Rd Burman own VoiceBurmese Rd own voice
.. Sakhin Dev Burman with his son Rahul Dev Burman. Of course, the best part is the rare song clippings in RD's own voice.
What was the true voice of Pancham? S D Burman's songs in his voice
At Bhoot Bungla (1965) we first listened to RD Burman, affectionately known as Pancham, singing with Mehmood and Suresh Maine hookha hoo don tjhe khaooonga. That same year, in Dev Anand's Hare Ram Hare Krishna, he added an inlay for Kishore Sahu to the lips on the monitor, Dad na mummi na ba na na kanna shai, in Lata's Phoolon na da kan.
The Train (1970), Ramesh Behl's mystery story, written by Ravee Nagaich with the superstar of the time, Rajesh Khanna gave us a good portion of RD singing in the theme and in his duo with Asha. Have we taken the voice seriously? Well it was a stuffing he tried out, it could have been a pure Asha track, but it did leave a permanent impressiv.
Its voice response, modulating and reach paired with breathing controls caused us to be astonished. Duniya groping my logo ko kokha hokhi ho yesata shai was driving the theatre crowd mad when the songs started. Pancham's astonishing ability in voice commands was demonstrated by the way he was singing in a harsh voice, but with words that were clearly made out.
In addition, despite his hoarse voice, he never lost his grip on surf or tal or missed a tone or beats. Pancham gave the theme track his voice in Mere Jeevan Saathi in the same year. But, although the track was a smashing success, it lost its spotlight when the movie failed.
Little by little his voice became an interpreter of side singing, spicing up a song with a Papapapapa or tarara. At Raja Rani (1973) he again let his singing to the theme soundtrack. The next one he left us and saw his voice in a movie in Madhosh (1974).
That was a different voice from what we had previously listened to in Apna Desh. Once again docking with Asha, who has sung for Helen, RD Rakesh Roshan gave a voice. It was Pancham who had begun to publish Bangla languages, non-film tracks named adhesionunik gaaan or Puja publications (before Durga Puja) that were in his native voice.
His voice had become known as an independent and melodic one, which had the typical'ras' for him. At Kala Sona he again performed with Asha in 1975 in Koi aay, bhi de Aaaane. With Khel Khel Mein we heard him again this year with a different voice, in a duo with Asha for Rakesh Roshan - with full trust and verve of an experienced musician.
We' ve listened in some of our conversations to how frightened Asha was to perform this number in a voice modulator that RD wanted. Not in a position to persuade them, Helen's track turned into one for Helen, but Jalalal Agha. Seldom has a hymn dominated the crowds as it has for years.
Once again it was a different RD voice than what we had before. Why could one man in so many votes have sung? The next year, in Hum Kisi's Se Kum Nahin, Pancham had a harder challange - to begin the middleley with the dreaded Rafi in Chand with the melodic and romanticism that would determine the atmosphere and that came in the last part of the movie with all possible voice modulation in the lead vocals and their expansion.
He sang with Rafi, Kishore and Asha and left his own music. And Gulzar took the chance to put that tune in the movie. RD's Flanged Instruments, Pull-On Effect and Vocal were incomparable. Casme Vaade, the 1978 Ramesh Behl hit, had a funny tune that was presented as a group outing of a group of collegiate guys under the direction of Randhir Kapoor in the evening.
It has no true style or texture. It was RD who could have done the miracle he did to that tune. Polyphonic modulations, oral paraphrases and voice tones are part of this music. Meanwhile we were very well conscious of the RD voice. First, the voice of Burman (or what was his voice?) in Romance (1983), which makes you wonder if he had any matches at all.
Under the direction of Sunil Dutt, who had conceived the movie as a launcher for his sunjay Dutt, there was an exciting dancing contest, as it was the trend in many movies, especially after the hit of Hum Kisi Se Kum Nahin. Kishore and Asha maneuvered the track well and RD bursts in with his polyphonic hum.
It began as the voice of Shakti Kapoor and quickly changed to backing track for the heroes Sunjay. I humbly think he has stolen the show (unintentionally) right in front of Kishore and Asha. In 1981 Raj N Sippy's Satte Pe Satta (1981) with Amitabh Bachchan in a dual part was a funny movie, which became crazy mainly because of its soundtrack.
Every one of the eight tracks in the movie was a smash on the big screen. On Zindagi mil ke bitterayenge and Pariyon ca fala shai, RD only kept the higher register, while Kishore Kumar, Bhupinder Singh and other vocalists were singing a mixture of low and high-pitches. However, the one that took the cake used to be the pyarr hominy, pe le aay, ke diil, ke kara shark, haai, koi yoeh begaye, kalah.
The Kishore Kumar received the lower limit (Mandra saptak) for singing, certainly a very tricky performance. In one of her shows Asha said that the "kharaj" that Kishore could perform was out of range for most singer. In order to create a real ripple, RD renders all the high octaves in Taar sapptak - and delivered a high, flawless reproduction that fitted Kishore touch to touch and added unimagined elegance and mastis.
In the course of the years the track has achieved an iconic status in the musical scene. In conclusion, I only want to use one Bangla track to unveil RD's talents and command of the shipment by likening it to the Hindi one. Bangla in RD's voice was previously published by Sapan Chakraborty.
Bangla to get the feeling of RD's voice modulations, ranges and effects. In Hrishikesh Mukherjees Jurmaana (1979) the Hindi language was used in the completed parts of Lata Mangeshkar and Manna Dey as Hey zakhi radike baawree ho gai. Perhaps it's just me, and you may not like me, but I find RD's interpretation more melodic, with more'ras' and'bhav'.