Incomparable Sachin Dev Burman
By HQ Chowdhury
Published by Blue Pencil, New Delhi, 2018
₹599 (Available for less on Amazon); pp 437
Among all the biographies of SD Burman – I am aware of at least four, all well known – the ‘Incomparable Sachin Dev Burman’ by HQ Chowdhury of Bangladesh, first published in Bangladesh by TOITOMBOOR in 2011, was always mentioned with great respect. Therefore, when my post on his non-film (Hindi) songs on his death anniversary on October 31, 2012 sowed the seeds of a long series on SD Burman, I was very keen to get a copy of this book to make myself better informed on the maestro. But alas, the book was not available anywhere, not even in Bangladesh, as it was out of print. Nevertheless, the series on SD Burman turned out to be the longest one among all the greats I have covered on SoY. This was propelled also by the readers, because twice when I thought I had declared the series ‘closed’, the readers mentioned that some more singers were still left for whom SD Burman had given their career best songs. And, thus, in three phases he got the most exhaustive coverage on the blog. Along the way I discovered a huge treasure trove of Bengali songs sung by him of such incredible beauty that I wrote on it, describing it as the ultimate SD Burman, despite my handicap of not knowing the language, by taking the help of some Bengali friends.
How I wished then I had access to Mr Chowdhury’s book! However, it was a great pleasure to see him visit and interact on the blog. I also had occasion to exchange some mails with him on some queries. When all this was long past gone, I was pleasantly surprised to find that the book has been recently published in a revised and updated second edition, in Delhi, and to enhance my delight, a fellow blogger-editor, Antara Nanda Mondal, whom I admire a great deal, was associated with the project. When I congratulated her, she very kindly sent me a copy of the book. That in itself was not a compelling reason for writing its review, but along the way, another acknowledged authority on SD Burman, who has spent his lifetime studying him and interviewing people associated with him, has been in touch with me to explore the best way to get his materials out in the public domain. I realise that Songs of Yore cannot do full justice to his materials; it has to be another book, or a platform dedicated to SD Burman, but I have agreed to post in October at least three articles written by him, making October 2019 the month of SD Burman. Incidentally, October starts with SD Burman (b. 1 October 1906) and ends with him (d. 31 October 1975).
SD Burman: A music director or a singer?
I have been quite unequivocal that I place Naushad at the pinnacle among music directors. I was also very fond of the music of Roshan and Chitragupta. And I kept the New Theatres stalwarts at a special pedestal, not to be compared with anyone. But when it came to singing, SD Burman with his mere about a dozen (14 to be exact) Hindi film songs and some non-film songs I was aware of, was out of this world for me. My discovery of his Bengali songs only consolidated my romance for SD Burman as a singer. It was interesting to see the anchor, at the launch of the book in Delhi, ask Mr Chowdhury precisely this question, and he was quite unambiguous. It depends in what context this question is asked; for the lovers of Hindi film songs, he is a great music director. If you are asking the same question in Bengal, SD Burman is among the greatest singers the state has produced.
And therein lies the special importance of Mr Chowdhury’s book. You get a vivid picture of SD Burman’s place among the greatest singers. He had a sound training in classical music and, in his time, he sang in concerts along with the likes of Ustad Fayyaz Khan and Ustad Abdul Karim Khan. Everyone recognised the emotional appeal of his singing, because he had absorbed his music from the sounds of the birds, rivers, nature around him, and from boatmen, his servants and wandering minstrels. He regarded folk as the soul of classical music, and made a distinct impact in Hindi film music with his beautiful use of folk elements and instruments in his compositions.
The book does full justice to SD Burman’s career as a music director as well. No matter who is your favourite – like mine Naushad – you can’t but agree that there are at least two aspects that set him above everyone. One, no one else has composed for such a large number of singers some of their all-time great songs. Just think of:
Rafi – Hum bekhudi mein tumko pukare chale gaye; Kahin bekhayal ho ke; Din dhal jaye haye raat na jaye
Kishore Kumar – Mere labon pe dekho aaj bhi taraane hain; Dukhi man mere; Khwab ho tum ya koi haqeeqat; Ye dil na hota bechara; Mere sapnon ki raani kab ayegi tu
Manna Dey – Upar gagan vishal; Hato kaahe ko jhoothi banaao batiyan; Mat ro mata lal tere bahutere; Kisne chilman se maara nazara mujhe
Hemant Kumar – Ye raat ye chaandni phir kahan; Jaane wo kaise log the jinke pyar ko pyar mila; Hai apna dil to awara; Na tum humein jaano na hum tumhein jaane
Talat Mahmood – Jaayein to jaayein kahan; Mitwa laagi ye kaisi unbujh aag; Jalte hain jiske liye
Mukesh – Chal ri sajni; Ae dil-e-awara chal; O jaanewale ho sake to laut ke ana
Lata Mangeshkar – Ye thandhi hawaayein; Jhan jhan jhan jhan payal baaje; Mora gora ang lai ke; Jogi jabse tu aya mere dware; Raat ka sama jhoome chandrama
Asha Bhosle – Nazar laagi raja tore bangle par; Ab ke baras bhej bhaiya ko; Sach huye sapne mere; Koi aya dhadkan kahti hai; Tujhe mili roshni mujhko andhers
Geeta Dutt – Mera sundar sapna beet gaya; Tadbeer se bigdi hui taqdeer bana le; Aaj ki raat piya dil na todo; Jaane kya tune kahi; Aaj sajan mohe ang laga le; Waqt ne kiya kya haseen sitam
Suman Kalyanpur – Chhodo chhodo mori bainya saanwre; Na tum humein jaano
Suraiya – Nain deewane; Man more hua matwala
Shamshad Begum – Ye duniya roop ki chor; Duniya ka maza le lo duniya tumhari hai; Sainya dil mein ana re
Mind you, this is a list of only solo songs. The above singers in different combinations have also given matchless duets.
The other point which Mr Chowdhury highlights is, SD Burman always sounded contemporary and he evolved himself with the times. That is why when his stalwart peers fell by the wayside, he could hold his own even in the 70s till his death, when the music style had changed significantly.
SD Burman was the Ring Master of his singers; he would rehearse a song with several singers, no one knowing whom he would finally choose. It was amazing that he could shuffle Rafi, Kishore Kumar, Hemant Kumar and Talat Mahmood around the same time for Dev Anand. He knew and saw with his divya chakshu which song would sound the best in the voice of which singer, and in this he would brook no interference from the director, producer or the hero. His great talent with a variety of singers also helped him during his 5-years’ hiatus with Lata Mangeshkar – so what if she was not there, there were Geeta Dutt and Asha Bhosle, for whom he composed some immortal songs.
SD Burman: A royal prince surrendered to music
But I have jumped ahead; Mr Chowdhury has written the book in a linear manner, starting from SD Burman’s family background, to his early formative years, to his Calcutta days in three chapters, and to his Bombay days in five chapters. His ancestors were the rulers of Tripura state, but some technical issues in succession forced his father’s branch to move to Comilla (now in Bangladesh), where SD Burman was born. Later, the family were rehabilitated in Agartala and were also given some administrative responsibilities, but Sachin Karta was not meant for princely duties. He had surrendered himself to the folk music of Bengal and music had subsumed him. He tried to pursue MA in English in Calcutta, but this distracted him from his main passion. He cut his first record of a Bengali song in 1932, and soon he was creating waves. In the 1930s and 40s, he was among the most highly regarded and successful singers of Bengali songs. He continued recording Bengali songs even when he was a successful music director in Bombay. He sung a total of 170-plus songs, including Hindi and Bengali film songs.
Interestingly, Mr Chowdhury’s next Chapter 11, titled ‘His Music’, starts with the question: “Is Dada a singer-composer or a composer-singer?” The book also contains interviews of various singers and others and their tributes to SD Burman.
SD Burman gave importance to voice and emotion in a song, therefore, his orchestra was minimal. He was also fastidious about what exactly he wanted, and would threw out if an extra violinist was called for the recording.
The book dispels many myths about RD Burman being the real composer of some songs of Aradhana, and debunks attempts by some quarters to undermine SD Burman and show the son in a better light than the father.
SD Burman: The Man
The book describes with fondness some fascinating and amusing aspects about SD Burman, the Man: his love for paan; his passion for football; his stinginess; his nostalgia for Comilla and East Bengal; his heavy East Bengal accent and his difficulty with Hindi, which he could not overcome despite his three decades in Bombay. You get a lovely picture of a temperamental avuncular man, Dada (elder brother) for everyone, who would be in a foul mood if his favourite football team, East Bengal, lost, when everyone knew the recording had to be cancelled; and if the team won he would host lunch for everyone, which was but a rare occurrence; a simple, innocent man who was clueless about money matters; the anchor in his life, his wife Meera Dev Burman, who was extremely possessive of him, which also led to some rumours about strains in their family life.
SD Burman’s career as a singer and music director
I have read only one other biography of SD Burman, and Mr Chowdhury’s clearly scores with an exhaustive list of songs sung by him, and films with details of songs composed by him.
Is the book flawless?
Is the book flawless? No work of this magnitude can be. There are some inadvertent errors and omissions, and lack of clarity at some places, which I have shared with Mr Chowdhury. One such is misattribution of Ye hawa ye raat ye chaandni (Sangdil) to Khayyam (instead of Sajjad Hussain). Another is the omission of Megh de paani de chhaya de ram (Guide) from the list of ‘Songs sung by Dada’. At a couple of places in the list, the information given is likely to create some confusion.
But there is one problem with the book that lies at the door of the editors/publishers. There are long passages interspersed within the text, containing quotes or citations from third persons. These sometimes run into several pages, and one is lost whether it is said by the author or by another person. You have to trawl to find where the quotation started and where it would end. This problem had an easy solution. The neatest is to separate it from the main text by font change or giving it a right indent. Another common practice followed is to start each para with a single quote, as long as the citation continues, and finally close with a double quotation mark. I hope when the book comes up for the third edition, and I wish it does, these will be cleaned up.
Since I am talking of a would-be third edition, let me give another suggestion to enhance the book. SD Burman adapted about 40 of his Bengali songs into Hindi as either non-film songs sung by himself, or film songs, some sung by himself and the rest by other playback singers like Rafi, Lata Mangeshkar, Suraiya etc. Since there is already an exhaustive list of all his songs, it should be possible and would be useful if these songs and their adaptations are mentioned at one place. And lastly, wouldn’t it sound better to add the definite article to the title of the book, i.e. ‘The Incomparable Sachin Dev Burman’?
Nevertheless, the book is truly a labour of love, and rightly deserves all the acclaim it has got. Its reincarnation in the revised and updated second edition is a boon for those who were looking for the book. If you love your SD Burman, this is a must-have book.
And before I part, I can’t help sharing two songs from the Ultimate SD Burman: Ami chhinu eka, which has several legends behind it, discussed on this blog earlier, and especially mentioned in the book; and Ki kori ami ki kori, bone phagun mone aagun, my great favourite and number one in my list.
Aami chhinu eka (1940), lyrics Sailen Roy/Ajoy Bhattachrya (?), composed and sung by SD Burman
Ki kori aami ki kori, bone phagun mone aagun (1961), lyrics Robi Guha Majumdar, composed and sung by SD Burman
{ 57 comments… read them below or add one }
What a beautiful and informative book this is, and I too need to thank dear Antara Nanda Mondal for having so kindly sent me this Book on Dada as the Legendary S.D. Burman is often referred to.
I thoroughly enjoyed reading the book which gave great insight to his early life and Bengali work in detail (Much of which I am unaware of and have never heard) Songs that were sung by him grew on me as I grew older and understood the nuances.
What I liked about the book was also the fact that it brought to life the works of the other contemporary composers and the songs that featured alongside the beauties composed by him.
I am an ardent fan of S.D.Burman’s works for the Hindi Film Industry and rank him right on top….what range…..and love his duets too.
Have some beautiful childhood memories of him, though from a distance. No direct interaction, as he was senior and much reverred.
My humple tributes to the Legend S.D.Burman.
Thank you AK for such a wonderful review. It was a lifetime experience of enjoyment and learning to bring out this book. As you pointed out, the book’s first edition wasn’t available and that inspired us to bring out the second edition with a large number of updates which HQ Da added. Pandit Shiv Kumar Sharma ji’s Special Foreword and Manek Premchand Sir’s introduction added more insights.
This book is very close to my heart. Thank you for all your valuable suggestions and encouragement for a third edition. Will work on them as we move along. 🙂
Sangeetaji,
Nice to know that you are also such a big admirer of the book and of SD Burman.
Antara,
I am happy you liked my review, despite some of my critical observations. 🙂
I am sure the Third Edition would come out to even stronger acclaim, and there will continue to be many takers for the book.
Thank you AK for the encouraging words. Truly appreciate it. 🙂
Thank you so much for your review of Chowdhury’s book on Burman da. I gained many insights for which thank you very much.
Needless to say, I bought both editions, the first edition at considerable expense !!
Mr Seshadri,
Thanks a lot for your appreciation. May I then request you to write on the major differences in the two editions.
HQ’s biography ‘Incomparable Sachin Dev Burman’ 2011 edition itself was on the top of my favourites. The soft bound updated version has in many ways excelled his first edition.
S.D. Burman used minimum instruments to achieve maximum melody in his songs. In the background music too, where other music directors used 50 to 75 instruments, he was perhaps the only composer who used only a single instrument to create background effect, at least in two films as known to me. In a third film for background effects, he excelled himself by suggesting to the director (Raj Khosla) not to use any music at all. Every one was stunned at such a suggestion, but the final outcome was apreciated by all.
S. D. Burman being my most favourite composer, this book too remains my most favourite due to its vast coverage of the maestro.
A big thank you to HQ bhai, and to everyone who contributed towards this masterpiece of the biography.
This is such an amazing coincidence, AK. Yours is a really good and insightful review, and I must add my voice to yours when it comes to wishing a The had been added before the title of the book. But, on the whole, an informative book that brings SD Burman, the musician and the man alive.
AK,
Thanks for the review.
SDB is my most favorite Md too.
This will prompt me to do some reading 🙂
Hopefully will comeback to give my feedback after reading.
Antara.
Congratulations for the second edition and good luck for the third one.
Thank you Sangeeta Di for always giving steady support and encouragement, help and inputs. Really cherish it. Thanks for the great words!!! 🙂
Thank you Moti ji,
Humbled by your kind words. Appreciation from you does mean a lot to all of us. _/\_
Thank you Mumbaikar,
Looking forward eagerly to your feedback. 🙂
Thanks Dusted Off,
As I said in your review, today’s coincidence tops as the happiest in my life 🙂 Two wonderful reviews loaded with insights and great feedback coming together is like Super Duper Wow! Your review is simply awesome and so is AK’s!!
Reminds me of the SDB-Sahir-Kishore gem HQ Da had quoted in his preface:
Denewala jab bhi deta
Poora chhappar phaad ke deta
Now enjoying the discussion… wow!!!!!!!!
Mr Lalwani,
Thanks a lot for your detailed comments on the book. Means a lot coming from an SDB fan.
Madhu,
Thanks for visiting. I saw your review and said ‘wow’, that is great. Let us now call the book, ‘The Incomparable Sachin Dev Burman’.
Mumbaikar8,
You are welcome. I am sure you mean reading the book. If you are a fan of SD Burman this is the book for you.
This is fantastic.
The first song in Bangla which is given in this write up of Burman Da reminds me Kundan Lal Saigal.
Thanks for such wonderful article
Mayur,
Thanks a lot for your appreciation. There is a reason a behind your remembering. I have hinted at a legend behind this song, which has been discussed earlier on this blog. As the story goes, as Saigal was coming out of a concert, he heard this song and wondered when he had sung this song. Think of Lag gayi chot karejawa mein haye Ram from Yahudi Ki Ladki
https://youtu.be/HLSIMEEBqzM
Hi AK,
Unusual to see a book review on your page. 🙂 Now I need to get my hands on this book on my next trip home. I have heard about the book but never got to read it.
Anu,
I am not reluctant to do a book review. I had a special reason to do this one. You will not be disappointed to read the book if you are a fan of SD Burman.
Thank you AKji.
Always…Antars
Dear All:
Thank you very much for your kind discussion/comments. Honoured and humbled!
Just to let you know that the original title of the book was, “The Incomparable Sachin Dev Burman” . But my Bangladeshi editor decided to have it that way. Thanks again!!
HQ Chowdhury
Mr Chowdhury,
Thanks for dropping in. Now we know that the third edition will be known as ‘The Incomparable Sachin Dev Burman’. 🙂
AKji,
A good review.
I actually have read the Marathi translation (by Sunil Deshpande) of the first edition.
Anup
Anup,
Thanks a lot for your appreciation. I didn’t know that the book had a Marathi translation. Then everything must have been familiar to you.
Akji
A great review . I have all 4 titles on Sachinda and each one has added a new dimension to my understanding of Dada’s music as well as his persona. However without doubt ” The incomparable ….”
is to use its title incomparable.
Rahul Bhagwanrao Muli,
Thanks a lot for your appreciation. I envy you for possessing all the four biographies. Then you are in the best position to do a comparative analysis of the four books.
Dustedoff ji, AKji,
Thanks to you for such informative reviews. It is so welcome a coincidence that both the reviews have been done simultaneously.
I did not know about any of the four books. I stand enlightened.
Aami chhinu eka and Karejwa main hai raam exemplify the big influence of the colossus K L Sahgal in those days.
It would be a nice idea to review all the famous books related to Hindi film music.
Shachindraji,
Thanks a lot for your generous words. I had a reason to review this book. Similarly I reviewed Raju Bharatan’s ‘Naushadnama’ as it fitted in my series on Naushad. I also reviewed Arunkumar Deshmukh’s book as he is a respected SoY-er. The thought of doing a book review as a stand alone feature on the blog did not occur to me. I have noted your request. Let me see if I can get myself to doing more reviews.
AK ji ;
In Music world ……He was the man who knew too much ….. of music . I entirely agree with the statement….
……….The other point which Mr Chowdhury highlights is, SD Burman always sounded contemporary and he evolved himself with the times. That is why when his stalwart peers fell by the wayside, he could hold his own even in the 70s till his death, when the music style had changed significantly……..
Many MDs lost their tracks and shines but S D Burman lived his life till infinity .There were no black holes in songs of his period . He really ruled the regimes of sound with no escape to infinity. His music carried the flavor and aroma of Sandal wood . I still listen to his songs of later times….as well as those which escaped my attention to lesser heard songs of lesser heard movies . Yes I don’t miss the title music too.
A few songs and music of SDB ….
Badi Suni Suni Hai Zindagi Yeh Zindagi ) – Kishore Kumar ….Mili [1975]
https://www.youtube.com/watch?v=txMmjZbh9Ns
Aaye Tum Yaad Mujhe | Kishore Kumar | S D Burman | Mili
https://www.youtube.com/watch?v=WGVEQVAi448
MOHABBAT KA CHHOTA SA EK AASHIYANA- KISHORE KUMAR- FILM- PYAR(1950)
https://www.youtube.com/watch?v=fLy5lAx0lGY
0 Piya Pyare Lata Mangeshkar Film Chalis Baba Ek Chor (1954) Music SD Burman
https://www.youtube.com/watch?v=aRfTGLNpXjs
Teriya Teriya Lata Mangeshkar Film Chalis Baba Ek Chor (1954) Music SD Burman. ….Lata, C Ramchandra……
https://www.youtube.com/watch?v=Ehvwebv8OU8
……to be contd.
AK ji ;
Among st his Beautiful Gems of Title Music ……I liked the one from …House No 44 . Its real gem of piece of music , a happy version of a sad song ….Teri duniya mein jeene se . This was really an art where none other could have thought .
Title Music House No 44….SDB
https://www.youtube.com/watch?v=YBUi644KSLs
KS Bhatiaji,
I am happy you liked the review. You have so nicely described SD Burman. Among the songs you have added, Teriya teriya is unique both for Lata Mangeshkar and SD Burman.
AK ji @ 31 ;
Thans AK ji . Even the other song ….O piya piya pyare ….full of melodic properties is a listener’s delight .
While reading I hear most often with my eyes. I respect power of silence…….at the same time ….. I admire people, books and music ….well spoken , well written and well composed. For SDB he had many talents …hidden from himself !! I just happened to rewind my lost memory and look and hear what I found…
Madhu Brindabone Dole Radha–Sachin Dev Burman
https://www.youtube.com/watch?v=_Xmbkzu2-Zk
Sachin Da was truly a simple man , beside a tall personality he seems to be very shy a person too. Art seems to have got hidden in his shyness….but when singing his talent would come out thru thick curtains. Again here is one of my favorite song of SDB ,….beautifully passed on to Lata ji to make the song immortal.
jhan jhan jhan manjira baje..S D Burman…..and followed by Lata ji’s song
https://www.youtube.com/watch?v=-3hu9tq4BlQ
KS Bhatiaji,
Thanks for adding Madhu Brindabone dole Radha, I was not very familiar with the song.
As i could see the best time of his was around the late sixties and early seventies with films like ARADHANA,TALASH,PREM PUJARI and ISHQ PER ZOR NAHIN . These movies had hit songs but some of the films flopped with the exception of ARADHANA . Later he gave hit songs in JUGNU and ABHIMAAN. Even in the sixties he had a bit slowed down but produced music of GUIDE and JEWEL THIEF. A very interesting topic to discuss and he also admired his fellow composers like C Ramachandra without any hesitation.
KB,
Lovers of SD Burman music would be surprised by your statement. SD Burman had already acquired great fame for his music in 1950s and 60s, Aradhana onwards was his second innings. Did you forget the songs from Bahar, Baazi (1951); Jaal (1952); Taxi Driver (1954); Devdas, House No. 44, Munimji (1955); Nau Do Gyarah, Paying Guest, Pyasa (1957); Chalti Ka Naam Gadi, Kala Pani (1958); Kagaz Ke Phool (1959); Bandini (1963); Guide (1965)?
As I do song harvesting , O little Nightingale …..sing a sweet song and let me swing slow …..to my sentimental Journey . But ….can Foggy Day bring back the melodies ? Just bless the broken roads …..often a slow song and a slow ride can speak to us more than an upbeat one.
Opening some cards left to be played…..
KUHU KUHU KOYELIYA (1940) Sachin Dev Burman Nazrulgeeti
https://www.youtube.com/watch?v=gZ5lF79GL8M
Mono Dilo Na Bandhu..S D Burman_Eki Sure Dui Gaan_Bangla & Hindi….Jaane kya tune kahi….Lata……
https://www.youtube.com/watch?v=T8rKAabXZGE
Bangla Folk Song By S.D.Burman : Rangeela Rangeela Re…….aan milo aan milo re ….of Devdas
https://www.youtube.com/watch?v=0pCM4zJ4JNU&list=RDAGLil4yqWS8&index=21
…..more to come….
AK ji @35;
I was about to reply to KB in the same fashion. I entirely endorse your views.
AK
From your and Madhu’s review, this book appears to be a good one. I am a fan of SDB and know almost all of his music – hindi of course – at least equal to his most ardent supporters. But, I never give any blind support, so I have always pointed out any negative things in his music. I have with me Khagesh Dev Burman’s biogrphy of SDB. So I have the necessary basic details and I am also not too much a believer of anecdotes. But, I have ordered a copy of the book, just because Madhu says the author has given both point of views. So it seems to be a readable book. I dont agree with some of the points mentioned in the write up, but will respond only after I read the book.
But, one thing I can say. I have enjoyed his own songs and the songs composed by him all my life. He was a good singer no doubt, but he knew his limitations well so he did not try to sing ‘hum bekhudi men’ or ‘o jane wale ho sake to’ or ‘hai apna dil to awara himself. CR did not know his limitations and thus he spoiled many good songs, though he sang a number of good songs. You have rightly observed that omission of ‘megh de paani de’ is a big mistake. This song leaves an indelible mark and enhances the effect of that part of the film’s climax which ends in Dev Anand’s death.
I think as a rule Sachinda never lent his voice to any character . That’s why he could not give the songs hai apna Dil & hum Bekhudi mein . Otherwise he had already rendered Bengali version of hum Bekhudi mein & according to many that was as great a rendition as that of Rafi, if not better .
I never heard of such a rule in the case of SDB. If there was any such rule it stemmed from his limitation. Rules can be made to suit the narrative. If you cant sing romantic or other songs make the rule that I will only sing background songs. If you cant sing qawwali, make a rule that I do not like to sit with lots of singers. If nobody except SDB – who is composing for Navketan – is giving songs to you, make a rule that I will sing for Dev Anand only in Navketan films and I will not sing in non-Navketan films for Dev Anand because they are not important.
In cricket, if you cant play the bouncers make a rule that limits bouncers per over. In tennis if you are lazy and want to play only from baseline, declare that serve and volley is boring, but if you still go to the net once in a while to play volley and that clicks then say volley is an amazing shot.
I only mentioned the 3 songs for just an example. But, the reply comes only for Hum bekhudi men. Who are all those many. Are they Rafi baiters.
Hans,
Happy reading. You seem to have already taken a critical position. I think it was clear from my review that SD Burman’s fame as a singer in Calcutta was not on account of a dozen songs in Hindi films, but over hundred Bengali songs he sang, besides his stature as a concert classical singer. Comparing him to a conventional playback singer is misplaced.
The errors in the book are inadvertent and trivial. The author is aware of that. If the book comes out in the Third Edition, it is evident these will be cleared.
I am quoting excerpt from
the very book which is reviewed by AKji
” Bengali film makers were now looking for this ( Karta’s) voice. But Karta set two conditions for them. First, the songs must never be on the lips of any hero They were to be used only in the background to give some effect in the film ……….”
Page no 56
With this I rest my case.
It is intriguing why Burmanda set such conditions to keep himself away from playback singing. He was a great music director as well as
a superb singer.
I dont think anything written in a book as sacrosanct or gospel truth. Especially when there is evidence to the contrary.
Look at this duet from Aath Din with Puri ‘babu babu re’. This is certainly not a Background song and is certainly being lip-synced by someone.
https://www.youtube.com/watch?v=ozzvpjZENmU
AK
Where have I compared him with a playback singer. I dont think saying that he knew his limitations is anything negative. On the other hand it is his praise. I criticised CR rather. ‘Megh de’ I mentioned just to show my appreciation of the song. I know no author makes such errors designedly.
Hansji,
Thank you for the rare and lovely song Babu Babure. The commendable depth of your knowledge is a boon for SOY members like me.
Dear All:
Thank you very much for your lively discussion on “Incomparable Sachin Dev Burman”. May I take the opportunity to clarify below some questions raised in the discussion.
1. “Yeh hawa yeh raat”. Unpardonable mistake! I have already admitted this in my mail to AK. Anyone who has interest in Hindi film music would know that the song was by Sajjad Hussain. I think it was due to “brain fog” ….. as I always placed Sajjad Hussain and Khayyam in the same bracket.
2. “Megh de paani de”. Another unpardonable mistake! More so, as in my book on pages 171,172 and 252,I did mention about the song. Looking back … I now see, I missed this in my original Bangladesh version too! Quite a shame! By the way, I also admitted this to AK.
3. Dada, by choice did not use his voice in films although producers and directors both in Kolkata and Bombay wanted to, time and again. That was because his voice, art of singing and the kind of songs he composed for himself were not be suitable for film heroes or its principal characters. He knew that very well. This is evident from the fact that the Hindi versions of his songs, by Lata, Kishore, Rafi etc. are so different (and simplified) although the tunes are the same. And when he did sing once in a while, that was only because of producers and directors close to him had pleaded that a song or two by Dada might ensure some financial security or take the film to new heights. It was when Dada put his binding conditions, that the song must be tuned by him (although the credit could go to the music director) and must not be lip synched by any actor (principal character) but be only used to give some special effects in the film. All of Dada’s songs, Bengali and Hindi bear testimony to that.
Dada’s first Hindi song in films was “Prem ki pyari nishani” for Tajmahal (1941) which actually was the Hindi version of the roaring Bengali hit, “Premer Samadhi Tere” (1940) …a non film Himangshu Dutt composition. This was followed by his own composition, “Aei dile betab” for the Bengali film, Abhoyer Biye (1942) which showed a fakir singing the song. “Raina soyi soyi” in Yeh Gulistan Hamara and “Mere majhi” in Bandini (1963), are songs where someone (non hero) is singing –, just a line or two and they go very well with the mood of the scenes. I have not seen “Aath Din”. But since it is a Filmistan film, I am sure Ashok Kumar, Sasadhar Mukherjee insisted on having a “Dada” song. I would be surprised if Ashok Kumar lip synched the song as the actor himself was a good singer……and if he did that, there must be some very special reasons !!!!
4. To me, Dada’s “Ghum bhulechhi nijhum”, the mother of “Hum bekhudi mein” is better executed. Most Bengalees go gaga because of the way Dada pours the lyrics. Not that Rafi did not do justice to “Hum bekhudi mein”. In fact Dada was overjoyed as Rafi delivered it exactly the way he had wanted.
Thank you once again!
Sincerely, HQ
Thanks to HQ for his lucid comments covering all points raised.
As regards mistakes, in such a voluminous book, some errors do creep in, however much one checks and recheckes, time being one of the constraints with the author.
Mr Chowdhury,
Thanks again for your further comments. Mentioning the inadvertent errors was not meant to score a point. That is why I shared it with you before posting.
About SD Burman’s singing, I always considered his original from a different plane and he brought it down to adapt it for conventional playback singers. Therefore, the two are not comparable. That Rafi’s Hum bekhudi mein tumko pukare chale gaye is also exceptionally good only goes to show that Ghum bhulechhi is out of this world.
HQ Chowdhury , AK ji;
Sachin da’s compositions were like intersection of songs and stories …..jo bhi pyar se mila hum usike ho liye. There were some songs which were like half-spoken, half-sung and the impact was great . SDB’s voice , sweet , painfull but never rough and breaking beneath the decades of labor , was very well thought of in the song ……Kya yeh zindgi hai from …Yeh Gulistan Hamara . A little choral effects…. added to pain .Truly a gracious voice that comes with birthplace….. voice of the mind of north east as well .
I must add….Listening to SDB songs improves the life of seniors .
Kya Yeh Zindagi Hai – – Yeh Gulistan Hamara …Lata , SDB
https://www.youtube.com/watch?v=f2m8CspvtNw
SDB’s songs improve the life of seniors.
Perfectly said Bhatiaji
I was asked in comment 41, not to compare SDB with playback singers, though I had not compared anyone in my comment. And by comment no. 49 he has been compared and in particular with Rafi, for two songs which are in two different languages. Composition of bengali songs is quite different. Hindi is a lot richer language – though bengali should naturally be sweeter and more likeable to bengalees – and further enriched by adaptation of urdu words in it, resulting in more melody in songs.By this unfair comparison which might have some bias also in it, a singer with more than 5000 songs has been relegated to the status of a minnow before a singer who sang a few songs in hindi films, chiefly because he was himself a composer.
Mr Chaudhary says Rafi’s ‘hum bekhudi men’ is simplified and even then it is lesser in execution than SDB and AK has promptly agreed. I dont know why SDB robbed Dev Anand of the opportunity of lip-syncing a song from a different plane. Certainly not giving playback for a hero was not the reason for SDB, because he had given play back for Dev Anand (though only a few words) in ‘dil lagake kadar gayi pyare’ in the same film. I would like to tell Mr. Chaudhary, that ‘hum bekhudi men’ is simple because Rafi made it look simple. He has sailed through much difficult tunes, with so much ease that difficulty itself became simplicity for him. There was nothing in this world which he could not do.
I said SDB knew his limitations. Mr Chaudhary says “That was because his voice, art of singing and the kind of songs he composed for himself were not be suitable for film heroes or its principal characters. He knew that very well.” Is there any difference between what I said and what Mr Chaudhary says. I have a huge respect for SDB both as a composer and a singer and I hate to criticise him. But does writing a biography per se requires him to be made a god. I dont know what Mr Chaudhary has written in his book, but his comments here conform to what I say. I am not saying this out of thin air. See his description of the ‘Aath Din’ song I mentioned. First he says that Ashok Kumar and S Mukherjee must have insisted on a ‘dada’ song. Then he contradicts himself, by saying that Ashok would not have lip-synced the song because he was himself a good singer. Why would not Ashok lip-sync his song, when he had been already lip-syncing songs sung by other singers, particularly when he was so insistent on having SDB’s song. Then he says, if he lip-synced there must be some very special reasons and follows this statement with 4 exclamation remarks. I dont see any reason for such explanations.
At another place he says producers and directors insisted on his song for financial security. I have not seen another critic or journalist or writer claim that background songs provided financial security to a film. The stats point to a situation directly opposite. After his one solo and a duet in Aath Din, SDB playbacked for Dev Anand for a few words in Kala Pani, which came 12 years later and sang a solo in Sujata which came 13 years later. In between there were a number of flops and super flops which needed the tonic of a SDB song to make them successful, as per Mr. Chaudhary’s analogy. The fact is that after 1957/58 – coincidentally the time when he started using Rafi on a regular basis – he felt comfortable as a music director and that gave him the will to use his voice to advantage. And I am happy he did that, because we music lovers got the benefit of a few songs in his special voice and singing style. I would say he chose the situation where he would make more impact himself, rather than others choosing situations for him. Navketan, in particular gave him freedom to choose situations for songs and most of his suggestions were accepted. There is no doubt that he was a master in suggesting situations for songs in the films.
Dear Mr. Hans:
Thank you for your kind mail (52).
1. To me, composers make singers. Dada redid “Hum bekhudi” to make it suitable for the all India appeal and trained Rafi to sing it that way. Also, my statement was in no way meant to lower the capability/image of Rafi, who I think is the greatest thing that happened in the Hindi film industry during the time span 1955-1975. Rafi and Dada belong to different genre and I personally feel “Hum bekhudi mein” in Dada’s voice and style (as in Bengali) would have been a misfit considering the situation in the film.
3. That producers and directors felt kind of secure in terms of financial returns is not my statement. Several producers and directors of
yester years confirmed me that. In fact Dada himself made a statement in this vein in the sixties and it was in print. I can send you a photocopy of that portion. But it is in Bengali.
4. I am sorry, my statement on lip synching did not carry the message. Please read it as, “I have not seen Aath Din. But since it is a Filmistan film, I am sure Ashok Kumar, Sasadhar Mukherjee insisted on having a “Dada” song. I would be surprised if Dada had Ashok Kumar lip synch the song as the actor himself was a good singer……and even if he did that, there must be some very special reasons”. This is substantiated by the fact that Dada had Ashok Kumar sing, “Har din hai naya har raat” in ‘ Shikari ” which in fact is his and wife Meera’s “Gai je papiya”.
Thank you!
HQ Chowdhury
Reproducing an article here which appeared in Hindustan Times on SD Burman’s death anniversary, October 31, 2007.
R.D. Burman on ‘Hum bekhudi mein’:
Such a mood tune was Dada’s Hum bekhudi mein, superbly composed to go on Dev Anand in Kala Pani. The opening line passage was flowing ever so smoothly when Dada, in that folksy voice of his, moved away from the mainstream with that ‘turn’ of Dekha ki ye tumen hum ban ke deewaanaa. Those words had yet to be written by Majrooh Sultanpuri, Rafi was still watching Dada demonstrate.
This was when Dada appeared to give the tune a bend that just didn’t blend. But how to communicate to a musician of Dada’s range and depth was our dilemma. As we looked aghast at the ‘Dekha ki tumhen’ turn he was giving to ‘Hum bekhudi mein’, Dada Burman demanded to know why we were not playing along.
From among Dev Anand, Raj Khosla and me, the second-named – as the Kala Pani director and a singer himself – finally made bold to say we felt Dada was ruining a beautiful tune by introducing a passage that sounded off-track and wasn’t blending.
Discussions galore:
Whereupon Dada really lost his cool and, turning to me, said – “You want to be a composer, don’t you, Pancham, and you say this (Dekha ki ye tumhen) turn I am giving the tune isn’t blending, its offtrack? I am disappointed in you, Pancham, what caliber of a composer are you? Just you guys play on and see how I get Rafi to blend it in the final recording”
Blend, it finally did – ever so beautifully. This proved Dada had an audio-visual mind; he could envision ‘a-tune-within-a-tune’. In that moment, I realized how much I still had to absorb from Dada as a would-be composer.
(Source: Hindustan Times October 31, 2007 and November 1, 2007)
AK ji, ksbhatia ji,
I am floored by Dada’s rendition of jhan jhan jhan jhan mandira baaje. Lata Didi pales a little in comparison. Of course, not taking away anything from her song! Just a personal preference.
Dekha ki ye tumhe….of course was Dada’s masterly touch and the mastery of Rafi over vocals did full justice to the innovation.
Dr Pradeep Kumar Shetty ji @55; , AK ji;
……jhan jhan jhan jhan mandira baaje…..by S D B is a pure blend of lyrics and composition. Listening to it , I too, lost some time once…..but It’s always there in the last place you look for it.
The art of being bored is lost for ever when one listen to such hyper melodic heart touching rendition . Rarely discovered such songs under so many locks but not enough keys to open . I gained my happiness listening to SDB songs. No bypass for these amazing tracks ……where payal is guide for the feet and ankles……. there is no place to hang yours ankle wears……..more the uphill more the jhan jhan jhan . My heart craves for more !!
Lata’s rendition is too good when one listen to original 78 rpm vinyl record or the one recorded as mp3 with no intervention of video or additional digital sound effects. Many of great songs lost their shines with techno sound interference . I am totally against such foul practice.
Meanwhile I am looking up of some of bengali songs sung by Rafi, hemant, manna dey etc. which were originally sang by SDB himself.
Dr Pradeep Kumar Shetty ji @55; , AK ji;
In continuation here is one song by Manna dey with original version sung by SDB…..
Takdum Takdum Bajai – Sachin Dev Burman
https://www.youtube.com/watch?v=BSzdOobH1fw
Tak Dhoom Tak Dhoom Baaje -Manna Dey – Bambai Ka Babu
https://www.youtube.com/watch?v=97YPxoXLWbE
The original song carries shades of Padosan song too …..wo mama tum ho….
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