Saturday, January 3, 2015

How R.D.Burman got Dev Anand’s film HARE RAM HARE KRISHNA, accidently!

Music director R.D.Burman was perhaps a true genius that Indian cinema has ever produced. He was the first the music composer who introduced western beats with super hit rock numbers like Dum Maro Dum… or Piya Tu Ab To Aaja… and later stunned his critics with Hindustani classical numbers like Raina Beeti Jaaye … and Raat kali ek khwab mein… His music spoke a million languages, talked to generations of followers and captures the imagination of people even today, several years after he passed away on January 4, 1994, R.D.Burman continues to live in the hearts of his several music lovers. 

Raaga.Com pays homage to this legendary music director on his death anniversary.

Listen to RD. Burman Songs on

R.D.Burman better known as Pancham in film industry was indeed a music director who was far ahead of his times. Though Pancham was instrumental in giving boost to western music but few know that the first song that he independently composed and won the credit for the same on the screen is a classical number that he recorded for comedian Mehmood’s home production CHHOTE NAWAB (1961). The song ‘Ghar aaja ghir aayee badra…’ sung by legendary singer Lata Mangeshkar had established Pancham as a music director who was here to stay. However since the movie failed hence despite good music, Pancham had to struggle for many years until he proved his genius with TEESRI MANZIL (1966) AND PADOSAN (1968). 

Though both the above movies made Pancham a name to reckon but the movie that made Pancham a star music director was Dev Anand’s HARE RAM HARE KRISHNA.

Interestingly Dev Anand had approached S.D. Burman, Pancham’s father and the legendary music director for the film’s music composer. But when Dev Anand narrated the script and told him that it was about drugs and westernized Hippie culture, S.D. Burman was quit annoyed at bluntly rejected the movie. He recommended Dev Anand to sign Pancham, instead. Pancham was very happy as western music was his forte and he did wonders with title track Dum Maro Dum…; the song till date remains the signature tune of the genius music director.

Amitabh Bachchan’s admiration for music maestro Ilayaraja

After CHEENI KUM and PAA, the inimitable trio, R Balki, Illayraja, and Amitabh Bachchan come together for R. Balki upcoming film SHAMITABH.

Recently R. Balki recorded the song Piddly…. , which has already became a rage, under the music composition of Indian cinema’s greatest music maestro Ilayaraja. Watching the two legends work together was a rare experience for R. Balki who is quite young as compared to Bachchan and Illayraja

In interview Balki said, “I was left dumbfounded watching the fervor and obsession of the two legendary stalwarts while recording the song in the recording room. Though both are of about 73 years old each yet their juvenile nature and fascination towards their profession made me feel very mature.”

Listen to Amitabh Bachchan Songs on

“What was most admiring was that both have great reverence for each other. Amitji admires Ilayaraja’s work so much that he remembers every song that Raja Sir has composed in Hindi cinema. While Ilayarajaji, adores Amitji as an actor par excellence. Both are down to earth and so simple human beings that I think they both are human institutions in the Indian entertainment world.” 

Admiring Ilayarajaj’s musical genius Amiatbh Bachchan says, “I have always been a great admirer of Ilayarajaj’s work. I cannot express in words what he means to the music industry and his contribution to our cinema. I consider him a genius. He knows everything about music. I consider myself fortunate to have worked in movies that had his music.” 

Readers would be surprised to know that when Amitabh Bachchan’s movie PAA, that had music score by Ilayaraja was declared a hit even in South India, Amitabh Bachchan had booked the whole Satyam movie complex in Chennai only to get on with a special show of PAA for Ilayaraja, which he enjoyed watching sitting besides Ilayaraja. That’s the kind of gesture ‘Big B’ has for the ‘Bigger’ musician.