Comments on: Kishore - S.D.Burman - A Relationship That Began With ‘Aradhana’ http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html Kishore Kumar Thu, 09 Sep 2010 03:04:31 +0000 http://wordpress.org/?v=2.0.4 by: AKKK http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-26163 Sat, 10 Jul 2010 18:34:33 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-26163 Kishoreda has taken harkats with ease and clarity in semi classical songs such as "Rim Jhim Gire sawan", "Aapke Anurodh pe", even in other numbers like "Tum bin jaaon kahan". Its not easy to take the harkat in the phrase "Bheege Aaj" in Rim Jhim Gire sawan, only some one with classical base can take that. Kishoreda even without extensive classical training has taken that with absolute clarity and ease. In fact when u combine his great voice (which has unparallaled depth) with such harkats, it creates a solid impact. Ofcourse he doesnt take the traditional alaaps which rafi and other classical singers take, but he substitutes that with Humming (with great expressions such as in rim jhim gire sawan, tere mere milan ki yeh raina, kora kagaz tha yeh man mera) and some cases Yoodeling (like in Tum bin jaaon kahan, without the yoodeling the Rafi version seemed so lack lustre,...kishoreda's high pitch Yoodleing was the soul of this "SAD" song..this is particularly for those ppl who dint think too highly of yoodeling and associate it with his fun and frivilous songs). Kishoreda has taken harkats with ease and clarity in semi classical songs such as “Rim Jhim Gire sawan”, “Aapke Anurodh pe”, even in other numbers like “Tum bin jaaon kahan”. Its not easy to take the harkat in the phrase “Bheege Aaj” in Rim Jhim Gire sawan, only some one with classical base can take that. Kishoreda even without extensive classical training has taken that with absolute clarity and ease. In fact when u combine his great voice (which has unparallaled depth) with such harkats, it creates a solid impact. Ofcourse he doesnt take the traditional alaaps which rafi and other classical singers take, but he substitutes that with Humming (with great expressions such as in rim jhim gire sawan, tere mere milan ki yeh raina, kora kagaz tha yeh man mera) and some cases Yoodeling (like in Tum bin jaaon kahan, without the yoodeling the Rafi version seemed so lack lustre,…kishoreda’s high pitch Yoodleing was the soul of this “SAD” song..this is particularly for those ppl who dint think too highly of yoodeling and associate it with his fun and frivilous songs).

]]> by: AKKK http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-26160 Sat, 10 Jul 2010 18:16:15 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-26160 U are very correct tht Kishore has edge over Lata in Rim Jhim gire sawan and Hamein Aur Jeene ki. In the latter, there is tremendous impact when he sings the word "Chahat", in an emphatic voice and with a slight "harkat". Whereas Lata's version sounds more of a cry, but very well suited to a female perspective. With regard to Aradhna, I found the number "Kora Kagaz tha yeh" to be one of great Lata-Kishore duets. U are very correct tht Kishore has edge over Lata in Rim Jhim gire sawan and Hamein Aur Jeene ki. In the latter, there is tremendous impact when he sings the word “Chahat”, in an emphatic voice and with a slight “harkat”. Whereas Lata’s version sounds more of a cry, but very well suited to a female perspective. With regard to Aradhna, I found the number “Kora Kagaz tha yeh” to be one of great Lata-Kishore duets.

]]> by: Anil http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-12454 Mon, 30 Mar 2009 18:11:41 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-12454 ya khemchand prakash identified two talents Lata and kishore! he gave serious songs to kishore even though manna de and others dismissed him as clown at hat time! the song "khilte hai gul yqhan " is a case in point. here kishore first experimentd ith a vrition of quick taan , later on perfected in gadi ula rahi hai, ankhome humne aapke sapane ajaye hai and jab bhi koi kngan ole( U must listen t it). SDb allowed him the variation. Perhaps the retest point is hat ishore catched the kudrati flavor in the song succintly and better than lata. another exmple is the duet "shokhiyo me gholajaaye". here in first and third stana kishore takes pahadi taan as "he he " while lata is given a feminine taan in second stanza. It was sdbs briliance as a omposer and perfectionist that he composed uch a tune. Even in "rimzim gire sawan", "hume aur jeene ki chhat na hoti " kishore had n edge over lata and if one notes arefully right from 50s SDB has reserved the haunting and hit numbers for kishore ( ye dil na hota bechara, khwab ho, mana janab ne pukara nahi, gata rahe, hum hai rahi pyar ke, hum matwle naujaan, o eri sharmille, phoole ke rangse, mere spano ki, e met na ila re manka. an in this sense amongst all singers( male and female) kishore ws his favorite and the trend continued with rdb. lata was avorite of salil choudhary, madanmohan, sj and lp, mukesh was favorite of sj, salil, ka, manna de was avorite of sj, rafi was favorite of naushad, opn, LP, as one cn easily recognize. occasiinaly sdb gave key tunes o rafi as in "khooya khoya chnd", "hum bekhudim" but usually comaratively duller tunes( ocourse good) were given to rafi. It seems tht hough sdb used rafi (as he was number one) he wnted other male inger at top( admiting utility of rafi at times) and initailly he seems to be in two minds "kishore" or "hemanta". But the ability to sing thepopular type of songs was noted by sdb and he finally arrived at the judgement that "kishore" only could be a candidate for replacement of rafi as the number one singer. actully "rafi has sung best with sdb followed by OPN, followed by sJ and worst with LP.all this marks he greatness of indias greatest composer SDB ya khemchand prakash identified two talents Lata and kishore!
he gave serious songs to kishore even though manna de and others dismissed him as clown at hat time!

the song “khilte hai gul yqhan ” is a case in point. here kishore first experimentd ith a vrition of quick taan , later on perfected in gadi ula rahi hai, ankhome humne aapke sapane ajaye hai and jab bhi koi kngan ole( U must listen t it). SDb allowed him the variation. Perhaps the retest point is hat ishore catched the kudrati flavor in the song succintly and better than lata.
another exmple is the duet “shokhiyo me gholajaaye”. here in first and third stana kishore takes pahadi taan as “he he ” while lata is given a feminine taan in second stanza. It was sdbs briliance as a omposer and perfectionist that he composed uch a tune.
Even in “rimzim gire sawan”, “hume aur jeene ki chhat na hoti ” kishore had n edge over lata and if one notes arefully right from 50s SDB has reserved the haunting and hit numbers for kishore ( ye dil na hota bechara, khwab ho, mana janab ne pukara nahi, gata rahe, hum hai rahi pyar ke, hum matwle naujaan, o eri sharmille, phoole ke rangse, mere spano ki, e met na ila re manka. an in this sense amongst all singers( male and female) kishore ws his favorite and the trend continued with rdb. lata was avorite of salil choudhary, madanmohan, sj and lp, mukesh was favorite of sj, salil, ka, manna de was avorite of sj, rafi was favorite of naushad, opn, LP, as one cn easily recognize.
occasiinaly sdb gave key tunes o rafi as in “khooya khoya chnd”, “hum bekhudim” but usually comaratively duller tunes( ocourse good) were given to rafi.
It seems tht hough sdb used rafi (as he was number one) he wnted other male inger at top( admiting utility of rafi at times) and initailly he seems to be in two minds “kishore” or “hemanta”. But the ability to sing thepopular type of songs was noted by sdb and he finally arrived at the judgement that “kishore” only could be a candidate for replacement of rafi as the number one singer.
actully “rafi has sung best with sdb followed by OPN, followed by sJ and worst with LP.all this marks he greatness of indias greatest composer SDB

]]> by: arghya http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-12017 Fri, 27 Feb 2009 05:04:04 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-12017 //Songs 1 and 3- absolutely brilliant sad songs. So early in Kishore’s career, he showed such woderful voice modulation especially in song no. 3.. Also, it was sheer genius of KP that he had identified Kishore’s potentital to carry off these songs at the age of 19-20!!// Sorry..please read it songs 1 and 4.. it ws a mistake //Songs 1 and 3- absolutely brilliant sad songs. So early in Kishore’s career, he showed such woderful voice modulation especially in song no. 3.. Also, it was sheer genius of KP that he had identified Kishore’s potentital to carry off these songs at the age of 19-20!!//

Sorry..please read it songs 1 and 4.. it ws a mistake

]]> by: arghya http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-12016 Fri, 27 Feb 2009 05:01:46 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-12016 Anilji.. Nice piece of writing.. Thaks so much.. And forget about comments of Binu Nair- I know that hypocrite very well... As far as, S D Burman is concerned, definitely he was the person behind Kishore's rise to fame.. But one person, who was always unsung for Kishore's success was Shree Khemchand Prakash(1908-1950).. He was the first, yes-I say "first"- to understand and appreciate immense talent Kishore had in his voice.. And he used to adore Kishore like his own adapted child.. sadly, he did not live enough to contribute more to Kishore's career.. But if you see the work which he had given to Kishore during the latter's tender age and early career, you would know why I am making this statement... The songs sung by Kishore under KP are- 1. Marne ki duayein kyun mangu- Ziddi(1948) 2. Yeh kaun aaaya re(with Lata)- Ziddi(1948) 3. Mere ghar aage hai- Rimjhim(1949) 4. Jagmag Jagmag- Rimjhim(1949) 5. Aati hai yaad- Muqaddar(1950) 6. Ek do teen- Muqaddar(1950) 7. Balma Balma- Muqaddar(1950) 8. Ghar le maalik- Muqaddar(1950) 5,6,7,8 are all duets with Asha Bhosle.. To be noted, These 8 were the first 8 "released movie" songs of Kishore, after these 8 songs, SDB chipped into Kishore's career with Pyaar in 1950.. To be noted points- *Songs 1 and 3- absolutely brilliant sad songs. So early in Kishore's career, he showed such woderful voice modulation especially in song no. 3.. Also, it was sheer genius of KP that he had identified Kishore's potentital to carry off these songs at the age of 19-20!! * Not only sad!! song no. 6 was the first yoodeling song of KK!!! Yes, I mean it! That means KP was not only aware of KK's potential to sing soulful songs, but also to carry comedy songs with initial glimpse of great yoodeling as well!! Remember it was 1950, and KK was not even a hero that time.. It was only after he became hero, he started to yoodel more for himslef on screen to popularize yoodeling.. * And what a romantic song it was, ie, song no. 2.. With Lata... Only 8 songs in 3 movies is what KK could do for KP before the latter passed away at a very young age of 42.. But, it should be admitted that it was KP, who was the actual nurturer of kishore and actual "promoter" also.. Definitely, SDB did a lot better, because he lived more to see through Kishore's rise to top, unfortunately, Khemchandji passed away... Even maestro naushad worked as an assistant to KP in 40s.. Such was the position KP used to hold that time... Anilji..

Nice piece of writing.. Thaks so much.. And forget about comments of Binu Nair- I know that hypocrite very well…

As far as, S D Burman is concerned, definitely he was the person behind Kishore’s rise to fame.. But one person, who was always unsung for Kishore’s success was Shree Khemchand Prakash(1908-1950).. He was the first, yes-I say “first”- to understand and appreciate immense talent Kishore had in his voice.. And he used to adore Kishore like his own adapted child.. sadly, he did not live enough to contribute more to Kishore’s career.. But if you see the work which he had given to Kishore during the latter’s tender age and early career, you would know why I am making this statement… The songs sung by Kishore under KP are-

1. Marne ki duayein kyun mangu- Ziddi(1948)
2. Yeh kaun aaaya re(with Lata)- Ziddi(1948)
3. Mere ghar aage hai- Rimjhim(1949)
4. Jagmag Jagmag- Rimjhim(1949)
5. Aati hai yaad- Muqaddar(1950)
6. Ek do teen- Muqaddar(1950)
7. Balma Balma- Muqaddar(1950)
8. Ghar le maalik- Muqaddar(1950)

5,6,7,8 are all duets with Asha Bhosle.. To be noted, These 8 were the first 8 “released movie” songs of Kishore, after these 8 songs, SDB chipped into Kishore’s career with Pyaar in 1950.. To be noted points-

*Songs 1 and 3- absolutely brilliant sad songs. So early in Kishore’s career, he showed such woderful voice modulation especially in song no. 3.. Also, it was sheer genius of KP that he had identified Kishore’s potentital to carry off these songs at the age of 19-20!!
* Not only sad!! song no. 6 was the first yoodeling song of KK!!! Yes, I mean it! That means KP was not only aware of KK’s potential to sing soulful songs, but also to carry comedy songs with initial glimpse of great yoodeling as well!! Remember it was 1950, and KK was not even a hero that time.. It was only after he became hero, he started to yoodel more for himslef on screen to popularize yoodeling..
* And what a romantic song it was, ie, song no. 2.. With Lata… Only 8 songs in 3 movies is what KK could do for KP before the latter passed away at a very young age of 42..

But, it should be admitted that it was KP, who was the actual nurturer of kishore and actual “promoter” also.. Definitely, SDB did a lot better, because he lived more to see through Kishore’s rise to top, unfortunately, Khemchandji passed away… Even maestro naushad worked as an assistant to KP in 40s.. Such was the position KP used to hold that time…

]]> by: Anil http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-11987 Tue, 24 Feb 2009 14:52:51 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-11987 Sd burman sed kishore in 50s and sixitis when he was nobody. so naturally he could not give all songs to him. he ied to identify what was mssing in rafi the enthu and the purity. so he ceated songs like "ye dil na hota bechra", "hum matwale naujaan", "man janb ne pukara nahi", nd thetrend continued "o meri sharmile", "re meet na ", "pholooonke ranse " this is the facet of kishore exploited by sd. the aaaona in o mei sharmille is very sxy. "khilat hai gula yahan ko00 oooo.... is avariatio of the tune used by kishore at recording permitted by sdb.this vaiation was a speciality of kishore later perfected in "gadi bula rahi hai", "aaankhme humne aapke sapane "(kishore has eaten lata here", " jab bhi koi kangana bole" from shaukin (RD burman). this vaition was used as kishoe style about mere nainina sawan bhado rd himself prefers kishore version which conveys the pyqasa feeling with a subtle tone. it is superior to lata. me is case with "rimzim gire sawan", "samauta gmonse karlo", "zindagi pyar ka geet hi". ishore has exceled lata lta had an edgeover kishoein "is mode pe jatae ha duet, kyayahi pyar i, tere mere milan ki raina". kishores voice did ot eome hoarse towrads end.lisen to "kkate nahi katate hai " d "zindagi pyr kageet ha" rom mr indi n 987. kishore has emakably rendered bhume tumse pyar and caried iton seer effect of voice to convey emotions nd many find ember superior to parveeen sultna s hakate.without harkate simply the voice has pellbound effect kishore's oice does thesame magic in " kab tak andhere chalatehenge(batobto e 1981), jeevan se na har jeeneqlle", "ye jeevn ai", ( piya ka ghar), "zindagi kasafa(immense depth) from "safar", "aa chalke tuze leke chalo". Yes sincekishorewas ot trined he epnded less on phirat harkat and taan but sung ibuy instinct "bekarar dil tu gaye ja" and practiced a very diifcult taan even or classicalsingers in "jab bhi oi kangana bole "( from shaukin 1986). latas "megha chaya" from shillee qs only gr8 butin guide more harf ongs the gr8 songs were "kato se kheencheke" and "ose chl kye". Sd burman sed kishore in 50s and sixitis when he was nobody. so naturally he could not give all songs to him. he ied to identify what was mssing in rafi the enthu and the purity. so he ceated songs like “ye dil na hota bechra”, “hum matwale naujaan”, “man janb ne pukara nahi”, nd thetrend continued “o meri sharmile”, “re meet na “, “pholooonke ranse ” this is the facet of kishore exploited by sd. the aaaona in o mei sharmille is very sxy. “khilat hai gula yahan ko00 oooo…. is avariatio of the tune used by kishore at recording permitted by sdb.this vaiation was a speciality of kishore later perfected in “gadi bula rahi hai”, “aaankhme humne aapke sapane “(kishore has eaten lata here”, ” jab bhi koi kangana bole” from shaukin (RD burman). this vaition was used as kishoe style
about mere nainina sawan bhado rd himself prefers kishore version which conveys the pyqasa feeling with a subtle tone. it is superior to lata. me is case with “rimzim gire sawan”, “samauta gmonse karlo”, “zindagi pyar ka geet hi”. ishore has exceled lata lta had an edgeover kishoein “is mode pe jatae ha duet, kyayahi pyar i, tere mere milan ki raina”. kishores voice did ot eome hoarse towrads end.lisen to “kkate nahi katate hai ” d “zindagi pyr kageet ha” rom mr indi n 987. kishore has emakably rendered bhume tumse pyar and caried iton seer effect of voice to convey emotions nd many find ember superior to parveeen sultna s hakate.without harkate simply the voice has pellbound effect kishore’s oice does thesame magic in ” kab tak andhere chalatehenge(batobto e 1981), jeevan se na har jeeneqlle”, “ye jeevn ai”, ( piya ka ghar), “zindagi kasafa(immense depth) from “safar”, “aa chalke tuze leke chalo”.
Yes sincekishorewas ot trined he epnded less on phirat harkat and taan but sung ibuy instinct “bekarar dil tu gaye ja” and practiced a very diifcult taan even or classicalsingers in “jab bhi oi kangana bole “( from shaukin 1986). latas “megha chaya” from shillee qs only gr8 butin guide more harf ongs the gr8 songs were “kato se kheencheke” and “ose chl kye”.

]]> by: Sushil Parashar http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-7523 Thu, 01 May 2008 07:17:54 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-7523 kishore da always used to say "arrey dil se gao galey se nahin". He was a magician of soz. I could not celebrate my B'day after 13th october 1987. My opinion is do not keep on counting hunderd of thousands of songs of a singer and then strip them out for evaluation that how good or bad that singer is/was. Only ONE song can change some one's life. It is the power of music that will remain everlasting not the individual. Rafi Mukesh or Kishore All are angels of god whose talent has created beautiful environment around us. God bless them all. Kind regards to you all Sushil k parashar kishore da always used to say “arrey dil se gao galey se nahin”. He was a magician of soz. I could not celebrate my B’day after 13th october 1987. My opinion is do not keep on counting hunderd of thousands of songs of a singer and then strip them out for evaluation that how good or bad that singer is/was. Only ONE song can change some one’s life. It is the power of music that will remain everlasting not the individual. Rafi Mukesh or Kishore All are angels of god whose talent has created beautiful environment around us. God bless them all.

Kind regards to you all

Sushil k parashar

]]> by: Gooseberry http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-5681 Sun, 16 Dec 2007 05:54:37 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-5681 Binu ji - I will disagree with you here. Read some of the comments written by diehard Rafi fans. I think it is in bad taste. Actually there are such fans for both the artistes and it is not fair to say that some writers in this forum are writing anti-Rafi sahab. I love the songs of both these artistes though I am more of a Kishore fan as it is my own liking and passion. Read this post - I think it is in real bad taste. http://www.yoodleeyoo.com/kishore-diary/an-endless-feud-between-the-fans-of-mohammed-rafi-and-kishore-kumar.html#comment-5679 I request the web-master to post all messages posted by Kishore/Rafi fans. I sense some of messages posted by Rafi fans are not being approved. :( Ek dukhi ladki aur Kishore ki fan. :( Binu ji - I will disagree with you here. Read some of the comments written by diehard Rafi fans. I think it is in bad taste.

Actually there are such fans for both the artistes and it is not fair to say that some writers in this forum are writing anti-Rafi sahab. I love the songs of both these artistes though I am more of a Kishore fan as it is my own liking and passion.

Read this post - I think it is in real bad taste.

http://www.yoodleeyoo.com/kishore-diary/an-endless-feud-between-the-fans-of-mohammed-rafi-and-kishore-kumar.html#comment-5679

I request the web-master to post all messages posted by Kishore/Rafi fans. I sense some of messages posted by Rafi fans are not being approved. :(

Ek dukhi ladki aur Kishore ki fan. :(

]]> by: binu nair http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-5645 Thu, 13 Dec 2007 06:02:51 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-5645 Anil ji : Most of Rafi saab fans and lovers love the songs of Kishore da too. They do not behave like fanatics or sectarians which is not the case with some writers in this forum...... binu nair Anil ji :

Most of Rafi saab fans and lovers love the songs of Kishore da
too.

They do not behave like fanatics or sectarians which is not the
case with some writers in this forum……

binu nair

]]> by: Anil http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-5591 Fri, 07 Dec 2007 22:23:15 +0000 http://www.yoodleeyoo.com/kishore-diary/kishore-s-d-burman-a-relationship-that-began-with-aradhana.html#comment-5591 Dipankar, Come down to earth! Many of the classical singers can sing great songs which can only be understood by people like you! If you don't like kishore-da then you really don't deserve to be a Rafi fan. By the way what is taans, alaaps? Music has no language! Just feel it! If you can feel it then that is YOUR feeling! Dipankar,

Come down to earth! Many of the classical singers can sing great songs which can only be understood by people like you! If you don’t like kishore-da then you really don’t deserve to be a Rafi fan.

By the way what is taans, alaaps? Music has no language! Just feel it! If you can feel it then that is YOUR feeling!

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