Hi!
"The Last Of The Originals". this statement was made for Rajesh Roshan by none other than the legendary music director, Laxmikant (of Lamikant-Pyarelal fame)! In the mid 70's when Laxmikant Pyarelal, R. D. Burman and Kalyanji Anandji were making waves, came a young music director who not only made a sensational debut, but also started a trend for soft romantic numbers. Yes, we are talking of Rajesh Roshan (RR) ! After R.D. Burman, the first music director who entered the Hindi Film Music scene and had an impact is Rajesh Roshan! Virtually, no other music director could handle the storm that LP, RD, KA had created in the early 70's, and then came Rajesh Roshan in 1974. He debuted with a sensational score in Kunwara Baap, which had unforgettable numbers like Aa Ri Aa Jaa, Main Hoon Ghodha, and Saj Rahi Gali Meri. He followed it soon with an eternal score in Julie whose numbers were nothing short of masterpieces. How can any one forget the aura created by songs like Bhool Gaya Sab Kuch, Dil Kya Kare, Yeh Raatein, My Heart Is Beating and Saancha Naam Tera!
The score of Julie certified that Rajesh Roshan has arrived! The arrangement and the composition were so refreshingly different, that straightaway Rajesh Roshan entered the club of big boys of Hindi Fim Music! Julie was followed by scores like Swami, Priyatama, Khatta Meetha, Doosara Aadmi, Inkaar, Jay Vijay, Tumhari Kasam, Dillagi, Viswanath, Des Pardes, Swarg Narak, Baaton Baaton Mein, Janta Hawaldar, Mr. Natwarlal, Kaala Patthar, Man Pasand, Aap Ke Deewane, Swayamvar, Yaraana, Khuddar, Kaamchor, to name a few!
Rajesh Roshan's career can be divided into four parts. Let's take up each of the parts individually to understand how in each phase of his career, Rajesh Roshan struggled to keep the melody intact in his songs and what made Laxmikant to say - He Is The Last Of The Originals!
Phase 1 : 1974 - 1985
Without no doubt, this was the best phase of Rajesh Roshan's career. He blessed us with Julie, Swami, Priyatama, Khatta Meetha, Doosara Aadmi, Des Pardes, Swarg Narak, Baaton Baaton Mein, Janta Hawaldar, Mr. Natwarlal, Kaala Patthar, Man Pasand, Aap Ke Deewane, Swayamvar, Yaraana, Khuddar, Kaamchor, Aakhir Kyon in this phase!
This was the phase, in which RR created some unforgettable romantic numbers. The melody has always played a big role in RR's compositions, and that is one of the major reasons, why his songs still continue to remain fresh in the minds of the listeners. The music arrangement was always there to support the composition, and not in a single song by RR in this period, arrangements took over the composition. The third factor which makes any RR composition so wowee in this period is the effective use of Lata, Rafi, Kishore in his songs. Listen to one song - Chal Kahin Door Nikal Jaayein (Doosara Aadmi) in which these three legends sang together for RR, and you will know what I mean! RR always made the best use of the voices of Lata, Rafi, Kishore. These three singers and RR coming together for a song in this period meant magic!
RR replaced LP, RD, KA from their strongholds in this phase. Dev Anand, Yash Chopra, L.V. Prasad, Basu Chatterjee, Mehmood, Ravi Tandon, Subhash Ghai, J. Om Prakash, K. Vishwanath, all of these stalwarts left their favourite music directors to work with RR. Similarly, RR was equally at ease working with legends like Anand Bakshi, Majrooh, Rajendra Krishan, Sahir on one hand, and young dynamic lyricist like Amit Khanna on the other!
Phase 2 : 1986 - 1994
The Bappi wave took a toll and majorly the three music directors who suffered the most were RD, KA, and RR. The death of Kishore Kumar, Mohd. Rafi and selective singing of Lata Mangeshkar saw RR losing his ground. The compositions started losing the spark which were trademark RR. Somehow, RR's composition could not gel with the voices of Mohd. Aziz, Shabbir Kumar and Suresh Wadkar. Amit Kumar was the only exception, whose singing style did ample justice to the compositions of RR. The RR magic was evident in this phase in scores like Babu, Khudgarz, Kaash, Kabzaa, Khoon Bhari Maang, Aasmaan Se Ooncha, Kaala Bazaar, Kishan Kanhaiya, Jurm, Bahaar Aane Tak, Kasak, Khel, King Uncle and Gunaah. RR started using Kumar Sanu from the early 90's and Amit Kumar lost RR as well as other established music directors of those times!
In this period, music arrangement in RR's compositions got louder and louder! Perhaps, that was the struggle of the gentleman composer to change with the changing times. Still, whenever RR returned to his signature style, as evident in scores like Kaash, Jurm, Bahaar Aane Tak, Khel, Gunaah, the result was exemplary!
Phase 3 : 1995 - 1999
RR started 1995 with a bang! Karan Arjun produced and directed by his brother Rakesh Roshan saw RR ruling the popularity charts for the whole year! It had gems like Jaati Hoon Main, Yeh Bandhan To and Ik Munda. The other big hit of the year was Sabse Bada Khiladi. These two movies saw RR returning back to the popularity charts, which was eluding in the earlier phase. These four years saw the brilliance of RR in scores like Papa Kehte Hain, Dastak, Koyla, Ghulam-E-Mustafa, Keemat, Main Solah Baras Ki, Daag-The Fire, and Lawaaris. Although not all the scores were popular, RR still managed to keep the melody intact in the above mentioned scores.
This phase marked the return of RR as far as the popularity index goes. His scores were well attuned with the times, and that confidence was quite evident in every popular score by him in this phase!
Phase 4 : 2000-........
2000 - the year of Kaho Na Pyar Hai! RR ruled the year with songs like Kaho Na Pyar Hai, Chand Sitare, Ik Pal Ka Jeena, and Na Tum Jaano Na Hum! Kya Kehna, Moksha, Naa Tum Jaano Na Hum, Koi Mil Gaya, Krrish, Krazzy 4 followed suit. RR in this phase has cut down on his work heavily, to the extent that now his music can only be heard in movies produced by his brother - Rakesh Roshan!
The music of RR remains special as always, and how I wish that we get to hear more of his tuneful melodies! Considering the times where it is hard to distinguish between a pop album and a film score, the sincerity of RR always shines through in his scores!
Rajesh Roshan and his music, both of them have always been low profile! Easily, he is one of the most underrated composers of all times. His style of music making has been followed by his juniors and even his contemproraries. Bappi Lahiri, Anu Malik, Jatin Lalit, Shyam Surinder all have followed, what is the Rajesh Roshan school of music! I guess, this is what made Late Laxmikant to term him, The last of Originals! It is his sheer brilliance that he managed to create and retain his own style throughout his career. You will find the trademark RR signature in every popular score composed by him!
हम तो आप के दीवाने हैं
बड़े मस्ताने हैं ओ ओह ओ ओह!
Bye for now!
आपकी अपनी आवाज़
Vishal
P.S. Please put up your comments by clicking on comments below!
The score of Julie certified that Rajesh Roshan has arrived! The arrangement and the composition were so refreshingly different, that straightaway Rajesh Roshan entered the club of big boys of Hindi Fim Music! Julie was followed by scores like Swami, Priyatama, Khatta Meetha, Doosara Aadmi, Inkaar, Jay Vijay, Tumhari Kasam, Dillagi, Viswanath, Des Pardes, Swarg Narak, Baaton Baaton Mein, Janta Hawaldar, Mr. Natwarlal, Kaala Patthar, Man Pasand, Aap Ke Deewane, Swayamvar, Yaraana, Khuddar, Kaamchor, to name a few!
Rajesh Roshan's career can be divided into four parts. Let's take up each of the parts individually to understand how in each phase of his career, Rajesh Roshan struggled to keep the melody intact in his songs and what made Laxmikant to say - He Is The Last Of The Originals!
Phase 1 : 1974 - 1985
Without no doubt, this was the best phase of Rajesh Roshan's career. He blessed us with Julie, Swami, Priyatama, Khatta Meetha, Doosara Aadmi, Des Pardes, Swarg Narak, Baaton Baaton Mein, Janta Hawaldar, Mr. Natwarlal, Kaala Patthar, Man Pasand, Aap Ke Deewane, Swayamvar, Yaraana, Khuddar, Kaamchor, Aakhir Kyon in this phase!
This was the phase, in which RR created some unforgettable romantic numbers. The melody has always played a big role in RR's compositions, and that is one of the major reasons, why his songs still continue to remain fresh in the minds of the listeners. The music arrangement was always there to support the composition, and not in a single song by RR in this period, arrangements took over the composition. The third factor which makes any RR composition so wowee in this period is the effective use of Lata, Rafi, Kishore in his songs. Listen to one song - Chal Kahin Door Nikal Jaayein (Doosara Aadmi) in which these three legends sang together for RR, and you will know what I mean! RR always made the best use of the voices of Lata, Rafi, Kishore. These three singers and RR coming together for a song in this period meant magic!
RR replaced LP, RD, KA from their strongholds in this phase. Dev Anand, Yash Chopra, L.V. Prasad, Basu Chatterjee, Mehmood, Ravi Tandon, Subhash Ghai, J. Om Prakash, K. Vishwanath, all of these stalwarts left their favourite music directors to work with RR. Similarly, RR was equally at ease working with legends like Anand Bakshi, Majrooh, Rajendra Krishan, Sahir on one hand, and young dynamic lyricist like Amit Khanna on the other!
Phase 2 : 1986 - 1994
The Bappi wave took a toll and majorly the three music directors who suffered the most were RD, KA, and RR. The death of Kishore Kumar, Mohd. Rafi and selective singing of Lata Mangeshkar saw RR losing his ground. The compositions started losing the spark which were trademark RR. Somehow, RR's composition could not gel with the voices of Mohd. Aziz, Shabbir Kumar and Suresh Wadkar. Amit Kumar was the only exception, whose singing style did ample justice to the compositions of RR. The RR magic was evident in this phase in scores like Babu, Khudgarz, Kaash, Kabzaa, Khoon Bhari Maang, Aasmaan Se Ooncha, Kaala Bazaar, Kishan Kanhaiya, Jurm, Bahaar Aane Tak, Kasak, Khel, King Uncle and Gunaah. RR started using Kumar Sanu from the early 90's and Amit Kumar lost RR as well as other established music directors of those times!
In this period, music arrangement in RR's compositions got louder and louder! Perhaps, that was the struggle of the gentleman composer to change with the changing times. Still, whenever RR returned to his signature style, as evident in scores like Kaash, Jurm, Bahaar Aane Tak, Khel, Gunaah, the result was exemplary!
Phase 3 : 1995 - 1999
RR started 1995 with a bang! Karan Arjun produced and directed by his brother Rakesh Roshan saw RR ruling the popularity charts for the whole year! It had gems like Jaati Hoon Main, Yeh Bandhan To and Ik Munda. The other big hit of the year was Sabse Bada Khiladi. These two movies saw RR returning back to the popularity charts, which was eluding in the earlier phase. These four years saw the brilliance of RR in scores like Papa Kehte Hain, Dastak, Koyla, Ghulam-E-Mustafa, Keemat, Main Solah Baras Ki, Daag-The Fire, and Lawaaris. Although not all the scores were popular, RR still managed to keep the melody intact in the above mentioned scores.
This phase marked the return of RR as far as the popularity index goes. His scores were well attuned with the times, and that confidence was quite evident in every popular score by him in this phase!
Phase 4 : 2000-........
2000 - the year of Kaho Na Pyar Hai! RR ruled the year with songs like Kaho Na Pyar Hai, Chand Sitare, Ik Pal Ka Jeena, and Na Tum Jaano Na Hum! Kya Kehna, Moksha, Naa Tum Jaano Na Hum, Koi Mil Gaya, Krrish, Krazzy 4 followed suit. RR in this phase has cut down on his work heavily, to the extent that now his music can only be heard in movies produced by his brother - Rakesh Roshan!
The music of RR remains special as always, and how I wish that we get to hear more of his tuneful melodies! Considering the times where it is hard to distinguish between a pop album and a film score, the sincerity of RR always shines through in his scores!
Rajesh Roshan and his music, both of them have always been low profile! Easily, he is one of the most underrated composers of all times. His style of music making has been followed by his juniors and even his contemproraries. Bappi Lahiri, Anu Malik, Jatin Lalit, Shyam Surinder all have followed, what is the Rajesh Roshan school of music! I guess, this is what made Late Laxmikant to term him, The last of Originals! It is his sheer brilliance that he managed to create and retain his own style throughout his career. You will find the trademark RR signature in every popular score composed by him!
हम तो आप के दीवाने हैं
बड़े मस्ताने हैं ओ ओह ओ ओह!
Bye for now!
आपकी अपनी आवाज़
Vishal
P.S. Please put up your comments by clicking on comments below!
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