Sachin Dev Burman (Bengali: শচীন দেব বর্মন)(October 1, 1906 - October 31, 1975) (also credited as Burman da, Kumar Sachindra Dev Barman, or S. D. Burman) was one of the most famous music composers for Hindi movies and an all-time great Bengali singer and composer. His son Rahul Dev Burman also achieved great success as a Bollywood music director in his own right.
Early days
S. D. Burman was born on October 1, 1906, in Comilla, British India, now in Bangladesh, to Nirmala Devi and Nabadwipchandra Dev Burman, the second son of 'Ishanachandra Dev Burman', Raja of Tripura, (r. 1849-1862). Sachin was the youngest of the five sons, of his parents, who had nine children in all.
He began his training in classical music under his father, who was a sitarist and Dhrupad singer [1].
He did his B.A. from Calcutta University [1] He started his formal music training under famous musician, K. C. Dey (1925-1930), thereafter in 1932 he came under the tutelage of Bhismadev Chattopadhaya, though only three years his senior, this was followed by training from Kahifa Badal Khan, Sarangi player, and Ustad Allauddin Khan [2]. Eventually he got K.C. Dey, Ustad Badal Khan and Allauddi Khan into Agartala, noted Bengal poet laureate, Kazi Nazrul Islam also spent time in their family home, Comilla House, in Agartala.
Music career
S D Burman composed music for 100 movies (inclusive of Bengali films). Agneepath (1990) had an uncredited song composed by him - Nazar lagi raja tore bangle par from Kalapani (1958). He also sang about 20 film songs (inclusive of Bengali films) for which he composed music though he may not have been the music director of the films. He also sang for one of the songs of Amar Prem (1971), a film whose music was composed by his son, Rahul Dev Burman. S.D. Burman's compositions have been mainly sung to a large extent by the likes of Lata Mangeshkar, Mohammad Rafi, Geeta Dutt (wife of Guru Dutt and a playback singer herself), Manna Dey,Kishore Kumar, Asha Bhonsle and Shamshad Begum. Mukesh and Talat Mahmood have also sung songs composed by him. He has also sung a number of private songs and bhajans, notable ones being "Dheere se jana bagiyan mein" and "Kaun nagariya javun re Bansiwale..".
1930s
He started working as a radio singer on Calcutta Radio Station in 1932, where his early work was based on East Bengali and Tripuri folk-music, and soon made a reputation for himself in folk and light classical music, consequently his film compositions were often influenced by his huge repertory of folk-tunes from the Bengali, Bhatiali, Sari and Dhamail traditions of Tripura Kingdom. In the same year, his first record was also released (Hindustan Musical Product), with "Khamaj" semi classical, E Pathery Aaj Eso Priyo on one side and the folk Dakle Kokil Roj Bihane on the reverse side" on 78 rpm for Hindustan Records [3]. In the following decade he reached his peak as a singer, cutting as many as 131 songs in Bengali, and also sang for composers like Himangsu Dutta, RC Boral, Nazrul Islam and Sailesh Das Gupta [4].
In 1934, he attended the All India Music Conference, at the invitation of Allahabad University, where he presented his Bengali Thumri, at to an illustrious audience, with the likes of Vijaya Lakshmi Pandit and the inimitable Abdul Karim Khan of Kirana Gharana. Later in the year he was invited to Bengal Music Conference, Kolkata, which was inaugurated by Rabindranath Tagore, here again he sang his thumri, and was awarded a Gold Medal [4].
He built a house, in Southend Park, Ballygunge, Kolkata, and in 1937, at the All India Music Conference, Allahabad, he met a music student at Rabindranath Tagore’s Shantiniketan, Meera Dasgupta (1923-2007), the granddaughter of Justice Raibahadur Kamalnath Dasgupta from Dhaka; soon she became his student and they married on February 10, 1938 in Calcutta [5][6], though having married a non-royal, created a furor within the royal family, and subsequently he severed his ties with the family, and forfeited his inheritance [7][8]. The couple's only child, Rahul Dev Burman was born in 1939, and later, both Meera Devi and Rahul assisted, S.D. Burman with some of the musical compositions [9][10]. S D Burman also did a singing role in Urdu film Selima (1934) and another role in Dhiren Ganguli's film, Bidrohi (1935) [2]
As a music composer, he started with Bengali plays, Sati Tirtha and Janani, and eventually gave his first score in film, Rajgee in 1937, his second film Rajkumarer Nirbashan (1940) became a hit, there was no turning back after that. He gave successful music in Bengali films like, Jevaan Sangini, Protishodh (1941), Abhoyer Biye (1942), and Chaddobeshi (1944) , he continued giving music in Bengali cinema, even after he moved to Bombay in 1944, and started the second inning of his musical career, giving music for over 17 Bengali films in the all [4].
He made his film debut singing in Yahudi ki Ladki (1933) but the songs were scrapped and re-sung by Pahari Sanyal. His first film as a singer was finally Sanjher Pidim (1935).
1940s
In 1944, he moved to Bombay, at the request of Sasadhar Mukherjee of Filmistan, who asked him to give score for two Ashok Kumar starrers, Shikari (1946) and Aath Din [11], but his first major breakthrough came the following year with the company's Do Bhai (1947). The song Mera Sundar Sapna Beet Gaya sung by Geeta Dutt was her breakthrough song into the film industry. In 1949, came Shabnam, his biggest hit yet with Filmistan, especially noticeable for its multi-lingual hit song Yeh Duniya Roop ki Chor, by Shamshad Begum, which became a rage in those days [12]
1950s
Disillusioned with the materialism of Bombay, S D Burman left the Ashok Kumar starrer Mashaal (1950) incomplete and decided to board the first train back to Calcutta. Fortunately, he was dissuaded from doing so.
In 1950s, S D Burman teamed up with Dev Anand's Nav Ketan Productions to create musical hits like Taxi Driver (1954), Munimji (1955), Paying Guest (1957), Nau Do Gyarah (1957) and Kalapani (1958). The songs sung by Mohammad Rafi and Kishore Kumar became popular. Burman da composed the music for Dev Anand's production company Navketan's first film Afsar (1950). With the success of their second film, Baazi (1951) he made it to the top and a long association with Navketan and Dev Anand was on its way. "Baazi"'s jazzy musical score revealed a new facet of singer Geeta Dutt, who was mainly known for melancholy songs and bhajans. While every song in the film was a hit, one stood out for special appeal - "Tadbir se Bigdi Hui Taqdeer", a ghazal that was occidentalized into a seductive song.
He also wrote music for the Guru Dutt classics - Pyaasa (1957) and Kaagaz Ke Phool (1959). The soundtrack of Devdas (1955) was also composed by him. House No. 44 (1955), Funtoosh (1956), and Solva Saal (1958) were other S D Burman hits. In 1959 came Sujata, a masterpiece by Bimal Roy, and S D created magic again with "Jalte hai jiske liye" by Talat Mamood. When Guru Dutt made comparatively light-weight films like Baazi and Jaal (1952), Burmanda reflected their mood with compositions like Suno Gajar Kya Gaye or De Bhi Chuke Hum and when Guru Dutt made his somber masterpieces - Pyaasa (1957) and Kaagaz ke Phool (1959), he was right on target with Jinhe Naaz Hai Hind and Waqt ne Kiya Kya Haseen Sitam.
In 1957, S D Burman fell out with Lata Mangeshkar and adopted her younger sister Asha Bhosle as his lead female singer. The team of S D Burman, Kishore Kumar, Asha Bhosle and lyricist Majrooh Sultanpuri became popular for their duet songs. Thus, he was responsible along with O.P. Nayyar for shaping Asha Bhosle as a singer of repute, who became his daughter-in-law after she married Rahul Dev Burman .
In 1958, S D Burman gave music for Kishore Kumar's house production Chalti Ka Naam Gaadi, the same year he was awarded the Sangeet Natak Akademi Award for Music direction, and remains the only music director to have won the prestigious award [13].
1960s
Early on in his career, he refused to allow his voice be lip-synced on film by actors [4], as a result, even later on, in Hindi cinema, his thin yet powerful voice was often used as bardic commentary to haunting results, as in Ore Majhi Mere Sajan Hai Us Paar Bandini (1963), Wahaan Kaun hai Tera from "Guide" (1965) and finally Safal Hogi Teri Aradhana from Aradhana (1969) [14], for which he received the National Film Award for Best Male Playback Singer for the year, 1970 .
Ill health caused a slump in his career in the early 1960s but he gave many hit films in late 1960s. In 1961, S D Burman and Lata Mangeshkar came together during the recording of R D Burman's first song for the movie Chhote Nawab (1961). They reconciled their differences and started working again in 1962.
The Dev Anand-S D Burman partnership, under Navketan banner, continued to churn out musical hits like Bambai Ka Babu (1960), Tere Ghar Ke Samne (1963), Teen Devian (1965), Guide (1965) and Jewel Thief (1967). In 1963, he composed songs for Meri Surat Teri Aankhen and Manna Dey sang the song "Poocho Na Kaise Maine" in raga Ahir Bhairav. This song is based on a Bengali composition by Kazi Nazrul Islam, Aruno-kaanti ke go jogi bhikaari, based on raga bhairavi (morning raga)[citation needed].
Other S D Burman hits from this period were Bandini (1963) and Ziddi (1964). In Bandini, Sampooran Singh (well known as Gulzar), made his debut as a lyricist with the song "Mora Gora Ang lai le, mohe shaam rang daai de". Guide (1965) starring Dev Anand, was probably the best of his work during the time with all the songs super hit as well as the film; but unfortunately it did not receive the Filmfare award in best music director category for that year, which remained always a discussion among the Bollywood film pandits.
Aradhana (1969) is considered a landmark score in the Bollywood history. The music of the movie shaped the careers of singer Kishore Kumar, lyricist Anand Bakshi, filmmaker Shakti Samanta and R D Burman (associate music director). For the song "Mere Sapno ki raani", Sachin Dev made R.D play the mouth organ[citation needed]. It was responsible in Kishore Kumar's second coming and went on to make him the top male playback singer of Hindi Films.
Dev Anand and S D Burman continued their musical partnership in Prem Pujari (1969).
1970s
Tere Mere Sapne (1971), Sharmilee (1971), Abhimaan (1973), Prem Nagar (1974), Sagina (1974), Zameer (1974) Chupke Chupke (1975), and Mili (1975) are other classics from this period.
S D Burman went into coma soon after recording the song Badi sooni sooni (sung by Kishore Kumar) for the film Mili. He died on October 31, 1975 in Bombay (now Mumbai).
On October 1, 2007, marking his 101st birth anniversary, India postal department released a commemorative postage stamp, in Agartala, where an exhibition on his life and work was also inaugurated; the the state government of Tripura, also confers the yearly, 'Sachin Dev Burman Memorial Award' in Music [15][16]
Filmography
Rajgee (1937)
Jakher Dhan (1939)
Jevaan Sangini (1940)
Protishodh (1941)
Abhoyer Biye (1942)
Chaddobeshi (1944)
Shikari (1945)
Aath Din (1946)
Shabnam (1949)
Baazi (1951)
Jaal (1952)
Baaz (1953)
Taxi Driver (1954)
Devdas (1955)
Pyaasa (1957)
Chalti Ka Naam Gaadi (1958)
Kaagaz Ke Phool (1959)
Sujata (1959)
Bambai Ka Babu (1960)
Tere Ghar Ke Samne (1963)
Bandini (1963)
Ziddi (1964)
Guide (1965)
Jewel Thief (1967)
Prem Pujari (1969)
Aradhana (1969)
Ishq Par Zor Nahin (1970)
Sharmilee (1971)
Naya Zamana (1971)
Tere Mere Sapne (1971)
Anuraag (1972)
Jugnu (1973)
Chhupa Rustam (1973)
Abhimaan (1973)
Phagun (1973)
Prem Nagar (1974)
Zameer (1974)
Sagina (1974)
Chupke Chupke (1975)
Mili (1975)
Complete list
Awards and recognitions
1934: Gold Medal, Bengal All India Music Conference, Kolkata 1934
1958: Sangeet Natak Akademi Award
1958: Asia Film Society Award
National Film Awards
1970: National Film Award for Best Male Playback Singer: Aradhana: Safal Hogi Teri Aradhana
1974: National Film Award for Best Music Direction: Zindagi Zindagi
1969: Padma Shri
International Jury on Folk Music
Filmfare Awards
1954: Filmfare Best Music Director Award: Taxi Driver
1973: Filmfare Best Music Director Award: Abhimaan
1959: Filmfare Best Music Director Award: Sujata: Nomination
1965: Filmfare Best Music Director Award: Guide: Nomination
1969: Filmfare Best Music Director Award : Aradhana: Nomination
1970: Filmfare Best Music Director Award: Talaash: Nomination
1974: Filmfare Best Music Director Award: Prem Nagar : Nomination
BFJA Awards
1965: Best Music (Hindi Section): Teen Deviyan
1966: Best Music (Hindi Section): Guide
1966: Best Male Playback Singer (Hindi Section): Guide
1969: Best Music (Hindi Section): Aradhana
1973: Best Music (Hindi Section): Abhimaan

Omkar Prasad Nayyar (January 16, 1926 – January 28, 2007) was a famous Indian film music director and composer born in Lahore, India, what is now in modern day Pakistan. He was particularly acclaimed for his peppy numbers.
Career
O. P. Nayyar ( "Opee" ) started his career as a movie music composer by composing the background score for the movies, Kaneez (1949) and Aasmaan (1952). He started receiving increasing public recognition from his compositions for Guru Dutt's Aar Paar (1954), Mr. & Mrs. '55 (1955), C.I.D. (1956), and Tumsa Nahin Dekha (1958). Opee went on to notch up even higher distinction through his compositions for Phir Wohi Dil Laya Hoon and Mere Sanam. The former movie included his enormously popular song, Bandaa Parwar, Thaamlo Jigar, while the latter included Jaayiye Aap Kahaan Jaayenge and Pukaarataa Chalaa Hoon Main. Some months later, his scores for the movie, Kashmir Ki Kali, once again gained high popularity.
Opee is reported to have commanded the highest fees in the Hindi movie music world at the height of his reign as a composer. He was the first Hindi music director to receive 100,000 rupees for his compositions for a movie. It was a very substantial sum of money in the 1950s.
Opee was known to have a stubborn individuality, and traits of aloofness and imperiousness. However, he was always generous with struggling newcomers and artists who had been marginalized in the movie industry. The press was always deferential to him, and frequently referred to him as a "rebel" composer. Many columnists too labeled him as a maverick. Judging from his combative performance in various TV talk shows later on, Opee seemed to enjoy those epithets.
During the 1950s, the state-controlled All India Radio found Opee too "trendy", and put for quite some time a ban on broadcasting most of his famous tunes. He seemed to have remained undaunted by this highhanded government order, and went on to create more, similar tunes, and most of them continued to receive national popularity. The far-away Radio Ceylon, (which later transformed into Sri Lanka Broadcasting Corporation), was at that time the only source from which Opee's new hits could be heard. Soon the English language press began referring to him with the honorific, "maestro", though Opee was still very young then.
Artists
Opee worked extensively with Geeta Dutt, Asha Bhosle, and Mohammed Rafi, and was instrumental in building their careers. Some Bollywood observers maintained that Asha Bhosle was his find and that he groomed her specially for his tunes. Many of his compositions which Asha sang are memorable and have a contemporary flair.
Opee never worked with Lata Mangeshkar, the melody queen in Bollywood music. After a breakup with Mohammed Rafi, Opee started to work with Mahendra Kapoor, an upcoming male singer. He also worked in the movie, Sambandh, with Mukesh, who was the favorite playback singer of Raj Kapoor. Based on one of Rabindranath Tagore's Bengali compositions, Opee had composed the song, Chala Akelaa, Chala Akelaa, which Mukesh had sung, and it had become a national hit. The same movie also included a memorable baritone rendering by Hemant Kumar, who was both a top-notch singer and a renowned Bollywood composer in his own right. (Like many other movies for which Opee provided scores, Sambandh is remembered mostly because of its music.)
Mahendra Kapoor sang Opee's compositions, displaying much depth of feelings, and provided cadence and rhythm to Opee's style. His rendering of the song for Dharmendra, Badal Jaaye Agar Maali, Chaman Hotaa Nahi Khaali in Bahaaren Phir Bhi Aayengi was an instant hit.
Opee recognized very early in the career of Kishore Kumar his talent as a singer. Both movies, Baap Re Baap and Raagini contain many Kishore Kumar hits in the inimitable Opee style. Regrettably, a cordial relationship between Opee and Kishore Kumar did not endure. Op did produce great hits ith "shamshad Begum" noably kajara Mohbattawala" even when she was not in demand. He also recorded the memorable due "Meri nindo me tum meri khwabo me tum" with "shamshad begum and "kishorekumar" In the black-and-white movie era, Madhubala, who could provide a distinct, stylized performance for Opee's songs became Opee's favorite heroine. After her untimely death, heroines like Vyjayanthimala, Mala Sinha, Padmini, Asha Parekh, and Sharmila Tagore lip-synced several of Opee-Asha Bhosle numbers, and a large number of those songs gained high popularity. Opee-Asha Bhosle's stylish songs, Phir Wohi Dil Layaa Hoon and Aankhonse Jo utree Hai Dil Main which were lip-synced by Asha Parekh, remain memorable after forty years.
Opee and Asha Bhosle parted ways in 1974, and that parting impacted Opee for the rest of his life. After the breakup, he tried to work with several good singers, including Dilraj Kaur, Alka Yagnik, Krishna Kale, Vani Jayaram, and Kavita Krishanmurthy, but the magic in his work somehow seemed to have long gone. Almost until his last days, he would often refer to Asha as a singing sensation. Embittered Asha, on the other hand, practically ignored him after the breakup, and held the thought that she was beholden to no single composer.
On the part of Asha, she went on to become a widely popular singer while working with many other composers, including, most notably, R D Burman, but the special lilt in her voice which was there when she sang Opee's compositions did not seem to be there anymore.
Majrooh Sultanpuri and Sahir Ludhianvi wrote some memorable lyrics for some of Opee's earlier compositions such as in Naya Daur. However, generally keeping clear of established song writers of his time, Opee experimented with different upcoming lyricists like Jan Nisar Akhtar, Qamar Jalalabadi, Shamshul Huda Bihari, and Ahmed Wasi, who tried to write the lyrics that would match the sensuous tunes which Opee would have in his mind. In the tradition of the great composers in India, Opee was fond of the poetic flourish of the Urdu language for his more serious songs. The Rafi rendering, Dilaki Aawaaz Bhi Sun, Mere Fasanepe Na Jaa in Humsaya is one of Opee's haunting scores.
Opee's wife, Saroj Mohini Nayyar, is an accomplished lyricist. She wrote the C H Atma/Geeta Dutt song, Preetam Aan Milo, which launched Opee into the big league of Bollywood composers.
Opee started the tradition of assigning to comedians full three-minute long songs, some of which proved even more popular than the songs sung by the heroes themselves. These supporting actors also received excellent reviews. Thus, comedian Om Prakash sang Opee's composition, Churi Bane Kanta Bane Oo My Son in Jaali Note. Comedian Johnny Walker sang Opee's popular song, Aye Dil Hai Mushkil Jeena Yahaan in C.I.D., and Main Bambaika Baaboo, Naam Meraa Anjaanaa in Naya Daur. There was later a movie titled Johnny Walker where Johnny Walker himself was the hero. Along with some other numbers in the last movie, Asha Bhosle/Gita Dutt's, Thandi Thandi Hawaa in it is memorable .
Rhythm was Opee's specialty. His spirited composition, Yeh Desh Hai Veer Jawaanonkaa featuring Dilip Kumar and Ajit in Naya Daur (1957) is an all-time favorite in India even after fifty years. Lata Mangeshkar once said that her most favorite Opee-Asha Bhosle tune was Aao Huzoor Tumko Sitaaromein Le Chale in Kismet. The last Opee composition which Asha sang was Chainase Humko Kabhi. It was meant to be included in the movie, Pran Jaye Par Vachan Na Jaye (1974), but it was dropped in the final version of the movie. However, it became an Opee classic, and it won Asha a Filmfare Best Playback Singer Award.
According to some critics, Opee did not choose his movies well and "wasted" some of his superb tunes on B-grade actors like Joy Mukherjee, Biswajeet, and Babita. Though Opee was still active in his musical career in the 1960s and '70s, to the regrets of his fans, Opee did not compose music for the then superstar Rajesh Khanna or budding Amitabh Bachchan. Opee also did not provide music for movies starring heroes of the day like Sanjeev Kumar, Shashi Kapoor, and Jitendra. Again, with the exception of Rekha, Opee did not compose music for heroines like Hema Malini, Rakhee, or Zeenat Aman, who were all well known around the time he could have made a re-entry as a top composer.
The other Bollywood maestro, S D Burman, was far more successful as a composer. Twenty years Opee's senior, the mild mannered Sachin Dev Burman composed exquisite tunes for a succession of Bollywood stars despite a long-lasting breakup with Lata Mangeshkar. With Asha Bhosle singing for Nargis his mellifluent composition, Koi Aayaa Dhadkan Kehti Hai in Lajwanti, S D Burman had all but declared that he was Asha's new mentor. Opee held Burman in high esteem and was reported to have said that the Burman-Lata solo for Waheeda Rehman in Guide, Aaj Phir Jeeneki Tamannaa Hai, was the best ever song in Hindi for its sheer evocative beauty and matching lyrical lines. (Unfortunately, the recording of that song was of mediocre quality.)
Apart from Hindi films , Opee also composed music for a few South Indian movies, including Neerajanam in Telugu.
Opee faded from the Bollywood scene in early 1970s, though he made a comeback attempt in the 1990s.
Personal life
During his retirement, Opee stayed in touch with only a few select friends. Gajendra Singh and Ahmed Wasi were two among them. Gajendra Singh included Opee as a judge for his successful TV show, Sa Re Ga Ma Pa. Ahmed Wasi interviewed Opee twice for Vividh Bharati and presented his life-sketch through six hour-long episodes collectively titled as Mujhe Yaad Sab Hai Zaraa Zaraa.
For some years before his death, Opee had very unfortunately been estranged from his family members (to the extent that he had requested that they be not allowed to attend his funeral). Following the estrangement, he had moved out of his house at Marine Drive in Mumbai (Bombay), leaving his family behind, and begun to stay at a friend's place in the suburb of Virar. (A month before his death, he had moved to yet another friend's place in Thane.)
Opee passed away on January 28, 2007 through cardiac arrest. He is survived by his wife, three daughters, and a son.
On his death, tributes came from many prominent Bollywood figures, including Lata Mangeshkar, B R Chopra, Shammi Kapoor, Sharmila Tagore, Mumtaz, Mahesh Bhatt, Khayyam, Shakti Samanta, Sonu Nigam, Ravindra Jain, and Anu Malik.
Partial filmography
The following are a few of his major hits:
Aar Paar
Naya Daur
Tumsa Nahin Dekha
Kashmir Ki Kali
Mere Sanam
Ek Musafir Ek Hasina.
Phir Wohi Dil Laya Hoon
C.I.D.
Sawan Ki Ghata
Raagini
Kismat
Phagun
Howrah Bridge
12O'Clock
Baap Re Baap
Humsaaya
Kalpana
Pran Jaye Par Vachan Na Jayae
Baharen Phir Bhi Aayaegi
Sambandh
Ek Bar Muskurado
Sone ki Chidiya
Kahin Din Kahin Rat
Yeh Raat Phir na Aayegi
Mr. & Mrs. '55
Trivia
Opee owned a Cadillac in the 1950s and with the possible exception of V. Shantaram the well known Director, none in Bollywood owned one before.
He once told Mahendra Kapoor that he would not hire him for a song, because he "only made songs for his (Kapoor's) guru i.e. Mohammed Rafi". However, when Opee and Rafi had a fallout, it was Kapoor who got to sing a number of songs for Opee.
Opee is sometimes criticized for repeating his own tunes in different films, and some new compositions did have a ring of familiarity to them.
Mumtaz, the yesteryear heroine, was forthright when she said that Opee was a brilliant maestro and that she knew for long that many others had tried repeatedly to copy his style. To Mumtaz that indeed was the real tribute to Bollywood's famous rebel. Imitation was really the praise due. But Opee's wizardry was his own.
Did he listen to his own music in his twilight years? Never, Opee declared, adding he did not have a collection of his own music! "Once I have made them, I am finished with them"! A rare sentiment indeed!
Despite not being a trained classical musician, Opee had a great ear for music. Witness the classical based "Dekho bijli dole..." and "Tu hai mera prem devta..."
It is also widely acknowledged that when a well-known Opee tune is being played many just impulsively listened in. Even his critics admit his tunes had an arresting, declarative quality.
In the last few years he was often fond of invoking the name of Lord Krishna.
It has been reported he turned a homeopath helping the needy with his medicines free of cost.

Naushad Ali (Nastaliq: نوشاد علی,Devanagari: नौशाद अली) (December 25, 1919 – May 5, 2006) was an Indian musician. He was one of the foremost music directors (composers) for Bollywood films. He won the first Filmfare Best Music Director Award in 1954, for Baiju Bawra (1952)
Biography
Naushad was raised in Lucknow, a city with a long tradition as a center of refined North Indian culture. He studied classic Hindustani music there under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb, and others.
Music career
Naushad moved to Mumbai in the late 1930s to try his luck as a musician. After initial rebuffs, he got a job as a musician in a studio orchestra. He scored his first film in 1940. From 1942 until the late 1960s, he was one of the top music directors in Bollywood.
Naushad worked with several lyricists, including Shakeel Badayuni, Majrooh Sultanpuri, D. N. Madhok, Zia Sarhadi, and Barabankvi.
Semi-retirement
As Indian film music gradually assumed a Western bend starting in the late 1960s, Naushad came to be considered old-fashioned. Composers who could compose rock-and-roll and disco-inflected music started getting increasingly popular. Naushad was still esteemed as a maestro, but his talents were sought mostly for historical movies where traditional scores were appropriate.
In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema. In 1988 he worked in a Malayalam Film Dhwani staring Ever Green Hero Prem Nazir. In 1995 he gave music for Shah Rukh Khan starrer, Guddu the music was a hit. In 2004, when a colorized version of the classic Mughal-e-Azam was released, Naushad was a guest of honor at the premiere[1].
Naushad's last music composition was for the movie, Taj Mahal: An Eternal Love Story (2005), which was directed by Akbar Khan.
Naushad passed away on May 5, 2006 in Mumbai.
Music style
Naushad was known for his deft adaptation of the classical musical tradition for movies. For some movies like Baiju Bawra, he composed all scores in classical raga modes. He could easily work with Western instruments, including the clarinet, the mandolin, and the accordion. He could incorporate Western musical idioms in his compositions, and compose for Western-style orchestras.
Filmography
As a Music Director:
Film
Year
Director
Cast
Remarks
Prem Nagar
1940
Mohan Dayaram Bhavnani
Ramanand, Bimla Kumari, Husn Banu, Rai Mohan, Nagendra, Salu, Gulzar
Darshan
1941
Chimanlal Muljibhoy Luhar
Raj Kapoor, Suraiya
Mala
1941
Balwant Bhatt
Jayant, Rose, Jairaj, Nazir, Daya Devi, Heera
Nai Duniya
1942
Abdul Rashid Kardar
Jairaj, Shobhna Samarth, Wasti, Azurie, Mazhar Khan. Hari Shivdasani, Jeevan
Sharda
1942
Abdul Rashid Kardar
Ulhas, Mehtab. Wasti, Nirmala, Badri Prasad
Station Master
1942
Chimanlal Muljibhoy Luhar
Prem Adib, Pratima Devi, Gulab
Kanoon
1943
Abdul Rashid Kardar
Mehtaab, Shahu Madhok
Namaste
1943
Mohammed Sadiq Sani
Wasti, Protima Das, Jagdish Sethi, Misra
Sanjog
1943
Abdul Rashid Kardar
Charlie, Anwar Hussain, Mehtab
Geet
1944
S. U. Sunny
Shahu Modak, Nirmala, Amir Ali
Jeevan
1944
Mohammed Sadiq
Wasti, Mehtab, Badri Prasad, Anwar, Shyam Kumar
Pehle Aap
1944
Abdul Rashid Kardar
Shamim, Wasti, Anwar Hussain, Jeevan, Dixit Produced By: Kardar
Rattan
1944
S Sadiq
Amir Banu, Karan Dewan, Swarnalata
Sanyasi
1945
Abdul Rashid Kardar
Shamim, Amar, Misra, Shyam Kumar, Naseem Jr., Gulam Mohamad
Anmol Ghadi
1946
Mehboob Khan
Noorjehan, Surinder, Suraiya
Keemat
1946
Nazir Ajmeri
Amar, Sulochana Chatterjee, A Shah, Sharda, Badri Prasad, Sofia, Anwari, Nawab
Shahjehan
1946
Abdul Rashid Kardar
Kundan Lal Saigal, Ragini
Dard
1947
Abdul Rashid Kardar
Uma Devi, Suraiya
Elan
1947
Mehboob Khan
Himalaywala, Leela Mishra, Shah Nawaz
Natak
1947
S. U. Sunny
Suraiya, Amar, Sofiya, Kanwar, Sham Kumar, Pratima Devi
Anokhi Ada
1948
Mehboob Khan
Surendra, Naseem Bano, Murad, Cuckoo
Mela
1948
S. U. Sunny
Dilip Kumar, Nargis, Jeevan
Andaz
1949
Mehboob Khan
Dilip Kumar, Raj Kapoor, Nargis
Chandni Raat
1949
Mohammed Ehsan
Shyam, Naseem Bano
Dillagi
1949
Abdul Rashid Kardar
Shyam, Suraiyya, Sharda, Amir Banu, Amar
Dulari
1949
Abdul Rashid Kardar
Suresh, Madhubala, Geeta Bali
Babul
1950
S. U. Sunny
Dilip Kumar, Nargis
Also as Producer
Dastan
1950
Abdul Rashid Kardar
Raj Kapoor, Suraiya, Veena, Suresh
Deedar
1951
Nitin Bose
Dilip Kumar, Nimmi, Nargis, Ashok Kumar
Jadoo
1951
Abdul Rashid Kardar
Suresh, Nalini Jaywant
Aan
1952
Mehboob Khan
Dilip Kumar, Nimmi, Nadira
Baiju Bawra
1952
Vijay Bhatt
Bharat Bhushan, Meena Kumari
Deewana
1952
Abdul Rashid Kardar
Suraiya, Suresh, Sumitra Devi, Shyam Kumar
Amar
1954
Mehboob Khan
Dilip Kumar, Nimmi, Madhubala
Shabab
1954
Mohammed Sadiq
Bharat Bhushan, Nutan
Uran Khatola
1955
S. U. Sunny
Dilip Kumar, Nimmi
Also as Producer
Mother India
1957
Mehboob Khan
Raj Kumar, Nargis, Rajendra Kumar, Sunil Dutt, Kanhaiyalal
Sohni Mahiwal
1958
Raja Nawathe
Bharat Bhushan, Nimmi
Kohinoor
1960
S. U. Sunny
Dilip Kumar, Meena Kumari, Kumkum, Jeevan
Mughal-e-Azam
1960
Karim Asif
Dilip Kumar, Madhubala, Prithviraj Kapoor, Durga Khote, Ajit
(Gunga Jumna)
1961
Nitin Bose
Dilip Kumar, Vyjayantimala Bali
Son of India
1962
Mehboob Khan
Kamaljit, Kumkum, Sajid, Simi Garewal, Jayant
Mere Mehboob
1963
Harnam Singh Rawail
Rajendra Kumar, Sadhana, Ameeta, Ashok Kumar, Nimmi
Leader
1964
Ram Mukherjee
Dilip Kumar, Vyjayantimala Bali
Main Hoon Jadugar
1965
Jugal Kishore
Jairaj, Chitra, Tiwari, Sujata, Maruti
Along with MD: Sardar Malik
Dil Diya Dard Liya
1966
Abdul Rashid Kardar
Dilip Kumar, Waheeda Rehman, Pran
Saaz Aur Awaaz
1966
Subodh Mukherji
Saira Banu, Kanhaiyalal, Joy Mukherjee
Palki
1967
S. U. Sunny
Rajendra Kumar, Waheeda Rehman, Rehman, Johnny Walker
Also as Storywriter
Ram Aur Shyam
1967
Tapi Chanakya
Dilip Kumar, Waheeda Rehman, Mumtaz, Pran, Nirupa Roy, Leela Mishra
Aadmi
1968
A. Bhimsingh
Dilip Kumar, Waheeda Rehman, Manoj Kumar
Saathi
1968
C. V. Sridhar
Rajendra Kumar, Vyjayantimala Bali, Simi Garewal
Sunghursh
1968
Harnam Singh Rawail
Dilip Kumar, Vyjayanthimala, Balraj Sahni
Gunwaar
1970
Naresh Kumar
Rajendra Kumar, Vyjayantimala Bali, Nishi
Pakeezah
1971
Kamal Amrohi
Raj Kumar, Meena Kumari, Ashok Kumar
Background Music and a few songs (Najaria Ki Maari, Mari Mori Guiyaan). MD: Ghulam Mohammed
Tangewala
1972
Naresh Kumar
Mumtaz, Sujit Kumar
My Friend
1974
M Rehman
Rajeev, Prema Narayan, Utpal Dutt, Jagdeep, Asit Sen, Tuntun
Sunehra Sansar
1975
Adurti Subba Rao
Rajendra Kumar, Hema, Mala Sinha
Aaina
1977
Kailasham Balachander
Mumtaz, Rajesh Khanna
Chambal Ki Rani
1979
Radhakant
Mahendra Sandhu, Dara Singh, Chand Usmani
Dharam Kanta
1982
Sultan Ahmed
Raj Kumar, Waheeda Rehman, Jeetendra, Reena Roy, Rajesh Khanna, Sulakhshana Pandit
Love and God
1986
Karim Asif
Sanjeev Kumar, Nimmi, Pran
Dwani (Malayalam)
1988
Abu A T
Jayabharathy, Jayaram, Prem Nazir, Shobhana
Teri Payal Mere Geet
1989
Rehman Naushad
Govinda, Meenakshi Seshadri
Aawaz De Kahan Hai
1990
Sibte Hassan Rizvi
Bindu, Annu Kapoor, Satyendra Kapoor
Guddu
1995
Prem Lalwani
Shah Rukh Khan, Manisha Koirala, Mukesh Khanna, Deepti Naval, Vijayendra Ghatge, Ashok Saraf, Prem Lalwani
Taj Mahal: An Eternal Love Story
2005
Akbar Khan
Kabir Bedi, Monisha Koirala, Zulfi Sayed, Sonia
Hubba Khatoon
Unreleased
Mehboob Khan
Sanjay Khan
As a Producer:
Maalik (1958) Music Director for this film was Ghulam Mohammed
Uran Khatola (1955)
Babul (1950)
As a storywriter:
Palki (1967)
Malayalam Film
Dhwani (1988), Director: Abu A T, Cast: Jayabharathy, Jayaram, Prem Nazir, Shobhana, Lyrics: Yusaf Ali Kechery
Song: Aankuyile Thenkuyile, Singer(s): Yesudas
Song: Anuraga Lola Gathri, Singer(s): Yesudas, Janaki? or P Shushila?
Song: Manasa Nilayil, Singer(s): Yesudas
Song: Oru Raga Mala Korthu, Singer(s): Yesudas
Song: Rama Rama Janaki Jane, Singer(s): P Suseela
Song: Rama Rama, Singer(s): Yesudas
Song: Rathi Sukha Saramayi Devi, Singer(s): Yesudas
English film:
Such a Long Journey (1998), Director: Sturla Gunnarsson, Music: Jonathan Goldsmith, Cast: Roshan Seth, Soni Razdan, Om Puri, Nasiruddin Shah,
In this film, the song from film "Pakeezah" (1971), "Thaade rahiyo", lyrics: Kaifi Azmi, rendered by Lata Mangeshkar, was played during the end casting.
Awards and recognition
1954: Filmfare Best Music Director Award - Baiju Bawra
1975: "Naushad Ali", a 30-minute documentary film produced by Television Centre, Bombay.
1992: Sangeet Natak Akademi Award
Trivia
"Tasveer Banata Hoon" - is it Naushad's song?
There are different songs:
1. Tasveer Banata Hoon Teri, Khoon-e-Jigar Se, Dekha Hai Tujhe Maine Mohaabat Ki Nazar Se Film: Deewana, Year: 1952, Singer: Mohammed Rafi, Lyrics: Shakeel Badayuni, Music Director: Naushad Ali http://famousbazaar.com
2. Tasveer Banata Hoon, Tasveer Nahin Banti, Ik Khwaab Sa Dekha Hai, Tadbeer Nahin Banti, Film: Baradari, Year: 1955, Singer: Talat Mehmood, Lyrics: Khumar Barabankvi, Music Director: Shaukat Dehalvi Nashad

Tasveer Teri Dil Mera Behla Na Sakegi A Non-Filmi Ghazal. Singer: Talat Mehmood, Music: Kamal Dasgupta
4. Tasveer Teri Dil Mera Behla Na Sakegi Film: Devar Bhabhi, Year: 1958, Music: Ravi --
There was another person by the name of Noushad who acted in Pakistani film Ghar Ki Laaj (1966), Director: S. M. Salim, Music: A. Hameed, Cast: Atia, Noushad, Waris, Afshan. --

Rahul Dev Burman (राहुल देव बर्मन) (June 27, 1939 – January 4, 1994), commonly known as R. D. Burman and nicknamed Pancham da (पंचम दा) or simply Pancham, was one of the great music composers of Bollywood. He was the only son of singer and Bollywood music composer Sachin Dev Burman and his wife Meera, and the second husband of playback singer Asha Bhosle. He is credited with revolutionizing the music in Hindi films, and his style and techniques continue to be followed by the composers of today.
Initial years
Rahul Dev Burman was born in Comilla in undivided Bengal, now in Bangladesh. According to stories, he was nicknamed Pancham because, as a child, whenever he cried, it sounded in the fifth note (Pa) of the Indian musical scale. The word Pancham means five (or fifth) in Bengali and Sanskrit. Another version is that when the veteran Indian actor Ashok Kumar saw a newborn Rahul Dev Burman uttering the syllable Pa repeatedly, he nicknamed the boy Pancham. After coming to Mumbai, he learnt sarod from Ustad Ali Akbar Khan [1]. When he was nine years old, he composed his first song, Aye meri topi palat ke aa, which his father used in the film Funtoosh (1956). The tune of the song Sar jo tera chakraaye was composed by him as a child. His father loved the tune and included it in the soundtrack of Guru Dutt's Pyaasa. As a child, Pancham also played the mouth organ in the famous song Hai apna dil to aawara (from film Solva Saal - 1958, starring Dev Anand). Pancham began his music career as an assistant to his father. His first film as a music director was Chhote nawaab.
Music career
He started independent music composing for long. Out of his 331 released movies 292 were in Hindi, 31 in Bangla, 3 in Telugu, 2 each in Tamil & Oriya and 1 in Marathi. RD also composed for 5 TV Serials in Hindi and Marathi. He also scored a large number of non-film songs in Bangla (also known as Pooja songs or modern songs), which are available in different albums. He did a song for a small documentary film called Maa Ki Pukaar too, in 1975.
A good amount of his work, however, is still work in hand (the last 5-6 years of his life), but when he kept composing tunes and stored them.
R D Burman did playback in eighteen movies composed by him. He was famous for unique, grunting bass singing style. He also acted in the film Bhoot Bungla (1965) and Pyar Ka Mausam (1967).
He also used some of the popular western songs to compose his own tunes. His one of the super hit song "Mehbooba Mehbooba" is inspired from the song "Say You Love Me" by the Greek singer Demis Roussos
1950s
R D Burman started his career as assistant to his father, Sachin Dev Burman. He assisted his father in Chalti Ka Naam Gaadi (1958) and Kaagaz Ke Phool (1959), and his first music interlude, in his father composition, was for the song, Jaane Kya Tune Kahi, sung by Geeta Dutt, for film Pyaasa (1957)[2]. His first film as a music director was Guru Dutt's Raaz (1959). However the film was shelved after some shooting and recording of few songs.
1960s
R D Burman's first released movie as a music director was Mehmood's Chhote Nawab (1961). Mehmood once said that he gave the movie to R D Burman because he got tired of R D Burman denting his car with the persistent drumming of his fingers! The first song Ghar aaja ghir aaye to be recorded for the movie was sung by Lata Mangeshkar because R D Burman wanted no one but the legendary singer to sing his first composition for movies. The song brought together S D Burman and Lata Mangeshkar who had stopped recording together since 1957.
R D Burman continued to work as his father's assistant in movies like Bandini (1963), Teen Deviyaan (1965) and Guide (1965). Mehmood gave him his second movie as a music director in 1965 - Bhoot Bangla. The soundtrack is notable for a sedate Jaago sonewalo sung by Kishore Kumar and a contrasting Aao twist karein, sung by Manna Dey [3], a Desi version of Chubby Checker's Let's twist. In the movie, R D Burman also acted alongside Mehmood. He also composed the music of Teesra Kaun in 1965.
R D Burman's first hit movie was Teesri Manzil (1966). Burman gave credit to lyricist Majrooh Sultanpuri for recommending him to Nasir Hussain, the producer and writer of Teesri Manzil.[4] Vijay Anand also said that he had arranged a music session for him before Nasir Hussain.[5] After hearing his music, Nasir Hussain made him the music director of Teesri Manzil. Initially, Shammi Kapoor (hero of the movie) was unhappy over choice of R D Burman. He wanted the tried and tested Shankar-Jaikishen, who had composed music for most of his films. However, after hearing R D Burman's music, he had no problems. The songs O haseena and Aaja aaja belonged to a genre that Indian music lovers were unaware of. Mohd. Rafi sang all six songs, four of them were duets with Asha Bhonsle. Nasir Hussain went on to sign R D Burman and lyricist Majrooh Sultanpuri for six of his films including Baharon Ke Sapne (1967), Pyar Ka Mausam (1969) and Yaadon Ki Baraat (1973).
In 1967, R D Burman composed music for the movies Chandan Ka Palna and Baharon Ke Sapne but neither film did particularly well at the box office, even though Burman's compositions were much liked. Meanwhile, he continued to work as his father's assistant for movies like Jewel Thief (1967) and Talash (1969).
In 1968, Burman had his second major box office hit after Teesri Manzil titled Padosan (1968). His music for the comedy film was much appreciated.
In 1969, Waris and the musical hit Nasir Hussain's Pyar Ka Mausam (where he also acted in a supporting role) were released. For Aradhana (1969), R D Burman was credited as associate composer. When S D Burman fell ill during the recording of Aradhana's (1969) music, Pancham completed the music.
1970s
R D Burman was India's most popular composer in 1970s (Bollywood's superstar era), famous for his peppy tunes. He teamed up with singers Asha Bhosle, Kishore Kumar, Lata Mangeshkar and others to churn up some of the biggest hits in the Bollywood music history.
In 1970, R D Burman composed music for six movies, of which Kati patang (a Rajesh Khanna starrer) was a musical hit.
Eleven more movies with R D Burman as music director were released in 1971. Of these, Amar prem, Buddha mil gaya, Caravan, and Hare Rama Hare Krishna were musical hits. Amar prem is noted for intricate songs based on Indian Classical Music such as Raina beeti jaaye (sung by Lata Mangeshkar) and one of the best sad songs that industry ever produced Chingari Koi Badhke was also in this film. Buddha mil gaya had simple, peppy numbers like Raat kali ek khwab mein aayee and Bhali bhali si ek soorat. It also had a classical song Aayo kahan se Ghanshyam?. Caravan had the best Bollywood cabaret ever - Piya tu ab to aaja, picturized on Helen and sung by Asha Bhosle and R D Burman ("Monica! O my darling"). He also received his first Filmfare Best Music nomination for "Caravan." The title song of Hare Krishna Hare Rama sung by Asha became the hip-hop anthem for the youngsters. The song is used in Grand Theft Auto: Liberty City Stories soundtrack, titled Dum Maro Dum for Radio Del Mundo in 2006. Other songs like Phoolon ka taaron ka and Kaanchi re were also popular.
In 1972, R D Burman composed music for nineteen films. Seeta aur Geeta, Rampur ka Lakshman, Mere jeevan saathi, Bombay to Goa, Apna desh and Parichay were musically successful. The high-pitched Asha-R D Burman duet Duniya mein logon ko from Apna desh became popular. Songs like Beeti na beetayi raina and Musafir Hoon Yaron from Parichay marked the beginning of a fruitful association between R D Burman and lyricist Gulzar. Rajesh Khanna's Mere jeevan sathi had beautiful evergreen Kishore Kumar numbers like O Mere Dil Ke Chain. Also released in 1972 Jawaani diwaani was a hit. Songs like Abhi nahi, Jaan-e-jaan dhoondhta phir raha and the title track were all chart-busters that year.
1973 saw fourteen more R D Burman soundtracks, of which the most successful ones were Nasir Hussain's Yaadon Ki Baraat, Shareef badmash, Heera panna and Anamika. In 1974, sixteen movies with R D Burman music were released. Aap ki kasam and Ajanabee were major hits.
In 1975, there were nine movies with R D Burman soundtracks including the superhit Sholay, Deewaar ,Aandhi, Khushboo and Dharam karam. In Sholay, he sang Mehbooba mehbooba, picturised on Helen and Jalal Agha and for which he received his sole Filmfare nomination for playback singing. Aandhi had classic Gulzar songs sung by Kishore-Lata - Is mod se jaate hain, tum aa gaye ho, Tere bina zindagi se koi and others. Khushboo was another R D Burman-Gulzar masterpiece with songs like O manjhi re.
R D Burman also completed the music of Mili (1975) after his father went into coma and died. In 1976, there were 8 movies with R D Burman as music director, of which Mehabooba (1976) was a classic musical film based on reincarnation, where Rajesh Khanna played double role as Singer (Classical and Modern) with a very sophisticated way. Nine more movies were released in 1977. Naam gum jaayega (Kinara, 1977) is another of R D Burman-Gulzar gems, but it was "Kya Hua Tera Wada"(Nasir Hussain's Hum Kisi Se Kum Nahin, 1977) that revived Mohd. Rafi's career and became one of the most popular songs ever. Although, Kishore Kumar still continued to be the dominant male playback singer for R.D. Burman's songs, the success of "Kya Hua Tera Wada" enabled Burman to use Rafi more frequently.
In 1978, nine more R D Burman releases, including Shalimar and Kasme vaade. Shalimar included hits like Hum bewafa hargiz na the (Kishore Kumar) and the title track (Asha Bhosle). The title track, Mile jo kadi kadi and Aati rahengi baharein of Kasme Vaade were very popular. The title track and Raju chal Raju of Dharmendra-starrer Azaad were also moderately popular. Ghar was a huge hit for R.D. Burman-Gulzar duo with songs like Tere bina jiya jaaye na, Aaj Kal paon zameen par, Phir Wohi Raat hai.
1979 was a relatively full year for R D Burman, although he composed music for ten films. His biggest hit was Golmaal. The most popular songs were Aanewala pal (Kishore Kumar) and the title track (Golmaal hai bhai sab golmaal hai) sung by R D Burman and his assistant Sapan Chakraborty. Few other R D Burman hit songs in 1979 were Jeevan ke har mod pe (Jhoota kahin ka), Rim jhim gire saawan (Manzil), Saawan ke jhoole pade (Jurmana) and Do lafzon ki hai dil ki kahani (The great gambler, sung by Asha Bhosle and actor Sharad Kumar).
1980s
In 1980, there were ten releases. The film Kudrat ( RD, Majrooh Sultanpuri, 1980) was a musical hit. The song "Humein Tumse Pyar Kitna" was recorded twice with a male singer (Kishore Kumar) and a female singer (Parveen Sultana), who received the Filmfare Best Female Playback Award.[6] R D Burman churned out musical hits like The burning train and Shaan, which were not successful at the box office. The burning train included popular Sahir Ludhiyanvi qawwali sung by Asha Bhosle and Mohammad Rafi - Pal do pal ka saath hamara. The film is also noted for Teri hai zameen, sung by Sushma Shrestha and Padmini Kolhapure as child-singers. Shaan had sizzlers like Pyar karne wale pyar karte hain shaan se (Asha Bhosle), Doston se pyaar kiya (Usha Uthup) and Yamma yamma (duet sung by Rafi and R D Burman). R D Burman also composed for Alibaba aur 40 chor (Приключения Али-Бабы и сорока разбойников in Russian), an Indo-Russian collaboration. Actor Rekha made her singing debut under R D Burman with the songs Kaayada kaayada and Saare niyam tod do in Khubsoorat (1980). The lyrics were penned by Gulzar. Other popular songs included Sun sun didi tere liye (Asha Bhosle) and Piya bavari (Asha and Ashok Kumar). The songs of Abdullah (1980) also became popular. The score is noted for Rafi-song Maine poocha chaand se, in which R D Burman modernised his father Sachin Dev Burman's tune. Mohd. Rafi's death stuns R.D. Burman, as it does the entire nation.
The year 1981 saw R D Burman composing for fifteen films. He created two hit soundtracks with lyricist Gulshan Bawra and Universal Music India (then called Music India) - Satte pe satta and Yeh vaada raha. Amitabh Bachchan-starrer Satte pe satta was a story of 7 brothers and their 7 brides. The songs picturized on the seven brothers were sung by R D Burman, his assistants Basu and Sapan Chakravorty, lyricist Gulshan Bawra, Bhupendra, Anand Kumar C and Kishore Kumar. The songs for the ladies were sung by Asha Bhosle, Annette and Dilraj Kaur. The hit songs include Dukki pe dukki ho, Pyar hamein kis mod pe, Dilbar mere and Zindagi milke bitaayenge. R D Burman's major hit in 1981 was Sanam teri kasam. The hit soundtrack included Kitne bhi tu kar le sitam, Jaan-e-jaan and Dekhta hoon koi ladki haseen among other songs. He received his first Filmfare Award for Best Music for this film, after being nominated for 12 years. received In 1981, R D Burman also composed music for Rocky (Sanjay Dutt's debut movie) and Love story (debut film of Sanjay Dutt's brother-in-law, Kumar Gaurav). The songs from both the movies were popular. However, Rocky bombed on the box office, while Love story was a superhit. Jahan teri yeh nazar hai from Amitabh-starrer Kaalia (1981) also became very popular among listeners.
Fourteen more R D Burman soundtracks were released in 1982. The team of Nasir Hussain, R D Burman and Majrooh Sultanpuri (which had started with Teesri Manzil (1966)) presented Zamane Ko Dikhana Hai in 1982. The songs Poocho na yaar kya hua and Dil lena khel hai dildar ka became fleetingly popular, but the consensus was that Burman didn't deliver as strongly for Nasir Hussain this time as he had done previously. The film wasn't a hit either, and it was the last time the late Mohd. Rafi would be heard in a Nasir Hussain-R.D. Burman-Majrooh Sultanpuri collaboration. Ashok Kumar's last song Chalo haseen geet (Shaukeen, 1982) was composed by R D Burman. Angoor (1982) is noted for R D Burman's spoof on the O. P. Nayyar hit Preetam aan milo, sung by Sapan Chakravorty. Bemisal had good music but the film did not do well. In 1983, there were fifteen R D Burman soundtracks, of which Masoom and Agar Tum Na Hote are considered classics. He also received his second consecutive Filmfare Award for Best Music for "Masoom."
In 1984, fourteen R D Burman soundtracks were released. This year, Gulshan Kumar's T-Series made its entry into the arena of original film soundtracks. The company's first major music rights acquisition were for Pramod Chakravorty’s bi-lingual Jagir(Hindi)/Teen Murti(Bengali). The film's music was composed by R D Burman. This year, R D Burman came with somewhat disappointing scores. But he introduced a plethora of talented new singers in these years. Kumar Sanu was given his first break by R D Burman in Yeh desh (1984) as voice of Kamal Hasan. Abhijeet was given his major break by R D Burman in Anand aur Anand (1984). Although he made his debut a long time ago, Hariharan (singer) was first noticed in a duet with Kavita Krishnamurthy, Hai mubarak aaj ka din (Boxer, 1984), which was composed by R D Burman. Nasir Hussain's Manzil Manzil tanked, and critics commented on decline on Burman's music for the film.
In 1985, R D Burman had only two music hits among his 12 soundtracks, Saagar and Alag Alag. Mohammed Aziz, a popular Rafi clone of 1980s, made his debut with Shiva Ka Insaaf (1985) under R D Burman. Nasir Hussain's Zabardast (1985) became his third flop in a row, along with Burman's music. Hussain defended Burman to the press: "I disagree that RD gave weak music in (Zamane Ko Dikhana Hai (1982) and Manzil Manzil(1984)). He was passing through a lean phase during Zabardast."[7] Hussain stopped directing films and handed the reins over to his son Mansoor Khan, who hired other music directors. Hussain put a positive spin on it at the time by saying, "We did not ‘drop’ Pancham – Mansoor felt that he could not possibly tell Pancham Uncle to change his style for him. Pancham will come back the day I direct again, which I plan to do soon."[8] But that never happened. The partnership between Hussain and Burman which had started so strongly nearly twenty years ago with Teesri Manzil (1966) ended with a thud.
1986 is said to be the worst year of his career. None of his 9 soundtracks made a mark that year. After 1986, he started getting less work. The producers who gave him patronage suddenly seemed to have disappeared. Bappi Lahiri's ' plagiarized ' or lifted, Western Disco tunes had taken their toll on R D Burman. The year 1987 saw only 5 releases including the brilliant Ijaazat, which failed to prevent his downfall. Ijaazat is still considered a matchless score, with classics like Choti si kahani se, Khaali haath shaam aayi hi, Katra katra and Mera kuch samaan (which won Asha Bhosle the National Award as Best Singer).
1988 saw some four more R D Burman soundtracks of which Libaas had good songs, but the producer refused to release the film. R D Burman gave music for 6 more movies in 1989, of which Parinda and Joshilaay were successful.
1990s
R D Burman's last years were not very pleasant. The few films he composed music for flopped at the box office. Subhash Ghai promised him Ram Lakhan but gave it instead to Laxmikant Pyarelal. This greatly upset Pancham. He suffered from a heart attack in 1988 and underwent heart surgery. During this period, he composed many tunes, which were never released.
R D Burman gave music for few mediocre movies in 1990 (two), 1991 (three) and 1992 (six). In 1993, there were four more releases, of which 1942: A Love Story (released after his death) has an unforgettable score. The film won him the third and last of his Filmfare awards. The music of Janam Se Pehle (1994) was also composed by R D Burman. After his death, Ghatak: Lethal (1996) was released.
2000s
After his death, in the late 1990s, the remix versions of R D Burman's hits ruled the Indian music scene. Even today, most of the Indian remix songs are his tunes remixed.
Gang (2000) was released long after R D Burman's death. He was also credited for music of few more films after his death. For example, Monsoon Wedding (credit for Chura liya hai) and Dil Vil Pyaar Vyaar (2002), which had R D Burman songs "recreated" by one of his assistants Babloo Chakravorty.
Jhankaar Beats (2003 movie)starring Sanjay Suri, Rahul Bose, Juhi Chawla & Rinkie Khanna was sort of a tribute to RDB, wherein Suri & Bose play musicians who revere RDB & his music & whose music is influenced by Burman. There was a remixed version of Burmans popular Kishore Kumar number "Humein tumse pyaar kitna" which was integral to the film. Both the films, Dil Vil Pyaar Vyaar and Jhankaar Beats paid tribute to R.D. Burman, and his music [9].
In, 2004, Filmfare Awards, constituted a new award in the memory of R D Burman, Filmfare RD Burman Award for New Music Talent, given each year, to new music directors and singers in Hindi cinema.
Foreign collaborations and private albums
In a rare feat, noted lyricist, Gulzar, R.D. Burman and Asha Bhosle, came together in 1987, to create a double album, titled, Dil Padosi Hai, which was released on September 8, 1987, Asha Bhosle's birthday [10]. R D Burman also produced private albums, including one based on the samba, and also collaborated with Boy George. He has also composed music for an album called Pantera produced by Pete Gavankar in 1987 whose lyrics were written by Jose Flores. [1] The 2002 release "Jhankaar Beats" features one of his famous tunes from the movie, Kudrat while paying tribute to him.
In 2008 on 26th April, 113 Minute documentry film, by Brahmanand Singh, titled 'Pancham Unmixed - Mujhe Chalte Jana Hai', was premiered at IIFLA (ArcLight Hollywood), in Los Angeles [11]. The film takes an incisive look into the Pancham’s reflective artistry and buoyant-but-also-lonely inner being. Featuring a host of close friends, colleagues and admirers, the film attempts to evoke awe, admiration and nostalgia the way most of his music does, till date.
Personal life
Pancham married a lady named Rita Patel in 1966, but they were divorced in 1971. He then married Asha Bhosle in 1980. Together, they recorded many memorable tunes and also staged many live performances. After his father died in 1975, he took care of his mother. After Pancham's death, his mother eventually ended up in old-age home but came back to her late son's house to die on October 15, 2007. [12]
Pancham had financial difficulties particularly later in his life. There have been wide discussions about the disconnect between the success of his music and his financial success. Even today, at any given moment there is some radio or television channel that is playing his music. His music has found a new generation of followers. But unfortunately his music and his talent was never recognized during his life leading to financial difficulties.
Plagiarism
There have been accusations of plagiarism against Burman claiming that he often copied, or "lifted" tunes and melodies from several different sources such as popular Western or African tunes. Notable examples of plagiarism can be found online. [2]
Music style
Pancham was comfortable with all types of music, be it the romantic Raat kali from Buddha mil gaya (1971), the sexy cabaret Piya tu ab to aaja from Caravan (1971), the ultimate hippie anthem Dum Maro Dum from Hare Krishna Hare Rama (1972) or the classical Raina beeti jaaye. It is said that Dev Anand did not include the complete version of Dum Maro Dum in Hare Rama Hare Krishna, as he was worried the song would overshadow the film. At times, R D doubled up as a singer too. His most famous song as a singer was Mehbooba from Sholay. This song is inspired from the song "Say You Love Me" by Demis Roussos.
Pancham was a very creative person. His percussion included a spoon against a glass (Chura liya hai from Yaadon Ki baraat), desks (Masterji ki aa gayee chitthee from Kitaab) a bamboo whistle with a balloon (Abdullah) and bottles filled with water at different levels (O maajhi re from Khushboo).
Some of Pancham's songs were inspired from popular western tunes. For example,Aao twist karein (Bhoot Bangla) was a direct lift of Come lets twist again by Chubby Checker while Tera mujhse hai pehle ka naata koi (Aaa Gale Lag Ja) is said to be a copy of The Yellow Rose of Texas by Elvis Presley. There are many such other examples available at itwofs. "Bhali Bhali Si Ek Surat" (from Buddha Mil Gaya) is inspired by "Jump in the Line" (by Harry Belafonte). Another example is Mamma Mia by ABBA which inspired 'tere liye zamana tere liye' in Hum Kisi Se Kam Nahi
Pancham also adapted folk music from eastern Europe in some of his tunes, such as the songe in movie Satte Pe Satta. There have been discussions regarding the influence of the communist block of the eastern Europe on Pancham's music.
Pancham has also directed music for some regional films, including Bangla, Oriya, Tamil, Telugu and Marathi. He also acted in one of the Bengali film named Gayak (starring Amitkumar and Debasri Roy), where RD plays himself and 'discovers' Amit singing on a beach. Pancham's non-filmi music comprises few albums, including 'Pantera' - the international album for which he shares credit with Latin American composer, Jose Flores. in the only experiment of it's kind he recorded the light version of "Hume tumse pyar kitana" in the voice of playback singer kishorekumar while the classical version in the voice of "Parvenn sultana". He recorded a variety of songs renderd by ishorekumar notably the classical song "Mere naina sawan bhado", the sad song "Chingari koi bhadake", the philosophical song "Aanewala pal", the pino song "Pyar diwana hota hai", the romantic song "H mere dilki chain", the hummable wonder "Raatkli ", the separation song "Zindagi ke safar me ", the rainy song "Rimzim gire sawan". He recorded "Tum bin jau kahan " in the voices of "kishorekumar " and "Mohd. Rafi" separately.

Kalyanji Anandji is a name used by Indian composer duo known for its work on Bollywood film soundtracks, particularly action potboilers in the 1970s. The name comes from first names of the two Gujarati brothers that formed the duo, Kalyanji Virji Shah and Anandji Virji Shah. Some of their best works are Don, Saraswatichandra and Safar.
History

Kalyanji and Anandji were children of a businessman who migrated from Kutch to Mumbai to start a grocery and provision store. The two brothers began to learn music from a music teacher, who taught them in lieu of paying his bills to their father. One of their fore-grand parents, was a folk musician of some eminence. They spent most of their formative years in the hamlet of Girgaum (a district in Mumbai) amidst Marathi and Gujarati environs and amidst some eminent musical talent that resided in the vicinity. .
Kalyanji started his career as a musician, with a new electronic instrument called the CLAVIOLINE. which was used for the famous NAGIN BEEN, utilsed in the film NAGIN (1954) which had the music of Hemant Kumar. Kalyanji then, along with his brother ANANDJI started an orchestral group called KALYANJI VIRJI AND PARTY - which organised musical, shows in Mumbai and outside. This was the first attempt made for holding live musical shows in India.
Kalyanji Anandji's arrival in the Bombay Film Industry as music composers was a turning point. When Big music directors like S.D Burman, Hemant Kumar, Madan Mohan, Naushad, Shankar Jaikishan and Ravi were ruling the music world in Hindi films, and it was a golden period of film music, it was very tough to make a place amongst them. Still they came, and won the heart and mind of Indian people.
The Bharat Bhushan - Nirupa Roy hit, Samrat Chandragupta (1959) was his first film as Kalyanji Virji Shah. It’s songs like ‘Chahe Paas Ho’ (Lata - Rafi) are remembered to this day. Followed a few more films alone like Post Box 999 before Anandji who was assisting him, joined him officially to form the 'Kalyanji - Anandji' duo in Satta Bazar and Madari (1959). Chalia (1961) was their earliest major hit. 1965, when two decisive scores, Himalay Ki God Mein and Jab Jab Phool Khile, established them as composers to reckon with.
Kalyanji-Anandji's variety-studded music is complete with some of the topmost songs of all singers and genres.Both Kalyanji and Anandji worked as music composers for over 250 films, 17 of which were GOLDEN JUBILEES , and 39 SILVER JUBILEES. The factor behind their success is hard work, apart from their talent. They were never self-centered, and egoistic in nature. The spiritually inclined two brothers opened up a new horizon in Bollywood. As they used to put society in front of them and as a thankful gesture, organized many charitable concerts for various NGOS and several charitable institutions. in India and Abroad. Along with some of the biggest names in Bollywood, like Dilip Kumar, Amitabh Bachchan Anil Kapoor, Vinod Khanna, Rekha, Sridevi, just to name a few.
Another quality to be mentioned is that they were tireless in discovering new talents and grooming them as well. Manhar Udhas, Kumar Sanu, Alka Yajnik, Sadhna Sargam, Sapna Mukherjee, Udit Narayan, Sunidhi Chauhan, now very popular names, were nurtured as singers and got their first break from Kalyanji Anandji.
They also helped introduce or gave career defining breaks to lyricists like Anand Bakshi, Gulshan Bawra, Anjaan, Verma Malik and M G Hashmat.
In the late 1990s and early 2000s, their work was introduced to a young Western audience by three albums. 'Bombay The Hard Way: Guns Cars And Sitars' was a mix album put together by US DJ Dan The Automator; 'Bollywood Funk' was an Outcaste compilation album put together by Sutrasonic DJs Harv and Sunni; while 'The Beginners Guide To Bollywood' was compiled by John Lewis from Time Out magazine. All three of these records concentrated on Kalyanji Anandji tracks from 1970s films that featured funk breakbeats, wah-wah guitars and Motown-style orchestrations. Recently a rap group namely BLACK EYED PEAS utilised music pieces from 2 of their songs "AE Naujawan" form the film APRADH, and "YEH MERA DIL" from the film DON, which won the rap group a GRAMMY AWARD.
On August 24, 2000, Kalyanji breathed his last but his era with Anandji will always be remembered for their great contributions. Kalyanji’s dream for training new and young talents and promoting them is carried on today by Anandji in the name of LITTLE STARS . The composers composed some oustanding songs rendered by the legend kishorekumar such as "Jeevan se bhari teri aankhe", "zindagi ka safar hai ye kaisa Safar", "pal pal dilke pass", "Neele Neele amberpe"
Awards
Cine Music Directors Award - 1965 HIMALAY KI GOD MEIN
1st National Award - 1968 SARASWATI CHANDRA
Filmfare Award – 1974 KORA KAGAZ
1st PLATNUM DISC by HMV MUQADDAR KA SIKANDAR
1st PALtinum DISC by POLYDOR QURBANI
IMPPA AWAWRD - 1992 For CONTRIBUTION TO FILMS
PADMASHREE by THE GOVERNMENT OF INDIA For OUTSTANDING CONTRIBUTION
IIFA AWARD - South Africa 2003 LIFE TIME ACHIEVEMENT AWARD
SAHARA PARIVAR AWARD – U.K. 2004 LIFE TIME ACHIEVEMENT AWARD
B M I AWARD (U S A) 2006 FOR GRAMY AWARD WINNING RAP SONG (DON’T FUNK WITH MY HEART)

Ramchandra Narhar Chitalkar (1918-1982) was a renowned music composer in the movie industry in India. In the composer's role, he mostly used the name C. Ramachandra, though he also used the names Annasaheb (in the movies "Bahadur Pratap", "Matwale", and "Madadgaar"), Ram Chitalkar (in the movies "Sukhi Jeevan", "Badla", "Mr. Jhatpat", "Bahadur", and "Dosti"), and Shyamoo (in the movie "Yeh Hai Duniya"). Further, he often sang and acted in Marathi movies under the name R. N. Chitalkar. For his career as an occasional playback singer he used only his surname Chitalkar. Chitalkar sang some renowned and unforgettable duets with Lata such as "Kitna Haseen Hai Mausam" in film Azad or "Shola Jo Bhadke" in Albela.

Biography
Ramachandra was born in 1918 in Puntamba, a small town in Ahmednagar district in Maharashtra, India. He studied music under Vinayakbua Patwardhan at "Gandharva Mahavidyalaya". He joined the movie industry playing the lead role in Y. V. Rao's movie, "Naganand". He also had some small roles at Minerva Movietone in the movies "Saeed-e-Havas" and "Atma Tarang".
Ramachandra provided harmonium accompaniment for Minerva composers Bindu Khan and Habib Khan. He debuted as music director in Tamil movies with Jayakkodi and Vanamohini. He received public notice as a good composer in Bhagwan Dada's "Sukhi Jeevan", and established a long association that culminated with the musical box office hit "Albela".
Influenced by Benny Goodman, Ramachandra introduced in his compositions the alto sax in combination with guitar and harmonica. He also included whistling in one of his famous songs, "Aana meri jaan Sunday ke Sunday" in "Shehnai". He used a combination of a bongo, an oboe, a trumpet, a clarinet and a sax for the song "Shola Jo Bhadke" in "Albela". He sang the title song "Shin Shinaki Boobla Boo" with Lata Mangeshkar, which included rock rhythms. He provided the musical score for the scat song "Ina mina dika" in "Aasha".
Perhaps C. Ramachandra's biggest success as a music composer was the 1953 movie Anarkali starring Beena Roy in the title role and Pradeep Kumar. The songs that he composed for this movie are today legendary. Songs of this movie like "Yeh Zindagi usiki hai", "Mujhse mat pooch mere ishq main kya rakha hai", "Mohabbat aise dhadkan hain", "Jaad dard-e-ishq jaag" etc.. went on to become huge hits and were also highly acclaimed as masterpieces. In fact the ghazals composed for this movie were so much appreciated that the lyricist Majrooh Sultanpuri is said to have remarked that it was C. Ramachandra who taught the renowned music composer Naushad how to compose ghazals though his compositions for Anarkali. Anarkali also perhaps saw the famed composer-singer combine of Ramachandra and Lata Mangeshkar at their best ever together. A film critic in London who watched the movie is said to have remarked that the heroine sang like an angel without knowing that the angel was actually Lata giving playback for the actress.
The highly popular patriotic song "Aye Mere Watan Ke Logo", which was sung by Lata Mangeshkar and penned by poet Pradeep, was a composition of Ramachandra, it was later performed live, by Lata Mangeshkar, in the presence of Jawaharlal Nehru at the Ramlila grounds, in New Delhi on Republic Day, 26 January 1963 [1] He similarly provided a memorable musical score accompanying a competition between two dancers whose roles were played by Padmini and Vyjayanthimala in the Tamil movie "Vanjikottai Vaaliban".
Ramachandra provided music compositions for a few Marathi, Telugu, Tamil, and Bhojpuri movies besides Hindi movies. In 1953, he also produced with "New Sai Produtions" three Hindi movies: "Jhanjhar", "Lehren", "Duniya Gol Hai".
In the late 1960s, Ramachandra produced two Marathi movies, "Dhananjay" and "Gharkul". He also acted in them and composed music for them.
Ramchandra wrote his autobiography in Marathi in 1977.
Compositions
The following is a short list of some of Ramachandra's excellent compositions:
Dheere se aaja re ankhiyano mein (Albela)
Katate hai dukh mein ye din (Parchhaai)
Tum kya jaano, tumhari yaad mein (Shin Shinaki Bubala Boo)
Aankhon mein sama jao
Is dil mein raha karana (Yasmin)
Koi kisi ka deewaana na bane (Sargam)
Yeh zindagi usi ki hai jo kisi ka ho gaya (Anarkali)
Ae pyar teri dunaya se hum (Jhanjar)
Wafaaon ka majboor daman bichha kar dua kar gume dil khuda se dua kar (Anarkali)
Muhobbat aisi dhadkan hai jo samjhayi nahi jati (Anarkali)
Ab woh raate kahan ab woh baate kahan (Yasmin)
Jo mujhe bhula ke chale gaye (Sangeeta)
Mujh se mat poochh mere ishq mein kya rakha hai (Anarkali)
Dekho ji bahar aayi (Azad)
Jo dil ko jalaye sataye dukhaye aisi muhobbat se hum baaj aaye (Nirala)
Mujh pe iljaam-e-bewafaai hai (Yasmin)
Ae chand pyar mera tujh se ye kah raha hai (Khazana)
Muhobbat mein aise jamane bhi aaye (Sagaai)
Aa ja ab to aa ja (Anarkali)
Tere dar se khushi mangi magar gum de diya tu ne (Hungama)
Tere phoolon se bhi pyar (Nastik)
Kali kali ratiyan yaad sataye (Ghungaroo)
Dil se bhula do tum humen (Patanga)
Dil ki duniya basa ke sawariyan (Sangeeta)
Filmography
Movies for which Ramachandra provided musical scores are listed below in chronological order:
Sukhi Jivan
Hanso Hanso Ae Duniya Walo
Badla
Bhakt Raaj
Mr. Jhatpat
Muskurahat
Zabaan
Bahadur
Dil Ki Baat
Lalkaar
Manorama
Raunaq
Naghma-e-Sehra
Saawan
Samrat Chandragupt
Bachchon Ka Khel
Dosti
Safar
Ahinsa
Bahadur Pratap
Leela
Madadgaar
Matwaale
Saajan
Shadi Se Pehle
Shehnai
Khidki
Mera Munna
Nadiya Ke Paar
Duniya
Girls School
Namoona
Patangaa
Roshni
Saanwara
Siphaiya
Nazrana
Nirala
Samadhi
Sangeeta
Sargam
Albela
Khazana
Sagaai
Sangraam
Saudagar
Shabistaan
Ustaad Pedro
Chhatrapati Shivaji
Ghungroo
Hungama
Parchhain
Saaqi
Shin Shinaki Bublaa Boo
Anarkali
Jhamela
Jhaanjhar
Lahren
Shagoofa
Kavi
Meenar
Naastik
Pehli Jhalak
Subah Ka Tara
Aazad
Duniya Gol Hai
Insaniyat
Lutera
Saavdhan
Teerandaaz
Yasmeen
26th January
Devta
Shatranj
Asha
Baarish
Naushervan-e-Dil
Sharda
Talaash
Amardeep
Kaarigar
Raj Tilak
Talaaq
Navrang
Paigham
Aanchal
Sarhad
Amar Rahe Ye Pyar
Stree
Madam Zapazta
Bahu Rani
Daal Me Kaala
Veer Bhimsen
Sher Dil
Zindagi Aur Maut
Labelaa
Tasveer
Wahaan Ke Log
Balram Shri Krishna
Paayal Ki Jhankar
Jitne Door Utne Paas
Rootha Na Karo
Tulsi Vivaah Toofani Takkar

Laxmikant-Pyarelal

(also known as LP or Laxmi-Pyare) were a popular Bollywood composer duo, consisting of Laxmikant Shantaram Kudalkar (1937-1998) and Pyarelal Ramprasad Sharma (born 1940). They composed music for about 500 Bollywood movies from 1963 to 1998, working for almost all notable filmmakers including Raj Kapoor, Dev Anand, Feroze Khan, B.R. Chopra, Shakti Samanta, Manmohan Desai, Yash Chopra, Subhash Ghai and Manoj Kumar.
Early days
Laxmikant
Laxmikant was born in a poor family. He was quite impressed by mandolin and learnt to play it by his own. He used to play mandolin in street functions. Later, to earn some money, he started organizing Indian Classical Music concerts and started performing in them. He also started playing mandolin for Bollywood film music directors.
Pyarelal
Pyarelal was the son of a renowned trumpeter Pt. Ramprasad Sharma (popularly known as Abbaji), who taught him the basics of music. He learnt to play violin from a Goan called Anthony Gonsalves (Incidentally, Amitabh Bachchan's character was called Anthony Gonsalves in the movie Amar Akbar Anthony as a tribute to Mr. Gonsalves. The movie had music by Laxmi-Pyare).
Pyarelal borned in Gorakpur district of Uttar Pradesh started learning violin at the age of 8 and practised it 8 to 12 hours daily. At the age of 12, he started playing violin in studios to earn money for his family, whose financial condition had deteriorated.
Formation of composer duo
When Laxmikant was about 10 years old, he once played mandolin in a Lata Mangeshkar concert in Radio Club, Colaba. Lata was so impressed that she talked to him after the concert
Laxmikant and Pyarelal met at Sureel Kala Kendra, a music academy for children, run by the Mangeshkar family. After she came to know about their financially poor backgrounds, Lata recommended their names to music directors like Naushad, Sachin Dev Burman and C. Ramchandra. Similar financial backgrounds and age made Laxmikant and Pyarelal very good friends. They used to spend long hours at the recording studios, sometimes getting work for each other and even playing together whenever they got the opportunity.
Pyarelal often used to frequent the Bombay Chamber Orchestra and the Paranjoti Academy, where he would perfect his skills in the company of Goody Seervai, Coomi Wadia, Mehli Mehta and his son, Zubin Mehta. Laxmi-Pyare were not content with the payments being made to them for their music, so they decided to go to Madras (now Chennai). But, it was the same story there. So, they returned back. Once Pyarelal decided to leave India and go to Venice to play for symphony orchestras, just like Zubin. However, he stayed back at Laxmikant's insistence. Some of Laxmi-Pyare's colleagues at this time included Pandit Shivkumar Sharma (Santoor) and Pandit Hariprasad Chaurasia (flute). Later, Shivkumar and Hariprasad also ventured in Bollywood as Shiv-Hari.
Laxmi-Pyare worked with almost all reputed music directors (with the exception of O. P. Nayyar and Shankar-Jaikishan) of the 1950s. In 1953, they became assistants to Kalyanji-Anandji and worked with them as assistants till 1963. They worked as music arrangers for many music directors including Sachin Dev Burman (in Ziddi) and also for his son Rahul Dev Burman (in his first film Chhote Nawab). Laxmi-Pyare and R D Burman remained very good friends, even when Laxmi-Pyare started giving music independently. R D Burman played mouth organ for all songs of Dosti. Laxmikant once made a guest appearance playing role of himself as a Composer of Song "Dil Ki Baat" in Teri Kasam (1982), which had music by R D Burman.
Music career
In their early days, Laxmi-Pyare's music was very similar to Shankar-Jaikishan's music, as Laxmikant was a great fan of theirs. Once Shankar even changed his orchestration to make sure that his music did not sound like Laxmi-Pyare's. Laxmi-Pyare's first film as music directors was not released. The first released movie which featured them as music directors was Babubhai Mistry's Parasmani (1963), which was a B-grade mythological film. Throughout their tenure as music directors, Laxmi-Pyare only used A-grade singers. Their mentors, Lata Mangeshkar and Mohammad Rafi, agreed to sing for them in spite of low budgets, and Laxmi-Pyare always remained indebted to them. In fact, both Mohammad Rafi and Lata has sung the maximum number of songs in their career for Laxmi-Pyare. When Rafi's career was sidelined due to Kishore Kumar's ascending star, Laxmi-Pyare continued to give patronage to Rafi, sometimes against filmmakers' wishes.[citation needed] Of course, they had a great rapport with Kishore Kumar as well.
Laxmi-Pyare hit the big time with Rajshri Productions' 1964 film Dosti. The film had two newcomer heroes who never became popular, and the film was a success due to its music. Songs like Chahoonga main tujhe shaam savere and Rahi manava became very popular. At that time, many used to think that there was a single person by the name of Laxmikant Pyarelal. Laxmi-Pyare won their first Filmfare Best Music Director Award for the movie, ahead of stalwarts like Shankar-Jaikishan (for Sangam) and Madan Mohan (for Woh Kaun Thi?).
After Dosti's success, Laxmi-Pyare started getting work from all major filmmakers. The rise of Laxmi-Pyare, Rahul Dev Burman, and Kalyanji-Anandji marked the end of an old era of Bollywood music, which belonged to Shankar-Jaikishan,Sachin Dev Burman,Naushad, C. Ramchandra, Khayyam, Madan Mohan, O. P. Nayyar, Roshan and others.
The team of Laxmi-Pyare and lyricist Anand Bakshi churned out some of the most popular songs in Bollywood history. The combo composed songs for more than 250 movies. Anand Bakshi was the lyricist who wrote the maximum number of texts Laxmi-Pyare gave music to. He was actually the lyricist for all the films for which Laxmi-Pyare won Filmfare Awards, except their very first award. LP have been accused of 'buying' Filmfare awards frequently.
Style of music
Laxmi-Pyare gave Indian classical music as well as Western music. But they were most popular for their folk tunes and semi-classical music. In Shagird, they created Rock-n-Roll-style foot-tapping melodies. The film Karz is worth specially mentioning here where LP successfully, gave disco-like music, which is strongly remembered even now.
Although not as a rule, Laxmikant mostly looked after vocals and Pyarelal used to take care of orchestration. Both had vast knowledge of various music generes, musical instruments and orchestra management.
Lata Mangeshkar and Laxmikant-Pyarelal
Lata Mangeshkar played a major role in shaping up the careers of LP. She sang the maximum numbers of songs for them. She sounds extremely melodious under the LP. Lata Mangeshkar and Laxmikant-Pyarelal shared a long, close and rewarding association.
From 1963, to the next 35 years, Lata Mangeshkar and Laxmikant-Pyarelal were to chalk up around 700 songs together, which accounted for one in every 10 Hindi film songs recorded by the Melody Queen, and one of every four songs composed by the duo[citation needed]. Their work includes a variety and range; there were chart-slammers and classics, and chaalu numbers as well as connoisseur choices. LP also produced some wondeeful songs renderd by kishorekumar namely "Mere mehboob kayamat hogi", "Yeh Jeevan Hai", "Ik hasina thi ", "gadi bula rahi hai", "Ruk jana Nahi"
LP worked with Mohammad Rafi, Kishore Kumar, Mukesh, Asha Bhosle, Manna Dey, Mahendra Kapoor, Alka Yagnik, Kumar Sanu, Udit Narayan. However, they also gave big breaks to many newcomers like Shailender Singh, Kavita Krishnamurthy, Mohammed Aziz, Suresh Wadkar and Shabbir Kumar, Sukhwinder Singh, Vinod Rathod, Roop Kumar Rathod etc.Lp also introduced singer like Anuradha Paudwal.
After Laxmikant's death
After Laxmikant's death, Pyarelal has done some work independently. When the playback singer Kumar Sanu turned music director, he approached Pyarelal to arrange music for him. Pyarelal was approached to assist in the music of Farah Khan's Om Shanti Om, but no credit was given to him on the album.
Discography
Laxmi-Pyare gave music for almost 500 films in their 35-year career, winning 32 Gold Discs. They won seven Filmfare Awards, including four times in a row. They also won the Lata Mangeshkar Award. Some of their successful scores include
Parasmani (1963)
Dosti (1964)
Sati Savitri (1964)
Aaye Din Bahar Ke (1966)
Farz (1967)
Milan (1967)
Shagird (1967)
Mere Humdum Mere Dost (1968)
Raja Aur Runk (1968)
Do Raaste (1969)
Jeene Ki Raah (1969)
Aan Milo Sajna (1971)
Humjoli (1970)
Mehboob Ki Mehndi (1971)
Mera Gaon Mera Desh (1971)
Patthar ke Sanam (1971)
Shor (1972)
Dushman(1972)
Bobby (1973)
Roti (1974)
Roti Kapda Aur Makaan (1974)
Amar Akbar Anthony (1977)
Anurodh (1977)
Chacha Bhatija (1977)
Satyam Shivam Sundaram (1978)
Sargam (1979)
Karz (1980)
Ek Duuje Ke Liye (1981)
Kranti (1981)
Naseeb (1981)
Prem Rog (1982)
Hero (1983)
Utsav (1984)
Mr. India (1987)
Tezaab (1988)
Chaalbaaz (1989)
Ram Lakhan (1989)
Hum (1991)
Saudagar (1991)
Khuda Gawah (1992)
Khalnayak (1993)
In 1997 they also given music for a Malayalam film Poonila Mazha. For a complete filmography, please see Pyarelal's IMDB entry and Laxmikant's IMDB entry.
Awards
After Laxmikant-Pyarelal made debut as a music director duo in 1963, they were nominated for the Filmfare Awards (Best Music Director) almost every year. Many times, they were nominated for three or more numbers of films in a particular year. At the same time LP narrowly missed the awards for musical hits like Aaye Din Bahar Ke, Intquam, Do Raste, Mera Gaon Mera Desh, Shor, Daag, Bobby, Ek Duje Ke Liye, Utsav and Sur Sangam
LP got 7 Filmfare Trophies, for the following films:
1964: Dosti
1967: Milan
1969: Jeene Ki Raah
1977: Amar Akbar Anthony
1979: Sargam
1980: Karz
1984: Utsav
Achievements
As musicians, Laxmikant Pyarelal have worked for every reputed music director of the 1950s with the exception of O.P. Nayyar.
Laxmikant Pyarelal have given music to over 500 Hindi films.
Laxmikant Pyarelal are also winners of Indian Government’s prestigious Lata Mangeshkar Award.
Singer Lata Mangeshkar has sung the maximum number of songs in her career ever for this duo.
In the third quarter of 1963, LP's first ever songs Hasta Hua Nurani Chehara form Parasmani hit the Binaca Geetmala. After that LP's songs were regularly and prominently aired on the radio show. There used to be sixteen songs in each of the weekly Binaca Geetmala programme, more than half the numbers of the songs were of LP. There are certain weekly Binaca Geetmala programmes in which more than 13 out of 16 songs of LP were broadcast.
Even today, LP’s music is very popular all over India, even in the interior hearts of the country, and their music has always been more well-known than they personally ever were, contrary to all their contemporaries.