Guest article by Dr Rajesh Deshpande continuing the series on tributes to RD Burman
(When I embarked upon celebrating 2025 as the year of RD Burman, I was aware of my limitations. The blog’s focus area was 1930s through 60s, whereas RD Burman was clearly a man of the 1970s onwards. I was deeply into the music of the earlier era, and couldn’t relate much to the later period. In other words, I didn’t know much about the music of the post-1970s. It was quite clear that I would need help from the readers more au fait with music of the 1970s. Dr Deshpande’s name came to my mind who is very up-to-date with RD Burman’s music. I was happy when he responded positively to my request whether he would be interested in writing a couple of articles on him. With this article he is debuting as one of the distinguished guest writers for Songs of Yore. This debut article gives an excellent summary of the dominant position of RD Burman in the 1970s.
By profession, Dr Deshpande is a pathologist with blood transfusion as his speciality. He is currently in-charge of Medical Affairs for Asia Pacific and International Region in Fresenius Kabi, a healthcare MNC. But, more importantly, he is a film music man. He is a regular contributor to HFGK and works closely with Har Mandir Singh ‘Hamraj’. It is my pleasure to welcome him as a guest author to SOY. – AK)
It is indeed a privilege to write a post for SoY. AKji asked me if I could write an article on RD Burman. It would be my first time to write a full non-medical article for a blog but I thought why not. I have enjoyed Hindi films and songs right from my childhood and RD Burman’s music was an integral part of my growing up in the 70s. After all, the Pancham sound was at the peak of its success in the 70s. This decade remains my favourite and I consider early 70s as part of the golden period of Hindi film music as much as the late 60s. These, and below are my personal thoughts to which others may not necessarily agree.
I am thankful to AKji for this opportunity, and I hope to meet the blog’s expectations.
I don’t consider myself a die-hard RD Burman follower, but when I check my list of 70s favourite songs, his compositions form the majority. I don’t have favourite composers, but favourite scores and songs. The name Rahul Dev Burman usually evokes strong reactions, often thought of in extremes. He is considered a trend setter, a musical wizard, a genius by some, while there are others who consider him a loud musician, an overrated talent and a plagiarist, who not only copied western and local tunes but also his own hit numbers. However, love him or hate him, one cannot deny him his rightful place in the history of Hindi film music.
He successfully managed to merge Indian classical and folk music with Western tunes, mixing the best of different genres to create unique compositions. There is no doubt that his hit songs resonated with the listeners and even his critics were enthralled with many of his masterpieces. Being the son of the legendary SD Burman, it was not easy for him to create his own identity, but he successfully managed to step out of his father’s shadow and create his unique special place.
The end of the 60s witnessed a lot of changes happening globally with industrialisation, political upheavals and cultural shifts. This was reflected in the Western cinema and even international music undewent transformation. Indians were not immune to these changes. RD Burman was at the forefront of incorporating new sounds in our music. Though he began his career as a composer in 1961, he tasted limited success in the 60s. Amidst some above-average and some mediocre numbers, were his two path-breaking and enormously successful scores: Teesri Manzil and Padosan. He continued to assist his father and is said to be the man behind Aradhana, as SD Burman was reportedly unwell at that time.
Aradhana’s landmark score is considered a milestone in the musical history of Hindi cinema and at the same time, ironically, is believed to have signalled the end of the golden era of HFM. The superstardom of Rajesh Khanna and the reincarnation of Kishore Kumar coincided with the rise of RD Burman and a new era was born. Kati Patang (1970), their first collaboration together, was a perfect start, with all the 7 songs remembered till today.
RD Burman or Pancham ushered in a new revolution of sounds, beats, percussion and rhythm, innovating and experimenting with a wide range of instruments, conventional and non-conventional. His growing career graph showcased his diverse range and his ability to create fast, peppy and upbeat tracks, simultaneously with soft, romantic and introspective numbers. Totally diverse scores of Amar Prem and Hare Rama Hare Krishna arrived around the same time, as also Parichay and Jawani Diwani releasing in the same year.
The Pancham rocket took off in 1971 and continued to soar high throughout the 70s. His fans were presented with innovative, multicultural blend of melodies and instrumentation every year. Some of his notable films year-wise are, 1971: Amar Prem, Buddha Mil Gaya, Caravan, Hare Rama Hare Krishna, Mela, Paraya Dhan; 1972: Apna Desh, Jawani Diwani, Mere Jeevan Saathi, Parichay, Rampur Ka Laxman, Seeta Aur Geeta; 1973: Aa Gale Lag Ja, Anamika, Heera Panna, Namak Haram, Yaadon Ki Baraat; 1974: Aap Ki Kasam, Ajnabee, Manoranjan; 1975: Aandhi, Dharam Karam, Khel Khel Mein, Khushboo, Sholay; 1976: Balika Badhu, Mehbooba; 1977: Hum Kisise Kum Nahin, Kinara, Kitaab, Mukti; 1978; Ghar, Kasme Vade, Shalimar; 1979: Golmaal, Manzil, Ratnadeep, The Great Gambler.
Complementing him was his wonderful musical team of assistants and arrangers. He composed memorable tunes to the lyrics of Gulzar, Anand Bakshi, Majrooh Sultanpuri, Yogesh and Gulshan Bawra. Beginning with Parichay, the RDB-Gulzar combination, in particular, have given us some immortal compositions, and merits a separate post. Kishore Kumar and Asha Bhosle were his top favourites, along with Lata Mangeshkar, whom he revered and respected. He began with Mohd. Rafi in the 60s, using him infrequently in the 70s, but was instrumental in Rafi winning a National Award and contributed to his return to the top in 1977.
His singers and lyricists won Filmfare and National Awards for his compositions, but he was sadly side-lined. He made Hindi audiences familiar with traditional folk and Bengali tunes by adapting or borrowing from these songs. At the same time, with increasing assignments, one noticed a growing trend of highs and lows. A memorable score was often followed by a mediocre one and vice versa. His choice of films or business sense was questionable at times, resulting in many flops which eclipsed some of his best compositions.
Golden era loyalists and critics have often accused him of being too loud, holding him responsible for the death of melody, which, I personally feel, is a bit unfair. One cannot overlook his classical base songs and his still-memorable soft and sensitive numbers. Talking of the 1970s, the stalwarts Naushad, OPN, SJ, C Ramchandra couldn’t navigate the new era and faded away, either losing steam or falling out with the top singers. What if RD Burman was not successful or had continued composing in the same prevalent style? In that case, it is often said, these composers would have pushed along for some more years.
But, as per me, it was time for something new and different. HFM in the late 60s was on the cusp of a change. The above-mentioned composers had already become predictable, sounding jaded and nowhere close to their brilliant scores of the 50s and early 60s. Laxmikant-Pyarelal were dominating the scene with their typical style.
Among those composers who continued to be relevant and successful, was SD Burman. It is often said that RDB passed off some of his father’s tunes as his own. This could be something internal between the father and the son. Possibly, RD Burman too contributed to SD Burman’s success in the 1970s. After all, he was often involved in the music arrangements for his father.
RD Burman’s successful trajectory tapered off in the mid-1980s, followed by his early demise in 1994. However, his legacy lives on, especially for his innovative and outstanding work in the 70s. His music continues to be enjoyed by generations born in the 1970s and beyond. His distinctive and contemporary style of music has managed to connect with people across different age groups.
True, propaganda and media coverage have played a major role in keeping him and his music in constant limelight. And, I agree, that it is often excessive. Yet the fact remains that the youngsters find his music relatable and relevant. Also, it is not only his fast, loud and peppy tracks that are celebrated, but his classical-based and soft romantic numbers are equally venerated. Online media has helped us to unearth and listen to his many forgotten gems from his obscure and flop movies.
So, going beyond the hype and the plagiarism, let us focus on his music and his songs that revolutionised the 70s. Here is an year-wise snapshot of his musical experiments and melodies, featuring some select numbers bearing the indelible RDB stamp. The treasure is too vast to be covered in one list.
1970: Films: 6
The Train was his first release of the year and the music was more successful than the film. Kis liye maine pyar kiya, O meri jaan maine kaha and Gulabi ankhen (a remix favourite) are remembered even today. His life-long association began with producer Ramesh Behl, who used RD for all his movies until his death. Kati Patang, considered the first milestone of his career, actually released in January 1971. Each of the 7 songs is worthy of mention. Ye jo mohabbat hai and Pyar diwana hota hai are my favourites. But here I am posting the song that showcases the versatility of RDB.
1. Mera naam hai Shabnam, a different type of cabaret with lines in dialogue style is an innovative masterpiece
https://www.youtube.com/watch?v=JQC85Nq7V0s&list=RDJQC85Nq7V0s&start_radio=1
1971: Films: 11, the year in which RDB simply took off.
Caravan was an enjoyable journey with eight delightful numbers covering a gamut of genres, while Buddha Mil Gaya had the romantic Raat kali ek khwab mein aayi and the frothy Bhali bhali si ek surat.
Adhikar, Mela, Laakhon Mein Ek had some notable songs but the two films that consolidated RDB’s success and supremacy were Amar Prem and Hare Ram Hare Krishna (HRHK). Incidentally, these diverse films heaped their harvest in 1972. Dum maaro dum attained an iconic status and was rightfully the topper of the 1972 Binaca Geetmala. From the sublime classic score of Amar Prem, between Chingari koi bhadke and Raina beeti jaye is too difficult a choice for me to make.
Here’s 2. I love you from HRHK, where Usha Iyer gives a stiff competition to Asha Bhosle.
https://www.youtube.com/watch?v=SLdqaeUhu3A&list=RDSLdqaeUhu3A&start_radio=1
And my favourite number from Buddha Mil Gaya, the classical 3. Aayo kahan se Ghanshyam, which comes in the film repeatedly at crucial moments
https://www.youtube.com/watch?v=-c5dkWpfO_0&list=RD-c5dkWpfO_0&start_radio=1
1972: Films: 18
The year in which one is spoilt for choice, crowded with hit movies and timeless numbers, which have stood the test of time.
Duniya mein logon ko and Rona kabhi nahin rona (Apna Desh); Dekha na haaye re and Listen to the pouring rain (Bombay to Goa); Kaali palak teri gori, Chaahe raho door and Yaari ho gayi (Do Chor); Gum hai kisi ke pyar mein (Rampur Ka Laxman); Bangle ke peechhe and Jab tak rahe (Samadhi).
Jaane ja dhoondta phir raha, Saamne ye kaun aaya, Nahin nahin abhi nahin abhi karo intezar from Jawani Diwani connected RD instantly with the youth. Seeta Aur Geeta’s tracks became popular after the movie’s success. The landmark score of Parichay comprises of Beeti na bitayi raina, an award winning timeless classic while Saare ke saare is a fun outdoor number. Mere Jeevan Saathi did not do well, but its songs have eternal appeal even today – O mere dil ke chain, Chala jaata hoon, Diwana leke aaya hai.
Posting my special favourite:
4. Musafir hun yaaron – Parichay
https://www.youtube.com/watch?v=cHLgOcsngTI&list=RDcHLgOcsngTI&start_radio=1
1973: Films: 20
A mix of everlasting, above average and mediocre tracks: Tera mujse hai pehle ka nata koi from Aa Gale Lag Ja; Panna ki tamanna hai from Heera Panna; Kiska rasta dekhe ai dil ai saudaai from Joshila; Main ek chor tum meri raani and Jab andhera hota hai (Raja Rani). Three scores stand out and have remained popular till date. Namak Haram gave us brilliant Kishore Kumar solos (Main shayar badnam, Nadiya se dariya). Yaadon Ki Baraat was one more feather in RDB’s cap, whose songs are played, discussed and remixed to this day – the eternal romantic Chura liya hai umne jo dil ko, the vibrant foot tapping Lekar hum diwana dil and the buoyant Aapke ke kamre mein koi rahta hai. Even the twin version title song has its own charm. And Anamika – with the exquisite Baahon mein chale aao, the seductive Aaj ki raat koi aane ko hai re baba, the playful Logon na maro ise and the icing on the cake, Meri bheegi bheegi si.
This song from Namak Haram is my favourite: 5. Diye jalte hain phool khilte hain
https://www.youtube.com/watch?v=G4IKtYalRW4&list=RDG4IKtYalRW4&start_radio=1
1974: Films: 18
Despite the success of Teesri Manzil, RD did not compose for any other film starring Shammi Kapoor as the hero, but he composed for two films directed by Shammi Kapoor. One was Manoranjan, where the music was in sync with the unconventional storyline. Chori chori solah singaar is an excellent sensual track by Asha Bhosle and Aaya hoon main tujhko le jaaunga is truly enjoyable. Dil se dil milne ka (Charitraheen), Kahin karti hogi wo mera intezar (from the long-delayed film Phir Kab Milogi) and O hansini (Zahreela Insan) are still heard around. Ajnabee and Aap Ki Kasam were musically most successful RDB scores and remembered for each of their songs from the year.
6. Chori chori chupke chupke – Aap Ki Kasam for its lovely sitar.
https://www.youtube.com/watch?v=FfS0b0KWTPc&list=RDFfS0b0KWTPc&start_radio=1
1975: Films: 11
Fewer films than the previous year, RDB composed music for the landmark movies, which have left indelible footprints in Hindi cinema.
Sholay’s songs grew in popularity once the film picked up. An entire generation has grown on Mehbooba mehbooba, Ye dosti hum nahin chhodenge, Jab tak hai jaan main naachungi and Holi ke din dil khil jaate hain. But it is RD’s scintillating and chilling background score which is the trademark of Sholay. Deewaar, had no place for songs, but an above-average Keh doon tumhein continues to be played even today. Khel Khel Mein’s youthful score (Ek main aur ek tu, Khullamkhulla pyar karenge hum dono, Sapna mera toot gaya) hit the bull’s eye. Ek din bik jayega (Dharam Karam – RDB’s entry into the RK camp), and Ruk jana o jana humse do baatein karke chali jana (Warrant) were other notable numbers.
The year saw the Gulzar-RDB combo at its creative best with Khushboo and Aandhi. Both of them have four songs each but each and every song is unforgettable. The qawwali in Aandhi may be a bit subpar to the three Kishore-Lata duets but is still remembered for its relevant lyrics and a picturization unique to the genre. And O manjhi re in Khushboo is matchless.
7. Tere bina zindagi se – Aandhi – for me, this is the quint essential Gulzar-RD-Kishore-Lata
https://www.youtube.com/watch?v=8-HnmVg0-O8&list=RD8-HnmVg0-O8&start_radio=1
1976: Films: 10
An year where only couple of scores stand out, the all-round one being Mehbooba. Though the film flopped, the songs stood out – Mere naina sawan bhadon, Parbat ke peechhe, Gori teri painjaniya, Chalo ri chalo ri, Bade achhe lagte hain from Balika Badhu has stood the test of time and remains the identity of Amit Kumar till date.
8. Jab tum chale jaaoge to yaad bahut aaoge – Bullet, a nice number but went unnoticed that time
https://www.youtube.com/watch?v=baaWzZXVXLU&list=RDbaaWzZXVXLU&start_radio=1
1977: Films:10
Hum Kisise Kam Naheen and Kinara are the two scores that brought RD back after a lacklustre 1976.
All the songs of both the films are well-known. Kya hua tera vada got Rafi his only National award. The qawwali Hai agar dushman added to the popularity of Rishi Kapoor. And the medley competition was one if its kind. Kinara is another milestone score from Gulzar and RDB. Besides the eternal Naam gum jayega, Ko nahin hain nahin, Ab ke na saawan barse, Ek hi khwab kai baar dekha hai maine, Meethe bol bole paayaliya, all are classics, though some of them are said to be borrowed from his father’s compositions.
Mukti had Suhani chandni raatein humein sone nahi detin by Mukesh and Chandi Sona had an enjoyable qawwali – Ek shokh haseena se. Kitaab was another Gulzar-RDB landmark, perfectly in sync to the storyline – Dhanno ki ankhon mein, Masterji ki aayi chitthi, Mere saath chale na saaya., Hari din to beeta shaam huyi, raat paar kara de.
9. Jaane kya sochkar nahin guzra – Kinara
https://www.youtube.com/watch?v=01YdQSBFCrk&list=RD01YdQSBFCrk&start_radio=1
10. Aise na mujhe tum dekho – Darling Darling
https://www.youtube.com/watch?v=EU0NH3EZE6A&list=RDEU0NH3EZE6A&start_radio=1
1978: Films: 11
Kasme Vaade had more of populist tunes, which became famous due to the film’s popularity (Kasme vaade nibhayenge hum, Mile jo kadi kadi ek zanjeer bane, Aati rahengi baharein), Same with Azaad where the average numbers Raju chal Raju apni madti mein tu and Jaan ki kasam sach kahte hain hum were heard often since the film did well. Two standout scores, again very diverse from each other – Ghar and Shalimar. Shalimar may have flopped badly but One two cha cha cha hit the popularity charts and Hum bewafa hargiz na the held its own. Personally, I prefer the title song for Asha’s rendition. Barring the average Botal se ek baat chali hai, all the other songs from Ghar stand out with the unmistakable stamp of Gulzar and RD.
11. Phir wahi raat hai khwab ki – Ghar
https://www.youtube.com/watch?v=h34dmUw_yCQ&list=RDh34dmUw_yCQ&start_radio=1
12. Mera pyar Shalimar – Shalimar
https://www.youtube.com/watch?v=SzbYBsz4t7g&list=RDSzbYBsz4t7g&start_radio=1
1979: Films: 10
Manzil’s Rimjhim gire saawan (Lata) is an eternal monsoon song, shot on real life location. Hum aur tum the saathi (Hamare Tumhare), Saawan ke jhoole pade (Jurmana), Pallo latke and Ankhiyon mein chhote chhote (Naukar) stand out. Two scores that stood out – The Great Gambler and Golmaal. Over the years, Do lafzon ki hai dil ki kahani has become synonymous with The Great Gambler but the film had some other interesting numbers as well. Two Asha Bhosle solos – Tum kitne din baad mile and O deewanon dil sambhalo have a distinct style and rhythm. And Golmaal, an evergreen score from Gulzar-RD team, Aanewala pal still retains its charm and hold even after 45 years.
13. Rimjhim gire sawan (by Kishore Kumar) – Manzil – my favourite version for the rendition
https://www.youtube.com/watch?v=JQoSSJDZxOo&list=RDJQoSSJDZxOo&start_radio=1
14. Kabhi kabhi sapna lagta hai – Ratnadeep – a beautiful song that was lost due to the film’s failure
https://www.youtube.com/watch?v=5kEFkz-BOlk&list=RD5kEFkz-BOlk&start_radio=1
Acknowledgement and Disclaimer
The songs links have been given from the YouTube only for the listening pleasure of music-lovers. This blog has no commercial interest, and makes no claim directly, or indirectly, of any copyright over these songs which rests with the respective rights owners.
{ 74 comments… read them below or add one }
Welcoming Dr. Rajesh Deshpande to the fraternity of SoY guest writers is a multi-dimensional pleasure – he brings in the view point of a professional who belongs to the profession of clinical analysis, his participation as active reader is always valuable, and now, he brings an authentic touch to the RDB’s work.
If my statement does any validation, it is very much in the selection of the songs for the present article.
A nice compilation of RDB songs from the 70s by Dr Deshpande. Well researched and succinctly written. Just missed the inclusion of one of my all time Lata -RDB favorites Chal Chalen Ae Dil from Jheel Ke Us Paar (1973). Looking forward to many more such informative articles by Dr Deshpande.
Mr Uniyal,
Welcome to Songs Of Yore and thanks a lot for your appreciation.
Dr Deshpande Ji
A nicely compiled and written article on Pancham da. I would have included some of his great songs that , unfortunately came before the period you had selected( 70’s) . For example : Kya janoon sajan hoti hai lya from Baharon Ke Sapne -1967 by Lata is a masterpiece. I do not know about the recording techniques but it is amazing he did a sort of overlapping of Lata’s voices . Even Aaja Piya Tohe Pyar doon is a classic.
Even the 1981 Harjaee had one of my favorite Lata-RDB Tere Liye Palkon Ki Jhalar bhunoon.
The national award for Kya Hua Tera wada , in my humble opinion was an insult to Rafi (!!!) -the ” great ” jury who decide such awards could have avoided that and let Rafi rest in peace in the hearts of his arrdent fans with thousands of other songs that would have deserved awards.
Sivanandamji,
I couldn’t agree with you more on Rafi – Kya hua tera vada. One requires courage to say this. Rafi had sung dozens of everlasting song since 1949 (up to 1965) for dozens of composers.
Dr Rajesh ji
A nice article and a good compilation of songs of Pancham.
For writing on post golden era songs you are probably the most deserving person and this article is a testimony of that.
Jane kya sochkar is my eternal favourite and I am glad that it finds a place in your collection.
Like is father, RDB used Mukesh rarely and in 1971 for a forgotten film Hungama there was Mukesh -Lata duet which is worth listening
Suraj se jo kiran ka nata – Anjaan
https://youtu.be/VJ-T0b1Ori0?si=OaQgpFVv-Af6T25E
However there are two points I want to make as a fan of both the Burmans ( SDB first)
1 There are so many conflicting stories about the music of Aradhana. Therefore as AK ji has always held credit should be given to the composer on Record.
2 You have said that RDB contributed to the success of his father in post 70 songs. This is debatable. During Tere mere sapne, SDB jettisoned almost all the musicians who were common in their team.
Also post 71 RDB would have hardly found time to contribute to SDB films as he was doing more than 10 films per year.
Shivanandam ji,AK ji
Just like National award for Kya hua was insult to Rafi, first filmfare for Sanam Teri Kasam was an insult of RDB.
Ashokji #1
Thanks a lot for your warm welcome and nice words of appreciation.
It means a lot coming from a stalwart and expert writer like you.
I am honoured to be a part of the esteemed guest author fraternity of SoY.
Dr Deshpande, Mr Muli, Shivanandamji,
On RDB-SDB I have to reiterate my position. They were a family, lived under a roof and were musical. Who was inspired by whom, which song was actually done by the father or the son, may be a nice story, but none of us is privy to what happened behind closed doors. Besides, there are narratives and counter-narratives. I always hold, go by the official credit.
I should also add, to my mind there was no comparison between the two -SD Burman was on a much higher planet.
I would also not like to subscribe to disparaging comments about SD Burman.
Kamalnayanji #2
Thanks a lot for your appreciation and positive feedback.
Yes, Chale Chalen Aye Dil from Jheel Ke Us Paar is another nice song from 1973.
Glad to see you mention it.
Here’s the link for the song:
https://www.youtube.com/watch?v=ChnFpomr2uA&list=RDChnFpomr2uA&start_radio=1
RDB was his creative best during the late sixties and early seventies when we could find excellent music in even not well known films like Raton Ka Raja, Goonj, Madhosh , Puraskar and so on. Each of these movies had at least one great song that was remembered for years!
Sivanandamji #4
Thanks a lot for your appreciation.
Yes, Baharon Ke Sapne is an excellent score. Apart from the two classic songs mentioned by you, I also like Chunari sambhal gori and O mere sajna o mere balma.
Harjaee (1981) is another RDB score that stood out though the film failed. Tere liye palkon ki is indeed a nice song. Kabhi palkon pe aansoo and Jeevan mein jab aise pal are also well-tuned. Those days, the disco number Tujhsa haseen dekha na kahin was heard a lot.
And I agree with you and AKji – Rafi has sung plenty of more deserving and memorable songs prior to Kya hua tera wada. Sadly, none of them were considered for the award.
Glad to go through the well researched and nicely written post by my dear friend Dr Rajesh ji.
Of course, he has chosen to highlight on the important movies and his personal favourites.
1972… omission of SEETA AUR GEETA was little surprising. Ramesh Sippy chose RDB after the super hit score of ANDAZ by SJ. All the 5 songs were excellent. The duets O saathi chal ( KK, AB ) , Koi ladki mujhe kal raat ( KK, LM ) were the most popular followed by the LM solo Haan ji haan maine sharab pee hai. But, my favourites are the 2 Manna Dey songs
…
Abhi toh haath mein jam hai.
Zindagi hai khel
Koi pass koi fail ( with AB )
Hope to see more posts by you, Rajesh ji.
Ramesh Sippy _ RDB combination continued for 4 more movies.
Rahulji #6
Thanks a lot for your appreciation and encouraging words.
I heard the Hangama song after a very long time. A good one. The only song that I remember from the film is Kachchi kali kachnar ki.
Regarding the points raised by you,
1. The composer on record, indeed, deserves the credit. Its just that in case of Aradhana, RD Burman is billed as the Associate Music Director in the credits followed by SD Burman’s name as the Music Director. For other SDB films during that period, RDB is mentioned as Assistant. Since Associate is a level higher that Assistant, so, RDB’s contribution to Aradhana would be more than that for other films. This is my interpretation.
2. I have mentioned this only as a possibility. Not confirming it as a fact.
Oh!
SAG is mentioned. I missed bcs no songs were listed.
Dr Shetty,
Seeta Aur Geeta was indeed mentioned. 1972 happens to be the year of some great songs by RD Burman. I try to maintain a limit of about 15 songs. Even if two more songs were taken from the year, there may have been better candidates.
AK ji….refer #9…good to note your comment that the composer who is officially credited is final. Just wondering why in one of your old blog on Shankar Jaikishan – Lata songs you had mentioned that ” it is generally said Raj Kapoor made music for all his films and SJ and other music directors only did the orchestration…this is strange!! In that case RK could have saved lot of money by using Sebastian & Dattaram
And what about the ” great music ” in RK films post Mera Naam Joker!!!
RK ..like MGR in Tamil films had a great ear for music and must have selected the best among the best tunes….my take ….!!!
Sivanandamji,
Exactly, I am debunking the theory of RK’s music archive. Because SJ would not have been able to create great music in non RK films. You remember many films with SJ genius – Baadal, Aurat, Poonam, Halaku, Chori Chori, Anari and so on.
KB #11
Thanks for commenting.
Indeed there were many lesser-known and unsuccessful RDB movies which had one or two nice songs, that were remembered beyond the films.
D. Shetty #13, 16
Thanks a lot for your appreciation and encouragement, it does mean a lot.
I have tried to mention most of his major movies, but there would always be some missing.
I have mentioned Seeta aur Geeta in the 1972 category, though not the songs. That was one of his best years. I feel, SAG songs were less popular compared some of the other RDB scores that year
I like Hawa ke saath saath for its rendition by the singers and the picturization and also Abhi to haath mein jaam hai
Posting the links:
https://www.youtube.com/watch?v=0kgWc3Lkqvo&list=RD0kgWc3Lkqvo&start_radio=1
https://www.youtube.com/watch?v=ZVaxo2VK_u4&list=RDZVaxo2VK_u4&start_radio=1
#14
All movies beginning with S – After Seeta aur Geeta, they did Sholay, Shaan, Shakti and Saagar
This article is truly excellent. I’d be pleased to offer a few more, lesser-known R.D. Burman songs from the 1970s, starting with two particularly philosophical compositions voiced by Mohammed Rafi:
-Jab Ek Qaza Se Guzro To
https://www.youtube.com/watch?v=h3XS5boyWaI
-Pyar Hai Ek Nishan Kadmon Ka
https://www.youtube.com/watch?v=4y1tTa9VGvk
Next, I wish to present a Mukesh-Asha duet. It may not be among the most popular, but it’s a delightful one.
-Nateeja Humari Mohabbat Ka
https://www.youtube.com/watch?v=BbAr5lHKYTg
Now presenting the only collaboration between R.D. Burman and Hemant Kumar:
-Aajaa Mere Pyar Aajaa
https://www.youtube.com/watch?v=IpZTmyoueJU
Let’s dive into another lesser-known Rafi-R.D. Burman track:
-Aey Jan-e-wafa, aisa bhi kya
https://www.youtube.com/watch?v=-JB1vuQZZmE
And here’s a melodious Manna-Lata duet you might not have heard very often:
-Aey sakhi Radhike, Baawri ho gayi
https://www.youtube.com/watch?v=tgM1Q9gzn2c
Might be dropping more songs soon. Cheers!
Kapil Ji,
Thanks for sharing some rare , unheard songs, especially the RDB-Rafi ones.
The song Jab Ek Qaza Se Guzro To from the film Devata & Pyar Hai Ek Nishan Kadmon Ka from the film Mukti , I am hearing for the first time.
Chand cupake laya hoon is the one always played by our good old Vividh Bharati and similarly Suhani chandini raatein hume sone from Mukti.
I am giving you a return gift(1) –while going through the comments in the youtube link for the song Pyar Hai Ek Nishan Kadmon Ka, i ame to know there was a Bengali version of the same tune sung by Pancham himself: here is the link
https://www.youtube.com/watch?v=pKBCaSCdJhg&list=RDpKBCaSCdJhg&start_radio=1
I really wish Pancham sang at least few songs in Hindi like this- he sounds so good in his Bengali songs-whatever I heard so far!
Kapilji #22
Thanks a lot for your appreciation and for adding some nice but lesser heard songs.
Specially glad to see Pyar hai ek nishan kadmon ka from Mukti and Ae sakhi radhike from Jurmana. I like both.
Suhani chandni raatein is the most remembered song from Mukti. During the film’s release Lalla lalla lori was also heard a lot, though personally, I am not too fond of it. Interestingly, Mukesh sang for Shashi K while KK sang for Sanjeev Kumar.
Pyar hai ek nishan kadmon ka comes during the credits and at the end, and stays with you.
Besides this one, I like Dil sajan jalta hai, for Asha’s rendition and the cascading sound effect used by RDB.
https://www.youtube.com/watch?v=8shWjra8Bx0&list=RD8shWjra8Bx0&start_radio=1
The link of Aye jaan e wafa aisa bhi kya was not opening to the song. I am adding another link:
https://www.youtube.com/watch?v=nEQJ3xc-gWk&list=RDnEQJ3xc-gWk&start_radio=1
Do come back with more, as mentioned.
O Hansini meri Hansini…
ZEHREELA INSAAN , 1974
was and is very popular.
All the songs of the original Kannada movie NAGARA HAAVU, 1972 , were super hit and are still popular. Whereas ZI had only this song that became popular.
Baare baare chendada cheluvina thare..is the corresponding song in Kannada.
PB Srinivas, Vijaybhaskar.
Sivanandamji, Kapilji,
The song Ae sakhi radhike bawri go gayi (Jurmana) also had a Bengali version sung by RD Burman himself – Bolo ki aachhe go tomari
https://www.youtube.com/watch?v=oGr5rlXmEXk&list=RDoGr5rlXmEXk&start_radio=1
Dr. Shetty #25
I have mentioned O Hansini (Zahreela Insan) in the 1974 category.
But I was not aware of the corresponding Kannada song and the name of the original Kannada movie.
Thanks a lot for mentioning it.
Zahreela Insan also had a poignant song by Lata – Suno kahani jab main huyi
Namaste Sivanandam Ji. Thank you for the song and your thoughtful comments. While I generally have strong reservations regarding R.D. Burman’s vocal abilities, I can’t deny the captivating melody of this track. It’s interesting to note, as an RD enthusiast once told me, that RD himself reportedly called this Bengali song his absolute favorite in an interview.
Perhaps you’d also enjoy this selection of less frequently heard — and rather overlooked — R.D. Burman duets featuring Rafi on vocals:
-Nagma Humara Gayega Ye Zamana
https://www.youtube.com/watch?v=kLg9fWvtchA
-Hum Jab Ek Saath Hain
https://www.youtube.com/watch?v=JOp9QAKRZEg
-Mohabbat Mein Aji Kya
https://www.youtube.com/watch?v=jzDmsfHSkkw
Namaste Dr. Rajesh Deshpande Ji. Thank you for correcting the link. Since you brought up Mukti, it’s fascinating how the film is so beautifully bookended by music —commencing and concluding with that melodious Rafi song—as you’ve already noted.
Besides that exquisite Rafi song, what really pops off in Mukti is its dance music—an impressive blend of Jazz and opera. It’s quite astonishing that, despite R.D. Burman’s Western-influenced works being so celebrated in the days of Radio FM, this specific musical piece has been so extensively overlooked. I’m pleased to share a link below:
-Mukti Dance Music
https://www.youtube.com/watch?v=DzOfhZsh05Y
This now brings to mind another Western-inspired piece by R.D. Burman from Deewaar, which I consider to be not only the finest song on the album but also the most aptly utilized given the film’s situation. The other songs, in contrast, seem a little out of place:
-I am falling in love with a stranger
https://www.youtube.com/watch?v=lLqk-TDEKTc
My thoughts now turn to Sholay’s Western theme. While Sholay itself falls somewhat flat when compared to the cinematic masterpieces of Hollywood’s great Westerns—and on a related note, R.D. Burman’s “Mehbooba O Mehbooba” too simply doesn’t hold a candle to Demis Roussos’ “Say You Love Me”—the theme music of Sholay can hang with any background score from an Ennio Morricone Western, easily. It seems Team R.D. also acknowledged the preeminence of Sholay’s theme music, as evidenced by their frequent stage performances of this particular piece.
-Here is Dilip Kumar introducing the theme music of Sholay:
https://www.youtube.com/watch?v=59y8wrxvPLM
Kapilji #29
Thanks a lot for sharing these interesting and informative thoughts.
I had not seen this clip featuring Dilip Kumar and Sanjay Gandhi with the the Sholay theme music being played.
And yes, this song from Deewar is well-placed in the film, coming at an interesting moment and its gets bypassed while talking about the film’s songs.
I feel now its time to revisit Mukti if only to catch up on its music.
Dr Rajesh ji, Kapil ji
As for RDB- Rafi songs in early seventies Big B ( when he was yet to become big)
Sang this on screen
Koi Aur Duniya mein – Pyar ki Kahani -AB
https://youtu.be/vFS8qkwEUuw?si=NznDfNF1iXgdEE8M
And in late seventies RDB rehashed the same tune for Sanjay khan in Abdullah
Maine pucha chand se – AB
https://youtu.be/i-H_UQyKVn8?si=0p7gOT5x4TFbc_EG
Main pucha is ironically more famous than the original.
The 2 versions Rim zim gire.
..MANZIL
overshadowed 2 other lovely songs:
Tum ho mere dil ki dhadkan…KK
Man mera chahe…AB.
Chand chura ke laya hoon…
DEVTA
was a popular song, pretty well picturised.
Dr.Deshpande,
It is wonderful to see your post on SoY! The post is indeed very well researched and penned! I also see that both the doctors (Dr.Shetty and you) are firing (musical) salvos at each other! Probably a clash of Titans!!
Two music directors I consider to be like Dr. Jekyll and Mr. Hyde – one is R.D.Burman and the other Bappi Lahiri. Their music traverses two extreme ends. There is the soulful as well as the loud.
Many of R.D.Burman’s good songs died an anonymous death because the films did badly.
Gomti Ke Kinaare (1972) – released posthumously after Meena Kumari’s death (which was thus her last film) had some wonderful songs which are not very well- known.
1) jeene ka din mar jaane ka mausam hai
2) aao aao jaan-e-jahaan
3) aaj to meri hasi udayi (mujra)
Anita
RDB ‘s qawwalis are few in number compared to his contemporary composers.
NEHLE PE DEHLA, 1976, has
Sun le tu binti mere
Haji Ali Haji Ali
Ajiz Nazan Qawwal.
Is this the only time he has employed a professional qawwal?
Doli mein sawaar
Sajni ka pyar…
BALIKA BADHU, 1976
is one of the rare soft RDB songs.
Dil machal raha hai
Rang badal raha hai..
KHALIFA
was frequently heard on the airwaves.
Rahulji #31
Thanks for posting both the songs.
The first one is a nice song but yes, did not become popular. I believe, it has got more attention over the years as the original of Maine puchha chand se.
Even I was more familiar with the other Rafi song from Pyar Ki Kahani – Ek pate ki baat sunaoon. I remember watching this one on Chhaya geet.
Sharing my thoughts:
For me, the lyrics and the picturization do not stand out. Possibly it did not get enough radio time for people to hear and appreciate it, coupled with the film not doing well and the KK-Rajesh K wave all over.
Besides some difference in music arrangement, Maine puchha chand se has catchy lyrics and a lively picturization where the hero praises the heroine in her presence and not in imagination. I believe, it is also the first Rafi solo hit after his demise.
Dr Rajesh,
Joining a bit late
Let me first congratulate you for this excellent post. Insightful and well researched.
Concise and comprehensive presentation. I think to select just one it two songs per year must have been challenging. I couldn’t have done it surely.
As I always say, my knowledge of the 70s is very limited. And about R D Burman songs, it’s still more limited. I am not aware of a few songs and films.
For kitaab, I think a mention of Rajkumari’s soulful and heart touching song could have been added.
And, for me the 70s start with 1971 and end with 1980. But I think that’s a matter of personal choice.
Congratulations once again and looking frwd to more guest posts by you on SoY
All the best,!
Anup
🙂
Dr. Shetty #32
Thanks for mentioning the other two songs from Manzil. Both are nice.
I like Tum ho mere dil ki dhadkan more.
Here are the links to the two:
https://www.youtube.com/watch?v=850bZDi_MD0&list=RD850bZDi_MD0&start_radio=1
https://www.youtube.com/watch?v=NJOv9miR0Os&list=RDNJOv9miR0Os&start_radio=1
Chand churake laya hoon (Devta) has interesting lyrics by Gulzar and an enjoyable picturization. Another duet, Gulmohar gar tumhara naam hota is good too.
https://www.youtube.com/watch?v=PUmZZH2aVrk&list=RDPUmZZH2aVrk&start_radio=1
https://www.youtube.com/watch?v=0qo297_-IBo&list=RD0qo297_-IBo&start_radio=1
Anitaji #33
Thanks a lot for your positive feedback and nice words of appreciation. Glad you liked it.
Dr. Shetty has always been a great support and his recall is wonderful.
Your comment about the Dr. Jekyll-Mr. Hyde persona of RDB and Bappi Lahiri is interesting.
RD Burman has a long list of films to his credit, that failed at the box-office and so, unfortunately, many of his different as well as soulful songs were hardly heard. Though not in his lifetime, at least many of these songs are now being heard and appreciated thanks to YT and internet.
Gomti Ke Kinare was sadly ignored and so the songs got drowned. Unlike Pakeezah, the actual last release had no takers.
Aaj to meri hasi udayi is a poignant mujra by Lata
https://www.youtube.com/watch?v=5GHkt9K8toM&list=RD5GHkt9K8toM&start_radio=1
Aao aao jaan-e-jahaan is said to be based on Old Turkey Buzzard, the theme track of McKenna’s Gold.
https://www.youtube.com/watch?v=ulWr8Pvyh-s&list=RDulWr8Pvyh-s&start_radio=1
What a beautifully nostalgic and well-researched piece! A real treat for any music lover!
Absolutely delighted at the inclusion of my all time favourite “Tere Bina Zindagi Se” and of course “Rimjhim Gire Sawan”.
Excited to read more articles.
Thank you!
Sanika,
Welcome to SOY and thanks a lot for your appreciation.
Anita ji,
Dr Rajesh Deshpande has hardly missed any significant details. His knowledge and research is thorough. A few songs mentioned by me were actually already there.
Still, clash of Titans is LOL. Thank you.
One immensely popular song Dr Rajesh seems to have missed is the title song of
BENAAM
by Narendra Chanchal.
I like Chainya re chainya re…
THE TRAIN.
SAAS BHI KABHI BAHU THI, 1970
had Suman Kalyanpur ( the only time for RDB? ) and Usha Mangeshkar ( in DO PHOOL, later. Any more? )
RATON KA RAJA, 1970
had Shamshad Begum ( with Mahendra Kapoor)… the only time? … singing a parody song
Pyar kiya toh darna kya?
RDB hasn’t given many parodies, I think.
While we know
Ek chatur naar …
PADOSAN
was originally by Ashok Kumar,
JHOOLA, 1941
we seem not to have noticed that
Kaga re jaa re jaa re
was from
Chanda re , jaa re jaa re
ZIDDI, 1948, Lata.
The title song of RKR by Rafi was popular.
Incidentally, the hero Dhiraj Kumar passed away a few days ago.
KITAB, 1977.
Hari din toh beeta..
Rajkumari ‘s only time with RDB.
An unusual, unexpected combination.
Dr. Shetty #34
Thanks for mentioning these songs, especially the qawwali by Aziz Nazan.
I was only remembering the title song and Sawan ka mahina aa gaya from Nehle Pe Dehla
Here’s the link to the qawwali:
https://www.youtube.com/watch?v=5K6WPXUlvWQ&list=RD5K6WPXUlvWQ&start_radio=1
RDB has fewer qawwalis to his name and interestingly, many of them have been sung by Rafi
Dr. Anup #36
Thanks a lot for your nice words of appreciation and encouraging feedback. Does mean a lot.
Choosing the songs was not easy as I wanted to include my favourites covering the popular ones as well as the lesser heard ones. The list was long but AKji helped in pruning and restricting the number of songs.
I remember that you have done a post on RD Burman’s songs sung by Rafi. The decade categorization 1970 to 1979 is my choice, I do believe that 1970 was the year that RDB took off.
I have mentioned Kitaab and Rajkumari’s song Hari din to beeta in the 1977 category, though did not mention the singer.
Here’s the song:
https://www.youtube.com/watch?v=F3c6tmbxB6g&list=RDF3c6tmbxB6g&start_radio=1
Nitin Mukesh for RDB.
Tu jahan mile mujhe…
DOOSRI SITA, 1974.
Sulakshana Pandit, in spite of being Rani of
RAAJA, 1975
had to sing in the voices of Lata and Asha. Has she sung any song for RDB?
Mehmood sings a duet with Rafi in
MAZAAQ, 1975
Pagal zamane mein
Is pagalkhane mein…
Of course, in BHOOT BANGLA and PADOSAN we see him work with RDB .
I realise Shamshad Begum has a duet with Rafi in RDB’s debut
CHOTE NAWAB.
Sanika #39
Thanks a lot for your nice and encouraging words of appreciation and positive feedback.
I am glad that you found your all-time favourite songs included in the post.
KINARA, 1977.
Hema Malini mouths a short dialogue ( Will you shut up? ) and hums along with Bhupendra in
Ek hi khwab kai baar dekha hai.
Girish sings a Tarana and
Pankaj Mitra , Guru Vandana for Hema Malini ‘s dances.
Dr. Shetty #41
Oh! I missed mentioning Main benaam ho gaya from Benaam (1974). It was vey popular and I like it too. This is the only song Narendra Chanchal sang under RDB. Really happy that you added it.
Here is the link:
https://www.youtube.com/watch?v=R-DOKNY1GXI&list=RDR-DOKNY1GXI&start_radio=1
# 42
Thanks for these additions.
As mentioned to Anup, I have listed Hari din to beeta from Kitaab under 1977. I have added the link of the song #44
Another parody by RDB that I could recollect is from Waris (1969) – Chahe koi mujhe bhoot kaho
It includes parody of RDB’s Mere samnewali khidki, Aaja aaja main hoon,
https://www.youtube.com/watch?v=xv23CjwUSAU&list=RDxv23CjwUSAU&start_radio=1
Dr Pradeep ji
Suman kalyanpur sang for RDB in his third film aptly titled Teesara Kaun.
Meri sakhiya bihai gayi saari
I remember at least two other songs rendered by Usha Mangeshkar for RDB ( not solos, though)
Do pal jo Teri aankho se – Baharo ke Sapane – with Asha
Dariya me jahaj – Shaan – with Rafi, KK, and Asha.
You have mentioned O hansini from Jehreela Insan. There was a less popular but a delightful duet from this film
Mere dil se do Nain- Asha and Shailendra Sing
https://youtu.be/2_EvgtRauKc?si=sEobx6b1Vbuc3vVG
Dr. Shetty # 45
Offhand, cannot recollect any other song sung by Nitin Mukesh for RDB.
Possibly, this is the only song they did together.
There is an Asha version of this song too.
Din ja rahe hai by Lata is a poignant song.
Here is the link of NM singing:
https://www.youtube.com/watch?v=KUTV2BRG7WY&list=RDKUTV2BRG7WY&start_radio=1
Even in Bundalbaaz (1976) RDB did not allow Sulakshana Pandit to sing for herself. The film has a reasonably nice Rafi-Lata song – Nagma hamara gayega ye zamana
https://www.youtube.com/watch?v=l6QYbqzHKMA&list=RDl6QYbqzHKMA&start_radio=1
# 47
I have listed Ek hi khwab while mentioning Kinara under 1977
Here is the song:
https://www.youtube.com/watch?v=9xsiYMX24LY&list=RD9xsiYMX24LY&start_radio=1
Dr. Shetty, Rahulji,
Two more songs of Usha M that I can recollect:
Dulhan maike chali – Manoranjan (1974), where she joins elder sisters Lata and Asha. A fun song in a police van.
https://www.youtube.com/watch?v=AOfFh0e6DvQ&list=RDAOfFh0e6DvQ&start_radio=1
And with Asha for Dhak dhak jiya kare – Joshilay (1989)
Dr Deshpande,
I am enjoying the three-way discussion between the Masters of RD Burman. I usually do not speculate ‘what if’, but can’t help mentioning while listening to Ek hi khwab, that it would have sounded better in the voice of Rafi as it was picturised on Dharmendra.
Rajesh Deshpande ji,
One more UM, AB.
Sooni re sajeriya Sajan bin tere…
NAMAK HARAAM.
I like the MANORANJAN songs, especially
Goyake chunanche.
Very eager to watch the movie. But, don’t think it is available on any video sharing platform.
Seem to be more.
UM_ LM.
Baby tu choti hai…
PYAR KI KAHANI.
And,
UM_ LM.
Koi mar jaaye….
DEEWAR.
Never heard this, though!
Excluded from the movie, perhaps?
Looks like it is out of place in this movie!
And,
We both missed the popular
Janoo meri Jaan….
SHAAN.
One of the songs where UM sounds very nasal.
Kis kaaran Kamini sharmaye…
UM_ LM.
CHANDAN KA PALNA.
( I was surprised at first bcs I read it as Kameeni!!! )
Tha tha theeyo…
UM_ Manna Dey.
PATI PATNI.
Almost a dozen! I wouldn’t have thought so.
Only SDB_ UM is the PHAGUN Meera bhajan Mere toh Giridhar Gopal?
Unusual choice when Didi is very much around!
Dr Shetty,
Interesting misreading it as किस कारण कमीनी शरमाये. This line (the one in the song) is from Jayshankar Prasad’s landmark epic ‘Kaamaayani’ from Chinta Sarg. He has used in a complex philosophical sense. Beyond the scope of this blog to discuss it. It belongs to the early 20th century. This has also been used in a romantic sense by Vidyapati, which is the flavour of the song.
AKji #52
Yes, there was been a stimulating and enjoyable interaction and exchange of songs, views and information.
I am specially grateful to my senior Dr. Pradeep Shetty for adding a bountiful harvest of songs and adding the dimension of singers used sparingly by RDB.
Also thankful to Rahulji and Kapilji for posting many more to the list.
Like you, I am not much into ‘What if’ but Ek hi khwab in Rafi’s voice is an interesting thought, Rafí’s voice always suited Dharmendra well.
Bhupinder was the main singer here for both the heroes with only one song for KK. In Meethe bol bole, we have Jeetendra as well as Dr. Shriram Lagu lip syncing to Bhupinder.
Dr Pradeep ji
It seems that koi mar jaye was added as an afterthought (aybe distributors demand)
When I saw the movie in its first run it was not there but in the second and subsequent runs it was included. It is filmed on Aruna Irani and as you say it was crammed in somehow.
And here is one more IM duet
Pyari pyari suratwale- Khote Sikke – Majrooh – Asha and UM
https://youtu.be/XxNBEXfyFsc?si=Fuzto7sWcTElw6Ur
Dr Rajesh Ji
Thanks for your appreciation.
Danny has the distinction of singing for both the burmans. He rendered Mera naam aao ( Ye gulistan hamara) for SDB and the following for RDB ( as a duet with Asha)
Sun sun Kasam se – Kala Sona – Majrooh
https://youtu.be/icQpqBB005Q?si=mq3MZBl0KC6lW-eO
And though it is not within the framework of this article, I will mention the following all male triad from Pati Patni
Meri patni mujhe satati hai
The singers credited are Manna dey, Mehmood and Surendra
Is Surendra the same person who was actor / singer from the vintage era?
It is intriguing why RDB used his voice in this song.
Rahul ji,
Thank you for the information.
Yes, absolutely out of place in DEEWAAR.
Even
Keh doon tumhe…
wasn’t needed.
But, I am sure most of us like to watch cute Shashi Baba singing and dancing.
Aajaa mere pyar aajaa…
HEERALAL PANNALAL, 1978
Hemant Kumar and Jayashree Shivaram.
Hemant Da’s only song for RDB?
Dr. Shetty #53
My favourite from Manoranjan is Aaya hoon main tujhko le jaaonga but Goyake chunanche is indeed enjoyable
Here is the link:
https://www.youtube.com/watch?v=eIUTxNMHnSA&list=RDeIUTxNMHnSA
I have the movie in my collection, though haven’t played it since a long time. Will check and let you know.
Dr. Shetty #54, Rahulji #59
Agree with both that Koi mar jaaye was unnecessary and even I had read that it was insisted by the financers
This song (qawwali cum mujra) is sung by Asha Bhosle alone, there is no Usha M here.
Sharing the link:
https://www.youtube.com/watch?v=35G0r6PdaOw&list=RD35G0r6PdaOw
Dr. Shetty #55
Agree, didn’t recollect this one.
Janoo meri jaan from Shaan must be one of UM’s most popular songs under RDB though both she and Asha sing only few lines at the end.
#56
Thanks for these additions.
One more song that I could recollect is a duet with Suresh Wadkar – Yaar ko salaam pyar ko salaam – Yeh Desh (1984)
Dr. Shetty #55
Just heard the song – The female singer of Tha tha theeyo (Pati Patni) with Manna Dey is Asha Bhosle and not Usha M
# 62
Aaja mere pyar aaja was posted by Kapilji earlier.
The second version was by Asha and RDB
https://www.youtube.com/watch?v=iqpjFf8pq2M&list=RDiqpjFf8pq2M
Rahulji #60
Sun sun kasam se is a nice and popular duet from Kala Sona
I like Koi aaya aane bhi de by Asha. It is good example of innovation by RD using an excellent dual sound effect. It was in my original list but was omitted to restrict the number of songs.
Posting it here:
https://www.youtube.com/watch?v=m2aGZ_F3dYs&list=RDm2aGZ_F3dYs
And regarding the Pati Patni song, possibly it is the same singer Surendra. Maybe, he wanted to use an older voice to playback for Om Prakash.
Namaste Rahul Ji. Concerning your post #31, it’s worth sharing that many years ago, within certain S.D. Burman circles, whispers circulated suggesting R.D. Burman may have drawn the tune for “Koi Aur Duniya Mein” from his father’s unreleased compositions. I must admit, I am uncertain as to the veracity of these claims, but I appreciate you bringing the song to attention regardless.
Regarding Dr. Shetty’s query, it is indeed worth noting that another Hemant Kumar song exists under the baton of R.D. Burman. But heads up, it’s a trio jam: Kishore, Hemant, and Asha all on it. Check it:
-Masti Men Baithke Lagao
https://www.youtube.com/watch?v=vvizqMcgy5U
Now, given the widespread acclaim for R.D. Burman’s qawwalis with Mohammed Rafi, I shall instead highlight a lesser-known Kishore Kumar and Manna Dey qawwali, also composed by R.D. Burman:
-Is Ishq Mein Are
https://www.youtube.com/watch?v=zS5ExLFmm8A
Kapilji #68
Thanks for posting the lesser-known songs, especially the second Hemant Kumar number.
Interestingly, both the Hemant Kumar-RDB songs came in 1978.
Mr. Romeo and Chor Ho To Aisa flopped, even their songs did not leave any impact. I only remember the Asha solo Gusse mein tan ke from Choe Ho To Aisa, which used to be heard on radio that time.
For me, Mr. Romeo is a mediocre score.. None of the songs stayed with me after watching the film. Bit surprising considering RDB was in full form that time.
Dr Deshpande,
Sorry for being late. Welcome to the list of guest authors. You have brought in a fresh style of writing and have done justice to the subject of the summary of RDB songs for the 70s. To persons like me it is clear how much effort was needed in writing that summary. About the selection of songs I can only say that best of his songs should have been listed as the special kind of songs were covered by Vaishnavji. But song selection is your prerogative.
In continuation of the rare songs posted by other friends, I post here the only song RDB gave to Vani Jairam ‘zindagi mein aap aaye’ from Chhalia.
https://www.youtube.com/watch?v=4ywXUz86PPA
Dr Shetty mentioned the Nitin Mukesh solo from Doosri Seeta. The same year he had another song – a triad – in film Trimoorti in which Sanjay, Rakesh Roshan and Asrani praise the mother. Nitin Mukesh lent his voice to Asrani. The other two singers in the song ‘achhi achhi pyari pyari maa’ are Kishore Kumar and Bhupendra.
https://www.youtube.com/watch?v=qcDtFkiCYk0
Dr Deshpande,
Now I would give my views on some other points you have raised in your article.
You named 4 composers and said they had faded away and that they had become predictable, jaded etc. even in the late 60s. You exempted SDB from this. You said
“What if RD Burman was not successful or had continued composing in the same prevalent style? In that case, it is often said, these composers would have pushed along for some more years.”
The above quote means RDB was everything in what happened in the 70s. The quote also interprets the prevalent style of the named composers in negative terms. It means there was some wrestling bout between the two styles and RDB won. And if so was SDB following the new style of RDB to remain successful and relevant. What happened ultimately to RDB’s style. There came a person named Bappi Lahiri who beat him in his own game. I have not studied his career in detail, but he came in 1973 and got prominence in his 4th film Zakhmee in 1975 and after that he got 34 films in the next 5 years. Soon RDB team was accusing him of stealing his tunes. From 1981-85 RDB scored 88 films while Bappi scored 96. He perhaps ended up doing more films than RDB. In the end RDB supporters had to fall back upon work done by him prior to 1973 under influence of SDB for a place in the sun for him. You said the 4 named composers had become predictable. I think there was no other composer more predictable than RDB. You were sure that 92 per cent of his songs for females would have either Lata or Asha. More than two-thirds of his male songs were for Kishore Kumar or himself.
Now I would say something about the 4 composers. Naushad had started giving music in limited films from 1951 onwards. He gave music in just 24 films in 20 years upto 1970. So how he faded away. CR had lost incentive ever since Lata stopped singing for him. This is a well known fact. Similarly, OPN followed the same fate after Asha deserted him. After 1973 his next film came in 1978. Was he himself not composing or the power of RDB’s composing had snatched all films from him. As you work so closely with HFGK, you must be knowing these facts. SJ gave music to 110 films in the 20 years from 1951 to 70. In the next 10 years they did 50 films. If we take the period you took from 1970 to 79, they did 57 films in 10 years. Where is the loss in numbers. It is a well known fact that there was a great bond between Shankar, Jaikishan, Hasrat Jaipuri, Shailendra and Raj Kapoor. Two of the team died and after death of Jaikishan Raj Kapoor deserted Shankar. I think this broke his heart and he was doing music half heartedly and most probably he was completing pending engagements. So where is the RDB effect on these composers.
In my comments on the book review of RDB biography, I had mentioned the cartel between LP, KA, RDB and SDB and also argued that this harmed hfm the most as self-respecting composers had to either stop composing or record with low quality studios. Look at their numbers. LP did 170 films, KA did 113, RDB did 133 films. Even SDB who had done just 17 films in the previous decade from 1961-70, signed for 20 films in the first 4 years of the next decade. So why was he so active again. The reason was that the father-son duo had to pay 1/3rd of the cartel money.
There are a number of things on which I have different views, but I would just say a few words about SDB-RDB relationship. I have written in detail in reply to Kapil in the Ravindra Kelkar article on OPN about the Asha transition, about how SDB made RDB. There is no point in repeating that here, those interested can read it there. I would only say something about Aradhana. I had written in detail on this subject long ago on SOY, but some of the present readers were not there at that time. When Aradhana came there was never any doubt about who gave its music. The first claims made about Aradhana or any of his tunes used by SDB were in 1984, about a decade after SDB’s death. Even then the only claim was about ‘roop tera mastana’ and not the whole score. It was claimed that this song was recorded by RDB because SDB was not well. It was also claimed that though the tune was composed by SDB, RDB made some changes in the orchestra. I had referred to a video interview of Manohari Singh who said SDB not only composed the song but recorded it himself and he had no health issues.
I think we should focus only on his own achievements assuming he gave music to his films himself and stop making tall claims about other composers or what he did for his father.
Hansji #70
Thanks a lot for your comment and words of appreciation. I am glad to receive positive feedback from a stalwart like you.
Regarding the songs selection, my objective was to post my favourite different and lesser heard songs as well as some of the well-known ones. The initial list was quite long over 20 songs, so some songs had to be omitted.
Thanks for adding one more song by Nitin Mukesh and also for posting the solitary song that RDB gave to Vani Jairam, a duet with Mukesh.
Just like the films themselves, the music of Chhalia (1973) and Trimurti (1974) did not make much impact, though I like the Rafi solo from Chhalia.
I am wondering what made RDB choose Vani for just one song, when other songs for the film had been sung by Asha and Lata. Its not as if only Vani could do justice to the song. Possibly, the two sisters were not available for this one.
Hansji #71
Thanks for your detailed comment.
I respect your views and your points are well-taken. I would consider this as another opinion or perspective to what I have written.
I have already mentioned at the beginning of the post that these are my personal thoughts and others may not necessarily agree with them
I don’t think I have made any tall claims nor have I said that these are the actual facts.
I have shared my individual thoughts here, raised some possibilities through What if, possibly and have mentioned what is said to be. (in print and online media).
I have my own views on the late 60s music, the changing scenario and the impact of RDB. I understand that you have a different viewpoint. Possibly my comments on the legendary composers and their music in 70s gave a different interpretation.
Regarding my view on Aradhana, I have already mentioned in comment #15. RDB was mentioned in the credits as Associate Music Director, unlike in other SDB films of that period, where he was mentioned as an Assistant. There must have been some significant contribution from him for the score to be officially credited as Assoc. MD.
Hi Hans. Mind if I jump in here, even though your post is for Dr. Deshpande?
Could it be that S.D. Burman started that ‘cartel’ thing you’re talking about as his way of getting payback for the raw deal he got from the industry? After all, he was unjustly overlooked for two well-deserved Filmfare awards for his work on “Meri Surat Teri Aankhen” and “Guide.”
Seriously, forget everything else—the song “Wahan Kaun Hai Tera” by itself should’ve won him something. That song is less of a song and more of a mini-Upanishad. Someone who truly comprehends its essence is likely on a fast track to spiritual enlightenment.
Besides that, everybody knows what happened when he got sick: pretty much everyone bailed on him except for Dev Anand, and his projects were swiped and given to other composers. That Manna Dey interview also comes to mind, where he recounted how S.D. Burman wept with one eye—a bandage covering the other—upon hearing he had lost the award. He must’ve been super salty about all that stuff, which may have led him to assume the role of the “big daddy” of that cartel.
Nonetheless, I find your portrayal of S.D. Burman as a shrewd and powerful figure quite refreshing. It brings to mind the Orkut days when a popular notion—championed by the co-author of R.D. Burman: The Man, The Music, Aniruddha Bhattacharjee—was that S.D. Burman was a weak music director and a “butt of jokes(sic)” whose musical style was overly dependent on Rabindra Sangeet. This author even went so far as to claim that S.D. Burman’s music didn’t hit its stride until his son got involved. It’s nuts how many people on Orkut bought into his whole spiel against S.D. Burman. Crazy to think that the same guy who was bashing S.D. Burman later did a complete 180 and co-authored a whole book on S.D. Burman—perhaps a new perspective was gained. This background on the Orkut era explains why I find it gratifying to see your perspective completely shut down that weak theory and give us a more nuanced look at the maestro.
Bottom line, S.D. Burman was never a pushover and never let anyone else pull his strings. In fact, he was the one pulling lots of strings—a straight-up mastermind and a legend.