He worked with virtually every music director and every film-maker. His facility with language enabled him to write swiftly and engagingly. In his long and immensely successful career he wrote great poetry occasionally. He drew extensively on folk music of UP and Punjab, managing to convey complex thoughts through everyday imagery. His songs were simple and he was the master of rhyme. It was with Kalyanji-Anandji in Mehndi Lagi Mere Haath, Himalay ki God Mein and Jab Jab Phool Khile that he tasted success.ĭevar (Roshan), Aradhana (S D Burman), Do Raaste (Laxmikant-Pyarelal) and Hare Rama Hare Krishna (R D Burman) catapulted him to the top. He came to Bombay in the 1950s and struggled to get an odd song now and then. Photograph: Kind courtesy Penguin IndiaĪnand Bakshi worked in the army, but was passionate about writing songs. IMAGE: Mohammed Rafi and his sons with Kishore Kumar. Raju, as he is called, is arguably one of the most melodious composers of the last few decades. Inheriting the melody from his father and orchestration from his gurus Laxmikant-Pyarelal, Rajesh created a fresh sound and with Julie (1975), he became the musician to watch out for. Son of music director Roshan, Rajesh Roshan started as a rhythm assistant to Laxmikant-Pyarelal in the early 1970s and was given his first break by actor-film-maker Mehmood in Kunwara Baap (1974). Some old masters like S D Burman, Salil Chowdhury, Shankar-Jaikishan - then working separately but under the joint name even when Jaikishan died in 1971, Shankar continued to use the joint name - Madan Mohan, Jaidev and Khayyam did some great work, but the top three were Laxmikant-Pyarelal, Kalyanji-Anandji and R D Burman.īut this was also the decade of new composers like Bappi Lahiri, Rajesh Roshan and Ravindra Jain, who would go on to dominate in the years to come.
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Photograph: Kind courtesy Penguin Indiaįilm music flourished in the 1970s.
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IMAGE: Sachin Dev Burman and his son Rahul Dev Burman.