Some souls are reflection of divinity. The great singer Kundal Lal Saigal was one such soul, who manifested divinity in a great way. In fact, true artists are never devoid of divine touch. Creativity cannot emerge from mental landscape not submerged in ocean of divinity. I belong to a generation, which believes in worshiping new icons of modernity. For them these legendary creative artists of yesteryear might not seem that appealing but anyone who have had glimpse of their creativity would certainly stand amazed.
The noticeable thing about K. L. Saigal was that he managed to sing straight from the heart. This phrase seems so commonplace but not many realize that how difficult it is to demonstrate it in practical terms. That’s because shades of ego block our ability to exhibit true colour of simplicity. The complex persona creates blockade. One reason why K. L. Saigal could stir the emotions was that deeper emotions were so naturally rendered by him without compromising with the raga and raginis.
It’s really surprising that at a time when Indian film music was still in its nascent stage of growth, it traced such a sensational singer, which set high standards in world of popular music, hard to emulate by future singers. The influence of his voice can be understood by the fact that even likes of Amitabh Bachchan came to praise him. The singers like Lata, Rafi and Kishore, all treated him like demigod. Mukesh, was, in fact, very sincere follower of his style of singing, who found it difficult to develop his own style. After mesmerizing everybody with his “Dil jalta hai to jalne de”, sung in Saigal style, Mukesh went on to develop his own style of singing.
His impact can also be felt in crude way in modern times when someone made caricature of his voice to sell a particular brand of toothpaste! Of late, I found one singer paying tribute to him in infamous movie Delhi Belly! Not many remember that Kishore Kumar treated K L Saigal as his Guru (The Master). He always practiced singing his songs and when he first met Saigal, he was asked by the legendary Saigal to sing a song. He sang one of his songs ” Man moorakh kyo deewana hai, aaj rahe kal jaana hai”. Saigal was very impressed by his singing but he suggested him that he should remove “Anga Dosha” (defects associated with body). Kishore used to sing with vigorous body movements also in action! Though Kishore Kumar did not strictly followed his advise but he managed to keep his body still while singing songs of Saigal in later days!
Coming to myself, I have nearly heard all his popular numbers. His songs instill deep peace within me. His amazing range and soulful rendering enabled me to get above the harsh episodes of life in effortless manner. His song sung during the fag end of his career, “Gham Diye Mustaqil” (Shahjahaan, 1946), always brings tears in the eyes. The superb rendering, which also reflected his own personal sufferings, makes one attain trance like state. Another song, which left an everlasting influence on me is from movie Tansen (1943): Kahe Guman Kare. Every time I hear it, the simplistic approach adopted by Saigal in this song makes me smile. After all, the singer is trying hard to convince a beautiful woman not to take pride in her beauty!
I still remember the day when I found a very rare album of Saigal in one lesser heard music shop of my city. That shop was not frequently visited by the buyers since the shopkeeper was not customer-friendly, who always had heated argument over the price of cassettes. The fight also started with me when he priced this cassette three times the original price on a pretext that it was a rare album. Though I had not sufficient money, I still managed to buy this album! After all, it had a soothing devotional song associated with Lord Krishna: Suno Suno Hey Krishan Kala ( Chandidas, 1934). One can notice in this song that Saigal has sung high notes in effortless manner, without compromising with the depth of the emotions.
It’s a peculiar phenomenon that souls, governed by divine instincts, often leave the earthly plane of existence in an young age. K L Saigal also proved to be no exception when he died at the age of 42. The lesser souls speak about his habit of heavy drinking but that’s the way how worldly people treat exceptional souls. For me and others, he shall always be remembered for making songs a mean to invoke divinity.
The lovers of this singer, like always, would pay customary tribute to this multifaceted singer Kishore Kumar on his birth anniversary, which falls on August 4. It’s really strange that people ignored in their own life times or, for that matter, people who get subjected to humiliation of all sorts while they are alive, attain exalted position after death. It’s pretty hard to analyze the behaviour of worldly souls. Kishore Kumar, attained legendary status during his life time. Nothing strange, after all, he was actor, singer, producer and director par excellence. He did full justice to the various roles he came to play. Let me state that I am not much impressed by folks working in world of cinema but then how can I ignore some real good souls, who provided this fascinating medium a great height? Above all, I feel it’s need of the hour to resurrect the images of people grossly misunderstood in their own life times. That’s the most ideal way to pay tribute to these great souls.
Kishore Kumar was fully aware of nuisance created in his name. That’s why he openly confessed that “world hails me as mad but I feel that world has gone mad. I wish to make it clear that I am not that mad as assumed by some sections of the society.” He was really hurt by the gossip stories, shared by the pervert minds behind his back. He always wondered what made people enter in falsehood and cheap stories about a person whom they knew nothing much other than that he was a good singer? Anyway, I must say that such gossips and stories tell less about him but revealed lot about the mindset of persons involved in them. “When you judge another, you do not define them, you define yourself.” (Wayne Dyer)
This theory that he was mad was circulated by one lady journalist, who had come to take his interview, living alone at that time. To prove his point that he was not all alone, Kishore introduced this lady journalist to trees and flowers, whom he treated as best friends. This lady presented this gesture in all wrong way suggesting that he spent long evenings with his arms entwined around them! One can imagine how simple facts get twisted to create bizarre stories about this very simple and honest person, trapped in the deceptive world of cinema. He always cursed himself that he became part of this medium, which survived on cosmetic gestures. It’s amazing that many know him as money crazy soul, forgetting the cruel gestures of producers who made him sing the song but never bothered to pay in time. When he introduced tough measures to ensure timely payment he was declared money crazy. That’s so nasty, isn’t it?
He was in many circles accused of not taking enough care of Madhubala. Well, very few knew that he was not only fully aware of her fatal disease when he came to marry Madhubala but also spent 9 long years with a bed ridden wife, taking her care in all the ways possible. All this he did amid many professional obligations, which in crazy world of movies, had to be fulfilled in time. Talking about cause of his separation with one of his wives, actor Shammi Kapoor, revealed that Kishore was not entirely wrong in divorcing his wife. After all, if the wife remained away all the time, on one pretext or another, is there any point in staying with that wife?
Let’s acknowledge his singing abilities. He was so humble could be gauged from the fact that he had no shame in accepting that he knew nothing about singing and thing like classical singing was beyond his singing ability! Contrast this remark with remark of R D Burman who said that “Kishore’s voice was the best voice for songs having classical touch”. When he was asked to sing “Mere Naina Sawan Bhado” he had refused to sing it, stating that it was a very tough song not on par with his vocal chords. Anyway, he made Lata to sing it first and then came to sing it just the way sung by Lata after rehearsing her version for many days. The famous Ghazal Singer Pankaj Udhas, throwing light on Kishore’s sense and sensibility, said,” We know Kishore as man capable of singing fun-filled songs in great style. However, Kishore also sang some very serious numbers. That’s ample proof of the fact that inside his child like heart, there were traces of deep seated sadness.” The celebrated Bhajan singer Anoop Jalota feels that such a great singer appear once every 500 years. According to him, a singer should be a good actor to do full justice to any movie song. That’s the reason why Kishore not only sang well songs picturized on him but also sang to such perfection songs picturized on other actors that it appeared as if actor himself was singing the song. The unusual range of his vocal chords could be known from the very fact that on one hand, he sang “Ek Chatur Naar“; on the other hand, we find him singing “Koi humdum na raha” with such sadness that it fills our heart with deep pain.
In the end, it would not be out of tune to say that let’s stop judging the worth of creative souls via our limited perceptions. These creative souls are often very sensitive souls, who reside on higher plane of thoughts. Our limited understanding of them and their works often leaves such soul in great pain. Instead of highlighting our ignorance, it’s better we truly honour them by taking care of their great works in a genuine way. I can hear Kishor Da singing “Hum Laut Aaayenge Tum Yun Hi Bulate Rahana” (I would surely return..Just keep on calling me back). So do you hear my calls, Kishore Da?
The passing away of Rajesh Khanna makes all sensitive souls very sad. He should have lived for some more years on this planet. In India, they say people used to live for more than 100 years in ancient times. The people are dying at a very young age nowadays. We have been witnessing the passing away of creative souls at frequent intervals since last year- Jagjit Singh, Shahryar, Ravi, Shri Lal Shukla, Shammi Kapoor, Hanuman of modern times Dara Singh and now Rajesh Khanna. It appears that heaven badly needs creative artists to entertain its own residents, and thus, be it a singer, writer or actor, all are slowly getting placed in heaven one by one. Anyway, the death of Rajesh Khanna makes me realize that death is really the great leveler. It leaves none. It cares a damn for stature.
Rajesh Khanna provided death a new meaning in his timeless classic movie “Anand”. The movie highlighted the theme that death is an insignificant drama. However, today when he has passed away, it’s pretty hard to keep emotions in check. The Hindi movie landscape’s first superstar has now become a sweet memory as the presence now gets limited to magazines, books and movies. I really don’t know what are the elements involved in the making of a superstar but I am aware of the fact that his charishma in 70s left both young and old spellbound. Male newborns got named Rajesh, a new hair style came into existence and the frenziness found in every woman’s heart attained new height. The arrival of angry young man Amitabh Bachchan soon eclipsed the magic of Rajesh Khanna, but by then Rajesh Khanna image has attained some sort of immortality.
The early phase of all great actors had been a roller coaster ride. Rajesh Khanna proved to be no exception. The leading actresses of those days refused to work with him and well known directors failed to take note of him. His early movies did not create a desired effect. When Shakti Samanta narrated him the story of Aradhana, he noticed that Rajesh Khanna did not seem to be much impressed. After all, it was a female oriented movie, in which the hero died during the middle of the movie. It was no less a herculean task for Shakit Da to make Rajesh Khanna see light at the end of the tunnel. However, very few can predict the course of destiny. The movie, which in eyes of Rajesh Khanna, offered no better prospects not only proved to be a milestone in history of Indian movies but also gave Hindi movie world its first superstar. That’s the only logic which governs Bollywood- success appears like appearance of cascade in barren land. It defies all established rules. A female oriented movie gave Indian movie landscape its first male superstar!
Interestingly, the other dominant trend which defines Bollywood is that superstars rarely know real acting or, for that matter, are rarely offered roles that involve some real shades of acting. That’s so evident if one has witnessed acting skills of present “Khan Brigade”. They develop some lovable styles but they rarely come to act. The only superstar that can act a bit, Amitabh Bachchan, too feels that he never got an opportunity to reveal interesting shades of acting. All the time he remained engaged in “dhishum dhishum” (fight scenes)! Anyway, destiny smiled on Rajesh Khanna once again when he got opportunity to show his acting skills in some movies having substantial plots. It’s really curious coincidence that it was Hrishikesh Mukherjee, known for his simplistic take on serious issues, who came to provide both Rajesh Khanna and Amitabh Bachchan some good opportunities to strike a bonhomie with various shades of acting. In fact, they both came to work together under his direction in Anand and Namak Haraam. Anand turned out to be a huge success. In fact, the character played by Amitabh, Babu Moshay, became a household name. The plot of Anand revolved around the philosophy found in the Upanishads that there is no such thing as death. Death is not an end but a new beginning. In other words, it taught the art of living, reminding us that laughter is the best medicine. After all, we rarely come to live life in a proper way. The movie made it clear that death is final drama, which paves the way for soul’s fresh journey with new set of cloth in form of a new body! Rajesh Khanna depicted this art of living in an unforgettable way.
However, let’s not forget the role which Kishore Kumar, Mukesh, R D Burman, Salil Choudhary, Majrooh Sultanpuri, Anand Bakshi, Laxmikant Pyarelaal, Hemant Kumar, Sahir and Khaiyyam played in shaping the course of success for Rajesh Khanna. It’s an undisputed fact that Kishore Kumar played the most significant role in making Rajesh Khanna and Amitabh Bachchan careers attain starry heights. It’s also a proven fact that both of them lost their star appeal, when Kishore Kumar stopped singing for them in last stage of his singing career, due to health reasons. The romanticism demonstrated by Rajesh Khanna and machoism exhibited by Amitabh were heavily dependent on voice of Kishore Kumar! His voice acted as most suitable medium for them, which earlier provided new heights to Dev Anand. I am sure had Kishore been missing, Rajesh Khann would have failed to locate “Mere sapno ki Rani“. Tanuja would have maintained safe distance from Rajesh Khanna had Kishore not turned out to be “Dil ke Chain“. This song “Ye Jo Public Hai Ye Sab Jaanti Hai” became the most popular idiom to make a remark on the shady affairs in the world of politics and business. Another song from the same movie Roti “Gore Range Pe Na Itna Gumaan Kar” transcended generations to influence the fate of every fair skinned Indian girl.
May his soul rest in peace. The people who have moved ahead in this eternal journey, never travel backwards. They simply live inside our heart and minds as sweet memories. This line which forms the part of song picturized on him expresses this sentiment so well: “Kuch Log Jo Ek Roj Bichud Jaate Hai Wo Hazaro Ke Aane Se Milte Nahi“. Anand never dies. He always manages to be back on earth’s playground to play the game of life with a new face.That realization is bound to make one smile even as the eyes remained moist with tears. It makes reunion with Rajesh Khanna-a good soul-a great possibility. By the way, let’s not forget Rajesh Khanna’s words said to Pushpa In Amar Prem: ” Pushpa, I hate tears”.
1. Mere Naina Saawan Bhado ( Mehbooba )
2. Kuch To Log Kahenge (Amar Prem)
3. Zindagi Pyar Ka Geet Hai (Souten)
4. Hazaar Rahe Mud Ke Dekhi (Thodi Se Bewafai)
5. Vada Tera Vada (Dushman)
6.Sajna Saath Nibhana (Doli)
7. Pyaar Deewana Hota Hai (Kati Patang)
8. Ye Reshmi Zulfein (Do Raastein)
9. Jeevan Se Bhari Teri Aankhein (Safar)
10. Zubaan Pe Dard Bhari Daastan( Maryaada)
11. Wo Shaam Kuch Ajeeb Thi (Khamoshi)
12. Yun Hi Tum Mujhse Baat Karti Ho (Sachha Jhootha)
13. Mere Dil Me Aaaj Kya Hai (Daag)
14. Kahin Door Jab Din Dhal Jaayein (Anand)
15. Zindagi Ek Safar Hai Suhana (Andaaz)
A lot depends on how the song is picturized. I love this song not only for beautiful verses by Majrooh Sultanpuri, excellent composition by R D Burman, terrific singing by Kishore Kumar, but also for its mesmeric picturization. Absolutely stunning romantic song picturized in a perfect setting. A meaningful one as well. The verses are not only talking about romance in some absurd way like “Tum mujhko chand laake do” (get the moon for me) but they are having a take on it in a balanced way. The movie was full of typical Bollywood elements ( and that’s why I don’t like this movie) but the songs stand apart.
राजेश खन्ना का यूँ ही अचानक क्षितिज के उस पार चले जाना दुखी करता है. अभी उनकी उम्र ही क्या हुई थी लेकिन कलाकारों की मौत का जो सिलसिला पिछले साल से शुरू हुआ है वो अब तक बना हुआ है. जगजीत सिंह, शहरयार, मशहूर संगीतकार रविजी, हिंदी के लेखक श्रीलाल शुक्ल, शम्मी कपूर, फिर हमारे चहेते हनुमान दारा सिंह और अब राजेश खन्ना. ऐसा लगता है कि देवलोक का माहौल बहुत ग़मगीन हो गया है तभी पृथ्वी के सभी बड़े कलाकार एक के बाद ऊपर के लोको में चले जा रहे है. खैर राजेश खन्ना की मौत के बाद ये एहसास मुझे हो चला है कि मौत भी कोई चीज़ होती है जो “आनंद” को भी शोक में परिवर्तित कर सकता है. हिंदी फ़िल्म जगत को पहला सुपरस्टार देने वाला अब यादो का हिस्सा बन गया है. ये सुपरस्टार क्या चीज़ होती है मुझे ज्यादा नहीं पता पर राजेश खन्ना का जादू सत्तर के दशक में यूँ चढ़ा कि माएं अपने बच्चो का नाम राजेश रखने लगी, युवतियों के अन्दर का पागलपन थोडा और बढ़ चला और नाई के दुकान पे एक और हेयर स्टाइल का उदय हो गया. बुरा हो एंग्री यंगमैन अमिताभ के अवतार का जिसने राजेश की आभा को ग्रहण लगा दिया बहुत जल्द ही पर तब तक राजेश का जादू एक अमरता को प्राप्त कर चला था.
जैसा सब अच्छे कलाकारों के साथ होता है राजेश को भी आरंभिक दिनों में सब ने नकार दिया. चोटी की अभिनेत्रियों ने काम करने से मना कर दिया. शुरुआती फिल्मे पिट गयी बाक्स ऑफिस पे. फिर जाके आराधना मिली जिसको लेके राजेश खन्ना खुद ही सशंकित थे क्योकि नायिका प्रधान फ़िल्म में इनके लिए कुछ ख़ास नहीं था. पर जब सफलता मिलनी होती है तो मिल के रहती है यूँ ही जैसे रेगिस्तान में झरने का फूट पड़ना. कम से कम बालीवुड में सफलता का सिलसिला ऐसे ही शुरू हो जाता है सब तर्कों को धता बता के. तो एक नायिका प्रधान फ़िल्म ने भारतीय रजत पटल को उसका पहला सुपरस्टार दिया.
बालीवुड में वैसे सुपरस्टार को कुछ ख़ास एक्टिंग नहीं करनी पड़ती. कम से कम आज कल के तथाकथित “खान” सुपरस्टारों को देख तो यही समझ में आता है. अमिताभ का भी यही दुखड़ा रहा है कि उनसे किसी ने ढंग की एक्टिंग नहीं करवाई सिवाय ढिशुम ढिशुम के. खैर राजेश खन्ना के हाथ कुछ अच्छी फिल्मे आई जिनमे उन्हें एक्टिंग के अपने कुछ ख़ास शेड्स दिखाने का मौका मिला. ये एक महज सयोंग ही है कि ऋषिकेश मुखर्जी ने ही राजेश खन्ना और अमिताभ दोनों को कुछ फिल्मे प्रदान कि जिनमे उन्हें वास्तविक अभिनय से दो चार होना पड़ा. ये भी क्या अद्भुत संयोग है कि इन दो फिल्मो “आनंद” और “नमक हराम” में दोनों ने साथ काम किया. आनंद एक कालजयी फ़िल्म बन के उभरी. आनंद तो अमर हुआ ही पर बाबु मोशाय भी कभी ना मरने वाली लोकप्रियता को प्राप्त हो चला. आनंद उपनिषद् के इस सत्य को प्रतिपादित करता था कि इंसान कभी नहीं मरता है. मौत एक तमाशा है जिसमे आत्मा को नए कपडे लत्ते मिल जाते है. इस भाव को राजेश खन्ना ने अद्भुत तरीके से परदे पे प्रस्तुत किया.
राजेश खन्ना के एक्टिंग में एक ख़ास तरीकें की नाटकीयता थी मगर जब कभी सधा हुआ अभिनय करने का मौका मिला उन्होंने कर दिखाया. शुरुआती दौर में नंदा के साथ आई यश चोपड़ा की “इत्तेफाक” इस बात की पुष्टि करती है. खैर अमर प्रेम, कटी पतंग, कुदरत, सौतन, थोड़ी सी बेवफाई, अवतार, डोली, रोटी और आन मिलो सजना इनकी कुछ उल्लेखनीय फिल्मे है. इनकी सफलता के बारे में बात करना और किशोर कुमार, आर डी बर्मन, मजरूह, आनंद बक्षी, एस डी बर्मन, लक्ष्मीकांत प्यारेलाल, कल्यानजी आनंदजी, हेमंत कुमार और खैय्याम इत्यादि का जिक्र ना करना मतलब दाल में से नमक का गायब कर देना है. किशोर कुमार ने ही रूमानियत के सुपरस्टार राजेश खन्ना और यंग्री यंग मैन अमिताभ को वो दर्जा दिलवाया जो किसी के लिए दुर्लभ होता है. किशोर कुमार के चले जाने के बाद ये दोनों धडाम से नीचे आ गिरे. सोचिये अगर किशोर ना होते तो “मेरे सपनो की रानी” कहा से आती इस शानदार तरीके सें ? सोचिये अगर “ओ मेरे दिल के चैन” के चैन किशोर ना होते तो क्या राजेश तनूजा को इम्प्रेस कभी कर पाते! और रोटी में गाया ये गीत “ये जो पब्लिक है ये सब जानती है” तो एक कालजयी मुहावरा ही बन गया. और इस फ़िल्म में किशोर कुमार का गोरे रंग पे कटाक्ष ” गोरे रंग पे ना इतना गुमान कर” सिर्फ मुमताज़ पर ही नहीं सिमट के रह गया वरन इस गीत के बाद भारत में पैदा हुई हर गोरी लड़की के व्यक्तित्व को बेधता चला गया.
खैर ईश्वर इनकी आत्मा को शांति प्रदान करे. कहते है जाने वाले कभी लौट के नहीं आते. सिर्फ इनकी याद रह जाती है. सही बात है ” कुछ लोग जो बिछुड़ जाते है वो हजारो के आने से मिलते नहीं“. पर “आनंद” कभी मरते नहीं बस इसी रंगमंच पर रूप बदल के आ जाते है और ये बोध इस दुःख में एक मुस्कान की लहर तो पैदा ही कर देता है. पुनर्मिलन की उम्मीद तो बंधा ही देता है.
मेरे कुछ पसंदीदा गीत राजेश खन्ना पे फिल्माए हुए:
१. मेरे नैना सावन भादो ( मेहबूबा)
२. कुछ तो लोग कहेंगे (अमर प्रेम)
३. जिंदगी प्यार का गीत है (सौतन)
४. हज़ार राहे मुड़ के देखी (थोड़ी से बेवफाई)
५. वादा तेरा वादा (दुश्मन)
६. सजना साथ निभाना (डोली)
७. प्यार दीवाना होता है ( कटी पतंग)
८. ये रेशमी जुल्फे ( दो रास्ते)
९. जीवन से भरी तेरी आँखें (सफ़र)
१०. जुबान पे दर्द भरी दास्ताँ( मर्यादा)
११. वो शाम कुछ अजीब थी (खामोशी)
१२. यूँ ही तुम मुझसे बात करती हो (सच्चा झूठा)
१३. मेरे दिल में आज क्या है (दाग)
१४. कही दूर जब दिन ढल जाए (आनंद)
१५. जिंदगी एक सफ़र है सुहाना (अंदाज़)
It’s never an easy task to find appropriate words that come to honor the greatness of some people. I always face the shortage of expressions whenever I wish to say something about Kishore Kumar as earthly words, in my eyes, come to limit the achievements. However, the dilemma to miss the opportunity to say few things whenever time allows you to do that always haunts me and I am but just compelled to deal with unique aspects related with this man. This man was not just a mere entertainer -the nachaiyya gavaiyya soul ( mere singer and dancer).
He was a Gandharva in human form or a saint with a musical heart who lived with us to help us release our pains and frustrations and turn into better human beings with the help of notes of music.On his birth anniversary, I wish to take note of unheard aspects related with his life via him! I mean with the help of few recordings that captured him live in conversation with equally legendary figures. I think it would be the best way to shatter many myths associated with this great man.
Like in this rare video wherein I find Shammi Kapoor talking about Kishore Kumar. Though Kishore Kumar does not figure live in this video but Shammi Kapoor was one of the contemporaries who loved him lot. He was quite frustrated on not having any song to his credit in voice of Kishore. He got so identified with voice of Rafi that in his long career he didn’t get a single chance when Kishore could sing for him even as they walked together for decades. And that made Shammi restless as he loved this wonderful person very much. Remembering Kishore’s love for Madhubala he was bit sad. Shammi calls it a tragic affair but he came to shatter the falsehood that Kishore was bit casual towards Madhubala when she was seriously ill.
Shammi tells that this man did all what was humanly possible despite having tight singing schedules. Anyway, Shammi was the happiest person on earth when Kishore finally sang for him. The song turned out to be one of the biggest hits of its times and also one of the most notorious songs in history of Hindi movie songs. Remember “Saat Saheliya Khadi Khadi” from Vidhaata! Yes, this was the first song picturized on Shammi Kapoor in voice of Kishore and what a song it turned out to be!
Can you imagine Kishore in a long conversation with Lata? Yes, that’s true. These two legendary figures entered in a long conversation all in the name of interview. Kishore was so unhappy with media persons that he said if now ever he gave interview it would only be a possibility if Lata approaches him. A generosity on part of Lata made it possible for future generations to see two great people in a very intimate conversation.It was supposed to be an interview but it turned out to be more than an interview. After all, taking interviews was not Lata’s cup of tea! These two souls in name of interview revealed so many touching episodes as they laughed and smiled together. No wonder Lata went into stage of huge depression after death of Kishore Kumar.
In this so-called interview, Kishore remembers how he came to meet her for the first time in a very hilarious way when Lata misunderstood him for a man chasing him! They both went to a same studio in the same train together for two different purposes. Later the confusion got removed when it became clear that Kishore actually had an appointment with Khemchand Prakash and so he was in the studio to meet him. He held Khemchand Prakash in high esteem as this was the man who shaped his music career. Though K L Saigal was source of inspiration for both Lata and Kishore, Kishore finds the contribution of Khemchand Prakash a defining one.It was he who assured Ashok Kumar that this man had great singing talent. Ashok Kumar was bit apprehensive about the singing ability of Kishore in front of Khemchand Prakash telling him that he lacked the art of voice modulation!
In another part of this interview one finds him making candid confession before Lata that he lacked formal training in music and Lata in that regards stood miles ahead of him. One can notice the sense of embarrassment which grips Lata on this disclosure. Anyway, both felt that music has changed its face lot and singing is now no longer that beautiful affair but a strenuous affair. Kishore was really depressed over the badmouthing that portrayed a false image of his in eyes of his well wishers. Kishore made Lata uncomfortable once again when he asked her why do people enter in such loose talk? Though Lata dismissed such rumours associated with Kishore outrightly stating this was all bullshit but logical explanation came from the side of Kishore himself. Hitting the detractors below the belt with he stated that world belongs to mad people devoid of ethics of any sorts! Kishore says that people hail him as a person not in his senses but he feels that world has gone to the dogs!
True, many people accuse him of money oriented but I am pretty confused as the man who had to do so many charity shows to get rid of income tax burdens could never be a money conscious soul. In fact, look at the way he suggests Lata to stop singing and do stage shows for charity’s sake. Can this ever come out from heart of money conscious soul? At least, it’s impossible in my eyes. Anyway, let me discuss his association with a towering figure in the world of Hindi film music S D Burman. A person who played a monumental role in life of Kishore. Kishore reciprocated the kind gestures of this great man by hailing him as mentor and father figure. Nobody saw tears in eyes of lively Kishore lost in laughs all the times but the day S D Burman passed away many noticed tears in his eyes. Recalling the same experience live he says that it appeared to him as he sat near his dead body that this man would just wake up and ask him to sing! One is really touched the way Kishore unfolds his association with S D Burman.
This was the man who was conscious of Kishore the way a father is conscious of a pretty naughty child. In fact, SD Burman was himself a child hearted figure. So both enjoyed a great chemistry.Kishore remembering S D Burman says that he became hugely upset with him when he started doing so many concerts, fearing that it would deteriorate the quality of his vocal chords. He warned Kishore that if he did not stop doing concerts it would be impossible for him to give him singing assignments.
Revealing the innocence of S D Burman he tells us that when he refused to participate in practice sessions, S D Burman invited him to share food with him at his home. After enjoying great food as he was about to leave, S D Burman locked the doors and get him involved in the rigorous practice sessions. S D Burman at odd hours of night used to give rings to Kishore mainly to ensure that all is well with his vocal chords! Once as he was about to leave for important recording, he noticed S D Burman coming towards him and taking him to a long drive to an open area full of greenery. S D Burman asking him to run in open fields along with him made Kishore sing some songs for him at the end of running session!! No wonder he was in tears when S D Burman became part of the stars.
Ending this article with prophetic words he said to Lata. This man did not live for long after he said that. I notice that this great man like all exceptional soul was eager to merge in supreme consciousness. He told Lata that it’s now time to bid adieu to this temporary home as it’s good for artists that they should quit the world once they have achieved all. It’s not good that they should leave the world, when the world starts treating them with disdain! This man I find left the world after this disclosure. However, he lives in our memories in an eternal way. Such people never die.
Some of the popular songs of Kishore Kumara are here: Kishore Kumar Songs
2. Kishore Kumar Talks About S D Burman (Part One)
3. Kishore Kumar Talks About S D Burman (Part Two)
4. Kishore Kumar Talks About S D Burman (Part Three)
5. Shammi Kapoor Remembers Kishore Kumar
6. Kishore Kumar Live ( Pal Pal Dil Ke Paas)
7. Kishore Kumar Live ( Zindagi Ek Safar Hai Suhana)
Some Popular Kishore Songs Are Here: Popular Songs Of Kishore Kumar
Kishore Kumar was a master singer. A real legendary singer capable of making songs attain height of perfection. His range of depicting various moods was amazing, which immortalized the songs. He was able to infuse various moods in the songs with total ease with no trace of strain at all. The various moods included the songs depicting pangs of separation, songs exhibiting deep intimacy, songs highlighting grief and inspirational songs which made one to combat tragedies of life never-say-die attitude. It needs to be recalled that one reason why he was so successful as a singer lies in his perfect understanding of the sensibilities associated with the world of movies.He was a good actor and director as well and that really helped him making the songs gain extraordinary dimension.
When I contrast his singing skills, his total devotion and his mannerism with the current lot of singers, I must say I am highly disappointed. Most of the singers look less like singers and more like actors seeking attention. The emergence of so-called music directors have further increased the woes. The tune which is often clumsy arrangement of mechanical beats apart from being second rated version of original foreign number is often beyond the reach of average listeners. Hearing these tunes and mindless lyrics, it becomes quite clear that these songs have been written to generate money. They have not been written to generate emotions. Market and not artistic sensibility is behind the birth of latest movie songs. It’s also quite clear that yesteryear singers and musicians despite lack of resources produced memorable numbers. Today’s musicians in league with hi-tech technology are coming out with silly versions of RD Burman and O. P. Nayyar songs.
1. O Sathi Re
This song from Muqaddar Ka Sikander(1978)is a masterpiece. It depicts pain of lost love in such a moving manner that the listener’s eyes often turn moist. The song also unfolds the meaning of true love via the bonds of friendship. The protagonist has already lost his love but still manages to confess his love in front of his lady love.
Music: Kalyanji Anandji
This song from movie Imtihaan has always helped me to gain normalcy whenever depressive tendencies made me sad and dejected. The song made me believe that to keep moving is life. I have always been chased by personal tragedies but this song like pole star always showed me the right way. And yes, the dynamic presence of Vinod Khanna lends an added charm to the song.
Music: Laxmikant Pyarelal
Lyrics: Majrooh Sultanpuri
This number from Raakhi Aur Hathkadi (1972) is my personal favourite for its brilliant orchestration. It displays typical Bollywood romance. Nice exchange of words amidst bright flowers and greenery. The voice of Asha makes the song more memorable. I often find that the songs from lesser heard movies, picturized on lesser known actors are very good ones. This song is a real gem for love birds!!
Music: RD Burman
Lyrics: Majrooh Sultanpuri
I am in all smiles whenever I see this song. The song from Padosan (1968) unfailingly proves that Kishore was a great actor besides being a great singer. An amazing song the way it highlights the shades of true comic sense. Compare it with the present ones which are nothing but meaningless stuff comprised of double meaning words. The song is also special in a sense that people are bound to burst into a fit of laughter even if watched in a mute mode!!
Music: RD Burman
Lyrics: Rajendra Krishan
The song from Hare Rama Hare Krishna(1971) is very special one for me. The song conveys a great message not to defame the personas of Rama and Krishna. In just few words, the song connects us with the eternal teachings of Lord Ram and Lord Krishna in a sober way without giving way to loudness. A very pleasing soft tune. A superb rendering by Kishore Da is icing on the cake.
Music: RD Burman
Lyrics: Anand Bakshi
I have listened this Bin Phere Hum Tere (1979) song so many times yet whenever I find someone playing this song I immediately draw myself more closer to that musical soul. It has such terrific verses, which suggest that love is all about union of soul than union of bodies. The song projects the need of self-oriented love than love that is trapped in rituals and physicality. I must also remember that Indeewar wrote lesser songs but all songs which flowed from his pen always struck chord with the listeners. One thing more. Take note of the fact that this song is brainchild of Usha Khanna- a female music director!!
Music: Usha Khanna
Well, the song sung by a male singer is enough to overshadow the real female voice! How many duet songs can you find on this planet, wherein even the female version apart from the male version had been sung by the male singer? This song from Half Ticket (1962) is the rarest of rare songs. The funny gestures of Kishore kumar dressed as a lady and Pran, make the song more sweeter than Bengali Rasgulla. I wonder how many singers can even get close to such modulation of voice, forget about singing that way?
Music: Salil Choudhary
This one from Amanush (1972) is always on my lips. Not because I am a “tragedy king” but it’s because the song conveys a great feeling that come a point in life when all relationships lose the lustre. There is always a phase of life when beautiful life around us lose meaning. The song conveys the feeling of those sad moments in an extraordinary way. Kishore makes the song more impressionable the way he blended depth of his voice with the depth inherent in the verses. Kudos to Shyamal Mitra , Indeevar and Uttam Kumar. None other than Uttam Kumar or Sanjeev Kumar would have added so much dark contours in the song. And yes, Kishore was awarded Filmfare for this song.
Music: Shyamal Mitra
This song from Bombay Ka Chor( 1962) unfolds the grief of a soul turned into a helpless soul by the strange turns of circumstances and destiny. Kishore has sung this song straight from the heart, revealing the dilemmas found in such soul in a soul-stirring manner. The song is bit tragic in tone but seen from other angle the song laments about the life’s hollowness for a real soul. The true lover never finds love but all so-called lovers are always engaged in love making.
Lyrics: Rajinder Krishan
This song for a soul lost in the mysteries of life holds a great meaning. The song is must for all the people who wish to seek the true face of human life. The song in such a powerful way unfolds the emptiness which environs the human life. It also highlights ephemeral nature of life which appears so bright and beautiful. I also love the song for its unique picturization.
Music: RD Burman
Lyrics: Anand Bakshi