This fan club is being started for the three great legends of the music industry.
Mohd Rafi Sahib
I will keep updating as and when i will recieve information about these great singers.
Please give ur valuable inputs here.
Thanks to Raghav(paagalhoonmain)for encouraging me to start this club.
Edited by ani11 - Tuesday, April 10, 2007 at 8:23 AM
About Rafi Saab
Mohammed Rafi (December 24, 1924 - July 31, 1980) was arguably the greatest of Hindi/Urduplayback singers in Bollywood - along with Kishore Kumar and Mukesh. Rafi still remains popular in Indian Subcontinent and in many other parts of the world such as the UK, Kenya, West Indies, where people of Indian origin have settled. He continues to inspire new Bollywood playback singers like Sonu Nigam, Mohammed Aziz, Shabbir Kumar and Anwar.
He sung for Rajendra Kumar and Jeetendra, the tragedy heroes Dilip Kumar and Bharat Bhushan, comedian Johnny Walker, and many more. His voice personified the rebellious image of the star Shammi Kapoor and also gave expression to smaller and younger heroes like Biswajit and Joy Mukherjee. Rafi has also sung for singer-actor Kishore Kumar in a few movies like Raagini, Baaghi Shehzaada, and Shararat. Mohd. Rafi has also sung for Talat Mahmood in the film 'Lalarukh' for the song Hai kali kali ke lab par.
Rafi was born at Kotla Sultan Singh Village near Amritsar in Punjab, to a middle class Muslim family. His family shifted to Lahore when he was still a baby. Every day, a "fakir" used to come to their locality in Lahore and sing. The young Rafi was so fascinated by him, that he used to follow him around. His elder brother Hameed was aware of Rafi's love for music and encouraged it. In Lahore, Rafi started taking music lessons from Ustad Abdul Wahid Khan and he also learned Indian classical music from Ghulam Ali Khan. One day Rafi and his brother Hameed went to attend a performance by K. L. Saigal. But the legendary singer refused to sing because there was a power failure at the venue. Hamed went up to the organiser to ask whether his brother could sing to keep the audience quiet. That was Rafi's first public performnce at the age of 13. Among the audience sat noted composer Shyam Sunder, who invited Rafi to Bombay.
Rafi's first song was in Punjabi for the film Gul Baloch - it was a duet with the singer Zeenat Begum. The song was Soniye nee, Heeriye nee, composed by Shyam Sunder. Shyam Sunder was impressed with his voice and gave Rafi seven songs in another film Bazaar. Also, in 1944, Rafi decided to move to Bombay, where Naushad gave him a break in Pehle Aap (1944). Rafi made his mark with "Tera Khilona Toota Balak" in Anmol Ghadi (1946). Rafi's first hit song was Yahan Badla Wafa Ka with legendary songstress Noor Jehan, composed by Feroz Nizami. It earned Rafi fame. Producer of film Amar Raj, J B Wadia went looking for him because he wanted only Rafi to sing songs for his film.
Rafi also had brief roles in movies like Laila-Majnu (1945) and Jugnu (1947). In Laila-Majnu, he was seen singing Tera Jalwa as a part of the chorus. Most famous film being Neel Kamal 1968. He has sung over 26000 songs . He sang in Hindi, English, bhangra, bhajan and more styles.
Rafi's big time came when he met the composer Naushad in Bombay. Rafi's first song for Naushad was Hindustan ke hum hain (We belong to Hindustan) for the film Pehle Aap in 1944. Rafi and Naushad struck a chord. The first hit for the duo was the soundtrack of the superhit movie Anmol Ghadi (1946). Before Rafi, Naushad's favorite singer was Talat Mahmood. Once Naushad found Talat smoking during a recording. He was annoyed and hired Rafi to sing all the songs of the movie Baiju Bawra. After the Partition of India, Rafi and Naushad decided to remain in India. Whenever Naushad required a male voice in the songs composed by him, he would approach Rafi and nobody else. This attitude of Naushad was criticized by many people, but he continued his patronage of Rafi. Naushad used Rafi's voice for almost all actors of that time including Bharat Bhushan and Dilip Kumar.
Soon, Rafi became the favorite singer of other composers too, notably O. P. Nayyar, Shankar Jaikishan and Sachin Dev Burman. Rafi became the voice of Dev Anand with soul-stirring songs composed by S. D. Burman. Rafi sang songs of all moods for S. D. Burman, picturized on Dev Anand - the romantic dil ka bhanwar, the drunk hum bekhudi mein, the free-spirited khoya khoya chaand. Rafi and S. D. Burman teamed up with Dev Anand's Navketan production house to produce hit tracks in many movies - Kala Bazar, Tere Ghar Ke Saamne, Guide among others. S. D. Burman also got Rafi to sing for Rajesh Khanna in Aradhana and Amitabh Bachchan in Abhimaan. Rafi and S. D. Burman also produced soulful songs for Guru Dutt's Pyaasa, C.I.D. and Kaagaz ke Phool.
O. P. Nayyar used Rafi and Asha Bhosle for most of his songs. Together they created music in the 1950s and 1960s. O. P. Nayyar was once quoted as saying "If there had been no Mohd. Rafi, there would have been no O P Nayyar". He and Rafi created many songs together including the famous Yeh hai Bombay meri jaan. O P Nayyar was so impressed with Rafi that he got Rafi to sing for singer-actor Kishore Kumar - Man mora baawara for the movie Raagini. The team will be particularly remembered for the songs picturized on Shammi Kapoor. The song Jawaaniyan yeh mast mast and the title song Yun to humne lakh hansee dekhe hain, tumsa nahin dekha (Although I have seen a lakh beauties, but never saw one like you) of the film Tumsa Nahin Dekha became instant hits. They were followed by hits like Taareef karoon kya uski jisne tumhe banaya (How should I praise the one who created you) from Kashmir ki Kali.
Shammi Kapoor himself gives a large credit for his success to Rafi. Shammi's image of the young, rebellious, carefree man can be attributed to the famous song Yahoo! Chahe koi mujhe junglee kahe, kehne do ji (Let people call me wild, I don't care) sung by Rafi and composed by Shankar Jaikishan. Shanker-Jaikishan also created beautiful songs with Rafi. The team will be remembered for the ones picturized on Rajendra Kumar - Baharon phool barsaao and others.
Rafi was also composer Ravi's first choice for playback singing. He got Rafi to sing the famous Rock-n-Roll number from the movie China Town Baar Baar Dekho, picturized on Shammi Kapoor.
Madan Mohan was another composer whose favorite singer was Rafi. They teamed up to produce many ghazals including teri aankhon ke siva duniya mein rakha kya hai (There's nothing in the world except your eyes), the sad Yeh duniya yeh mehfil mere kaam ki nahin (This world, with all its things, is not of any use to me) and the romantic tum jo mil gaye ho. Madan Mohan used Rafi's voice in many films like Chirag and Laila Majnu.
The famous composer duo Laxmikant Pyarelal ("L-P") also used Rafi as their male voice in 1960s and 70s. When L-P were new in the industry, Rafi sang for them, although he was the numero uno singer in Bollywood at that time. They got Rafi to sing for their first hit film Paarasmani. Both Rafi and L-P won the Filmfare Awards for the song Chahoonga main tujhe shaam savere from the superhit movie Dosti. The tune was originally meant to be sung by a female singer, but Majrooh Sultanpuri the lyricist suggested that it would sound better in a male voice, L-P agreed and had the song sung by Rafi.
In the year 1969, Bollywood witnessed the rise of a new superstar, Rajesh Khanna in the movie Aradhana. Aradhana was the beginning of the era of another great singer Kishore Kumar. Many stories afloat that Rafi was overshadowed by Kishore. But Rafi delivered many hit songs during that time like "Aaj Mausam bada Beimaan he"(Loafer 1973) and many more. He came back with a bang with memorable songs from Sargam, Hum Kisise Kam Nahin and Amar,Akbar,Anthony which put Rafi right back on the top.
His song Kya hua tera waada from the movie Hum Kisise Kum Nahin fetched him the national award and Filmfare Award for the year 1977. His songs from the films sung towards the late 1970's Laila Majnu, Amar Akbar Anthony and Sargam, became hits. Laxmikant-Pyarelal the famous music director began to churn out hit after hit from Rafi during the late 1970s. His dard-e-dil, dard-e-jigar, composed by Laxmikant-Pyarelal and filmed on Rishi Kapoor, in the movie Karz, became a rage amongst the youngsters.
On Friday, July 31, 1981 after composing a song for the movie Aas Paas, Shaam phir kyun udaas hai dost with L-P, Rafi asked "Should I leave?". L-P were surprised because Rafi had never said anything like this before. While leaving, Rafi said once again "OK. I will leave." Rafi died at 10.50 p.m. on the same day due to a massive heart attack.
Rafi married Bilquis and had four sons and three daughters. He was a teetotaller, a religious and extremely humble person. He was a devout Muslim. Once, when a lesser-known composer, Nisar Bazmi (who migrated to Pakistan in early 1960s), didn't have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He even helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed - "He always gave without thinking of the returns". Rafi was also famous for his various humanitarian efforts. Rafi and Lata Mangeshkar had a major debate over the issue of royalties in 1960s. Rafi believed that once a recording was over and a singer has been paid, he or she should not ask for more. Lata, on the other hand said that singers should be paid royalties for their works, over and above the amount given for the singing. This led to a fall out between them. They refused to sing songs together. At the insistence of Nargis they finally made up at a stage concert and sang Dil Pukare from the film Jewel thief, composed by S D Burman.
Filmfare Nominations and Awards
Amitabh Bachchan, Dharmendra, Jeetendra, Manoj Kumar, Dilip Kumar, Rajendra Kumar, Guru Dutt, Ashok Kumar, Joy Mukherjee, Biswajit, Kishore Kumar, Balraj Sahni, Sunil Dutt, Raaj Kumar, Prithviraj Kapoor, Raj Kapoor, Shammi Kapoor, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor,Bharat Bhushan, Dev Anand, Rajesh Khanna, Johnny Walker, Sanjay Khan, Feroz Khan, Pradeep Kumar, Sanjeev Kumar, Pran, Parikshit Sahni, Vinod Mehra, Vinod Khanna, Mehmood, I. S. Johar, Jagdeep, Gulshan Bawra, Govinda
Songs in Marathi
Shodisi Maanava (Non-filmi)
He mana aaj koni (Non-filmi)
Ha chhand jivala lavi pise (Non-filmi)
Virale geet kase (Non-filmi)
Ga pori sambhal - Daryageet (Non-filmi; with Pushpa Pagdhare)
Prabhu tu dayalu (Non-filmi)
Hasa mulanno hasa (Non-filmi)
Ha rusawa sod sakhe (Non-filmi)
Nako bhavya waada (Non-filmi)
Majhya viraan hridayee (Non-filmi)
Khel tujha nyaara (Non-filmi)
Nako aarati ki nako pushpmaala (Non-filmi)
Songs in Telugu
Yentha Varu Kani Vedantulaina Kani (film: Bhale Thammudu)
Na Madi Ninnu Pilichindi Ganamai (film:Aradhana)
Taralentaga Vecheno Chanduruni Kosam (film:Akbar Salim Anarkali)
Na To Caravan Ki Talash
Hum Kisise Kum Nahin
Raaz Ki Baat Kah Doon
Yeh Hai Ishq Ishq
Main Idhar Jaoon Ya
Pardah Hai Pardah (Amar Akbar Anthony, 1977)
Yaa Nabi Salaam Aleika
O Duniya Ke Rakhwale (Baiju Bawra, 1952)
Man Tarpat Hari Darshan (Baiju Bawra, 1952)
Vrindavan Ka Krishna
Meri Binti Suno Bhagwan
Badi Der Bhai Nandlala (Khandaan, 1965)
Sukh Ke Sab Saathi (Gopi, 1970)
Nanhe Munne Bacche
Re Mama Re Mama Re
Chhoon Chhoon Karti
Chakke Mein Chakka
Hai Na Bolo Bolo
Babul Ki Duayen Leti Ja
Mera Yaar Bana Hain
Aaj Mere Yaar Ki Shaadi Hai
Teri Rab Ne Bana Di
Chalo Re Doli Uthao
Ham Tum Se Juda Hoke
Kabhi Khud Pe (Hum Dono, 1961)
Aap Ke Pahloo Mein
Yaad Na Jaye Beete Dino Ki (Dil Ek Mandir, 1963)
Dil Ke Jharokhe Mein (Brahmachari, 1968)
Kya Se Kya Ho Gaya (Guide, 1965)
Toote Hue Khwabon Ne (Madhumati, 1958)
Din Dhal Jaye (Guide, 1965)
Khilona Jan Kar Tum
Raha Gardishon Mein Hardam (Do Badan, 1966)
Wadiyan Mera Daaman
Aane Se Uske Aaye Bahar (Jeene Ki Raah, 1969)
Chand Mera Dil
Pukarta Chala Hoon Main (Mere Sanam, 1965)
Yeh Mera Prem Patra (Sangam, 1964)
Chaudhvin Ka Chand (Chaudhvin Ka Chand, 1960)
Yeh Reshmi Zulfen (Do Raaste, 1969)
Teri Pyari Pyari Soorat (Sasural, 1961)
Baharon Phool Barsao (Suraj, 1966)
Mere Mehboob Tujhe (Mere Mehboob, 1963)
Chhoo Lene Do Nazuk (Kaajal, 1965)
Main Kahin Kavi Na
Aap Aaye Bahaar Aayi
Na Jhatko Zulf Se Pani
Duets With Lata
1949 Mil Mil Ke Gaayenge (Dulari)
1951 O Kalighata Gir Aayi Re (Kalighata)
1952 Tu Ganga Ki Mauj (Baiju Bawra)
1952 Jhoole mein Pawan ke (Baiju Bawra)
1956 Aaja Ke Intezaar Mein (Halaku)
1956 Dil Ka Na Karna Aitbaar (Halaku)
1957 Zara Samne to Aao (Janam Janam Ke Phere)
1959 Dheere Dheere Chal Chaand (Love Marriage)
1959 Laagi Chhoote Na (Kali Topi Lal Rumal)
1960 Do Sitaron Ka Zameen (Kohinoor)
1961 Sau Saal Pehle (Jab Pyar Kisise Hota Hai)
1961 Aapne Yaad Dilaya (Aarti)
1962 Tujhe Jeevan Ki Dor Se (Asli Naqli)
1962 Dil Tera Deewana (Dil Tera Diwana)
1962 Mujhe Kitna Pyar (Dil Tera Diwana)
1962 Awaz Deke (Professor)
1963 Dil Ek Mandir (Dil Ek Mandir)
1963 Jo Vada Kiya Vo (Taj Mahal)
1963 Paon Chhoo Lene Do (Taj Mahal)
1964 Ek Shahensha Ne (Leader)
1966 Tum Bin Sajan (Gaban)
1967 Dil Pukare Aa Re Aa Re (Jewel Thief)
1968 Bekhudi Mein Sanam (Hasina Maan Jayegi)
1968 Ni Sultana Re (Pyar Ka Mausam)
1968 Woh Hai Khafa Khafa (Shagird)
1969 Rimjhim Ke Geet (Anjana)
1969 Resham Ki Dori (Sajan)
1970 Mere Mitva Mere Meet (Geet)
1970 Jhil Mil Sitaron Ka (Jeevan Mrityu)
1970 Yunhi Tum Mujhse Baat (Sachcha Jhutha)
1970 Mujhsa Bhala Yeh Kajal (The Train)
1971 Chadati Jawani (Caravan)
1971 Kitna Pyara Waada Hai (Caravan)
1971 Itna to Yaad Hai Mujhe (Mehboob Ki Mehandi)
1971 Kuch Kehta Hai Yeh Sawan (Mera Gaon Mera Desh)
1972 Tere Naino Ke Deep (Anuraag)
1972 Patta Patta Buta Buta (Ek Nazar)
1973 Teri Bindiya Re (Abhimaan)
1973 Main Tujhse Milne Aayi (Heera)
1973 Diwane Hai Diwanon Ko (Zanjeer)
1974 Vaada Karle Saajna (Haath Ki Safai)
1976 Tumse Door Rehke (Adalat)
1976 Tere Mere Yarane (Naagin)
1979 Dafliwale (Sargam)
1979 Koyal Boli (Sargam)
1979 Parbat Ke Is Paar (Sargam)
1979 Atthara Baras Ki (Suhaag)
1980 Mujhe Chhoo Rahi Hai (Swayamvar)
1980 Mujhe Choo Rahi Hai (Swayanvar)
1982 Janam Janam Ka Saath (Bheegi Palken)
Duets With Asha
1953 Nanhe Munne Bachche Teri (Boot Polish)
1953 Tumhare Hai Tumse dua (Boot Polish)
1957 Uden Jab Jab Zulfen Teri (Naya Daur)
1958 Sarpe Topi Laal gaal (Tumsa Nahin dekha)
1958 Zameen Se Hamein Aasman (Adalat)
1959 Achcha Ji Main Haari (Kalapani)
1962 Abhi na Jaao Chodkar (Hum Dono)
1961 Main Pyaar Ka Rahin Hoon (Ek Musafir Ek Hasina)
1961 Aap Yuhin Agar Hamse Milte (Phir wohi Dil Laya Hoon)
1964 Deewana Hua Badal (Kashmir Ki Kali)
1969 Gunguna Rahe Hai (Aradhana)
1969 O Haseena Zulfonwale (Teesri Manzil)
1969 O Mere Sona Re (Teesri Manzil)
Sawan Aaye Ya Na Aaye
1973 Chura Liya Hai Tumne (Yaadon Ki Baaraat)
Duets With Male Singers
Gham ki Andheri raat Mein (with Talat Mahmood in Sharda)
Kaisi Haseen Raat (with Talat 'Gramophone version', with Mahendra Kapoor 'movie version' in Aadmi)
Band Mutthi Lakh Ki
Chal Kahin Door
Chana Zor Garam
Hum Premi Prem Karna
Hum Teeno Ki Woh Yaari
Hum To Aap Ke Deewane
Sa Re Ga Ma
Yaadon Ki Baraat
Badi Door Se Aaye Hain (Samjhauta, 1973, with Mukesh)
Dil Ne Phir Yaad Kiya
Salamat Rahe Dostana Hamara (Dostana, 1980, with Kishore Kumar)
Ek Rasta Do Rahi (Ram Balram, 1980, with Kishore Kumar)
Video links given by Priyaji on page 12.Listen,watch and enjoy
About Kishore Da
Kishore Kumar (August 4, 1929 - October 13, 1987), born as Abhas Kumar Ganguly, was a Bollywood film playback singer (Hindi, Bangla, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Oriya) and actor of BengaliIndian origin. Kishore is widely acknowedged as a true genius and is regarded as one of the finest ever Indian male playback singers of all times - along with Mohammed Rafi and Mukesh.
Although known primarily for his successes as a singer, Kumar also was a noted actor. His comedy work included Chalti Ka Naam Gaadi (1958), Half Ticket (1962), Padosan (1968), Baap Re Baap (1955), Pyar Diwana (1973), Hungama (1971), and Badthi Ka Naam Dadhi (1974). As a straight actor he had roles in films such as Naukri, Bandi, Door Gagan Ki Chhaon Mein, and Door Ka Raahi.
In addition, Kumar achieved notable successes as a lyricist, composer, producer, director, screenwriter and scriptwriter.
Kumar was born in a Bengali family as Abhas Kumar Ganguly, in the small town of Khandwa in Madhya Pradesh. His father Kunjalal Ganguly was a lawyer from a middle-class family, whereas his mother Gouri Devi was from a wealthy background. Kumar was the youngest of four children born to his parents. Ashok Kumar was the eldest son, followed by Sati Devi, the only daughter in the family. Next was Anoop Kumar, and five years younger than Anoop was Kishore.
When Kumar was still a child, his elder brother Ashok Kumar became a star actor in Bollywood, which had a major effect on the youngest Kumar. He became a great fan of K. L. Saigal and used to do impressions of his singing. Often his parents would persuade him to mimic his brother's Ashok Kumar's song Main ban ka panchhi ban ban ke. Anoop Kumar also ventured into Bollywood following Ashok's successes.
Kishore Kumar followed his elder brothers' footsteps and came to Mumbai to pursue a career in films as a singer. At this juncture, Anoop's career was stalling as his singing was not as strong as his acting (this was an era where actors who could also sing were in great demand.) On a visit to Austria Anoop bought some records to help him improve his vocal skills. On a later occasion, back in India, he was reportedly entering his home when he heard yodelling emerging from a room. Annoyed, he is said to have thundered "Who touched my records?" However, on entering the room he found that it was in fact the youngest Kumar whose voice it was. He had learned how to yodel from Anoop's Austrian records.
Kumar disliked acting and instead wanted to become a leading singer in Bollywood. However, he didn't have any formal training in singing or music. Through his brother Ashok's contacts in the industry Kumar did though make his debut in films - initially failing to make an impression. But he continued acting, which allowed him to sing on the soundtracks of the films. At this stage of his career, Kumar's style was derivative of K. L. Saigal's. Once, Sachin Dev Burman came to Ashok Kumar's house and heard what sounded like K. L. Saigal's voice coming out of the bathroom. Impressed, S. D. Burman asked Ashok who was singing. Hearing the answer, he waited until Kishore Kumar had finished bathing. He had a little talk with Kumar during which he expressed his appreciation of his singing but advised, "Don't try to ape K. L. Saigal. Apers never make great artists. You should develop your own singing style." After this, Kumar developed his own trademark singing style, which was completely different from the styles of Rafi, Mukesh and Saigal. He used to yodel in many of his songs. Sachin Dev Burman became his mentor and guide. S D Burman, who had never heard yodelling before, used to call it "gala tod ke gaana" ('break-throat singing'). Yodelling became Kishore's trademark, and the media described his singing style as "yodelling at the moon".
Kishore never wanted to act, but he was too afraid to rebel against his elder brother Ashok Kumar, who was bent on making him a popular Bollywood hero. After his initial films flopped, Kishore decided that he would act so badly in the forthcoming movie that no producer would ever again ask him to act in a movie. As a result of this decision, Kishore started acting in a strange, funny way. But instead of rejecting him, moviegoers were delighted to see a hero who could make them laugh. His style was a welcome change from the sober, romantic and tragic traditional heroes of Bollywood. Thus, Kishore became immenseley populer in comedy films. In the late 1950s, he was known for running from one studio to another, recording songs, acting, composing music and sometimes even writing lyrics. In the mean time, produced and directed several movies.
Apart from S. D. Burman, Khemchand Prakash was another composer who recognized Kishore's singing talent early. He composed Kishore's songs in the movie Ziddi. Ziddi's songs established Kishore as a singer. Incidentally, it was at Khemchand's studio, where Kishore met Lata Mangeshkar, with whom he sang many duets later. Lata was going to Khemchand's studio and Kishore was also bound for the same place. Lata was under the impression that she was being followed. It was only after reaching the studio that she realized that it was Kishore, Ashok Kumar's younger brother. Soon, many other composers like Ravi realized that Kishore had potential to be a good singer. Many lyricists, including Majrooh Sultanpuri and Shailendra became ardent admirers of Kishore.
S. D. Burman established Kishore as the voice of popular actor Dev Anand when he got him to sing for Dev Anand in the movies Taxi Driver and Paying Guest. After S D Burman fell out with Lata Mangeshkar in 1957, he gave patronage to Asha Bhosle. Till this time, duets were not very popular in Bollywood. Once S. D. Burman told Majrooh Sultanpuri "We invest so much energy in recording duets, and nobody likes them". Majrooh replied "The mistake is ours. We lyricists never write any good songs that couples would love to hum." S. D. Burman and Majrooh went on to work together on the most popular duets in the late 1950s. S. D. Burman, Majrooh, Asha and Kishore worked together in many movies including Kishore's home production Chalti Ka Naam Gaadi (1958), in which Kishore Kumar, Madhubala, Ashok Kumar and Anoop Kumar acted. The songs Ek ladki bheegi bhaagi si, Haal kaisa hai janaab ka, and Paanch rupaiya baara aana became very popular. They were also heard in Dev Anand's Paying Guest (1957) and Teen Deviyan. The song Mana janab ne pukara nahin from Paying Guest was incredibly popular among viewers. Asha and Kishore became famous for singing 'casual' duets like Chhod do aanchal, zamaana kya kahega, Aye nigah-e-mastana, Aankhon mein kya ji, Arre yaar meri, tum bhi ho gajab, and Chhedo na meri zulfein. Majrooh, Asha and Kishore also recorded popular duets with composer Ravi in the movie Dilli Ka Thug (1958) - C...A...T...Cat maane billi, and Hum to mohabbat karega.
Majrooh Sultanpuri and Shailendra were favorite lyricists of Kishore. He got them to write songs in his home productions. In those days, musicians would recommend lyricists to producers. The musician duo Shankar-Jaikishan had promised Shailendra that they would recommend him to all the producers, but they didn't keep their promise. Shailendra sent them a note - Chhoti si yeh duniya, pehchaane raaste hain; Kahin to miloge, phir poochhenge haal (The world is small, the roads are known; we shall meet somewhere, then I would ask you - "How do you do"). Shankar-Jaikishan realized their mistake. They made a song out of the above words and got Kishore to sing it.
Majrooh penned most of Kishore's hit songs in his initial days, most of them with S D Burman, for Dev Anand - Hum hain raahi pyaar ke, Maana janaab ne pukaara nahin etc.
Kishore was interested in composing music as well. It is said, along with Kalyanji Shah (of Kalyanji-Anandji fame), he introduced electronic music to Bollywood. The electronic sounds in some of S D Burman's music are credited to Kishore (he assisted S D Burman sometimes). Sometimes, Kishore would compose music himself and write lyrics too. In 1961 movie, Jhumroo, Kishore wrote, composed and sang Main hoon jhumroo. This song is a very nice example of his yodelling ability. Kishore could sing in female voice too. In Half Ticket (1962), he sang "Aake Seedhi Lagi" in male as well as female voice. The song was written by Shailendra and composed by Salil Chowdhury.
During the 1960's, there was a lean patch in Kishore's career. Most of his films as an actor flopped. Very few of his songs from this phase are memorable - Zaroorat hai, Zaroorat hai (Manmauji - 1962), penned by Rajinder Krishan and composed by Madan Mohan) stands out from this period. Mohammed Rafi and Mukesh were the favorites of most music composers, so Kishore never got to sing very good songs. A few of his songs picturized on Dev Anand and composed by S D Burman, got him recognition - Gaata rahe mera dil (Guide 1965, a duet with Lata), Yeh dil na hota bechara (Jewel Thief 1967), etc.
In 1966, S D Burman's son Rahul Dev Burman burst into the music scene with superhit score of the movie Teesri Manzil. He had got Rafi to sing all the songs in the movie. But, later R D Burman (also known by his pet name "Pancham") gave great patronage to Kishore Kumar. Their first hit movie together was the laught-riot 'Padosan' (The Neighbour). In this movie, Kishore Kumar played the role of Sunil Dutt's guru. Sunil Dutt's role was of boy who was in love with his next-door neighbour, a girl obessed with singing. To impress the girl, he gets his guru to do 'playback' for him. Kishore Kumar did the 'playback' in the movie, both on-screen and off-screen. Kishore and Pancham created the superhit song Mere saamnewali khidki mein. In one scene, there was a verbal fight between Mehmood (who acted as the girl's guru) and Sunil Dutt/Kishore Kumar. Kishore insisted that it would be boring if the dialogues were spoken in a plain manner. Mehmood fully agreed with him. So, Kishore, Mehmood, lyricist Rajinder Krishan and Pancham sat together and came up with the 'musical fight' - Ek chaturnar, karke singaar. The song, sung by Kishore and Manna Dey (who sang for Mehmood) became very popular. Manna Dey who is a trained classical singer found it preposterous that he should lose the song fight to an untrained voice like Kishore Kumar and he refused to be a part of the song. Mehmood (also the films producer) had to personally assure Manna Dey that he was a better singer and it was the films script that dictated that he loses the song.
In 1969, Shakti Samanta produced the movie Aradhana with newcomer Rajesh Khanna. The composer was Sachin Dev Burman and he had divided songs equally among his favorite singers - Kishore, Mohammed Rafi and Lata Mangeshkar. Kishore sang the romantic duet Kora kagaz tha yeh man mera with Lata. S D Burman fell ill before he could record all the songs. He had already created the tunes for the songs Roop tera mastana and Mere sapnon ki rani. R D Burman took the responsibility of completing the recording. In doing so, the tunes were created by S D Burman and the instrumentation was that of R D Burman. Pancham got Kishore Kumar to sing these two songs. These two songs became overnight hits and launched Kishore's playback singing career. Kishore Kumar got his first Filmfare award for the sensual song Roop tera mastana.
The Burmans single-handedly made Kishore the numero uno playback singer in Bollywood. They got Kishore to sing for all the leading heroes - Rajesh Khanna, Randhir Kapoor, Shashi Kapoor, Dharmendra, and Sanjeev Kumar among others. S D Burman and Kishore worked together in many of Dev Anand's movies. In 1970, Dev Anand's directoral debut, Prem Pujari, flopped. But the songs penned by Neeraj, Phoolon ke rang se (Lena hoga janam hamein) and Shokhiyon mein ghola jaaye (duet with Lata) are still popular. Neeraj, S D Burman, Lata and Kishore came together again for the Shashi Kapoor starrer 1971 hit Sharmilee, for which they recorded Khilte hain gul yahan, Aaj madhosh hua jaaye re, O meri sharmilee. S D Burman also got Kishore to sing for the 1973 Dharmendra-starrer Jugnu, where Kishore sang Pyaar ke is khel mein. S D Burman's last Songs Phoolon ke Dere Hain, Tum Bhi Chalo Hum Bhi Chalen from the film Zameer(1974) were sung by Kishore Kumar. This song was pictured on Amitabh Bachchan, produced by B R Chopra.
In the 1970s, R D Burman got Kishore to sing virtually every remarkable tune he created for the male voice. The single Tum bin jaaoon kahaan (Pyaar Ka Mausam - 1969; lyrics by Majrooh), which was also sung by Rafi, proved that Kishore could sing as well as Rafi, even though he wasn't classically trained. Songs like Yeh shaam mastaani (Kati Patang - 1970; lyricist - Anand Bakshi) made Kishore extremely popular among the youngsters. In 1971, Pancham and Kishore collaborated on many memorable tunes, ranging from the romantic Raat kali ek khwab mein (Buddha mil gaya; lyricist Majrooh) to the tragic Yeh kya hua, Chingari koi bhadke, Kuchh to loge kahenge (Amar Prem; lyricist Anand Bakshi; picturized on Rajesh Khanna). 1972 saw hits like Meri bheegi bheegi si (Anaamika, picturized on Sanjeev Kumar), O Mere dil ke chain (Mere Jeevan Saathi; lyricist Majrooh; picturized on Rajesh Khanna) and Kanchi Re, Phoolon ka taaron ka (Hare Krishna Hare Rama; picturized on Dev Anand).
Even after so many hits, only the Burmans gave patronage to Kishore Kumar. Other composers like Shankar Jaikishan, Madan Mohan, etc. used to give him second-rate songs. In 1972, Pancham got Kishore to sing for a newcomer in the movie Bombay To Goa. The 'newcomer' was none other than Amitabh Bachchan and thus Kishore became the voice of the next great Bollywood superstar as well. The song Meet na mila re man ka (Abhimaan 1973) established Kishore as Amitabh's singing voice. Hit after hit followed, and Kishore, Amitabh and Pancham became all the rage. Before buying an audio cassette, people would make sure that there was at least one Kishore Kumar song in the album. Producers would insist on using Kishore Kumar as a hero's singing voice. This forced other music composers like Laxmikant Pyarelal ("LP") to sideline Rafi and adopt Kishore as their lead singer.
LP and Kishore had many hits to their credits in the 1970s, including Mere dil mein aaj kya hai (Daag 1973; lyricist: Sahir Ludhianvi), Mere naseeb mein aye dost, Naach meri bulbul (Roti), Chal chal mere haathi (Haathi Mere Saathi) etc. Most of these songs were picturized on Rajesh Khanna and penned by Anand Bakshi. The team also recorded many songs in Amitabh Bachchan starrers e.g. My name is Anthony Gonsalves (Amar Akbar Anthony). LP also got Kishore and Rafi to sing together in many films like Dostana, Kranti, Ram Balram etc. LP will be chiefly remembered for the duets that they recorded with Lata and Kishore - Achchha to hum chalte hain, Kal ki hansi mulaakat ke liye, Gore rang pe na itna gumaan kar, Tu kitne baras ka etc. LP and Kishore also gave melodies like Gaari Bula Rahi Hai from the movie Dost starring Dharmendra, Ruk jaana nahin tu kahin haar ke from Imtehaan starring Vinod Khanna, Mere mahboob kayamat hogi from Mr. X in Bombay.
The duo of Kalyanji-Anandji also adopted Kishore as their lead singer in the 1970s. The team produced many hit songs in movies like Dharmatma (1975), Laawaris, Muqaddar ka Sikandar, Kabeela, Johnny Mera Naam and Don among others. The Kishore-Asha duet Vaada to nibhaya from Johnny Mera Naam was a superhit. The songs O Saathi Re (Muqaddar ka Sikandar) and Khaike Paan Banaraswaala (Don) became extremely popular as well. The songMera jeevan kora kagaaz from the movie Kora Kagaaz was a big hit. Probably the most notable work of the partnership were the songs from Safar starring Rajesh Khanna - Jeevan se bhari teri aakhen and Zindagi ka safar.
In 1975, S D Burman went into a coma, while Kishore was singing Badi sooni sooni si hai zindagi (Life is lonely) for the movie Mili. He died some time later. R D Burman completed the score of the movie. R D Burman continuted with S D Burman's patronage to Kishore. He got Kishore to sing for both Dharmendra and Amitabh in the 1975 bumper-hit Sholay. Manna Dey was called in only when a sequence required both the heroes singing together (Yeh dosti hum nahin todenge). In 1970s Kishore sang in many of Dev Anand's not-so-successful movies under the baton of R D Burman - Warrant (1975), Heera Panna, Shareef Badmash etc. Although these films did average box office business, the music was always hit. The songs like Ruk Jaana O Jaana (Warrant) and Panna ki tamanna (Heera Panna, duet with Lata) and Neend chura ke raaton mein (Shareef Badmash) were chart-busters. Even while recording intricate songs of Aandhi (1976; lyrics by Gulzar), Pancham used Kishore's voice, instead of using somebody trained in classical music. They recorded many more beautiful songs, including the title song of Agar tum na hote and Humein tum se pyaar kitna. Their comatose songs like Mere naina saawan bhado, Chingari koi bhadke, O maajhi re made them popular among the mature audience as well. Of course, Kishore also sang Pancham's trademark 'peppy' pop numbers picturized on young heroes like Rishi Kapoor and Sanjay Dutt. Kishore and Lata sang trendy numbers in Sanjay's first movie Rocky - Kya yehi pyaar hai, Hum tumse mile (lyricist: Anand Bakshi). R D Burman and Kishore worked together in many movies including Aapki Kasam, The Burning Train, Apna Desh, Dharam Karam, Takkar, Seeta Aur Geeta, Joshila, Kasmein Vaade, Rampur ka Laxman, Kaaliya, Golmal etc.
New musicians like Rajesh Roshan, Sapan Chakravarthy (Pancham's assistant), Bappi Lahiri and others also preferred Kishore to any other singer. Rajesh Roshan's first hit movie Julie had memorable numbers sung by Kishore and Lata - Bhool gaya sab kuchh, Dil kya kare jab kisi se etc. Rajesh Roshan worked with Kishore in many other movies like Do Aur Do Paanch (1980), Doosra Aadmi(Kya mausam hai), Manpasand (Main akela aapni dhun me magan zindagi ke maza liye jaa raha tha) etc. Sapan Chakravarthy recorded the popular Tum bhi chalo, hum bhi chalien (Zameer) with Kishore and Asha. Bappi da, notorious for lifting western numbers, got Kishore to sing many of his popular songs like Chalte chalte, Aaj rapat jaayein (duet with Asha), Pag ghunghroo (Namak Halaal - 1982; picturized on Amitabh), jahan chaar yaar (Sharaabi - 1984) and the filmfare award winning Manzilen apni jagah hai (Sharaabi - 1984).
The three superstars of different times, Dev Anand, Rajesh Khanna and Amitabh Bachchan always wanted Kishore Kumar to sing for them as these songs would hit more when sang by Kishore Kumar.
Kishore's son Amit Kumar was already a popular singer in 1980s, thanks to patronage by R D Burman and Rajesh Roshan. But Kishore was still around, singing for established and young heroes alike. Kishore Kumar and Amitabh had some misunderstanding in mid-1980s. Kishore was producing a movie and Amitabh (who was a Bollywood deity by then) was supposed to do a guest-appearance in the movie. Amitabh arrived at the shoot, but left after few minutes, asking his secretary to tell Kishore that he wouldn't act in the movie. Kishore got upset and decided never to sing for Amitabh again. Incidentally, Amitabh's films started flopping after this and he faced the worst phase in his Bollywood career. He made a comeback many years later, through the popular television series, Kaun Banega Crorepati (Hindi version of 'Who Wants To Be A Millionaire).
Kishore sang for Anil Kapoor in his first movie, Woh Saat Din. He also sang for him in his first superhit movie Mr. India. LP gave the music for both the movies. In 1987, he sang some really nice songs for R D Burman in the movie Saagar - Saagar jaisi aankhon waali (based on Raga Yaman) and Saagar kinaare dil yeh pukaare (duet with Lata). The songs were penned by Javed Akhtar.
In 1987, Kishore decided to retire from Bollywood and go back to his roots, his village Khandwa, and in October 1987 he breathed his last. His last wish to go to Khandwa was fulfilled as his body was taken to his birth place for cremation after embalmment.
Kishore Kumar inspired more playback singers than any other. Many of today's leading Indian playback singers including Kumar Sanu, Abhijeet and Babul Supriyo started their careers as so called 'copy singers' of Kishore Kumar. They all copied (they still do, to some extent, although they have developed their own style over the years) Kishore's unique voice. When Kishore was in the prime of his career, the only way a male singer could gain a foothold in Bollywood was to copy him and sing in low-budget movies where the producer could not afford to sign up Kishore himself.
Although he was known mainly as playback singer, Kishore Kumar was also a prolific music director who produced very melodious tunes in several films like Door Gagan Ki Chhaon Mein, Door Ka Rahi and Jhumroo. Some of the most famous songs where music was given by him are Koi Ham Dam Na Raha, A Chal Ke Tujhe Mai Leke Chalun, (Beqarar Dil Tu Gaye Ja]], Nayano Sarasi Keno (Bengali).
Some of the important Hindi films in which Kishore Kumar acted are:
Kishore Kumar married Ruma Ghosh in May 1951 in Bombay, and their son Amit Kumar was born the following year. The couple divorced in 1958. Ruma Ghosh remarried Arup Guha Thakurta and had two children by him. She is also a singer, actress and a prominent personality in the performing arts industry. She hails from a distinguished Brahmo Bengali family. Her father was Satyen Ghosh (known as Montey Ghosh), her mother Sati Devi, a talented singer. Sati Devi's younger sister Bijoya is married to legendary film director Satyajit Ray. Ruma had her formal education in many places including Santineketan for a brief period. She was also one of the earliest child students of Uday Shankar Cultural Centre in Almora in its formative years where her mother had been a music teacher. Sati Devi accompanied Uday Shankar to Europe in the 40's.
Please check out some wonderful pics provided by qwest on pg 7,8,10 and article by Qwest and sonya on pg 7,11.Edited by ani11 - Saturday, August 5, 2006 at 11:57 PM
About Mukesh ji
No other singer was capable of projecting emotions in their raw, unfurnished state the way he could. His was a voice that could on one hand be deeply melancholic and on the other hand exude a profoundly innocent and mellifluous sweetness.
Mukesh Chand MathurMotilal brought him to Bombay, kept him in his own house and arranged for Pandit Jaganath Prasad to groom him. Mukesh even did a Hindi Film during this period as hero, Nirdosh, 1941 but it flopped.
His first break in films came in 1945 under the baton of Anil Biswas in the film "Pehla Nazar". The raag was Darbari and the song was "Dil jalta hai to jalne de", picturized on Motilal. Though a huge hit, admittedly it sounded as if the young man was just another K.L. Saigal imitator. It was under Naushad with Mela, 1948 and particularly Andaaz, 1949, that Mukesh finally discovered his own style. Andaaz, 1949 was a major triumph for Mukesh.
Mukesh was a favourite of all music directors. He sang for almost all the great and not-so-great music directors of the yesteryears and produced masterpieces for them. But it was his partnership with the duo of Shankar-Jaikishen that produced the maximum number of hits. The inimitable team of Mukesh-Raj Kapoor-SJ-Shailendra-Hasrat Jaipuri were responsible for producing one memorable hit after another for almost two and a half decades starting from Barsaat in 1949. It is said the Mukesh-Raj Kapoor was an alliance made in heaven. The Mukesh-RK combination gave new dimensions to popular Hindi music. It flourished during a period which is often called the Golden Age of Hindi film music and the standards were raised to dizzying heights which were seldom touched before or thereafter. The partnership started with Aag, 1948 where Raj's feelings of despondency and despair were vividly caught by Mukesh in Ram Ganguly's composition Zinda hoon is tarah, and ended with R.D. Burman's Ek din bik jayega in the film Dharam Karam. In its course was an endless list of hits figuring among them being the evergreen songs of Awaara and Shri 420, arguably the two films that brought the greatest international fame and glory to Indian music. From foot-tappers like Mera joota hai Japani, Shree 420 to satires like Kisi ki muskurahaton pe ho nissar, Anadi, from melancholy strains of Jaane Kahan gaye woh din, Mera Naam Joker to songs depicting the truth of life like Woh Subah kabhi to aayegi, Phie subah hogi, the emotions conveyed by the depth and intonation of the voice of this master-singer was unparalleled.
Another music director who utilized Mukesh to the fullest was the great Salil Chowdhury. And it was this mutual admiration for each other's music that led to evergreen hits like Suhana Safar, Madhumati, Nain Hamare, Annadata, Kahin door jab din dhal jaaye, Anand, Kai baar yun bhi dekha hai, Rajnigandha and of course the unforgettable Zindagi Khwab hai, Jaagte Raho". S.D. Burman was a true professional who would not typically use a singer, however talented he may be, if his voice did not match the situation in the movie. And Dada Burman would often turn only to Mukesh whenever he needed a song to be played in the background. Two such examples are Chal ri sajni and O Jaanewale ho sake to laut ke aana.
Mukesh also teamed up with Khayyam in Phir Subah Hogi. Sahir Ludhianvi's lucid poetry combined with Khayyam's scores to produce superb musical masterpieces. It fills one's heart with hope, aspiration and longing as he listens to a soulful Mukesh in Woh subah kabhi to aayegi. Years later in 1976, few months before the death of the singer, Khayyam brought back the golden voice in Kabhie Kabhie to produce the unforgettable Kabhi Kabhi mere dil mein khayal aata hain and Main pal do pal ka shair hoon.
He was not proficient in classical numbers, but it was the innocence of his voice that made simple compositions stand out from the other. It was this simplicity that fills one's eyes with tears as he listens to Sajanwa behri ho gaye hamar or Jaaoon kahan bata ei dil. O.P. Nayaar, it is said, did not think very highly about him. But even he was stunned by the popularity of his apparently simple composition of Chal akela chal akela. Unparalleled in tragic numbers, Mukesh was equally good in fun songs like Awaara Hoon, Mera joota hai Japani, Dum dum diga diga or Kehta hai Joker.
From Raj Kapoor to Amitabh Bachchan, from "Aag" to "Kabhi Kabhi", Mukesh came full circle. Yet Mukesh himself was never in search of a hero. He was an amazingly humble person, who would sing for any music director or any hero. He had the gift of transforming simple compositions into all-time greats as is seen in Sardar Malik's Saaranga teri yaad mein.
In 1974, he received the National Award for the Kahin baar yun bhi dekha hai from Rajnigandha. His last song was Chanchal Sheetal Nirmal Komal from Satyam Shivam Sundaram in June 1976. Immediately after on 27th August, 1976, the great singer breathed his last of a sudden heart attack in Detroit, while on a tour of the U.S.