RD Burman was made of music

R.D.Burman - Soulful Singer
(Courtesy: Film Fare, February 1998)
By Subhash K. Jha

Remembering the finger-snappers and the soulful songs sung by R.D. Burman himself... on the occasion of his fourth death anniversary which fell on January 4, 1998.

It was an inherited talent. Music was a gift bequeathed to Rahul Dev Burman, who passed away so suddenly four years ago, by his father, Sachin Dev Burman. If Burman Dada immortalised himself with his two manjhi songs -- O re manjhi (Bandini) and Sun mere bandhu re (Sujata) -- Burman Baba belted out O manjhi teri naiyya se chhoota kinara in that long-forgotten river-bank(rupt) bilingual Aar Paar directed by Shakti Samanta.

This timeless manjhi song proves that Papa and Burman Jr were sailing in the same boat. Sadly, by the time RD's boat sailed into the 1980s, it developed a leak. If the song hadn't gone unnoticed, RD would surely have sung more such reflective quasi-philosophical songs.

Doubtless, the distinctive voice of R.D. Burman was capable of conveying the emotional of a lyric as well, if not better than some male playback singers who sang for him. This is specially true of RD's tunes for Amit Kumar. In the popular Bade achhe lagte hain (Balika Badhu), Amit's voice synchronises so well with RD's that listeners can scarcely tell when Pancham stealthily slips into the number with the boatman's clarion call O manjhi re jaiyo piya ke des... R.D. Burman often contributed key lines to his compositions without claiming credit. Though the legendary cabaret number Piya tu ab to aaja in Caravan is credited only to Asha Bhosle, Pancham's banshee cries of Monica o my darling have rooted the number in the public's mind.

In the hauntingly bare Kishore Kumar-Lata Mangeshkar love duet Hum dono do premee duniya chhod chale (Ajnabi), the composer chips in as the bystander at the railway station to ask where the fugitive lovers are off to.

In Lata's version of Phoolon ka taron ka sab ka kehna hai (Hare Rama Hare Krishna), Pancham sings for 'Daddy' Kishore Sahu -- with Daddy ka mummy ka sabka kehna hai ek hazaron mein teri behna hai... These incidental vocal appearances verify Pancham's casual yet unforgettable artistry.

Recalls Gulzar, "Pancham was an excellent singer. He knew the nuances of classical singing. For my films, he sang only a couple of songs. But he lent his voice even so often. For instance, in Jabbar Patel's Musafir, the boatman's voice-over, is Pancham! As a singer, he would perfect a tune by singing it repeatedly. In the album that I did with him in 1994, listen to how well he has sang the numbers Raah pe rahte hain and Koi diya jale kahin (later rendered by Kishore Kumar and Asha Bhosle, respectively).

Then in Dil Padosi Hai, the original soundtracks by Pancham before they were dubbed by Asha Bhosle are superb. They show his range as a singer.

R.D.Burman - Soulful Singer
(Courtesy: Film Fare, February 1998)
By Subhash K. Jha


ROCKING INTO A ROLL

The solos and duets that R.D. Burman sang in the '70s asserted his growing reputation as a rock-'n'-roll renegade. Somehow the serious songs sung by Pancham (such as the manjhi number in Aar Paar) never got their due. The hits that Pancham sang were almost invariably gimmicky.

With Mohammed Rafi, RD was heard in his element in the yummy Yamma yamma number in Shaan. RD's most memorable duet of male bonding was the zany jazz-tinged title song of Gol Maal. Sung with Sapan Chakravarty, the song's verve is unmatched by any other song of male bonding in the '80s except perhaps Jaan-e-Jigar, the groovy Goan gaana that RD 'dared' to duet with his favourite male singer, Kishore Kumar in Pukaar.

Whenever R.D. Burman went solo, he made sure it was a song that needed his voice, and no one else's. Incredibly, the all-time favourite Mehbooba oh mehbooba (Sholay), might not have been sung by Pancham at all. At first, this vibrant sexy titillator was to be sung by Asha Bhosle. When Jalal Agha was brought into the picture to lend a vocal drizzle to Helen's sizzle, R.D. Burman was considered by Javed Akhtar, Anand Bakshi and Ramesh Sippy as the best bet for this number inspired by a Demis Roussos chart-topper.

Equally accomplished was Pancham's interpretation of the locomotive rhythms of Dhanno ki aankhon mein raat ka surma. Gulzar's words in Kitaab were transported to a wonderland of images. It became a voyage of self-discovery for Pancham. Equally devil-may-care was RD's interpretation of the number Kal kya hoga kisko pataa (Kasme Vaade) and Samundar mein naha ke (Pukar).

PAIN GAINS

And how elegantly Pancham wore the shirt of hurt into the two Nasir Hussain musicals Hum Kisise Kam Nahin and Zamane Ko Dikhana Hai. In the ever-young songs Tum kya jaano mohabbat kya hai and Dil lena khel hai dildar ka, R.D. walked tall over a terrain of pain.

The most meditative solo melody that Pancham sang was Yeh zindagi kuchh bhi sahi in the flop Kumar Gaurav-Poonam Dhillon starrer, Romance, containing some of RD's best compositions ever. The emotional grip of the lyrical delivery rivals Kabhi palkon pe aansoon which Kishore Kumar sang for R.D. Burman in Harjaee.

ROMANCE SOULS

With his singing soul companion Asha Bhosle, R.D. created a dense romantic atmosphere. Though they sang no more than seven or eight full-fledged duets, the slender repertoire created a voluminous impression because of their impact.

The first duet that R.D. and Asha sang was O meri jaan main ne kahaa (The Train). The Rajesh Khanna-R.D. Burman team that bloomed in the '70s was in its infancy when R.D. composed and sang with Asha for The Train. The film had two strikingly original-sounding solos Gulabi aankhen by Mohammed Rafi and Kis liye maine pyar kiya by Lata. Inadvertently, the RD-Asha duet was left out, sidetracked.

R.D. Burman and Asha Bhosle had their revenge the very next year when their uptempo number outpaced all other chartbusters of Apna Desh. Their heat-and-run number? The high-pitched ode to raunch -- Duniya mein logon ko dhokha kabhi ho jaata hai. The number stressed the outlandishness of Pancham's vocals. Rajesh Khanna and Mumtaz were dressed as a couple of freakos in this climactic song.

Just when you thought they were the '70s version of Sonny and Cher, belying all expectations, the RD-Asha pair hit an all-time high of emotional expression in Sapna mera toot gaya in Khel Khel Mein. While Kishore Kumar accompanied Asha in all the frothy fun duets in the film, R.D.Burman stepped in to create waves in this memorable song of parting and remembrance.

Peculiar, passionate and palpably Pancham is Na jaa jaan-e-jaan that largely ignored, scene stealer RD-Asha duet in Joshilay. Here and in the disco-very-very special of the '80s, Jaan-e-jaan o meri jaan-e-jaan in Sanam Teri Kasam, Pancham stepped back into the shadows to let Asha 'squeal' the limelight. But his contribution to the two duets is like a mistletoe decorating a Christmas tree.

The last duet that R.D. Burman sang with Asha was Yeh din to aata hai (Mahaan). Sadly by then R.D. Burman's career was under a cloud.

SPECIAL AFFECTS

There's an interesting end-game associated with R.D. Burman's career as a singer. In the selective, reluctant and meagre repertoire of songs that the chameleon composer chose to sing, one song is extra-special. Kya bhala hai kya bura in Gulzar's unreleased Libaas. It's one of the few film songs that dares to make light of the burden of existence.

The song is special for another reason. It's the only time, Rahul Dev Burman dared to face at the microphone with the singer who had seen him as a child fooling around in shorts at his papa's recordings... and whom the young adult-Pancham hesitantly approached to sing the first song that he ever composed.

That duet with Lata Mangeshkar was the last song R.D. Burman ever sang in a film.

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 lan 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.

Posted on June 27, 2007
Filed Under Bollywood, Music