An endless feud between the fans of Mohammed Rafi and Kishore Kumar..
Mohammed Rafi was born at Kotla Sultan Singh, near Amritsar . Rafi displayed his talent for singing at the tender age of 13. The lure of movies beckoned him to Bombay in 1944. His first hit was the Tera Khilona Toota Balak from Anmol Ghadi in 1946. India lost this jewel on July 31, 1980.
Abhas Kumar Ganguly, better known as Kishore Kumar was born on August 4, 1929 in Kandwa. Following the footsteps of his elder brother Ashok Kumar he too ventured into movies. But he soon realised that his heart was in singing. Under the patronage of RD Burman he soon flourished. He would at times compose and write songs himself. Sadly he passed away in October,1987.
The debate as to who was the greater singer carries on even today, even decades after their death. Both of them left an indelible mark in the world of Indian film music, a void that still cannot be filled today. No wonder that their fans are at constant feud with one another trying to prove that their hero was better.
It is a no secret that Mohammed Rafi was a trained classical singer and that Kishore Kumar had a natural talent. Hence Rafi’s fans feel that he was the more accomplished and skilful of the two. Kishoreda’s fans are of the opinion that though he may not have been trained, he had purity and sheer quality of voice. The fact that he wasn’t trained, and could still sing anything, both classical and non classical songs with equal magic rendered him more superior than Rafi.
Fans claim that Rafi was the most favoured singer for many veteran composers while Kishore Kumar was preferred by few and was a playback mainly for Dev Anand and later for Rajesh Khanna. Rafi on the other hand balanced his melodious voice for diverse stars like Dilip Kumar, Dev Anand, Guru Dutt, Rajendra Kumar and Shammi Kapoor.
In support of Rafi’s greatness, many of his fans say Rafi sang for Kishore Kumar in films that Kishore himself acted. They also draw the attention to Rafi’s song Darde Dil in Karz which was based on a single note and proved that he was indeed blessed with God-gifted melody. Mohammed Rafi’s fans also claim that Sonu Nigam and Udit Narayan who belong to the Rafi school are technically better than Kumar Sanu, Babul Supriyo etc.
On the other hand, Kishore Kumar’s fans remind people of songs which he sang by melodiously incorporating his inimitable yodelling. Those numbers are extremely popular even today. They further claim that in the 70’s and 80’s, it was he who sang for a number of heroes.
This debate can go on endlessly. However it must be stated that both were great singers of their times and each had his own distinctive style.
There was no feud between the two and the immense respect that Kishore Kumar had for Mohammed Rafi is clearly seen in the photo during Rafi’s funeral. A silent, sad and grief-struck Kishore in the newspapers portrayed very well that no one except him understood what an irreparable loss had taken place in Indian film music.
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May 16th, 2007 at 6:03 am
Let us salute the singers and music directors for the gems they have delivered for us. Sudip, I’m not sure if the numbers you’ve given are correct. I’ve seen elsewhere that LP have composed the maximum songs (including duets) for Rafi, though SJ gave Rafi the maximum number of solos. Shankar was more inclined toward Manna and Mukesh, while Jai was Rafi-oriented. Being the exceptional talent that he was, Jai used Kishore very effectively too in Zindagi ek safar, Bhanwre ke gunjan and Geet gaat hoon main. But Rafi was his real star: Baharon phool barsaon, Yeh mera prempatra kar, most of the Shammi songs,… But I agree with Sudip that Jai overused Rafi to the extent that some of his songs became a trite boring. Also, Jai gave Rafi the maximum freedom to maneouvre and Rafi sometimes overdid the gimmicks part. But the biggest blow to Rafi, which surprisingly no one touches on, is Jai’s death in 1971. If Jai were alive, he could have used Rafi to counter RD’s rise. With Jai gone and OP’s fortunes going steeply downward, there was no one to give a real boost to Rafi in the early 70s.
Unlike SJ, Naushad wouldn’t give any freedom to Rafi or, for that matter, any other singer. It had to be his way. SD would give Rafi more room (e.g., the way he cracks his voice in the last stanza in Din dhal jaye or his playful banter with Asha in Achha ji main haar gaya maan jawo na) but it was always under control. In an interview SD gave in the early 70’s, he called Rafi his first serve and Kishore his second. It didn’t mean that he preferred Rafi to Kishore. What he meant was that he would try hard to serve aces with Rafi (Hum bekhudi mein tum, Khoya khoya chand, Din dhal jaye) but sometimes they went wayward. With Kishore he wanted to be more sure.
Rafi’s voice had so many degrees of freedom that it was much more difficult to rein all of them in together. Kishore’s advantage and appeal lay in the fact that he could sing straight in his open-throated, rich voice. In fact, the lack of training was to his advantage. If he had received formal training (like Rafi and Manna), I’m not sure he would have able to reach the heights he did.
In terms of MDs, for Kishore it is Burman & Burman. Take them out, and there’s not a whole lot; some LP, some KA, and some others. One of you mentioned Salil, but Salil’s favourites were Mukesh, Hemant and Talat; never cared much for Rafi or Kishore.
For Rafi here are the top MDs (the order keeps changing for me ever so often): SD, Naushad, SJ, Madan Mohan, OP, Roshan, Khayyam, LP and Ravi. Among all these MDs, SD and Madan Mohan made the most innovative experimentations with his voice.
Anil Biswas’s favourite singers were Talat, Mukesh and Manna. As for the comment he made regarding Rafi (”Rafi is no singer”), let me remind Kishore’s fans what their guru said in response: “It’s a stupid statement. I am his greatest fan”. To Rafi, what Anil, Salil or Anna said didn’t matter. At the end of the day, he knew that he was better than anyone in making your hearts sing. When you talk about Rafi, you’ll have to identify which Rafi you are talking about. There are so many Rafi’s; the Rafi of Man tadpat darshan and Man re tu kahe na dheer dhare, the Rafi of Suhani raat dhal chuki and Hum bekhudi mein tumko pukare, the Rafi of Tumhare zulf ke sayen mein and Jaane kya dhoonti rahati, the Rafi or Baharon phool barsao and Tere mere sapne, the Rafi of Madhuban mein radhika and Naache man mora magan dhikna dhiki dhiki, the Rafi of Yeh ishq ishq ishq and Parda hai parda, the Rafi of Yahoo chahe koi mujhe jungle kahe and Cuckoo mast baharon ka main aashiq, the Rafi of Aaja aaja main hoon pyar tera and Aaj kal tere mere pyar ke charche,…. The list is endless. He started so many genres in playback singing; it’s simply mind-boggling! Ultimately, Rafi can compete only with Himself.
May 15th, 2007 at 11:16 pm
Dear Sudip,
If there is real king as MD I think RD is not in best five,As I think the best is 1,SJ boz they had hit songs With all singer who singed for they,2,Naushand boz he changed the way f music,3,LP after SJ I think they had hit with most of singer who singed for them,4,Madam Mohan who made magic with Mohd Rafi and Lata Ji voice,5, SD burman who dade magic with Dev Anand with Mohd Rafi as I think….
May 15th, 2007 at 11:25 am
Don’t get me wrong. I think Kishore Kumar had a terrific voice.. He is the voice of the youth.. He represents the exuberance and freshness of youth, something that rightly fit RD’s kind of music. But extending that to say he is the #1 singer is oversimplifying judgement on music.
Rafi was the #1 singer in SJ’s list, to the extent that I personally think SJ overused him. Apart from Rangoli (1962) I cannot recall any other film where Kishore gave hits under SJ banner before Aradhana. SJ used Kishore more after Aradhana, but by that time interestingly Shankar and Jaikishan had also parted (though they were operating under the SJ banner). To the best of my knowledge one preferred KK while the other preferred Rafi after their separation.
SD’s post-Aradhana association with Rafi is excellently captured here:
http://inhome.rediff.com/movies/2000/oct/31burman.htm
I think there were two factors in play here:
1. Producers usually went with the market pulse and it is an established fact that Kishore’s freshness was well accepted among the masses during the early 1970s.
2. The arrival of new set of actors also heralded this transition. Lot of music directors like KA always went for an actor-singer combination. Kishore was Kalyanji’s de-facto choice for Amitabh and Rajesh Khanna (Raaz, Choti Bahu, etc are exceptions), Rafi for Vinod Khanna, Shashi Kapoor and Anil Dhawan, Mahendra Kapoor for Manoj Kumar (there were few exceptions here and there). I doubt if Amitabh had Rajendra Kumar’s personality and voice, the transition would have been that welcome.
May 15th, 2007 at 10:57 am
Hi Guys,
There was nothing wrong in SD, RBD’s way of thinking. They just tried with different
singers, they know the calibre of the singers so gave different songs to different singers
and when you listen to them, you will feel this is the only singer who can do justice to this
song. This is how it works, it’s not that others can’t sing it.
Be it Hum kisi se Kam nahi, Guide, Amar Prem, Aradhana: songs are of different genres
so the voices suit them perfectly. Don’t find faults in Singers and Composers man.
Sudip, Haldar I agree. Let’s now move on to discussing different short stories/conversations
between Rafi and Kishore. Whoever knows anything, please post.
At least, stop this good, the bad and the ugly business.
May 15th, 2007 at 8:14 am
Sudip - I have some questions. Can you rank the singers used the most by Shankar Jaikishan? Also, are you sure about SD choosing Rafi the most? I agree this was the case before 1969 but when RD took over, SD had little say. Did SD ever really compose after 1969 and if so, didn’t he “realize” that Kishore was the way to go (essentially, SD changed his mind to Kishore now seeing the popularity)? I of course, like Rafi the most, but I do think Kishore provided a fresh alternative after Rafi had dominated for 20 years and so the shift in dominance for a short while was inevitable.
Interesting point about LP - when I read the beginning of your sentence, I was shocked - and then I realized yeah, they recorded more with KK after 1980.
May 15th, 2007 at 6:38 am
Adding:
“fromRD,SD,LP,K-A,Rajesh Roshan,Bappi Lahiri,Hemant Kumar,Salilda,Anil Biswas preferred Kishoreda to any other singer.”
They went with the tide (producers’ insistence because Kishore was selling).
And who told you that KK was #1 singer for Hemant, SD and LP?
-Hemanta’s son (Jayanta Mukherjee) in a recent interview has stated that his dad used to think that there was no one even close to Rafi (even Nitin Mukesh had a similar opinion).
-Rafi was undoubtedly SD’s favorite singer. Even during the lean days, SD made sure Rafi gets some footprint in the songs. Rafi weaved magic with the single songs he got in Abhimaan and Gambler, for instance.
-Time and again, LP has told that Rafi was their numero uno singer. KK had sung 396 songs for LP and Rafi had sung 369, but 140 of those KK songs were recorded after Rafi’s death.
-Mukesh was K-A’s favorite singer, not Kishore. Kishore may have sung more songs for KA, but that does not prove anything. It is like saying Anu Malik prefers Alka to Lata because Alka has sung more songs for him. It is purely a circumstantial issue, nothing to do with who he thinks a better singer is.
-Same with Rajesh Roshan. They used Rafi selectively because of their style. Unless Rajesh thought his dad (Roshan) was an idiot, who understood zilch of music, there is no reason why he would think badly of Rafi.
That leaves us with RD and Bappi. I have nothing to tell about RD except thay wanted a fresh voice and Kishore provided that.
Bappi was Kishore’s nephew..I do not need to justify further.
Pls check facts before commenting.
May 14th, 2007 at 8:24 pm
“fromRD,SD,LP,K-A,Rajesh Roshan,Bappi Lahiri,Hemant Kumar,Salilda,Anil Biswas preferred Kishoreda to any other singer.”
They went with the tide (producers’ preference).
And who told you that KK was #1 singer for Hemant, SD and LP?
-Hemanta’s son in a recent interview has stated that his dad used to think that there was no one even close to Rafi (even Nitin Mukesh had a similar opinion).
-Rafi was undoubtedly SD’s favorite singer. Even during the lean days, SD made sure Rafi gets some footprint in the songs. Rafi weaved magic with the single songs he got in Abhimaan and Gambler, for instance.
-Time and again, LP has told that Rafi was their numero uno singer. KK had sung 396 songs for LP and Rafi had sung 369, but 140 of those KK songs were recorded after Rafi’s death.
Pls check facts before commenting.
May 14th, 2007 at 8:00 pm
rafi fans must admit, that rafi was going great guns during the 50’s and 60’s, where most great MDs’ prefferred him more, but during tat time, kishore was concentrating more on acting rather than more on singing!
and after aradhana things changed altogether, kishore rose to the top, and it was a one way journey!
May 14th, 2007 at 11:20 am
Hi Messi, the KK-Rafi wars used to be much worse when they were alive. Believe me, they have become much more subdued now. Those days, you couldn’t say anything good about the singer in the other camp, such was the animosity. We should all try to tone down a bit, especially with respect to religion and ethnicity.
Sudip, you made a very interesting remark on the two different styles of Rabindra sangeet and Nazrul geeti (for the uninitiated, those are respectively the compositions of Rabindranath Tagore and Kazi Nazrul Islam, two of Bengal’s greatest poets). Satyajit Ray made excellent use of Kishore in Charulata (Ami chini go chi tomare). Much later, when Rajesh Roshan lifted the tune of another Rabindra sangeet (Tomar holo suru amar holo sara) for the “Chhoo kar mere manko” song in Yarana, Kishore was incredible. It sounded better than the original! Rafi, as you have rightly pointed out, would be way ahead in Nazrul geeti given that it’s closer to classical-based ghazals. In fact, he cut an LP disc titled “Aajo modhuro bansori baaje” a month or two before he died. But I want to point out that Rabindra sangeet itself has a myriad of styles, some of which are classical-based, and I’d venture to add that Rafi would have done full justice to those songs. The song “Piu bole piya bole” from Parineeta is also based on a Rabindra sangeet and I’m sure Rafi would have excelled in that soft, romantic song too.
May 14th, 2007 at 10:43 am
Oops God !!! I have told infinite times not to compare like this. It seems most of the above
are just crap, except few tells some truth but not foolish.
Some of the above posts are really horrible, I mean I doubt on their age and maturity.
They are great siners man, Rafi vs. Kishore debate is just too much.
Again this religion fact is so ugly. Learn some manner man and change your attitude.
May 14th, 2007 at 10:20 am
Sudip, rather than focusing on genres, I have listed below the singers who are similar to Rafi in different ways:
Kishore’s vibrance and “masti”
Asha’s versatility and range
Lata’s technical perfection and melody
Manna’s “ustadi”
Mukesh’s pathos
Talat’s silky touch
Geeta’s sensuousness
Hemant’s sweetness
May 14th, 2007 at 9:58 am
Dear Sudip,
I’m glad to know that there’s someone on the same wavelength. The three songs of Rafi’s that you mention were composed by OP, Madan Mohan and Khayyam, all Rafi loyalists. In particular, I have immense respect for Madan Mohan for never wavering in his support for Rafi, even during his lean period. What pains me is when people start attributing compositions like “Tum jo mil gaye ho” to their loRD. It started with the SD tunes, some of which may be valid. But when some of those fanatics started claiming that “Kahin bekhayal hokar” from Teen Deviyan was also copied by the old man from his son, I realized that these guys would say anything to prove their point. A recent thread in this group has discovered the similarities between “Kuchh na kaho kuchh bhi na kaho” (1942: A Love Story) and Dekhi Zamane ke Yaari” (Kagaz ke Phool). I won’t be surprised if someday there’s an announcement that it was actually the younger Burman who composed the latter tune! Actually, the other hit from 1942 (Ed ladki ko dekha to aisa laga) is reminiscent of Rafi’s “Dil ka bhanwar kare pukar” (TGKS). Needless to say, if Kishore and Rafi were both alive and if RD had the power to dictate, both the 1942 songs would have gone to his favourite Kishore. SD’s selection of singers, on the other hand, was exceptionally good, rivaled perhaps by SJ.
We are blessed that our country produced such great singers as Kishore, Lata, Manna, Asha, Mukesh and Geeta. But in the history of playback singing, Rafi stands as the tallest (no offence to Kishore fans; they are entitled to their own opinions). Unlike the Mangeshkar sisters, Rafi did not have a publicity machine and he didn’t care for one either. To him it was the song that mattered. And when I listen to the strains of “Dekhi zamane ke yari” almost 50 years after he lip-synched for Guru Dutt, I don’t think there’s any singer — dead or alive, male or female, North or South, Bengali or non-Bengali — who would even come close.
May 14th, 2007 at 8:48 am
Yes Jayanta,Kishoreda is the king.Everyone fromRD,SD,LP,K-A,Rajesh Roshan,Bappi Lahiri,Hemant Kumar,Salilda,Anil Biswas preferred Kishoreda to any other singer.
May 14th, 2007 at 8:46 am
Undoubtedly,Kishoreda is the greatest of all playback singers.Initially he focussed more on acting,he was also a great actor.Later,when he turned only to singing,Rafi and other singers were sweeped out.
May 14th, 2007 at 2:53 am
P Haldar:
I agree with your analysis but I have my own ranking.. But more importantly, your comment on Kishore’s style is absolutely correct. It is very difficult to argue with Kishore’s fans because they only care about that genre. If you confine your preferences to that genre, you cannot like anyone other than Kishore (and possibly his son). Technically it is the same gayki used in Rabindra Sangeets-full throated voice with lot of bass. Rafi’s technique and style is closer to another line of Bengali songs i.e. Nazrool Geeti. Based on similar judgements, I prefer Nazrool Geeti to Rabindra Sangeet. Kishore’s voice is golden but pretty unidimensional with a few variations here and there, the tone is pretty much the same irrespective of the mood. Rafi’s voice is like a river with variations in every turn.
This is the reason why sentimental songs of Kishore can be played anywhere, in puja pandals, in weddings, everywhere.. Rafi makes a clear distinction in treatment between songs that are made for puja pandals and songs that can be only listened to in pensive solitude. I have never heard “Aapke haseen rukh pe aaj naya noor hai” or “Tumse kahoon ek baat” or “Kahin ek masoom nazuk si ladki” in puja pandals.
No one has responded to my list of categories/genres and tried to see how the greats figure in that list..If they had done, they would clearly find out why the Outlook magazine and countless people nominated Rafi as the greatest playback singer of all time.
May 13th, 2007 at 11:09 pm
Music directors like Anil Biswas, C. Ramchandra, Salil Chaudhry, etc… who were anti Rafi never reached to top, but they came down very fast. But others like SJ, Naushad, LP, KA, Ravi, etc.. prefered Rafi Saheb remained on top. This shows Rafi Saheb’s high class.
May 13th, 2007 at 8:06 pm
Sir Jayanta,
Are you KK fan?!!!!!!do u know who used this word uncrowned king?Do u think that Aradhana was hit because of Music if yes there are two mohd Rafi super hit songs with Lata ji….would u please give me list of KK flims from 1969 to 1976…….Do u know who is KK?
Sir Sudip,
thanks for u list of Western Rock as u said 1. Kishore Kumar 2. Amit Kumar 3. Mohd Rafi!!!!!but If u know first bollywood song was copied was rock song made by Ravi and singed by Mohd Rafi,u put KK and Amit Kummar before Mohd Rafi!!!!!!!!in flims songs no one can be number one else than mohd rafi………….
sorry to say there some people in this site they don’t know about kk how great actor he was they try to say some thing said to other like uncrowned king said by Raj Kapoor to Mohd Rafi he didn’t Mohd Rafi but he said the true
May 13th, 2007 at 3:36 pm
Manish Kumar, i do agree with you……. Rafi Saheb was a legends legend.
May 13th, 2007 at 3:05 pm
Bapan, you’re totally wrong, you’re a bengali and KK was ben[gali]… Rafi Saheb is the best playback singer of India.
May 13th, 2007 at 11:37 am
kishore’da by far is the best playback singer,he had everything inspite of not receiving any formal training, the 50’s and 60’s belonged to rafi..but after aradhana, it was a single way journey to the top for kishore, and he is still there as an uncrowned king!
May 13th, 2007 at 10:04 am
Kishoreda is infinity times better than Rafi.
May 13th, 2007 at 4:30 am
Manish, the concert I referred to did not feature Lata; it had RD & Asha, Kishore and Rafi (in that order). At the same venue, Rafi performed along with Bhupinder and Runa Laila in 1979, and with Kishore and Runa Laila in 1977. I was fortunate to attend all of them. In 1967 at the Rabindra Sadan Stadium in Kolkata, the whole world of music was there for the Ashok Kumar Nite, but riots broke out before Rafi, Lata, Kishore or Mukesh could reach the venue! That’s Kolkata for you; not a place for the weak-hearted.
Sudip, I liked your analysis but I’d differ with you on two points. For classical songs, I would rate Rafi No. 1. Madhuban mein radhika is the kohinoor of Indian film music, and Man tadpat hari darshan is the finest exposition of Malkhauns to date. It’s difficult to pigeonhole Rafi into any genre, unlike Manna whom we view mainly a classical singer, Talat as a ghazal singer or Mukesh as a singer of sad songs.
I’d rate Rafi No. 1 in the rock ‘n roll category too. He was the first to sing in that genre (Laal laal gaal jaan pe hai labu in Mr. X) and he worked wonders for Shammi; for example, listen to Aaj kal tere mere pyar ke charche from Brahmachari or Aaja aaja main hun pyar tera. The way the way the western audiences have reacted to a much lesser known song from Gumnam (Jaan pechchan ho has been used in the titles of Ghost World) is incredible.
The dimension that Kishore was better in — again, in my humble opinion — was in songs like Yeh jo mohabbat hai, Yeh dil na hota bechara, Yeh kya hua, Zindagi ek safar, Bhanwre ke gunjan and yes, at the risk of committing blasphemy, Tum bin jawoon kahan. I don’t know how to label that genre, probably just call it the Kishore genre, so unique was his full-throated rendition in those songs. I also sometimes wonder if Rafi could have the had the same effect as Kishore in Phoolon ke rang se (Prem Pujari) but I think the old man made a wise decision. Ultimately, it’s the effect that matters and the fact that Kishore could dethrone the mighty Rafi is a tribute to his talent. Rafi came back in 1976 with a bang and at the time of his death, both he and Kishore were at the top. What would have happened if Rafi didn’t die prematurely is anybody’s guess, but it’d be fair to point out that he had the momentum and RD was being forced to use Rafi more and more. If Kya hua tera wada and Maine poochha chand se were in the Tumne mujhe dekha genre, Yamma yamma belonged to the Aaja Aaja main hoon pyar tera style. And I couldn’t believe that RD could compose qawaalis till I heard Hai agar dushman (HKKN) and Pal do pal ke saath hamara (Burning Train). But before RD and Rafi could recreate their memories of the 60s in the 80s, the man Kolkatans lovingly called ROFI was gone!
May 13th, 2007 at 3:00 am
Sorry missed another classification:
H. Qawwali 1. Nusrat 2. Mohd Rafi 3. Manna De/Sailendra Singh
In short there is no song catgory where Rafi does not appear
May 12th, 2007 at 10:07 pm
I do not know why this Bengali thing has been drawn into this debate..Bengalis listen to a lot of Bengali songs by Kishore and hence are exposed more to Kishore. Also Kishore’s gayki was closer to the Bengali heart. Having said that, there are millions of rafi fans in bengal, including me. To me Indian music had 3 distinct eras-pre-Rafi era, Rafi era and post-Rafi era. In the pre-Rafi era we had MDs like Anil Biswas, Khemchand Prakash and singers like Saigal, Durrani. In the post Rafi era, quality of songs went downhill though KK, Lata and Asha were there. Rafi was the first one to break from the Saigal, Durrani style and introduce the style that lasts even today. If you liten to KK in his early days, he was imitating Saigal..He changed in the 1950s. To that extent, he was also a follower of the Rafi gharana.
To be fair, let us categorize the different categories of songs of songs in Hindi films and try to name the top 3 male singers in each category (this is my ranking and preference btw, #1 being the best):
A. Classical- 1. Manna De 2. Mohd Rafi 3. Bhupinder Singh
B. Thumris and Ghazals- 1. Mohd. Rafi 2. Talat Mehmood 3. Jagjit Singh
C. Western Rock: 1. Kishore Kumar 2. Amit Kumar 3. Mohd Rafi
D. Devotional: 1. Mohd Rafi 2. Mahendra Kapoor 3. Narendra Chanchal/Manna De
E. Sad songs-1. Mohd Rafi 2. Mukesh 3. Kishore Kumar (some people may swap #1 and #2)
F. Happy songs- 1. Kishore Kumar 2. Mohd. Rafi 3. Lot of new singers (Sonu, Sanu, Udit………)
G Patriotic songs: 1. Mohd Rafi 2. Mahendra Kapoor 3. Manna De
I love Kishore songs as well, but I would welcome anyone to fill the list and explore if there is ANY category where Rafi does not figure. To me he is the bridge between the world of Kishore and the world of Mehdi Hasaan and Ghulam Ali.. Rafi was a phenomenon. Kishore’s expressions are understandable, he was an actor. But where did this man who was an introvert get all the expressions that we hear in “Chalkaye jaam” and “Arre Sambhalo (Khuda Kasam)”..
May 12th, 2007 at 9:52 pm
Why we compare KK with Mohd Rafi?!!!!!plz don’t do that because this is KK site and i want know more about KK,don’t say what u feel but say what is true………..i want know in how many flims KK singed from 1969 to 1976 and how songs he singed can anyone answer me that?