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S D Burman walked out after hearing ‘Dum maro dum’


Book  reveals interesting incidents from the legendary musician’s life


New Delhi: Musician Sachin Dev Burman was terribly upset with his son R D Burman’s composition in “Hare Rama Hare Krishna” and walked out of the studio when he heard the recording of the song ‘Dum maro dum’.

This and several other interesting facts about the legend find mention in a book “S D Burman: The World of His Music” by writer Khagesh Dev Burman.

Published by Rupa and translated to English by the author and S K Ray Chaudhuri, the book has a detailed list of Sachin’s songs and analysis of his unique style and music.

Quoting extensively from Sachin’s memoir, “Sargamer Nikhad”, the author delves into his childhood, things that shaped his character and musical talent, the days of struggle – and the rise of the maestro.

Even though Rahul cut a path of music very different from his father’s for himself, he could not escape the influence of his father. Sachin groomed him as a composer and encouraged him to learn to play different instruments, says the author.

He was not hurt with the music of ‘Dum maro dum’ not because he had to pave the way for his son when Dev Anand, in spite of their long association, ignored him and appointed Rahul as music director “Hare Rama Hare Krishna” but because he thought his son had forsaken him.

He was dismayed when he heard the recording of the song ‘Dum maro dum’ in the studio. He was upset; he thought his son who carried his flag, whom he had taught music from childhood, had forsaken him.

“Was it a repudiation of inherited culture? Was it an attempt to disown his father? Rahul saw his father slowly walking out of the studio with his head bowed down. It looked as if a defeated king was retreating from battle,” the book says.

Sachin also had great love for football and tennis and was quite adept at these games.

“Nothing could keep him away from the football ground if there was a match between East Bengal and Mohun Bagan. A diehard supporter of East Bengal, he would stop eating if the team lost a match, weep copious tears in anger and sorrow, and it would take days for him to get back to his jovial mood,” the author says.

He narrates an incident regarding Sachin’s attachment to football during the time he suffered from a paralytic attack during the recording of the songs for “Mili”, which was completed by Rahul.

“Sachin was in deep coma and efforts to revive him were of no avail. It was only once that he is reported to have opened his eyes. The day East Bengal defeated Mohun Bagan 5-0 in a league match; Rahul shouted the news to his father who opened his eyes for one last time and never thereafter,” he writes.

The book also describes how Sachin had to struggle to create a name for himself in the music world.

“Forty-five long years of disappointments, humiliations and rejection, of continuous hard work, incessant practice and constant experimentation with his art led to victory, the sweet smell of success and international fame.”

When Sachin approached His Master’s Voice (HMV) in the 1930s, the recording company asked him to undergo an audition test. He, however, failed in the test.

“Sachin was informed that his nasal voice was not fit for recording and that the market would not accept it. He was shattered,” the author says.

But despite HMV’s refusal, Sachin would not be denied his rightful glory. He cultivated folk music and established it in the highest throne of the durbar of world’s music.


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