Jump to content

Mushafir hoon yaaron, na ghar hai na thikana...

suhani
Sign in to follow this  

Kishore Kumar's was the second golden male voice that the film industry produced , the first being that of Kundan Lal Sehgal. Besides being a singer, Kishore was a talented actor and comedian who stood out for his performances. He made his mark as an accomplished film and music director.

Sign in to follow this  
From the album:

Kishore Kumar

  • 10 images
  • 0 comments
  • 14 image comments


Recommended Comments

 

user posted image

 

"Musafir hoon yaaron

Na ghar hai na thikana

Mujhe bas....chalte jana hai

Chalte jana."

 

My best song from the movie "Parichaya".

 

Thank you.

Share this comment


Link to comment

 

user posted image

 

"Kuchh to log kahenge

Logon ka kaam hai kehna,

Chhodo bekar ki baton ko.........." from "Amar Prem".

Share this comment


Link to comment

 

The 24-Carat Magical Voice

 

user posted image

 

Sixteen years have passed but his baritone voice still remains unsurpassed. The voice that was so masculine, and strong in nature, yet so sensuous and sublime in feeling. The voice of the gifted Kishore Kumar...

 

Kishore Kumar, the most versatile but untrained singer, made it to the top when training ruled over talent. His journey to the pinnacle wasn’t as smooth as his silky voice with which he mesmerized the people for decades. If his lack of training proved to be a obstacle (even music directors like Salil Chowdhury, whose ‘koi hota jisko apna...’ from Mere Apne was later immortalized by Kishore’s sleek rendition, wouldn’t touch him with a barge-pole,) his much-publicised eccentricities (which he himself termed as tit-for-tat) delayed his way to the success he deserved. Also, his acting assignments - he was second to none in the slapstick category, but which he never enjoyed doing - further deferred his route to be successful in what he considered to be the passion of his life. He muffed his lines, pretended to be crazy, shaved his head, played difficult, began yodelling in the middle of tragic scenes, told Meena Kumari what he had to tell Bina Rai. But they still wouldn’t let him go. He squealed, seethed, went cuckoo. But who cared? They were just resolute to make him a star. And though Kishore Kumar hated being structured around by directors, (who according to him didn’t know their jobs most of the time) the hits followed. New Delhi (1956), Asha (1957), Chalti Ka Naam Gaadi (1958), Jhumroo (1961), Half Ticket (1962), Shreeman Funtoosh (1956) and Padosan (1968). All time blockbusters, that managed to tie down Kishore to a busy acting schedule, so much so, that for a song in Sharaarat, some other singer, actually had to provide playback for him. MIDBANNER

It took the genius of another genius, Sachin Dev Burman to recognize the talent of this maestro, This led to a magical S D Burman-Kishore Kumar phase. Kishore, who started off his singing career with ‘Marne ki duayen kyon maangu...’ in Ziddi for Dev Anand, became his voice till he died. From Paying Guest (‘Mana janab ne pukara nahin...’) to Nau Do Gyarah (‘Hum hain raahi pyar ke...’) to Teen Deviyaan (‘Khwaab ho tum ya...’) to Prem Pujari (‘Phoolon ke rang se...’) to Jewel Thief (‘Yeh dil na hota bechara...’) to Funtoosh (‘Dukhi man mere suno mera kehna’...), to Munimji (‘Jeevan ke safar mein rahi...’), to Gambler (‘Dil aaj shaayar hai...’), he enchanted through S.D.Burman’s tunes for Dev Anand.

 

continue....

Share this comment


Link to comment

 

user posted image

 

But Kishore Kumar took the giant leap when S.D. made him sing ‘Roop tera mastana...’ and ‘Mere sapno ki rani...’ in Araadhna. The whole nation was enthralled by his sensual vocals and to add to that was the new superstar (Rajesh Khanna) on whom they were picturized. After that, there was no looking back. The profundity, the emotions, the mettle, the preeminence have been proved so many times thereafter, song after song, that only Kishore himself could reach the zenith that he carved for himself. Followed R.D. Burman’s absolutely heavenly creations, to which only one man’s voice could do justice and what we got was ‘Yeh shaam mastani...’ ‘Pyaar deewana hota hai... ‘Yeh jo mohabbat hai...’ (Kati Patang) (’71), ‘Chingari koi bhadke...’, ‘Kuchh toh log kahenge...’, ‘Yeh kya hua...’ (Amar Prem), ‘O mere dil ke chain...’, Deewana leke aaya hai...’, ‘Chala jaata hoon...’ (Mere Jeevan Saathi), ‘Zindagi ke safar mein...’(Aap Ki Kasam) and myriad unbeatable spellbinding renditions till ‘Humein aur jeene ki...’ (Agar Tum Na Hote) (’83) to ‘Dil mein aag lagaaye...’(Alag Alag)(’85) for Rajesh Khanna alone. In Kishore kumar’s magically melodious yet masculine vocals, music directors found a perfect complementary match for Lata Mangeshkar’s too sweet, nightingalish and absolutely feminine voice. And the music world was never the same again. To pick some songs from their countless exquisite compilation is a Herculean task. What ensued was a golden era of innumerable enchanting duets like ‘Gaata rahe mera dil...’(Guide), ‘Kora kaaghaz tha...’(Araadhna), ‘Gum hai kisi ke...’(Rampur ka Lakshman), ‘Is mod se jaate hai...’, ‘Tum aa gaye ho...’ Tere bina zindagi se’(Aandhi), ‘Karwatein badaltey rahe...’ (Aap ki kasam), ‘Aapki aankhon mein kuchh...’ (Ghar), ‘Tere mere milan ki...’ (Abhimaan), ‘Khud se sharmate huye...’( Dil-e- naadaan), ‘Hazaar raahein...’(Thodi Si Bewafaai), ‘Saagar kinaare...’ (Saagar).

 

continue.....

Share this comment


Link to comment

 

user posted image

 

If some of the perennial cribbers went on about his being untutored and basically a fun-song singer, they were presumably oblivious to his dexterity to scale up from bass to treble, alto to soprano, bass to tenor or do the reverse as he did successfully and matchlessly in ‘Mere naina saawan bhadon...’(Mehbooba), ‘Kehna hai...’(Padosan), ‘Koi roko na...’ (Priyatama), ‘Nazraana bheja kisine...’(Des Pardes), ‘Chhoo kar mere man ko...’(Yarana), ‘Dil kya kare...’(Julie), ‘Nazron se keh do...’(Doosra Aadmi), ‘Thoda hai thode ki...’(Khatta Meetha) and incalculable other captivating songs without altering the baritone nature of his voice or compromising on the pleasantness of his vocals. And that might be the most probable reason why Rajesh Roshan (who incidentally did maximum justice to Kishore’s voice, only after the two inimitable Burmans) trusted him for all those songs that had variation and melody. For those who believe that Kishore belonged to the vocal, effusive manner, there are plenty of songs to hound out that fiction. From the early O.P. Nayyar composition ‘Meri neendon mein tum...’(Naya Andaaz) to ‘Jeevan se bhari...’, ‘Zindagi ka safar...’ (Safar), ‘Badi sooni sooni hain...’ (Mili), ‘Aanewala pal...’(Golmaal), ‘Hum bewafaa...’ (Shalimaar) to the much later, ‘Chehra hai ya...’ (Saagar), the serene baritone gets over listeners like a soothing salve.

 

Kishore Kumar’s next triumph came in the form of the next superstar (and no doubt, the best actor ever), Amitabh Bachchan who has a rich baritone voice. Kishore’s magical playback renditions matched Bachchan’s baritone voice like hand in glove. What followed was classic, popular or both -songs like Rimjhim gire saawan...’(Manzil), ‘Main pyaasa tu saawan...’ (Faraar), ‘Dekha na haye re...’(Bombay to Goa), ‘My name is Anthony Gonzalves...’ (Amar Akbar Anthony), ‘Khaike paan banaraswala...’(Don), ‘Salaam-e-ishq...’(Muqaddar Ka sikandar), ‘Pag ghungru baandh...’(Namak Halaal), ‘Apni toh jaise taise...’(Laawaaris), ‘Jahaan chaar yaar...’(Sharaabi) and many many more.

 

continue......

Share this comment


Link to comment

 

user posted image

 

Whether singing, composing or acting, Kishore was pre-eminently Kishore, while now looking Fred Astaire, now Frank Sinatra, now Gene Kelly, now Bill Crosby. If a valid comparison is to be drawn in this direction, Kishore Kumar is best envisioned as the Danny Kaye of our cinema, as remarked by Lata Mangeshkar.

 

Kishore’s voice, undoubtedly being the best, macho and popular too, would (except in a rare occasion or two) be used for the main lead, whenever there was a two-hero song. Though he got his dues in terms of love and adulation from the Indian people, the awards jury, most of the years, were a bit harsh on him. But who cares? It’s only that when such a talented personality is left out of coveted awards (including the national awards) isn’t the credibility of the awards a bit questionable?

 

The heart really bleeds when instead of talking about his enormous talents his distracters blow stories about his being a kooky, a madcap, a miser, a ***** or an off-centre, out of proportions. Because they couldn’t bear a man speaking his mind out when the others in the rat race tried hard to be politically correct. They couldn’t believe that somebody could say no to Sanjay Gandhi, when he requested Kishore to sing for a political rally. They couldn’t believe that this man would put his foot down, when Amitabh’s name featured prior to that of him in Sharaabi’s records for a particular song and wouldn’t see the latter eye to eye for a long time. His befriending trees, talking to them and driving an irritating interior designer, acquired more space in glossies than a tribute to his overwhelming contributions.

 

His constant search for the unexpected and startling bore some astonishing results. Radio host Ameen Sayani recounts that when he was asked to interview Kishore, the singer insisted on concocting four characters - a judge, a child, a young man and an old man, and then played all four characters. The unusual programme was an instant hit.

 

continue.....

Share this comment


Link to comment

 

user posted image

 

And what was the secret behind that aural aura, if one asks? In the legendary actor and brother Ashok kumar’s words, “Kishore’s voice hits the mike, straight, at its most sensitive point — and that’s the secret of his success as a singer without peer!” It is this straight ‘mike-hitting’ trait, in fact, that made Kishore Kumar, once he was rehearsed and ready, a vocal threat to the best.

 

Composer Bappi Lahiri, who looked on Kishore Kumar, as his mentor says, “I wouldn’t be here but for him. From Chalte Chalte to my last song, he sang ninety per cent of my compositions. His death is a great personal loss to me, but a greater professional loss. Now, I’ll have to work harder to put in the fifty per cent which he used to add.” And Bappi Lahiri must really know, for it was for him that Kishore Kumar recorded his last song on October 12, 1987, a day before he died.

 

As R.D. Burman, the maestro of illustrious music, put it, “When Kishore was alive, it was so easy. In a way he was one up on the others because he could pick a tune and make it completely his own, to such an extent that you’d feel no one but he could ever sing it.”

 

The void can never be filled. But, any ardent music lover, whenever he wants to make a trip along the silk route in the realm of 100 carat solitaire diamond, can halt at Koi humdum na raha...’(Jhumroo), ‘Mere mehboob qayamat hogi...’(Mr. X in Bombay), ‘Wo shaam kuchh ajeeb thi...’ (Khamoshi), ‘Jagmag karta nikala...’(Rimjhim), ‘Husn bhi udaas hai...’(Fareb), ‘Dilbar mere...’(Satte pe Satta) ‘Jaane kya sochkar...’(Kinaara), ‘Musafir hoon yaaron...’(Parichay), ‘O hansini...’(Zahreela Insaan), ‘Ruk jaana naheen’(Imtihaan) and countless other refreshing picturesque stops to experience the enticing pure 24 Carat golden voice. A honey voice dipped in feelings.

 

 

P.S: Kishore Kumar - originally named Abhaas Kumar Ganguly, born -August 4, 1929, hailed from Khandwa, M.P., nurtured his dreams to meet his inspiration - K.L.Saigal. And that’s why he came to Mumbai. But he never paid any tribute to the latter by singing his cover versions, for he thought that there shouldn’t be a single song, where people get the feel that he surpassed his inspiration.

Share this comment


Link to comment

 

Thank you friend for your kind participants on my album which is based on my favorite singer. Can you tell me your name through by PM or email, please?

Share this comment


Link to comment
×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.