• July 19, 2025
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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 was fond of Hindi film songs right from my childhood and RD Burman songs had been part of my growing up in the 70s. After all, the Pancham sound was heard all over the 70s with resounding success. This decade remains my favourite decade and I consider early 70s as part of the golden period of Hindi film music as much as the late 60s.

I am thankful to AKji for this opportunity. The thoughts shared below are my individual thoughts, you may not necessarily agree. I won’t call RD Burman as my favourite composer but when I check my list of 70s favourite songs, his compositions form the majority. For me, the score and the songs matter more. 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 tunes but also his own hit numbers. However, love him or hate him, one cannot deny him his rightful place in the history of hind 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 saw a lot of changes happening globally with industrialization, political upheavals and cultural shifts. This was reflected in the Western cinema and even international music was undergoing transformation. Indians were increasingly exposed to the changing western music and RD Burman was in the forefront adapting and incorporating those tunes and 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 the two path-breaking and enormously successful scores that he composed for Teesri Manzil and Padosan. He continued to assist his father and is said to be the man behind Aradhana, as SD Burman was unwell those days.

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 turning out to be memorable numbers.

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 come around the same time, as also Parichay and Jawani Diwani are heard 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 the notable films per year included 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, along with his lyricists: Gulzar, Anand Bakshi, Majrooh Sultanpuri, Yogesh and Gulshan Bawra. The RDB-Gulzar combination, in particular, have given us some immortal compositions. Kishore Kumar and Asha Bhosle were his top favourites, along with Lata Mangeshkar, whom he revered and respected. He began with Rafi in the 60s, using him infrequently in the 70s but was instrumental in Rafi winning a National award and return back in form 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 having singers-related challenges. What if RD Burman was not successful or had continued composing in the same style as of others? 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 stayed relevant and continued to be 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 has played a major role in keeping him and his music in constant news. 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, I prefer to focus on his music and the 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 the 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

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.

And my favourite number from Buddha Mil Gaya, the classical 3. Aayo kahan se Ghanshyam, which comes in the film repeatedly at crucial moments

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

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 chupkeAap Ki Kasam for its lovely sitar.

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 seAandhi – for me, this is the quint essential Gulzar-RD-Kishore-Lata

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

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

10. Aise na mujhe tum dekho – Darling Darling

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

12. Mera pyar Shalimar – Shalimar

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

14. Kabhi kabhi sapna lagta haiRatnadeep – a beautiful song that was lost due to the film’s failure

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.


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