There's no comparison. One (SD) was thriving in 50s, 60s, early 70s, and his son (RD) excelled and ahead of his times in 70s and 80s. Both were gems and certainly God gifted talents that you can hardly find a match for after their demise. Even present days' so called talents, maestros, and geniuses are minnows when it comes to SD and RD.
I love and listen both of them equally.
You can't compare two musicians from different era. Would've been interesting if we were to compare RD (my vote) and Lakshmikant Pyarelal from the same era. May be another thread, another time. Don't want to digress.
Quote:Good example...in songs like this, the distinction between SD and RD blurs for a few minutes...you can certainly detect a bit of SD in this song.
Originally posted by BlueLobster
No denying SD's depth (and I think Pyaasa's music was genius and the movie remains one of my all time fav), however RD was a master in his own right. Some of the songs he composed sung by Kishore Kumar are absolutely brilliant.
Here's one
http://www.youtube.com/watch?v=95UdAo4JdJI
I should point out though that during most of the 1960s, RD was actively assisting his father in his compositions and recording, in parallel with launching his own independent career and composition style.
You can see RD's influence in many SD songs composed during the early 1960s.
SD was probably more than happy to let RD take over some of the compositions.
For example, it is almost certain that Yeh dil na hota bechara from Jewel Thief was mostly RD's composition.
Similarly, Mere sapnoon ki rani kab aayegi tu is also most likely RD and not SD.
Also, during the last days of SD he was quite sick and RD would often direct the recordings and finish up incomplete compositions.
It's quite likely that meet na mila re man ka from Abhiman was mostly RD's composition.
I believe the day SD passed away, RD was actually in the studio recording Bari sooni sooni hai with Kishore Kumar for Milli, and both of them rushed back to the hospital immediately after the recording.
Here's an anecdote about the different style and philosophies of father and son:
During one of the recordings (it was probably for Abhimaan, I forget exactly) RD was assisting SD as usual.
SD was going to be late to the recording session so he gave instructions to RD for making sure there were no more than 13 musicians in the recording.
When SD walked into the studio, he literally counted and found there were 14 musicians instead of 13 because RD wanted to add a bit more zing to it.
He recording was well under way, but SD paused it, made RD get rid of the 14th guy, and then restarted the recording.
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"Mah deah, there is much more money to be made in the destruction of civilization than in building it up."
-- Rhett Butler in "Gone with the Wind"
Quote:
Originally posted by pratickm
Quote:Good example...in songs like this, the distinction between SD and RD blurs for a few minutes...you can certainly detect a bit of SD in this song.
Originally posted by BlueLobster
No denying SD's depth (and I think Pyaasa's music was genius and the movie remains one of my all time fav), however RD was a master in his own right. Some of the songs he composed sung by Kishore Kumar are absolutely brilliant.
Here's one
http://www.youtube.com/watch?v=95UdAo4JdJI
I should point out though that during most of the 1960s, RD was actively assisting his father in his compositions and recording, in parallel with launching his own independent career and composition style.
You can see RD's influence in many SD songs composed during the early 1960s.
SD was probably more than happy to let RD take over some of the compositions.
For example, it is almost certain that Yeh dil na hota bechara from Jewel Thief was mostly RD's composition.
Similarly, Mere sapnoon ki rani kab aayegi tu is also most likely RD and not SD.
Also, during the last days of SD he was quite sick and RD would often direct the recordings and finish up incomplete compositions.
It's quite likely that meet na mila re man ka from Abhiman was mostly RD's composition.
I believe the day SD passed away, RD was actually in the studio recording Bari sooni sooni hai with Kishore Kumar for Milli, and both of them rushed back to the hospital immediately after the recording.
Here's an anecdote about the different style and philosophies of father and son:
During one of the recordings (it was probably for Abhimaan, I forget exactly) RD was assisting SD as usual.
SD was going to be late to the recording session so he gave instructions to RD for making sure there were no more than 13 musicians in the recording.
When SD walked into the studio, he literally counted and found there were 14 musicians instead of 13 because RD wanted to add a bit more zing to it.
He recording was well under way, but SD paused it, made RD get rid of the 14th guy, and then restarted the recording.
Nicely 'composed' post !! Thanks
I am fan of RD pancham da!! Monicaaaa.. O' my Darling ! he sung it himself :-)
O mere dil ke chain is my all time favorite.
Posts: 1754
Location: Ottawa (Now in Bangalore)
Posted on: 19-08-11 02:03:37
Location: Ottawa (Now in Bangalore)
Posted on: 19-08-11 02:03:37
Quote:
Originally posted by pratickm
Quote:Good example...in songs like this, the distinction between SD and RD blurs for a few minutes...you can certainly detect a bit of SD in this song.
Originally posted by BlueLobster
No denying SD's depth (and I think Pyaasa's music was genius and the movie remains one of my all time fav), however RD was a master in his own right. Some of the songs he composed sung by Kishore Kumar are absolutely brilliant.
Here's one
http://www.youtube.com/watch?v=95UdAo4JdJI
I should point out though that during most of the 1960s, RD was actively assisting his father in his compositions and recording, in parallel with launching his own independent career and composition style.
You can see RD's influence in many SD songs composed during the early 1960s.
SD was probably more than happy to let RD take over some of the compositions.
For example, it is almost certain that Yeh dil na hota bechara from Jewel Thief was mostly RD's composition.
Similarly, Mere sapnoon ki rani kab aayegi tu is also most likely RD and not SD.
Also, during the last days of SD he was quite sick and RD would often direct the recordings and finish up incomplete compositions.
It's quite likely that meet na mila re man ka from Abhiman was mostly RD's composition.
I believe the day SD passed away, RD was actually in the studio recording Bari sooni sooni hai with Kishore Kumar for Milli, and both of them rushed back to the hospital immediately after the recording.
Here's an anecdote about the different style and philosophies of father and son:
During one of the recordings (it was probably for Abhimaan, I forget exactly) RD was assisting SD as usual.
SD was going to be late to the recording session so he gave instructions to RD for making sure there were no more than 13 musicians in the recording.
When SD walked into the studio, he literally counted and found there were 14 musicians instead of 13 because RD wanted to add a bit more zing to it.
He recording was well under way, but SD paused it, made RD get rid of the 14th guy, and then restarted the recording.
For all your questions on "the Boss", please refer to the book that is out.
RD completed Mili after SD's death;
Sar jo tera chakraye (Pyaasa) was composed by RD
Teesri Manzil was nothing without RD (songs as well as the background music)
Of 'cos, RD has forever become associated with "The Legend" (i.e., Sholay); So I rest my case...as long as Sholay lives..RD and his music also shall live.
Kishore kumar would have been just an also ran singer had it not been for 1 imp. thing:
SD got sick and RD had to take over the composition of Mere sapno ki raani..What happened next we all know (as ppl say..The Rajesh Khanna tidal wave was unleashed..and sadly Md. Rafi started to fade away).
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Quote:
Originally posted by ramar2005
There seems to be concerted effort by some to belittle the senior SD's contribution. Channels like Times Now or CNN IBN always seem to be play up the junior's songs and contribution and mention his father only in passing reference. Generally, for people of the era S.D. Burman's music for more pleasing to the ears and his son's though foot tapping was many times jarring. During the latter' life time, he was sometimes even mentioned about lifting songs from the Western movies.
Fully agree with you.
I have been member of various music related groups since last couple of years and have "met" some really knowledgeable folks. However, there are lots of Pancham fanatics who seem to hell bent on propagating fallacies. One of my friend regularly riles about such false propaganda.
Even Saregama attributed Pancham to "Mere Sapnon Ki Rani" on its FB posting. Irrespective of who really composed it, I believe that "Aaradhana" was credited to SDB, he should be considered to have composed "Mere Sapnon Ki.."
It is a tragedy that only after his death did Pancham got the recognition that he deserved in 70s. And now it seems everybody has jumped on to this bandwagon and milk his music as much as they can. When he gave his best music, people preferred LP or Kalyanji Anandji or later Bappi- Anu Malik-Anand Milind etc. etc. In my college days, I was considered a "looney tunes" for preferring "Amar Prem" and "Namak Haram" over "Lal Dupatta Mal Mal Ka" or "MPK" songs.
As much as I adore Pancham, in no way should his predecessors or contemporaries should be ignored. They have contributed equally in creating the mosaic that we know as Bollywood music. Even with Gulzar-Pancham combination perhaps the best among HFM, I still feel that "Piya Tose Naina" is perhaps that perfect song that Bollywood has ever created.
And if it wasn't for SDB, there wouldn't be Pancham.
Quote:Which book is it, can you post a link?
Originally posted by Ottawa_Nerd
For all your questions on \"the Boss\", please refer to the book that is out.
Quote:I agree with that, as I said earlier, both were great in their own ways.
RD completed Mili after SD's death;
Sar jo tera chakraye (Pyaasa) was composed by RD
Teesri Manzil was nothing without RD (songs as well as the background music)
Of 'cos, RD has forever become associated with \"The Legend\" (i.e., Sholay); So I rest my case...as long as Sholay lives..RD and his music also shall live.
Kishore kumar would have been just an also ran singer had it not been for 1 imp. thing:
SD got sick and RD had to take over the composition of Mere sapno ki raani..What happened next we all know (as ppl say..The Rajesh Khanna tidal wave was unleashed..and sadly Md. Rafi started to fade away).
However, in terms of the original post by ramar2005 my personal opinion is that SD Burman was far superior in variety of composition, portraying the ethos of the times and just the pure melodious musical quality.
SD really distinguished himself and has come to represent the Golden Era of high quality music in Indian cinema from the 1950s and 1960s, along with his other contemporaries like Naushad, C. Ramachandra, SN Tripathi, Hansraj Behl, Shankar Jaikishan, Madan Mohan, Roshan, just to name a few.
As for Laxmikant Pyarelal, it's unjust to name them in the same sentence as SD & RD.
To me, they begin and end with their first two compositions - Parasmani and Dosti, the latter being their best by far.
All of the later \"stuff\" is simply ho-hum, insipid and re-hashed compositions that came to represent the dry melody-less 1970s and 1980s.
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"Mah deah, there is much more money to be made in the destruction of civilization than in building it up."
-- Rhett Butler in "Gone with the Wind"
