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R D Burman: The king of Side Rhythm

Enkayaar, Bollywood Trade News Network
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 R D BurmanWere R D Burman alive yesterday to celebrate his 68 birthday, he would have been amused to find that it’s his music which rules the roost, and is a toast perennially without any interregnums and it would have been a sweet acknowledgement of the prowess that he had for music. He was the king of side rhythm that is the interlude that he interspersed in his compositions between tow metres either in the form of a twang of a guitar in the higher or the base octave, or the beats of table in one rhythm or a fleeting play of flute. It is his side rhythm which has endured and enamored generation of music lovers for generation after generations.

It was during the lean patch that he was having, when music had started becoming cacophonic that after series of experimentations he mastered the side rhythm. Such was finesse for the same, that even in hard core violent films like ARJUN the title song of ‘Mamaiyah kero-kero mama...’ that he gave hit bull’s eye, and so did other songs in the film. This was the time when music had started losing its relevance for a film, and a film had only two-three songs, a wave, that started with SHOLAY, and during this time Pancham came up with the scores which turned out invariably to be a super hit.

One of the innate characteristics of Pancham that has been rarely talked about is R D Burmanthat though the film for which he composed may not be hit, his music always enchanted and always scored in the charts. Some of the celebrated examples of this kind could include ALAG-ALAG, YEH WADA RAHA, etc. In fact if were one to extend the argument further, the longish lease of life that Randhir Kapoor as an actor had, was majorly owing to the music that was scored by Pancham. It all started with KAL AAJ AUR KAL, RAMPUR KA LAXMAN, JAWANI DEEWANI, KASME WAADE and BIWI O BIWI etc. Same also happened in case of ZAMANE KO DIKHANA HAI and YEH WADA RAHA for Rishi Kapoor as well, as both the films were not a major success, but its music whenever it is played still scintillates the atmosphere.

Same also happened with Rishi Kapoor and the dancing star status and the romantic hero image that he could make for himself owed majorly to the Pancham's wizardry and the songs of KHEL KHEL MEIN, HUM KISSI SE KAM NAHIN, etc, are a live testimony to the fact. Even in his days when Rishi Kapoor had started going down hill he was given another musical hit in the form of DUNIYA to talk something about. SUNNY which was not a major commercial success was also a musical hit.

Pancham is also credited with launching many a stars of the present era notable among them include Kumar Gaurav whose LOVE STORY was Pancham's product, so was ROCKY for Sanjay Dutt, as also BETAAB for Sunny Deol and SAAGAR for Dimple Kapadia. R D BurmanIn fact the other stars that were launched in this era did not have the luxury of a Pancham to be launched on to the cinema buffs.

It was Laxmikant Pyarelal who had mastered the business of interlude and prelude in music, but it was ultimately a Pancham who perfected it by mixing the same with combination of a hard core western and an Indian instrument in tango, which no body else could do with the same finesse. While Vidhu Vinod Chopra may continue to give one hit after another, the kind of musical hits that Pancham had given him in the form of PARINDA and 1942: A LOVE STORY is still to be repeated in any of his subsequent films. It was an epiphany and tribute to the genius of Pancham that after he passed away 1942: A LOVE STORY emerged as a phenomenal hit. Pancham may have been interspersed in the five elements of the atmosphere, but the five nodes that dominated his music still are a connoisseur's delight. No body else could have given composition to dry verses of Gulzar for IZAJAT as Pancham gave and therefore Pancham delights and commands the legendary fan following from one generation to another.



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