Kishore Kumar - Revision history

Pdewan: /* Kishore Kumar's place in history */

2016-08-04T15:24:48Z

‎Kishore Kumar's place in history

Pdewan: /* 1969: pole-vaulting to No.1 */

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‎1969: pole-vaulting to No.1

Pdewan: /* 1969 */

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‎1969

Pdewan: /* The Times of India's ten top songs and films */

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‎The Times of India's ten top songs and films

Pdewan: /* Kishore Kumar's place in history */

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‎Kishore Kumar's place in history

Pdewan: /* 1969 */

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‎1969

Pdewan: /* 1969 */

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‎1969

Pdewan: /* 1969 */

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‎1969

Pdewan: /* Selective filmography */

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‎Selective filmography

Pdewan: /* Selective filmography */

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‎Selective filmography

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 By the early 1960s he was among the 'big three' of 'playback singing' in Hindi-Urdu films--behind the towering Mohd. Rafi and the perennial no.2, Mukesh. This meant that--unlike niche players Manna Dey and Talat Mehmood--he sang for heroes and in the biggest budget films. However, in terms of numbers and commercial success, during most of his career he was a distant no.3.
-The songs he was assigned were slotted into three types i) comic, which was his mainstay; ii) serious, though mostly in his own films; and iii) as the frequent (but not sole) voice of Dev Anand who, in turn, was no. 3 among the 'big three' superstars of Hindi-Urdu cinema in the 1950s and '60s. Fourthly, his voice was more likely to be used by fellow Bengali music directors like SD Burman, RD Burman and Hemant Kumar. Above all, he was known for his yodelling, invariably in comic songs.
+The songs he was assigned were slotted into three types i) comic songs, which were his mainstay; ii) serious songs, though mostly in his own films; and iii) as the frequent (but not sole) voice of Dev Anand who, in turn, was no. 3 among the 'big three' superstars of Hindi-Urdu cinema in the 1950s and '60s. Fourthly, his voice was more likely to be used by fellow Bengali music directors like SD Burman, RD Burman {both were originally from Tripura) and Hemant Kumar. Above all, he was known for his yodelling, invariably in comic songs.
 All this changed forever in 1969, after languishing at no.3 (or worse) for twenty-three years.

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 There have been only four moments in the history of Indian film music when music took a '''generational leap''' and a new set of talents swept the country: Junglee (1961/ Shankar-Jaikishan, Rafi, Shammi Kapoor), Teesri Manzil (1966/ RD Burman, Rafi, Majrooh, Shammi), Aradhna (1969/ Kishore, RD Burman, Anand Bakshi, Rajesh Khanna) and Roja (1992: AR Rahman, Vairamuthu, Mani Ratnam). (Officially, Aradhna's music was composed by SD Burman, while his son RD was credited as his assistant.)
-The Kishore, Anand Bakshi, Rajesh Khanna combine's supremacy was reaffirmed a few weeks later by Do Raaste (music: Laxmikant-Pyarelal), the second biggest hit of the year. {If Mere Sapnon ki rani from Aradhana is not shown as the no.1 song of 1969, and Do Raaste's songs higher than they deserved, on [[Binaca Geet Mala 1969: greatest hits]] it was because under BGM's rules songs released after mid-August (i.e. less than 18 weeks before the end of the year) could not by definition occupy the top spots in the annual ranking.}
+The Kishore, Anand Bakshi, Rajesh Khanna combine's supremacy was reaffirmed a few weeks later by Do Raaste (music: Laxmikant-Pyarelal), the second biggest hit of the year. {If Mere Sapnon ki rani from Aradhana is not shown as the no.1 song of 1969, and Do Raaste's songs were not shown higher than they deserved, on [[Binaca Geet Mala 1969: greatest hits]] it was because under BGM's rules songs released after mid-August (i.e. less than 18 weeks before the end of the year) could not by definition occupy the top spots in the annual ranking.}
 For the next seven years Kishore Kumar was the no.1 male singer of Hindi-Urdu films--perhaps all of India. Almost every important Hindi-Urdu actor, including those who could not think of anyone but Rafi (or Mukesh) singing for them, used Kishore's voice

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 Things had started changing around 1968 when Rafi began to sound somewhat stale. That year Rafi's thitherto unquestioned dominance on the charts gave way, albeit slightly, to Kishore (who had the biggest hit sung by a male: Mere samnewali khidki mein), Mukesh and even Mahendra Kapoor and Manna Dey. Rafi-loyalists like Shankar-Jaikishan used Kishore rather than Rafi in the most important song of '' Duniya '' (1968). SD Burman gave him all the Dev songs of Jewel Thief. RD Burman gave him the memorable Pyar hua hai jab se in Abhilasha. Though Rafi ruled the 1968 charts in terms of sheer numbers, Kishore had major hits. (See [[Binaca Geet Mala 1968: greatest hits]] )
-===1969===
+===1969: pole-vaulting to No.1 ===
-The breaking point for Rafi and the turning point for Kishore was the film Pyar Ka Mausam (1969) in which Kishore and Rafi had to sing the same song, on separate tracks: Tum bin jaoon kahan. Glamorous superstar Rafi sang the song for the film's handsome young hero, while the still no.3 Kishore sang it for the hero's podgy, middle-aged father. Composer RD Burman got Kishore to yodel during the interlude, which was romantic rather than comic. In the Rafi version an electric guitar played the same passage in the interlude. This caused the unthinkable to happen. Audiences suddenly realised that Rafi's voice had its limitations. On the one hand Rafi could not yodel, while Kishore could. But this was the lesser of Rafi's suddenly-discovered shortcomings. Rafi had ruled north India for decades on the strength of his sparkling clear voice. Now that audiences could compare the two singing the same song, separately, they felt that they preferred Kishore's rich timbre to Rafi's smoothness. Suddenly, smooth meant bland.
+The breaking point for Rafi and the turning point for Kishore was the film ''Pyar Ka Mausam'' (1969) in which Kishore and Rafi had to sing the same song, on separate tracks: Tum bin jaoon kahan. Glamorous superstar Rafi sang the song for the film's handsome young hero, while the still no.3 Kishore sang it for the hero's podgy, middle-aged father. Composer RD Burman got Kishore to yodel during the interlude, which was romantic rather than comic. In the Rafi version an electric guitar played the same passage in the interlude. This caused the unthinkable to happen. Audiences suddenly realised that Rafi's voice had its limitations. On the one hand Rafi could not yodel, while Kishore could. But this was the lesser of Rafi's suddenly-discovered shortcomings. Rafi had ruled north India for decades on the strength of his sparkling clear voice. Now that audiences could compare the two singing the same song, separately, they felt that they preferred Kishore's rich timbre to Rafi's smoothness. Suddenly, smooth meant bland.
 Then in the summer of 1969 came the cheerful Mahal. Kalyanji-Anandji gave Kishore the best Dev songs--and they were highly popular.

← Older revision		Revision as of 09:50, 4 August 2016
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	<p class=MsoNormal><span lang=EN-GB> </span></p>		<p class=MsoNormal><span lang=EN-GB> </span></p>
		+	==[http://gaana.com/playlist/gaana-dj-kishore-top-50 Gaana.com’s Top 50]==
		+	Aap Ki Ankhon Mein Kuch, Ghar, With Lata Mangeshkar
		+
		+	Bheegi Bheegi Raaton Mein, Ajanabee, With Lata Mangeshkar
		+
		+	Tum Aa Gaye Ho Noor Aa Gaya, Aandhi, With Lata Mangeshkar
		+
		+	O Mere Dil Ke Chain, Mere Jeevan Saathi, Kishore Kumar
		+
		+	Ek Ajnabee Haseena Se, Ajanabee, Kishore Kumar
		+
		+	Hamen Tumse Pyar Kitna (Male), Kudrat, Kishore Kumar
		+
		+	Tere Mere Milan Ki Yeh Raina, Abhimaan, With Lata Mangeshkar
		+
		+	Kora Kagaz Tha Yeh Man Mera, Aradhana, With Lata Mangeshkar
		+
		+	Tere Bina Zindagi Se, Aandhi, With Lata Mangeshkar
		+
		+	Chala Jata Hoon, Mere Jeevan Saathi, Kishore Kumar
		+
		+	Are Jane Kaise Kab Kahan Iqrar, Shakti, With Lata Mangeshkar
		+
		+	Kya Yahi Pyar Hai, Rocky, With Lata Mangeshkar
		+
		+	Hum Dono Do Premi, Ajanabee, With Lata Mangeshkar
		+
		+	Aanewala Pal Janewala Hai, Golmaal, Kishore Kumar
		+
		+	Chingari Koi Bhadke, Amar Prem, Kishore Kumar
		+
		+	Ek Ladki Bheegi Bhagi Si, Chalti Ka Naam Gaadi, Kishore Kumar
		+
		+	Tere Chehre Se Nazar Nahin, Kabhie Kabhie, With Lata Mangeshkar
		+
		+	Kuchh To Log Kahenge, Amar Prem, Kishore Kumar
		+
		+	Meri Bheegi Bheegi Si, Anamika, Kishore Kumar
		+
		+	Raat Kali Ek Khwab Men Aai, Buddha Mil Gaya, Kishore Kumar
		+
		+	Rimjhim Gire Sawan, Manzil, Kishore Kumar
		+
		+	Panna Ki Tamanna Hai, Heera Panna, With Lata Mangeshkar
		+
		+	Pyar Diwana Hota Hai, Kati Patang, Kishore Kumar
		+
		+	Yeh Vaada Raha, Yeh Vaada Raha, Asha Bhosle, Kishore Kumar
		+
		+	Chal Kahin Door Nikal Jayen, Doosara Aadmi, With Lata Mangeshkar, Mohammed Rafi
		+
		+	O Saathi Re (Male), Muqaddar Ka Sikandar, Kishore Kumar
		+
		+	Kanchi Re Kanchi Re, Hare Rama Hare Krishna, With Lata Mangeshkar
		+
		+	Phoolon Ke Rang Se, Prem Pujari, Kishore Kumar
		+
		+	Jeevan Ke Din, Bade Dil Wala, Kishore Kumar
		+
		+	Yeh Sham Mastani, Kati Patang, Kishore Kumar
		+
		+	Aate Jate Khoobsurat Awara, Anurodh, Kishore Kumar
		+
		+	Diye Jalte Hai Phool Khilte Hai, Namak Haraam, Kishore Kumar
		+
		+	Dekha Ek Khwab, Silsila, Lata Mangeshkar, With Amitabh Bachchan
		+
		+	Chhu Kar Mere Manko, Yaarana, Kishore Kumar
		+
		+	Is Mod Se Jate Hain (Duet), Aandhi, With Lata Mangeshkar
		+
		+	Gaata Rahe Mera Dil, Guide, With Lata Mangeshkar
		+
		+	Yeh Kya Hua, Amar Prem, Kishore Kumar
		+
		+	Aaj Rapat Jaayen To, Namak Halaal, Asha Bhosle, Kishore Kumar
		+
		+	Oh Hansini, Zehreela Insaan, Kishore Kumar
		+
		+	Zindagi Ka Safar, Safar, Kishore Kumar
		+
		+	Pal Bhar Ke Liye, Johny Mera Naam, With Usha Khanna
		+
		+	Dream Girl, Dream Girl, Kishore Kumar
		+
		+	Pyar Ka Dard Hai, Dard, With Asha Bhosle
		+
		+	Salame Ishq Meri Jaan, Muqaddar Ka Sikandar, With Lata Mangeshkar
		+
		+	Bachna Ae Hasinon Lo Main Aa Gaya, Hum Kisi Se Kum Nahin, Kishore Kumar
		+
		+	Roop Tera Mastana, Aradhana, Kishore Kumar
		+
		+	Aise Na Mujhe, Darling Darling ( OST), Kishore Kumar
		+
		+	Zindagi Ke Safar Mein, Aap Ki Kasam, Kishore Kumar
		+
		+	Karvaten Badalte Rahe, Aap Ki Kasam, With Lata Mangeshkar
		+
		+	Rote Hue Aate Hain Sab, Muqaddar Ka Sikandar, Kishore Kumar

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 iii) ''' Kishore Kumar: The singer with a magnetic aura '''
 [http://timesofindia.indiatimes.com/entertainment/hindi/music/news/Kishore-Kumar-The-singer-with-a-magnetic-aura/articleshow/39614201.cms ''The Times of India'']  TNN | Aug 4, 2014
 = Kishore Kumar's place in history=

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 Had Kishore not toppled Rafi in 1969, someone else would have. Even diehard Rafi fans had started finding him stale.
-The previous year, 1968, saw Kishore, Mahendra Kapoor and Mukesh sing the no. 1, 2 and 4 most popular songs sung by male singers. Rafi only made it to no.3. (See [[Binaca Geet Mala 1968: greatest hits]]
+The previous year, 1968, saw Kishore, Mahendra Kapoor and Mukesh sing the no. 1, 2 and 4 most popular songs sung by male singers. Rafi only made it to no.3. (See [[Binaca Geet Mala 1968: greatest hits]])
-Even before Aradhna, 1969 was shaping out the same way. The no.1, no.2 and no.4 hits sung by a male singer in 1969 were all sung by Mukesh. Rafi only got no.3. (See [[Binaca Geet Mala 1969: greatest hits]]
+Even before Aradhana, 1969 was shaping out the same way. The no.1, no.2 and no.4 hits sung by a male singer in 1969 were all sung by Mukesh. Rafi only got no.3. (See [[Binaca Geet Mala 1969: greatest hits]])
 But, despite having bested Rafi in Tum bin jaoon kahan, on paper the hierarchy till the end of September 1969 remained where it was: 1: Rafi (because of sheer numbers), 2: Mukesh (because of the aforesaid hits) and 3: Kishore.
-It was ''' Aradhna ''' (released on 27 Septmebr 1969) that catapulted Kishore to the very top. Its Rafi songs were sweet and they, too, did well. However, they were decent, well behaved--and staid. On the other hand, for the first time in 23 years, Kishore unshackled his genius and let his voice flow. He swept north India with an effortless, lyrical, youthful romanticism.
+It was ''' Aradhana ''' (released on 27 Septmebr 1969) that catapulted Kishore to the very top. Its Rafi songs were sweet and they, too, did well. However, they were decent, well behaved--and staid. On the other hand, for the first time in 23 years, Kishore unshackled his genius and let his voice flow. He swept north India with an effortless, lyrical, youthful romanticism.
 There have been only four moments in the history of Indian film music when music took a '''generational leap''' and a new set of talents swept the country: Junglee (1961/ Shankar-Jaikishan, Rafi, Shammi Kapoor), Teesri Manzil (1966/ RD Burman, Rafi, Majrooh, Shammi), Aradhna (1969/ Kishore, RD Burman, Anand Bakshi, Rajesh Khanna) and Roja (1992: AR Rahman, Vairamuthu, Mani Ratnam). (Officially, Aradhna's music was composed by SD Burman, while his son RD was credited as his assistant.)
-The Kishore, RD Burman, Anand Bakshi, Rajesh Khanna combine's supremacy was reaffirmed a few weeks later by Do Raaste, the second biggest hit of the year.
+The Kishore, Anand Bakshi, Rajesh Khanna combine's supremacy was reaffirmed a few weeks later by Do Raaste (music: Laxmikant-Pyarelal), the second biggest hit of the year. {If Mere Sapnon ki rani from Aradhana is not shown as the no.1 song of 1969, and Do Raaste's songs higher than they deserved, on [[Binaca Geet Mala 1969: greatest hits]] it was because under BGM's rules songs released after mid-August (i.e. less than 18 weeks before the end of the year) could not by definition occupy the top spots in the annual ranking.}
 For the next seven years Kishore Kumar was the no.1 male singer of Hindi-Urdu films--perhaps all of India. Almost every important Hindi-Urdu actor, including those who could not think of anyone but Rafi (or Mukesh) singing for them, used Kishore's voice

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 [[File: madhubalakishore_affair.jpg| Kishore Kumar and Madhubala |frame|500px]]
 [[File: Kishor and madhubala.jpg| Madhubala and Kishore Kumar |frame|500px]]
-[[File: Kishor and madhubala2.jpg| Madhubala and Kishore Kumar |frame|500px]]
+[[File: Kishor and madhubala2x.jpg| Madhubala and Kishore Kumar |frame|500px]]
 [[File: Kishore Kumar and Yogita Bali.jpg| Yogita Bali and Kishore Kumar |frame|500px]]
   [[File: Leena Chandravarkar and Kishore Kumar.jpg| Leena Chandravarkar and Kishore Kumar |frame|500px]]