In Bhoot Bungla (1965) we had first heard RD Burman, fondly known as Pancham, sing Foremost bhookha hoon tujhe khaaoonga, with Mehmood and Suresh. However this didn’t go away an impression.
In Kati Patang (1970) he got here on with heavy breath sounds in Asha’s Mera naam hai Shabnum. Then the decision of Monica, o my darling! in Caravan (1971) with Asha’s Piya tu ab to aaja. In the identical yr in Dev Anand’s Hare Ram Hare Krishna he added a one liner for Kishore Sahu to lip on display, Daddy ka mummy ka sab ka kehna hai, in Lata’s Phoolon ka taaron ka.
Ramesh Behl’s thriller The Prepare (1970), directed by Ravee Nagaich, starring the tremendous star of that period, Rajesh Khanna introduced us a good dose of RD vocals within the title music as nicely in his duet with Asha. Did we take the voice severely? Properly, it was a filler that he tried, it may nicely have been an Asha-only track, however he left lasting impression. His voice management, modulation and vary coupled with breath management left us amazed.
O meri jaan maine kaha (The Prepare, 1970) Anand Bakshi / Asha Bhosle and RD Burman
A distinct sort of impression was seen in Apna Desh (1972). The palpating Duniya mein logon ko hokha kabhi ho jaata hai drove the followers loopy within the theatres when the track sequence got here on. The wonderful dexterity of Pancham’s voice management was evident within the method he sang in a gruff voice however with phrases that have been clearly pronounced. Furthermore, regardless of making his voice husky he didn’t ever lose management on sur or taal or missed a single word or beat. Wow, the followers have been actually impressed.
Duniya mein logon ko dhokha kabhi (Apna Desh, 1972) Anand Bakshi / Asha Bhosle – RD Burman
In Mere Jeevan Saathi, the identical yr, Pancham lent his voice to the title track. However though the track was a success, it pale out of the limelight because the movie flopped.
Regularly, his voice had come to be develop into a performer of facet vocals, pepping up songs with a papapapa or tararara. In Raja Rani (1973), once more he let his vocals to the title music.
Subsequent time he made us sit up watch his voice in a movie was in Madhosh (1974). This was a special voice from what we had heard earlier in Apna Desh. Pairing but once more with Asha who sang for Helen, RD gave voice to Rakesh Roshan.
Sharabee ankhen gulabee chehra kaisa lagey mera dilruba (Madhosh, 1974) Majrooh Sultanpuri / Asha Bhosle and RD Burman
In distant Bengal, issues have been taking a special flip. Pancham had began to launch Bangla language, non-film songs known as adhunik gaan or Puja releases (introduced out earlier than the Durga Puja) that have been in his pure voice. The voice had develop into referred to as a definite and melodious one which had that ‘ras’ that was so typical of him. Mone poRe Ruby Roy (later reused as Meri bheegi bheegi si in Anamika) and Jete jete pathe holo deri (which had a Hindi reincarnation as the long-lasting Tere bina zindagi se koi shikwa to nahin in Aandhi) grew to become chart-toppers within the Bengali non-film songs class.
In Kala Sona in 1975 he sang with Asha once more in Koi aaya, aaane bhi de. But it surely was with Khel Khel Mein this yr that we once more received to listen to him once more in a special voice, singing for Rakesh Roshan in a duet with Asha – with full confidence and elan of an completed singer.
Sapna mera toot gaya, too na raha kuchh na raha (Khel Khel Mein, 1975) Gulshan Bawra / Asha Bhosle and RD Burman
Then got here Sholay (1975) and took the nation by storm. Pancham’s Mehbooba Mehbooba grew to become a rage. In some interviews we’ve heard how scared Asha was to sing this quantity in a voice modulation that RD wished. And never capable of persuade her, the track modified from being on Helen to 1 for Helen however by Jalal Agha. Not often has a track dominated the lots like this one did for years after years. But once more, it was a special RD voice from no matter we had heard earlier. How may this one man sing in so many voices?
Mehbooba mehbooba (Sholay, 1975) Anand Bakshi / R D Burman
In Balika Badhu (1976) he lent help to Amit in Bade ache lagte hain.
Subsequent yr, in Hum Kisis Se Kum Nahin, Pancham had a more durable problem – to start out the medley with the redoubtable Rafi in Chand mera dil, for the track would set the temper with comfortable melody and romance and that got here within the ultimate a part of the movie with all kinds of voice modulations in important track and its extension.
Singing with Rafi, Kishore, Asha he stood out his on his personal, leaving his stamp along with his distinct type. Allow us to get pleasure from this evergreen medley:
Chand mera dil (Hum Kisise Kum Nahin, 1977) R D Burman / Majrooh Sultanpuri / RD-Rafi-Kishore-Asha
In the identical yr we received doubly rewarded when that actual shock got here in Gulzar’s Kitaab. Oh what a supply! Within the 40 years which have handed since, the music world has not stopped being mesmerized.
Gulzar took a danger in together with this track within the movie. It was filmed on Ram Mohan, the senior character actor, nevertheless it did wonders. The flange instrument, the prepare sound impact, and RD’s vocals, the impression was unparalleled.
Dhanno ki aankhon mien hai raat ka surma (Kitaab, 1977) R D Burman / Gulzar
Kasme Vaade, the Ramesh Behl hit of 1978 had a enjoyable track picturised as late night time naughty group tour of a band of school boys led by Randhir Kapoor. The track has no actual format or construction.
Solely RD may have completed the marvel that he has completed to this track. Multi voice modulation, verbal paraphrasing and vocal sounds, all kind a part of this track. The Bhanumati ne kunba joda, eent yahan ki wahan ka roda, bit solely provides colors to the rendition. And naturally, the added glory of giving playback to Bhagwan Dada.
Kal kya hoga kisko pata, abhi zindagi ka le lo maza (Kasme Vaade, 1978) R D Burman / Gulshan Bawra
By now we have been nicely conscious of the RD voice. We now knew solely he may do what he did. As an instance, let me recall two wonderful deliveries. First the pure voice of R D Burman (or which was his pure voice?) in Romance (1983) which makes one marvel if he had any equals in any respect. So excellent is that this supply, with the correct quantity of ‘ras’ ‘dard’ and feeling with melody remaining at high. He may render temper songs with a lot feeling.
Yeh zindagi kuchh bhi sahi par ye mere kis kaam ki (Romance, 1980) Anand Bakshi / R D Burman
One other shock that got here to hang-out our listening ears was in Rocky (1981). Directed by Sunil Dutt who had deliberate the movie as his son Sunjay Dutt’s launch car, the movie had an electrifying dance competitors as was in vogue in lots of movies, particularly after the success of Hum Kisi Se Kum Nahin. Within the track nicely manoeuvred by Kishore and Asha, RD immediately burst in along with his a number of voice modulations. He began because the voice of Shakti Kapoor and shortly switched to playback for hero Sunjay as nicely. It squarely proved that in no school did RD lag behind any seasoned and widespread singer. In my humble opinion, he simply stole the present (purely unintentionally) from proper below the nostril of Kishore and Asha.
Aa dekhen zara kis mein kitna hai dum (Rocky, 1981) Anand Bakshi / Kishore-Asha-RD Burman
Raj N Sippy’s Satte Pe Satta (1981) with Amitabh Bachchan in a double position was a enjoyable movie that grew to become a craze with kids, particularly for its music. Every one of many eight songs within the movie was hit.
All songs had a number of singers as in any case it was the Hindi remake of the Hollywood romantic comedy Seven Brides For Seven Brothers, and all of the brothers in Satte Pe Satta sang!
Other than the star-studded solid, the staff of singers was no much less star-packed. Within the songs Zindagi mil ke bitayenge and Pariyon ka mela hai, RD caught solely to the upper pitch whereas Kishore Kumar, Bhupinder Singh and different singers sang a mixture of the high and low notes.
Zindagi mil ke bitayenge (Satta Pe Satta, 1981) Gulshan Bawra / Kishore-Bhupinder-Sapan Chakraborty-Gulshan Bawra-R D Burman
However the track that took the cake was Pyar humein kis mod pe le aaya, ke dil kare hai, hai, koi yeh bataye kya hoga. Kishore Kumar was given the bottom octave (Mandra saptak) to sing, undoubtedly a really troublesome execution. Asha, in one in every of her stage reveals had talked about that the “kharaj” Kishore da may sing is out of attain for many of the singers. To put out a correct distinction RD rendered all of the excessive octave notes in Taar saptak – delivering a high-pitched faultless rendition that matched Kishore word to notice and introduced remarkable magnificence and masti to the track. Over time the track has gained a cult place within the music world. That was quintessential RD or Pancham for us.
Pyar humein kis mod pe le aaya (Satta Pe Satta, 1981) Gulshan Bawra / Kishore-Bhupinder-Sapan Chakraborty-Gulshan Bawra-R D Burman
Lastly, I simply want to use a Bangla track solely to essentially reveal RD’s expertise and his mastery over the supply, by evaluating it with the Hindi model. The Bangla model in RD’s voce was launched earlier, lyrics by Sapan Chakraborty. For all those that don’t perceive the language, please bear with me. Take heed to the Bangla model to get the texture of RD’s voice modulation, vary and impact. Then take heed to the Hindi model.
Bolo ki ache go tomaari aankhi te (non-film Bengali track) RD Burman
The Hindi model was utilized in Hrishikesh Mukherjee’s Jurmaana (1979) within the completed voices of Lata Mangeshkar and Manna Dey as Hey sakhi radhike baawree ho gai. Perhaps it’s only me, and you could not agree, however I discover RD’s rendition extra melodious, with higher ‘ras’ and ‘bhav’. To every his personal.
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