic tunes.

I was unfortunate I never had an opportunity to learn from him. But his music was so strong that you can learn music by just listening to his songs.

He was the master. Therefore, his music is remixed again and again. Today, his music has been done to death by so many DJs. He was about a hundred years ahead of his time.

One more reason for me not training under him was that I had started looking for work myself, as I also wanted to be a composer and I was always in a hurry to do something. But I used to listen to him and that was a great inspiration.

I can't even imagine 12 years have gone by.

I didn't have a chance to get very close to him, but I know he was like a child. I know this through his music. I think both Panchamda and his father [Sachin Dev Burman] were made of music.

I was fortunate enough to compose one song for Ghatak, which he was supposed to do. I did Koi jaye to le aaye. His death really hit me. I was shocked when Raj Kumar Santhoshi approached me for Ghatak.

I remember going to a music company and while I was sitting there I saw Panchamda. He saw me and hid from me -- because he had come there asking for work. That was the most painful moment of my life -- that one of the greatest composers, a living legend, was looking for work. This was just few years before his death.

He could twist tunes so well. He would pick up foreign tunes and make it his own tunes. If you remember Chura liya hai tumne jo dil ko [from the 1973 movie Yaadon Ki Baaraat], or even if he lifted from Abba, he would turn the antara [the chorus of the song] so well that it changed the whole tune. I think that is one thing that any composer can learn from R D Burman. Rather, you could say that is what I have learnt from him.

If you have to learn anything from Panchamda, it would be his sense of melody and versatility. The fact that he loved his work and could produce an inexhaustible range of melodies. And the fact that in spite of doing so many different films at the same time, he came out with wonderful music and top scores all the time.

He was very sure of what he was doing. He was not confused. He knew exactly how the introduction would start and how the mukhda [intro] or the antara would be. One should learn this clarity from him.

We still feel his loss. We miss his music. If Ashaji is nominated for the Grammy today, you can imagine how far ahead Panchamda was in his work and his music. He put a stamp on the industry -- he is still there with us with his last score, 1942: A Love Story.

Even though he is physically not around you can't say he is gone as his music is still around.

I would like to thank god for sending R D Burman among us -- he was one of the most romantic music composers ever.

Old Article on RD (July 1986)

R. D.'s SILVER JUBILEE


by Siraj Syed Rahul Dev Burman owes a lot to comedian Mahmood. His first film, 'Chhote Nawab', was a Mahmood production. In those days, the bespectacled young Burman was known more as S.D. Burman's son than ashimself, a tag that was to last another ten years. After 'Chhote Nawab', R.D. drew a blank in 1962, '63 and '64. 'Chhote Nawab' had some excellent songs, like 'Matvali ankhon vale' (Lata, Rafi), 'llahi too sun le' (Rafi), 'Aam chhum laam chhum' (Rafi and chorus), yet R.D. Burman's talent went unnoticed.
For the next few years, he continued to assist his father. Nicknamed 'Pancham' after his rhythm-oriented musical inclinations R.D. surfaced again in 1965 with Mahmood's next, 'Bhoot Bungla' and another film, 'Teesra Kaun'. 'Aao twist karen',an obvious lift from an
English song, blared from juke-boxes all over the country, though '0 mere pyar aajaa' was a very good original compo-
sition. Manna Dey and chorus sang the former and Lata rendered the latter, for 'Bhoot Bungla'. Singing 'Achha sanam' (Teesra Kaun), Asha Bhosle typified what was to emerge as Pancham's swinging, up-beat style. Mukesh and Lata sang an innocent, romantic duet that went Pyar ka fasaanaa banaa le dil deevaanaa'. Suddenly, the world sat back and took notice.
Mahmood nurtured him further, with Pati Patni' (1966). Two songs distinguished the film's score. In one of them, actor-singer Surendra returned to the microphone after a long absence to give playback to Om Prakash. The other song, 'Kajre badarvaa re' (Lata) was a gem of a tune that remains fresh