Kishore – S.D.Burman – A Relationship That Began With ‘Aradhana’
Destiny takes its own course in everyone’s life. Kishore Kumar was destined to meet the famous Sachin Dev Burman on that day. It was during one of those earlier periods in Kishore’s life when he was starting his career and not much known. S.D.Burman visited Kishore’s brother at their home in Mumbai. Kishore, who had […]
Destiny takes its own course in everyone’s life. Kishore Kumar was destined to meet the famous Sachin Dev Burman on that day. It was during one of those earlier periods in Kishore’s life when he was starting his career and not much known. S.D.Burman visited Kishore’s brother at their home in Mumbai. Kishore, who had not got any formal education in music, had adopted a style in those days to imitate the notable singer K. L. Saigal.
Burman, on listening to Kishore’s song from outside, mistakenly assumed that Saigal was singing inside. Soon Kishore was introduced to Burman by his brother, and thus the first meeting between Kishore and S.D.Burman happened unexpectedly. It was that meeting that altered the destiny of Kishore Kumar altogether. From that day onwards, Kishore stopped mimicking others and started singing in his own voice. Soon he developed a style of his own. He became popular in the Indian music world with his unique yodeling style that he adopted in his singing.
The Bollywood will never forget the movie Aradhana and its songs. The movie was a significant milestone in Kishore Kumar’s career too. Firstly, he was absorbed to sing the songs that were previously decided for Mohammed Rafi. Again it was destiny that played a big role in choosing Kishore in that notable movie. S.D.Burman fell ill, and it was R.D.Burman who took the responsibility of completing the movie of his father and decided to use Kishore Kumar. Kishore Kumar thus got the opportunity for singing ‘Roop Tera Mastana’ and ‘Mere Sapno Ki Rani’. He bagged his first Filmfare award for the song ‘Roop Tera Mastana’ in that year.
Kishore Kumar’s honest association with S.D.Burman helped him achieve a series of hit songs from the movies such as ‘Taxi Driver, Paying Guest, Funtoosh, Nau Do Gyarah, etc. Prem Pujari, a debut from director Dev Anand, though did not find much audience, was known for the popular hits ‘Phoolon Ke Rang Se’ and ‘Shokiyon Mein Ghola Jaaye’ – a combined effort of S.D.Burman and Kishore Kumar.
The relationship of Kishore Kumar with Burman did not find any boundaries. They were made for each other. ‘Sharmilee’ and ‘Jugnu’ followed to add to the success stories of the duo with the songs ‘Aj Madhosh Hua Jaaye Re’, ‘Khilte Hai Gul Yahan’, ‘Oh Meri Sharmilee’, and ‘Pyaar Ke Is Khel Mein’. The last few films of S.D.Burman as music director with Kishore singing apart from Mili, were ‘Arjun Pandit’ with the song ‘Dil Mera Udh Jaaye’, Deewangi with the memorable soft song ‘Chalo Sapnon Ke Shehar’ and Tyaag, with yet another beauty rendered ‘Man Pukare.’ (These films were released much later in 1976.) The commitment of Kishore Kumar to S.D.Burman continued even after Burman’s unexpected departure from the world of music and movies in 1975. After the death of S.D.Burman, Kishore Kumar kept his commitment towards his maestro by associating with R.D.Burman and continued his contribution by singing many songs including ‘Sholay’, ‘Warrant’, Heera Panna’, etc.
Kishore Kumar – S.D.Burman pair will remain in the hearts of the music enthusiasts forever. There are certain souls in the world that are ‘Made for each other’. The humanity gets rare chance to identify and make the most of such pairs. Indian cinema was lucky to have one of them – KK and SDB.
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Please read my blog on Kishore Kumar with Laxmikant-Pyarelal.
u r right anurag in saying that rafi is the sun and kishoreda is candle. candle raat mein bhi roshni deti hai jab sooraj nahin hota lekin sun keval 8-10 ghantay..
what are you comparing??
Both were good, but rafi as a sun and kishore as a candle.
This is absolute truth.
On which raaga the song ” Mann Pukare” from Tyaag is based. Please anyone can answer ? Or kindly share the notes of this great composition.
Kishore not only sang a few lines in his first Hindi song under SD Burman, but his first song in Bangla too was under SDB. The song was ‘Sundari lo sundari’ from ‘Samar’ (1950).
Kishore singing career started when he sang under SD Burman in 1946, a few lines in ‘Aath Din’. The song was, ”Banka sipaiya ghar jaye ho,barson ke baad’.
After this he sang 3 songs under Khemchand Prakash. They were:
1. Marne ki duayein kyun mangu- Ziddi(1948)
2. Yeh kaun aaaya re(with Lata)- Ziddi(1948)
3. Mere ghar aage hai- Rimjhim(1949)
Thereafter under SDB, he sang in 5 songs in ‘Pyar’ in 1950.
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).
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.
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
//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
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…
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”.
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
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.
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. 🙁
Anil ji :
Most of Rafi saab fans and lovers love the songs of Kishore da
They do not behave like fanatics or sectarians which is not the
case with some writers in this forum……
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!
LMAO!!! This is the problem of us asians. We dont want to accept what the truth is , our views are biased. Kishore kumar didn’t have harkats and taans in his voice which rafi had. But kishore had an awesome voice , very melodic. Guys , honestly ; rafi was a muslim but he sang man tarpat hari darshan ko aaj , an indian bhajan like a pandit. He sand semi classical songs like madhuban mein radhika nache re (where the classical part is very hard to attempt) . Rafi sang high songs , he sang sad songs , he sang inatoxicated songs , he sang happy songs , he sang cocky songs , he sang funny songs , he sang shabds (sikhs) , he sang bhajans (like pandits) , he sang muslim hamds and naats , he sang ghazals , he sang 2 english songs , he sang semi classical songs.!!!!!!! Is there ever been a singer like rafi then??? If you understand music , u must know that rafi was a master of harkats. And also his taans and alaaps are undisputed.
Please acknowledge the truth , dont fool yourselves . Both singers are from india but try to understand which one was better. RAFI has got no match till date. EVEN sonu nigam the best singer in india right now and the only one that can cut a semi classical album loves RAFI. CZ he understands music.
People keep saying that KK was never a trained singer, well why not. You mean to tell me he just got up every morning and started singing. Maybe he was never formally trained as a youngster but did train when he started singing. No one will has yet to have range in voice that Mohd. Rafi sahib had. He could sing anything from a ghazal to qawali to raag to a song in any mood. I love KK as much, but they were both different. I miss them both, and wish they were still alive.
Guys I challenge any songs of Kishore VS Rafi/Lata, anytime Kishore is any time best. Its very difficult to change people who does not understand music, singing + pure sheer of listening to a male voice + versitality what Kishore cannot put in words, he was exteremly talented.
To be honest many and many feel Rafi’s songs were all of similar style, may be those days composers had same kind of creating songs or the trend was that. Rafi could have done differently if had sung in a different generation but tell me about the VOICE what kishore had… extremly good.
Pure Man’s voice.
Kishore sung best songs because he had the talent and support of people.
Rafi was washed away there was no one to listen Rafi’s songs once Kishore came to his peak.
Time is the best example to say Kishore swept all good songs as people/directors/producers/music directors wished him to sing. Easily 70s and 80s belonged to Kishore, there was no way to look back till he expired.
Take any of kishore’s songs, I am sure none of previous singers or current or future singers can sing with such versitality with such good voice.
I and my friends always feel God has made some people where their brains cannot be tuned at all, they stick to it even if its wrong, they cannot think beyond what they understand, just like the supporters of Rafi. They want to stay in 60s and cannot understand music because their brain is tuned to certain level and cannot go further 🙂
NO ARGUEMENT PLEASE ….. KISHORE IS BEST !!!!
Kishoreda is the greatest artist in the universe.
There need be no debate about Kishor’s talents and often-remarkable performance, and he of course shone well particularly well under Sr Burman’s baton. Especially his several songs based on Khamaj – for example, Koi humdum na rahaa; musaafir hoong yaaro, to fix clear what I mean) were great, since, as one has written on this site (not this page), he did enjoy a certain inexplicable natural melodic flair which showed in certain types of songs mostly classical or semi-classical, or else straight notes using the Ragas in a non-classical manner. I want to only add a negative facet of his music, just so that we maintain an unbiassed and fair view of him. It is that towards the latter phase of his cine musica career, his voice became very very hoarse, either due to overexploitation with too many singing contracts, or due to songs mismatched to his innate singing qualities.
Mr A Singh,I certainly know that koi humdum was based on jhinjhiti raaga.
my favourite sd and kishore kumar song is – ‘badi sooni sooni hain’ from movie mili.
“Aa Gale Lag Ja” is a RDB composition not SDB.
It is absolutely incorrect that Rafi was to sing all Aradhna Songs. KK had sung the bengali version of Roop Tera Mastana and was always tipped to sing the hindi version also.
RDB has said this in one of his last interviews, he also said how KK was about to give up singing as he was not getting any work and only when RDB insisted that he would ask SDB to give him the Aradhna song.
I hope the writer of this article can get the facts right and do not print anything based on guess work and rumour.
i don’t have words to describe his talent. He was and will remain legend forever. there is no field left in cinema in which he didn’t performed, he was one of his kind . it is impossible to copy him anyway.kishore da we miss you!
Right,but Kishoreda’s version is much more popular than Lataji’s.
KK may not be classically trained, but he certainly had a fair good knowledge of Raagas. Therefore as a composer his compositions are remarkable.
Being a KK fan I believe that you should be aware on which Raag the song “Koi Hamdam Na Raha” is based.
Please find out.
This is in regard to the song ‘mere naina sawan bhado’ debate who sang better kishore or lata. In one of the interview R.D. Burman said that when he approached to kishore kumar for this song he immediately refused and expressed his inability to sing this difficult song. He first insisted that let first lata didi sing and after listening her then he will try. This is how kishore da recorded the song after listening her. RD also mentioned that the way he sang later on it never appeard that he took help from lata ji.
Kishoreda is the greatest singer.
No one is great without being trained! Training is required in all fields.
how many times u will repeat the same above lines… deb..
Without being trained,Kishoreda is the greatest singer of all times.
but one thing that kk was not classically trained is amazing.
may be, that he was not trained as others,but he knows it.
if u say that he was nothing knowledge, then how he was singing>
secondly. will anyone compare kishore with ahmed rushdi?
y thoughts friends?
because both know classical at same level.
I have listened to both versions of “Mere Naina Savan Bhaaeo”, KK is good but Lata is very good the way she sings the classical part of the song. That is where she scores. Other wise in majority songs sung by KK or the female counter part, KK was always ahead. Even in the duets also.
Examples – Zindagi Ek Safar hai Suhana – KK / Asha
O Sathi Re – KK/ unknown
Zindagi Pyar Ka Geet Hai – KK/Lata (KK sings the sad part and is too good)
There is another song where Lata is ahead of KK. “Es Mod Pe Jaate Hai” from Aandhi where Lata sings the classical part very well where as KK sings the song straight. It is like again exposing KK’s drawback, thanks to RDB. If you replace KK with Rafi / Manna Dey here, they will easily score over Lata.
Many LP’s high scale songs for KK are very good, because they again went the SDB way by not pushing KK’s voice beyond its limit. Some classic examples
Jab Dard Nahi Tha Sine Mein – Anurodh
Ek Hasina Thi Ek Dewaane Tha – Karz
Same is the case with Rajesh Rohan as well
Bole O Bole Tu Rutha Dil Tutaa – Yaarana
Lata if one analyzes with Rafi / Manna Dey in high pitch operation they are far ahead. In fact many songs when sung by Rafi and Lata, the Rafi version was always popular. In one the articles Lata said that she use to constant fight with Jaikisan for making her sing such high pitch songs which Rafi / Manna Dey use sing without any difficulty.
Again singing at high pitch is also natural and God gifted quality but with classical training one can only refine it futher. Unfortunately KK was not blessed by this quality, since the natural range of opertaional of his voice was different from his contemprories. He was very powerfull in very low pitch operation songs where one can never see many singers operating.
Examples – Koi Hota Jisko Apna – Mere Apna
Koi Humdam Na Raha – Jhumroo
Duki Pe Duki Ho – Satte Pe Satta
I like many of your posts, good one. Please keep writing. About Khilte Hai gul yahaan,
I think you are right. But about Mere Naina Saawan bhaado, it’s tough for me to think
That Lata’s version is better. May be she is better in classical songs but this one sure
give a though how Kishore can lead even though he is not trained.
Listen to this song one more, I think Kishore will takeover.
About High pitch, Lata too is not that good. High pitch singers are: Rafi, Manna Dey,
SPB and few others. Among the current generation singers: A.R. Rehman, Kay Kay
can sing with ease.
Well ‘Badi Sooni Sooni Hai’ is a classic picturized on Big B. ‘Khilte Hain Gul Yahaan’ I would rate the KK version to be better than Lata, though Lata sings it at a higher scale than KK. The reason is that I like the enthusiasm which KK has put into it. Both are SDB compositions who knew KK’s right pulse.
But for ‘Mere Naina Saawan Bhaio’ I would rate Lata any time better than KK. The reason is the KK sings the song exceptional well but does not appear effortless like Lata on the higher scale. This is RDB composition.
Perhaps this is basic different between the father and the son in approach for using KK. SDB was very cautious in giving tunes to KK than would not expose his drawbacks (singing on high pitch) and do maximum innovation in the middle scale, since KK was not classically trained. For high scale songs he always opted for Rafi & Manna Dey. He others words SDB was able to do justice all singers as per their calibre.
Where as RDB at many occasions has over used KK which exposed his drawbacks. Plus he misused both Rafi & Manna Dey in the early 70s.
But LP used KK in totally different way & offered KK semi classical songs like ‘Aap Ke Anurodh Pe’ & ghazals like ‘Kisi Shair Ki Ghazal, Dream Girl’ & Qawwalis like ‘Sachai Chup Nahi Sakti’ and many more. So the LP-KK combo is something special.
Nice info, but listen to “Badi sooni sooni hai” from Mili. It’s not early SDB-Kishore combo
It’s very late duet of them. isn’t it a great song ? About “Khilte hain Gul yahaan”, I have
to listen to both the versons. But what about “Mere naina saawan bhado” ? Which one
is better ? Kishore or Lata ? I guess Kishore’s verson is much more popular and haunting.
Yes, SDB-Rafi is pure gold and so classic. Guide is just an example.
S D Burman is the king maker as far as the KK is concern. Though KK was not classically trained, SDB was successfull in creating a slot for KK in the 50s & 60s. For the songs involving duets in leg pulling and fun, a lot of credit goes the SDB-Majrooh combo. This strategy help SDB in shaping KK to his own style. Examples “Chod Do Aanchal”,”Aankhon Ne Di” both picturized on Dev Anand. Prior to association with SDB, KK use to sing as a K L saigal clone.
But the SDB-KK relationship is applicable only to certain category of songs. The SDB-Rafi / Manna Dey relationship was some thing different and unique. Here both were classically trained singers. So apart from KK SDB has used these two singers equally effectively for most of his classical and high pitch songs. So any person who says the SD-KK combo is better SD-Rafi/Manna Dey certainly has very poor knowledge of music. Both combinations cannot be compared. It is SDB’s ability to use which singer for which situation perhaps many times for the same actor.
SDB himself was a very good singer. Never gave playback for any artist, used his voice in background only for very special occasions in the films to convey a special message to the audience.
‘Kishore-S.D. Burman – a Relationship that began with Aradhana’, this article was posted on this site on the 06th of June, and upto 12th of June, only 7 comments/responses have been received so far. Whereas, in Rafi Saheb’s site, the article ‘Rafi’s popularity in Suriname’ was posted just before 2-3 days that’s on the 10th of June, and upto 12th of June, 30 comments/responses have been received so far…. now, this show Rafi Saheb has much more fans than Kishore Kumar.
What about choodi nahin, mera dil hai.. dekho toothe na…
Lata is lilting Kishore is good but the song is great….
But rafi-lata duet have lasting re-call values and are evergreen..
Rafi solos are : lollies of pure gold ; to be preserved and heard
for the soothing of the souls….
S.D.BURMAN is one of my favourite MDs.
Binu and rajshri
Kishoreda sang the songs of Sharmile in great manner,and his version is much popular and better than Lataji’s.Anytime,SD-Kishore is better than SD-Rafi.
kishore da and burman sahib were a great combination, no doubt, but i think by the songs from sharmilee were certainly not upto the combination mark.
a composition like ” khilte hain gul yahan ” was taken to a new high by lata ji, but kishore da could not do justice to the tune , particulary when singing the part ” milke bichadne kooo”. i am sure the tune could have been modified or the voice softened at that point.
in ” o mer sharmilee ” why not take the straight as ” aao naa ” ? the ” aavvo ” there takes something away from the overall listening pleasure.
kaise kahen hum is nice, but in sharmilee, the lata ji numbers are far far superior in singing and tonal quality .
while i personally prefer the older kk sdb numbers, in the new ones there is one unsung melody which ranks right up there and one of my all time favourites across all composers / singers – a number from zindagi zindagi ” tune hame kya diya ri zindagi , hamne maangi to mili na maut bhi, tune hame kya diya ri zindagi ”
lets face it, burman da has given much better songs to kishore da in other films . sharmilee only added to the numbers, not the real value of the combination.
i am still firm in my opinion that the BURMAN DA – RAFI SAHIB COMBINATION WAS FAR MORE LETHAL AND LASTING , NUMBER OF SONGS NOT WITHSTANDING.
Before Aradhana also,Kishore Kumar sang several hit songs under S.D.Burman’s music.SD’s favourite singer was allways Kishore Kumar and he had told it too.SD made Kishore Kumar sang several all time hits for Dev Anand in the 50’s and 60’s.The only film where SD composed for Raj Kapoor(film pyaar)SD selected Kishoreda to sing for Raj Kapoor.Kishore Kumar first sang for SD in Bahaar(1951).SD’s most used male voice was Kishore Kumar(129 songs).
Fine article. I would like talk to the author, hey author just introduce
yourself my dear. Loved it and yeah we got another giant
of singing and that’s kishore Kumar.
The last film of SDB where KishoreDa sang was Mili.
Great and wonderful pair…. Destiny changed the life of
Kishore Kumar and all his dream came true it seems ….
Great songs , lovely voice and a change – which the public
grabbed up in no time….