The guide evaluate as a tribute to RD Burman (27.6.1939-4.1.1994) on his 31st Remembrance Day
R. D. Burman: The Music, The Man
Authors: Anirudha Bhattacharjee & Balaji Vittal
Writer: HarperCollins India, 2011
ISBN: 978-93-5029-049-1
Pages: 342+24 (Index, Acknowledgements)
Value: Amazon (Paperback): ₹399
I’ve to confess I’m an R. D. Burman-skeptic; the truth is, I belong to the cohort which considers RD Burman too loud, and chargeable for destroying the melody of the Golden Period of music making. But I’ve no hesitation in saying that “R. D. Burman: The Music, The Man” is an excellent guide. The authors are unabashed followers of RD Burman, but the guide just isn’t too hagiographic. They declare they didn’t wish to write a biography both. However whereas discussing RD Burman’s music, they focus on the person too, and it has all the pieces you anticipate from a great biography. The guide is written in a lucid fashion, and is stuffed with fascinating trivia about songs, movies and associated issues. They know a great deal about technical points of music, I discover on Amazon critiques somebody was postpone by the technical particulars. I’m illiterate in music, however I’m not postpone. I’ve change into the authors’ admirers, at the least they know what they’re saying. That isn’t to say they’ve made me an RDB-convert. Then why this evaluate in any respect?
Although RD Burman debuted with Chhote Nawab (1961), I slotted him as a post-1970 phenomenon. Subsequently, within the sequence of detailed protection of the music administrators of the Golden Period, after Kalyanji-Anandji and Usha Khanna, I had supposed to take up Laxmikant-Pyarelal. In my thoughts regardless that they debuted two years later with Parasmani (1963), they remained firmly rooted within the Golden Period-style of music making. They immediately reached the highest bracket; they labored with the standard playback singers; that they had no obsession with experimenting with completely different sorts of sound and percussion devices, or any specific singer. It’s a testimony to LP’s stature that some readers had been anticipating them after Kalyanji-Anandji. Nevertheless, RDB was senior to LP not solely in chronology, they had been additionally his assistants in Chhote Nawab. I couldn’t ignore the truth that many contemplate RDB a legend and it might have been fairly awkward to skip him and go to LP. So I dedicate the 12 months 2025 to RD Burman on his thirty first Remembrance Day, and I assumed one of the best ways to start out is along with his biography by the current authors which has obtained rave critiques.
“The Chhote Nawab”
After the foreword, introduction and many others. the guide begins with fairly an fascinating title: “The Chhote Nawab”. True to the title of the guide, that is as a lot concerning the man, as about his music. RD Burman was a little bit of a chhote nawab – a happy-go-lucky particular person, utterly disinterested in research, and likewise non-serious in studying music. When SD Burman shifted to Bombay in 1944, he left RD Buman behind to finish his musical training below Pt. Bhishmdev Chottopadhyay and Ustad Ali Akbar Khan. Anxious concerning the wayward way of life of his son, when SD Burman heard that Ustad Ali Akbar Khan was going to arrange his music academy in Bombay, SD Burman referred to as his son over to Bombay to stay below his watch. A non-serious learner, RD Burman was innately musical, he grasped sufficient of Indian classical music to grasp its nuances. He began helping SD Burman. On the identical time his fascination with Western devices, Jazz, European, Center-Jap, Arabic, Latino music, and his experiments with numerous sorts of drums and percussion devices continued. He confirmed his grasp with each kinds of music in his debut movie Chhote Nawab (1961) with an especially melodious track in Raag Malgunji, Ghar aaja ghir aayi badra sanwariya; and a cool membership dance-song Matwali aankhonwale, O albele dilwale dil tera ho rahega, gar tu ise apna le with some unusual yodelling and a wide range of western devices.
The movie and its music had been a middling success. RD Burman didn’t get any presents for 4 years. His subsequent movie was additionally a Mahmood manufacturing, he additionally directed the film Bhoot Bangla (1965), through which RD Burman had a cameo position of a glutton. The film and its music had been a catastrophe. A 12 months earlier, Dosti (1964) was provided to Laxmikant-Pyarelal. That they had an enormous respect for RD Burman. On their request he performed the harmonica in its songs like Janewalo zara mud ke dekho mujhe. Actually, RD Burman was an acknowledged knowledgeable in enjoying the harmonica, and he’s recognized to have performed it in a number of compositions of SD Burman, similar to Hai apna dil to aawara.
At this level the authors put to relaxation the controversy created by SD Burman-fans and RD Burman-fans who attempt to debunk one or the opposite by giving the credit score of a selected track formally composed by one to the opposite. They had been a musical household they usually mentioned with one another and had been impressed by one another. On this situation, it’s inconceivable to segregate who impressed whom in a selected composition. It’s just like the guessing recreation in making an attempt to present credit score to an assistant music director for a selected well-known track, or to at least one or the opposite in a track composed by a duo. The music director is credited for the music of a movie, and that’s that.
Which was the third movie of RD Burman? Coincidentally, it was Teesra Kaun (1966). Its Mukesh-Lata Mangeshkar duet, Pyar ka fasana bana le dil deewana, turned highly regarded. This was the primary time Mukesh sang for RD Burman. They collaborated collectively solely in about fifteen songs, most of which had been highly regarded. In the identical 12 months got here Pati Patni (1966) with most important stars like Sanjeev Kumar-Nanda-Mahmood-Mumtaz. I can’t do higher than borrowing the authors’ phrases, “Pati Patni might be questioned for its lack of sanity, barring the music which discovered Rahul Dev Burman in a temper to experiment in his favorite space – rhythm.” Its track Kajre badarwa re marzi teri hai kya zaalima obtained some traction.
And the remainder is historical past! This cliché was by no means extra true than RD Burman’s subsequent movie Teesri Manzil (1966) and the authors narrate an fascinating story the way it happened. Nasir Husain had earlier signed Dev Anand for the movie. SD Burman was the pure selection as a music director. As he was unwell, he urged RD Burman in his place. Majrooh Sultanpuri, a Nasir Husain-regular strongly pitched for him. Vijay Anand was not averse to making an attempt him, and Nasir Husain was additionally open about it. Because it was conflicting along with his dream undertaking Information, Dev Anand determined to drag in and out got here Shammi Kapoor. He was the Monarch and his phrase was a command these days. He would have solely Shankar-Jaikishan or OP Nayyar. RD Burman needed to undergo fairly an audition. Thankfully, some songs had been recorded by then. On listening to O haseena zulfonwali, Shammi Kapoor okayed him. RD Burman additionally provides credit score for the path-breaking music of Teesri Manzil to the outstanding members of his ‘Group’ who turned common with him, similar to Basu, Manohari, Kersi Lord, Homi Mullan and Bhanu Gupta.
“The Pancham Manzil”
The authors carry ahead the dialogue on Teesri Manzil within the subsequent chapter titled – in an fascinating play of phrases – as “The Pancham Manzil”. Pancham is, in fact, the nickname of RD Burman; because the story goes, as an toddler he wailed within the notes of ‘Pancham’, the fifth word of the Indian scale of music; therefore SD Burman determined to name him Pancham. The title maybe additionally refers back to the stratospheric ranges RD Burman’s rating reached and likewise took the movie to that degree. At this stage the authors make an fascinating commentary that we should laud the Bollywood makers of suspense thrillers who had the extra burden of including superlative dance and songs with out for one second creating a sense of the songs performing as a drag on the suspense. I used to be making an attempt to determine if it was a tongue-in-cheek assertion, however they stated it in a matter-of-fact method. Goldie’s path is available in for prime reward, the authors point out scenes the place Hitchcock’s affect may be traced from particular movies. RD Burman’s subsequent movie Baharon Ke Sapne (1967), starring Rajesh Khanna and Asha Parekh, failed commercially regardless of some glorious songs like Aaja piya tohe pyar dun (Lata Mangeshkar) and an outstanding Manna Dey-Lata Mangeshkar duet Chunri sambhal gori, udi chali jaye re (Rajesh Khanna was a few years away from turning into a Phenomenon). Chandan Ka Palna in the identical 12 months and its music by RD Burman, each sank with out hint.
Subsequent 12 months once more a path-breaking movie with superlative music, Padosan (1968), got here. Speaking concerning the iconic Ek chatur naar, the authors describe the way it was a cleverly blended, not so apparent medley of songs. The primary line is from a track sung by Ashok Kumar in Raag Jhinjhoti within the movie Jhoola (1941), Dekhi teri chaturai is a parody of a bhajan by Vishnupant Phagnis, Ban chale Ram Raghurai from the movie Sant Tulsidas (1939), and Kaga re ja re ja re, a parody of Lata Mangeshkar’s Chanda re ja re ja re from Ziddi (1948). However Abhilasha in the identical 12 months was a industrial washout.
RD Burman’s story of nice music, adopted by disappointments continued within the 60s until we come to Kati Patang (1970), which gave sufficient indication that he could be the long run King of movie music. By that point Rajesh Khanna had change into the Phenomenon, and Kishore Kumar, his youthful voice. And what songs RD Burman created! Ye shaam mastani, madhosh kiye jaye; Aaj na chhodenge bas humjoli, khelenge humjoli, every an eternal gem. When somebody requested Jaikishan of SJ earlier than Teesri Manzil was launched, whom does he concern most who would overtake them – they had been nonetheless the highest canines then – he stated, Ye ladka jab aayega sabki chhuti kar dega.
“Dawning of the Nineteen Seventies”
The Ebook Two of the guide begins with the chapter “Dawning of the Nineteen Seventies” and describes the backdrop of traits in movies and music globally. The authors give an summary of the fading of the Golden Period greats in music, RD Burman’s personal rating in Amar Prem, which had a totally completely different really feel, Caravan, Buddha Mil Gaya and movies of that interval. RD Burman took inspiration from completely different sources, he had a fascination for Western tunes. However he didn’t copy blindly. He “moderated, blended, blended and patented. He was on fireplace. Unstoppable.”
And unstoppable he was with Amar Prem (1971), Caravan (1971), Hare Rama Hare Krishna (1971), Seeta Aur Geeta (1972), Mere Jeevan Saathi (1972), Apna Desh (1972), Bombay To Goa (1972), Jawani Diwani (1972), Apna Desh (1972), Parichay (1972), Yaadon Ki Baaraat (1973), Namak Haram (1973), Aap Ki Kasam (1974), Aandhi (1975), Deewaar (1975), Sholay (1975), Kasme Vaade (1978), Gol Maal (1979), Shaan (1980), Love Story (1981), Rocky (1981), Angoor (1982), Shakti (1982), Satte Pe Satta (1982), Betaab (1983), Masoom (1983), Saagar (1985), Ijaazat (1987).
“Archimedes’ Precept”
Inside a brief span, after a succession of a dozen superhits, Rajesh Khanna had a precipitous fall due to his personal hubris. There was a brand new celebrity on the horizon, and RD Burman had no issue in getting related to the massive banners of Amitabh Bachchan. Laxmikant-Pyarelal and Kalyanji-Anandji – the opposite two of the Huge Three in that period had been getting prestigious tasks. For comfortable, severe, significant cinema with nice melodious songs RDB-Gulzar mixture was legendary. There’s a chapter devoted to this combo titled “Archimedes’ Precept”. The identify as a result of RD Burman had an identical Eureka second whereas having a shower in finalising the tune of Musafir hun yaaro na ghar hai na thikana from Parichay (1972) which was the primary movie of this combo. With this movie Bhupendra resumed his profession as a mainstream playback singer. Subsequently, Gulzar as director-lyricist and RD Burman because the music director mixed with nice acclaim in Aandhi, Khushboo (1975), Kitab (1977), Kinara (1977), Angoor (1982), Ijazat (1987), and Libaas (1988).
“The Movie of the Millenium and the Aftermath”
The authors dedicate a chapter to “The Movie of the Millenium and the Aftermath”. Speaking about Sholay (1975), they hint its inspiration to varied Westerns and different motion pictures, and make a perceptive remark that songs don’t add character to a film, it’s the background rating that provides a personality. Then they go on to explain its distinctive background rating by RD Burman.
There was a lean interval after Sholay for a few years till RD Burman once more hit large time with Yaadon Ki Baaraat and Kasme Vaade (1978). This development of some large successes and a few duds continued within the early Nineteen Eighties. However late 80s had been a interval of sharp drop in his reputation. He began signing movies indiscriminately, mistakenly believing that this could assist him keep in enterprise. They had been unhealthy tasks, the standard of his music went down severely. With a succession of failures the presents began drying up. Within the cut-throat world of Bollywood nothing fails like failure. His regulars began leaving him. He additionally suffered well being issues – a coronary heart assault, and some years later one other coronary heart assault resulting in bypass surgical procedure in London in September 1989. His (second) spouse, Asha Bhosle, was not by his aspect when he wanted her most. She was identical to one other customer who got here to look him up post-operation.
“Epilogue: The Pancham Legacy”
The guide ends with “Epilogue: The Pancham Legacy”. When RD Burman was consigned to loneliness and down in dumps, his fan Vidhu Vinod Chopra provided him to compose music of 1942: A Love Story. RD Burman took it because the final probability for redemption. He used new voices and gave all of it as wanted for a interval movie. Alas, he handed away on 4 January 1994, three months earlier than the movie’s launch. The music turned out to be a landmark in his profession, Pancham will need to have been happy within the heaven. Folks will bear in mind him for his trend-setting improvements, his spectacularly profitable and melodious songs.
You get the cling of the guide. There are trivia galore, some views of the authors you could not agree with, however it’s value studying.
