I’ve been a proud Kishore Kumar fan ever since I’ve heard him on the Binaca Geetmala on the age of 11. The programme was once for a period of half an hour and was later prolonged to an hour. I used to be mesmerised by that voice in songs like Jeevan ke safar mein (Munimji, 1955). He didn’t sing for another hero besides Dev Anand (maybe with the one exception when in Pyar Ka Mausam, 1969, he sang Tum bin for Bharat Bhushan). It was solely within the late 60s, a twister was unleashed within the type of Kishore Kumar in Aradhana after which there was no trying again.
Kishore’s voice had a sure “sophistication” and westernised high quality which the city center class cherished. They have been those going to the theatres then and spending cash. His urbane voice appealed to them. It was like a pointy arrow from a taut bow that pierced the soul. There was a “persona” to his voice- be it a cheerful music or a tragic music. Mohd Rafi saab too was a grasp singer whose vary is unparalleled. I contemplate Rafi saab the primary actual playback singer on this planet as a result of he used to vary his voice high quality and magnificence to match the voice of the actor who would lip sync that exact music.
Kishore da, who was identified for his light-hearted, romantic and a few humorous songs together with his “yodelling”, was equally efficient in unhappy songs. Kishore’s voice in distinction was free flowing, like I discussed, virtually westernised. Maybe his lack of classical coaching too contributed to his freewheeling voice. I can solely hazard a guess.
It’s surprising that in a inhabitants of 140 billion individuals we’re but to discover a voice that comes wherever near Kishore da’s voice. Actually, each time Shankar the composer and I sit down to put in writing and compose a music we surprise aloud provided that Kishore da had sung our music.
You see, the flexibleness in his voice, whether or not it’s Dukhi man mere (Funtoosh, 1956) or Kiska rasta dekhe (Joshila, 1973). If he could possibly be deeply melancholic, then he would additionally sing gibberish and make you roll with laughter. No singer except for say the formidable voice of Asha Bhosle may match him observe to notice. You hear the duets collectively. That’s magic.
My life’s first music ever Dekha ek khwab (Silsila, 1981) was sung by him. And with that one music my profession as a lyricist took off.
He preferred me loads, maybe it was additionally my sense of humour which he too possessed in spades. He was so humorous and humorous. He would maintain us entertained for hours. After all he was a minimum of 20 years senior to me and it was a matter of privilege for him to be singing my songs or to be acquainted with him.
I keep in mind he was within the recording sales space and he was singing Zindagi aa raha (Mashaal, 1984). So me who was sitting outdoors identified that he was unnecessarily stressing on the phrase “hai”. He joked and insisted that I present him find out how to sing the road. I used to be so mortified and all of us had a superb chuckle about it.
Across the time we recorded for Saagar (1985), he had suffered a coronary heart assault and we have been very frightened if he would have the ability to sing our songs. Know-how had progressed loads by then and even for a duet we may report the singers individually and match their voices collectively. For the Yun hello gaate raho music, we recorded SP Balasubramaniam who himself was a musical genius. He sang individually after which left for Chennai. I used to be astounded by his singing. Balasubramaniam was completely smashing good. As a Kishore fan I used to be frightened. A number of days later Dada got here to the studio, heard the music which Pancham I feel sang to him on the harmonium. He learnt his strains and went straight for the take. The best way he sang! He hit it out of the park. You please hear the music once more, you’ll by no means have the ability to say this peerless singer had simply recorded this music after a coronary heart assault. I used to be past relieved.
However behind the sensible jokes and enjoyable persona was a deeply damage man. I feel his youth at Bombay Talkies weren’t completely satisfied. Ashok Kumar his older brother was the shining famous person and normally the youthful sibling shouldn’t be taken critically. I’m instructed plenty of imply and uncharitable issues have been mentioned to him. They mentioned he was no good and will return again to Khandwa.
I keep in mind Yusuf bhai, an assistant of Kamal Amrohi on Mahal (1949) used to inform me he could be drumming away fortunately on the tables of the Bombay Talkies canteen and other people would move snide and reducing remarks. I assume he saved up all that deep damage.
I keep in mind him telling me that he needed to be buried in Khandwa. He used to say funerals in Bombay are like movie premieres—everybody is just superstar recognizing and which star arrived and clapping.
Years later I obtained the Kishore Kumar award from the Madhya Pradesh authorities in Kishore da’s hometown Khandwa. It’s fantastic that his legacy is preserved there and his songs proceed to be performed with love and affection. So many songs come speeding to my thoughts however for now I’m completely satisfied within the recollections of the Amir Garib (1974) music…. Foremost aaya hoon khwaab mein…
