After breaking all records with Sholay, everyone waited with baited breath to see and hear what Ramesh Sippy, R.D.Burman and Anand Bakshi would come up with next. In contrast to Sholay’s village setting, Ramesh Sippy’s Shaan took place in the more sophisticated big city, with villainous characters to rival any ‘James Bond’ baddie. In keeping with the mood of the film, R.D.Burman abandoned the rural rhythms of Sholay for more urban beats. The advanced technology (for it’s time) used to record Shaan’s soundtrack gave the album a truly international sound. These songs were definitely ahead of their time and are probably more appreciated now than at their initial release.

In the title track Usha Uthup sings, “Doston Se Pyar Kiya, Dushmanon Se Badla Liya, Jo Bhi Kiya Humne Kiya Shaan Se”. R.D.Burman was obviously asked to create a ‘James Bond’ style title song and he certainly delivered. The plentiful violins combined with the trumpets and trombones and Usha Uthup’s ‘Shirley Bassey’ style singing made this opening number reminiscent of James Bond themes like “Goldfinger” or “Diamonds Are Forever”. An energetic yet far too short track; thank heavens for the ‘repeat’ button.

While the previous track was merely used for the opening and end credits in the film, the other title track was unforgettably picturised in a club on the late Parveen Babi. The number opens with a dialogue intro by Parveen and leads to Asha Bhosle skilfully crooning, “Pyar Karnewale Pyar Karte Hai Shaan Se, Jeete Hai Shaan Se, Marte Hai Shaan Se.” This sophisticated cabaret employed Burman’s trademark modern jazz arrangements combined with, what now sound like, retro synthesizer grooves. The song’s finale has Asha hitting and holding a high note impressively, creating a dramatically fitting end to a superb and classy song.

Mohd. Rafi gets totally into character with his enthusiastic rendition of “Naam Abdul Hai Mera”. Burman’s trademark harmonica is used here (the character plays one in the film), which is a subtle reference to the harmonica in “Yeh Dosti” from Sholay. Another repeat worthy number!

R.D.Burman’s unique vocals in Sholay’s “Mehbooba O Mehbooba” were the highlight of the soundtrack and even garnered Burman a Filmfare nomination in the best singer category! Of course there had to be an encore in Shaan and it came in the form of “Yamma Yamma”. This Gypsy style number has some amazing arrangements and is probably the only duet you’ll hear between R.D.Burman and Mohd. Rafi. The combination works so well with both singers doing a perfect job. This song serves as a reminder of the giant gap left in the film music industry by Rafi’s untimely demise. This gap has never been filled and probably never will be.

“Jaanu Meri Jaan” is a fun track that’s a treat for the ears. In this song our two heroes (Amitabh Bachchan and Shashi Kapoor) are trying to win back their heroines after an argument. The song is playful and has a very ear-friendly tune along with great singing from Mohd. Rafi, Kishore Kumar, Asha Bhosle and Usha Mangeshkar. Repeat, repeat, repeat!!!

Next on the album is “Mitwa”. Unfortunately, this fantastic song didn’t make it into the film but thankfully it was still included in the soundtrack. The song is another Gypsy style number, a style R.D.Burman composed so well. The plethora of instruments used to create the arrangements makes for some quality listening. If that wasn’t enough, we also get to hear Lata Mangeshkar and Asha Bhosle, in their prime, singing the infectious melody. Brilliant!

The only mediocre song on the album is, “Dariya Mein Jahaaz”. This is a comical song that is very situational and was picturised on comedian Johnny Walker, along with Parveen Babi and Bindiya Goswami. Kishore Kumar ably sings the number in his madcap style with competent support from Asha Bhosle and Usha Mangeshkar.

Shaan is an album that still sounds great today. I hope this review encourages those who haven’t heard it to seek it out as the soundtrack definitely deserves revisiting.