Kishore Vs Kishore

Still reluctant to sideline Rafi, they yet made Kishore Kumar sing for a hero unthinkable minus Rafi’s voice, Rajendra Kumar, in Tum ko bhi to aisa hi kuchh in Aap Aaye Bahaar Ayee – another Rafi-based score. For different intrinsic reasons, as well as due to the all-pervading neo-popularity of Kishore, all four numbers became […]

Still reluctant to sideline Rafi, they yet made Kishore Kumar sing for a hero unthinkable minus Rafi’s voice, Rajendra Kumar, in Tum ko bhi to aisa hi kuchh in Aap Aaye Bahaar Ayee – another Rafi-based score. For different intrinsic reasons, as well as due to the all-pervading neo-popularity of Kishore, all four numbers became huge hits and lead the other male songs on the charts.

LP’s confidence in Kishore Kumar increased – and shrewd composers that they were, they began to settle in the Kishore groove even as one ompositional foot was firmly anchored in Rafi-land. Thus it was in 1972 that Kishore Kumar’s two aces with LP – Sachaai chhup nahin sakti (Dushmun) and Yeh jeevan hai (Piya Ka Ghar) scored at the charts even against the might’n’merit of RD’s masterpieces like Chingari koi bhadke and Yeh kya hua (Amar Prem) and O mere dil ke chain (Mere Jeevan Saathi).

Never mind the fact that the RD songs proved to have more lasting value; market -standing always depends on initial popularity. And while the Dushmun hit had LP once again breaking fresh ground by giving Kishore-da a mujra-cum-qawwali, the Piya Ka Ghar number is still considered a front-ranker among the songs of Kishore, LP as well as Anand Bakshi by connoisseurs and music insiders.

In 1972, LP also yielded several other Kishore songs, many of them hits. Among those still cherished were Dil ki baatein (Roop Tera Mastana), Jani o jani (Raja Jani) and Pyar ko chahiye kya ek nazar(Ek Nazar). But the year was the peak of the RD-Kishore combo, and we had unlimited gems from them in films as varied as Hare Rama Hare Krishna, Amar Prem, Jawani Diwani (a trio of films which saw RD try out three aspects of Kishore Kumar’s range with spectacular success and incredible innovation), Parichay, Mere Jeevan Saathi, Seeta Aur Geeta, Samadhi, Do Chor, Raampur Ka Lakshman, Bombay To Goa and that exotic object d’art from Gomti Ke Kinare – Aao, aao jaan-e-jahaan. But LP were gearing up for their day with Kishore Kumar. In 1973, RD used Kishore extensively, but mediocrity and repetitiveness crept in with films like Raja Rani, Anamika, Do Phool, Shareef Badmaash, Joshila, Double Cross, Jheel Ke Us Paar and Bandhe Haath. And RD and Kishore Kumar could match their 1972 act only with Main shaayar badnaam (Namak Haram), Waada karo nahin chhodogi tum (Aa Gale Lag Jaa), Jaana hai hamein to jahan (Daulat Ke Dushmun) and the songs of Yaadon Ki Baaraat.

Since 1970, K-A too had begun to yield a hit parade with Kishore over a dozen films, and L-P now had two strong opponents. ‘They kept us on our toes,’ Laxmikant confessed to me once. L-P had luck and consistency always on their side and 1973 saw them use Kishore Kumar to devastating effect in original and – for Kishore – unusual winners like Mere dil mein aaj kya hai (along with the two chartbusting duets in Daag), Haal kya hai dilon ka (the Anokhi Ada qawwali), Jaipur ki choli (Gehri Chaal) and Qusoor teri nazaron ka hai(Nirdosh).

After 1974, LP had consolidated their multi-pronged use of Kishore Kumar. The pitch they made him sing at was way different from RD, SD, KA or anyone else. They dared give him more qawwalis like Hamein kya garaz log kya maante hain (Anari), Kahin janaab ko and Tu mere pyaale mein (Amir Garib), ghazals like Sarakti jaaye hain (Deedaar-E-Yaar) and even the devotional tenor-laden Prem ka rog lagaa (Do Premee). They got him to sing the semi-classical Aap ke anurodh pe (Anurodh), the esoteric Daakiya daak laaya (Palkon Ki Chhaon Mein), the Chalti Ka Naam Gaadi-esque Manubhai motor chali (Palkon Ki Chhaon Mein), the freaky Jhatpat ghunghat khol (Sindoor), the seductive Kaate nahin kat-te (Mr India), the disco numbers Om shanti om and Paisa yeh paisa (Karz) and even convoluted compositions like Hafte mahine saal (Avtaar), Na hansna mere gham pe (Anurodh) and Chal dariya mein doob jaaye (Prem Kahani).

In fact 1974 itself was a LP-Kishore songfest with lovelies like Shor mach gaya shor (Badla), Gadi bula rahi hai (Dost) and Ruk jaana nahin (Imtihan) and the multiple hits from Manchali, Badla, Amir Garib, Roti and Majboor. And Amir Garib and Prem Shastra’s diverse scores so impressed Dev Anand that LP stepped into Burman bastion Navketan with Jaaneman.

In 1974, RD had Kishore-based triumphs like Aap Ki Kasam, Ajanabee, Heera Panna and Manoranjan, but the repetitiveness had become a shade irritating. Not even the superb Dil se dil milne ka (Charitraheen) could compensate for the utterly lacklustre RD scores – all Kishore-based – like Humshakal, Trimurti, Ishq Ishq Ishq, Dil Diwana and Madhosh , which RD gave filmmakers for whom he had given exceptional musical just a film earlier. He fared better in 1975, with Aandhi, Khel Khel Mein, Sholay, Warrant and that once-in-several-blue-moons song O hansini (Zehreela Insaan), but the damage was done.

With the release of Dharam Karam, comparisons were inevitable with LP’s magnificent Bobby for the RK banner. And the first blow to the sensitive Pancham’s morale came with Dev Anand shifting loyalties to LP for Jaaneman after the dismal musical showing of Ishq Ishq Ishq. And as if this twin blow wasn’t enough, Rajesh Khanna had a temporary spat with RD – with whom he had always vibed personally even as he professionally kept LP on standby after the hits they were unceasingly giving him – and ‘defected’ to LP. And finally, Shakti Samanta, after RD’s array of hits for him like Aradhana, Kati Patang, Amar Prem, Ajanabee and Mehbooba, signed LP for Anurodh. Truly speaking, RD never recovered from these multiple injuries.

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9 Blog Comments to “Kishore Vs Kishore”

  1. Ahamed Kutty says:

    the site for rafi saab is not like kk site.there are always
    write ups about rafi saab since there are lot of subjects
    about him whether it is his association with fellow singers
    or with music directors or the type of songs he rendered.
    each of his song is a lesson for true music far
    as kk is concerned his talents,his association with mds
    or fellow singers are concerned is very limited and that
    is clearly seen in this site – this site is a dessrt site.

    there are number of articles appearing in rafi saab’s
    site and no comments were there about any singer
    by the is common among rafi fans that they
    are treating rafi saab above anything including their
    beloved is giving some sort of irritation to the
    fans of other singers especially the fans of kk.this leads
    to unnecessary arguments and using bad it is
    clear that the problems are starting by kk fans.these
    fans of kk are aware that their idol kk is not enough to
    project against as far as high pitch and other difficult
    songs are concerned and that leads to the discussion
    of gantasalaji who was not at all a threat for rafi saab.

  2. Fazal Ahmad says:

    Hello friends,
    I had always been a Mohd. Rafi fan, since I was a kid. Like my parents and friends, I, obediently followed the tradition to listen and admire rafi and only rafi. His “Makhmali awaaz” was always a treat to my ears. I would sing his songs at the school and with friends. People liked me because I was eventually, if not easily. able to hit those “high surs”. I was admired.
    But, then I had chance to listen to Kishore da`s songs. I was moved! His voice was uniquely LARGE. The base in his voice was incredibly deep, unlike any other singer. His voice was inimitable. Such strong voice, reflected pronounced masculinity. His songs like ‘Hal Kya Hai Dilon Ka’, ‘Phoolon ke rang se’, ‘Aapke Anurodh Pe’ ‘Kuch To log kaheinge’ and many others, are great examples of his talent. You would see many singers singing Rafi`s songs, giving him a good enough tribute. There are sonu nigam, shabbir and many others who are fairly good at it. But Kishore Kumar was UNIQUE. No one in the world has such a tremendous throw and solidarity. AND now we can just IMAGINE what kishore da could have done if he was classically trained from his childhood. His voice would have broken the boundaries and CONQUERED the world!!
    The khanak in kishoreda`s voice was a god-gift and the almighty has not given even one-tenth of that charismatic resonance that kishoreda was rewarded with.
    Conclusively, I hope and pray that the rafi`s fans break their old bias for an hour and just listen to the songs I have recommended above! Do not banish kishore da`s talent without even weighing them fairly. And as for Rafi, he has been my guru, idol, teacher, god and always will be.

    Thank you.

  3. Sathya prasad T N says:

    Kishore the unmatchable singer. Can’t we get another Kishore soon?

  4. Shahid says:

    Why we compare these two legends ? Kishore Kumar was a genius singer one can never deny . So , in singing Kishore is a style and an institution to learn the music . How we could sing hindi /urdu songs . Kishore gave different touch to Hindi/Urdu songs . New style emerged in shape of KK this was creativity that kk given to Indian Cinema .so KK was Innovative in style of singing At same time M.Rafi at his own place sung the song with traditional way. So M. Rafi gave peaks to music in India and strengthen the music world and its foundation . Whereas KK gave new inventions to music world and new style that was not in fashion. KK gave new birth to music while M.rafi gave new life to old music .
    So There is no need to compare these two outclass singers ..
    One is fragance other is sense if one is sense other is fragance .

  5. dr sam says:

    i beg to differ with your opinion that kishore da outclassed md. rafi for the song ‘tum bin’. i believe rafi’s rendition was by far the more refined of the two and with all due respect to kishore, rafi was a class act in his own right. these two stalwarts of indian cinema gave us such a treasure trove of music and set such high standards, that we are yet to see talent reach those dizzying heights in melody.

  6. Anil says:

    rd employed kishore till end as main singer. rah pe rahate hai (nameen”), jab bhi koi kangana bole ( shaukin), rocky, “agar tum na hote” etc. eve lp had to emloy ishorein mr India in 1987.

  7. vinod says:

    i think kk is the best ever gift to mankind.

  8. A Singh says:

    Though RD is associated mainly with KK, but I would like to compliment LP for giving some of the their best works to KK. LP gave KK a total different dimension to his voice.

  9. BAPAN says:

    Kishoreda is greatest.

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