The most versatile singer Kishore Kumar has sung for all the actors from 1950s to 1987 (till he died) all genres of songs, ghazals, fast, romantic, slow, bhajans, comedy, sad, happy, semi classical, folk etc. in his deep yet, sparkling, bubbly, modulating voice. He could express any shade of emotion naturally. He initially became famous for yodeling. Kishore Kumar never had any formal musical training. I think, that could be a reason that he could experiment and modulate his voice effortlessly. In his career span, he showed proficiency in a variety of musical styles.  Moreover he was able to pick up the piano and played it well; it seems he learnt playing piano also on his own.

Kishore had an ear for music; he understood music instinctively. He could adapt the voices of the actors easily. For example when he sang for Sanjeev Kumar ‘tere bina zindagi se koi,’while hearing you almost feel Sanjeev Kumar singing the song; when he sang for Amitabh Bachchan, more or less you felt it was AB himself singing the songs; similarly when he sang for Dev Anand or Rajesh Khanna you feel Dev or Rajesh Khanna singing. He contributed to the success of three actors – Dev Anand, Rajesh Khanna and Amitabh Bachchan.

It is said that he never smoked or drank, he dint like to socialize much and had very few but friends, such as Gulzar, R.D. Burman and Asha Bhonsale. He was sort of a recluse preferring his solitude. He hardly ever attended the film parties.

Kishore Kumar was a true genius; he was an actor, director, composer, and he has even penned few songs. Perhaps, because of his multi-faceted personality, he could sing songs befitting the screen actors suitably fitting the song situations. I think once in a while the Almighty gives gems like Kishore Kumar; sadly, he lived a short life of 58 years only. It was S.D. Burman who first tapped Kishore’s inner talents as a playback singer.

I am listing 10 evergreen light, romantic solos of Kishore Kumar which in my opinion will never die….. Please listen to those 10 awe-inspiring songs.

Kehana hai, kehana hai:

Film: Padosan (1968).

Lyricist: Rajendra Krishnan.

Music Director: R.D.Burman

Sama Hai suhana, suhana:

Film: Kahani Ghar Ghar ki (1970).

Lyricist: Hasrat Jaipuri.

Music Director: Kalyanji Anandji.

Aaj unse pahli mulaqaut hogi.

Film: Paraya Dhan (1971).

Lyricist: Anand Bakshi.

Music Director: R.D.Burman

Simti si, sharmai si.

Film: Parwana (1971).

Lyricist: Kaifi Azami.

Music Director: Madan Mohan.

Bhanware ki gunjan hai mera dil.

Film: Kal, aaj aur kal (1971).

Lyricist: Hasrat Jaipuri.

Music Director: Shankar – Jaikishan.   

Guzar jaye din, din, din.

Film:  Annadata (1972).

Lyricist: Yogesh.

Music Director: Salil Chowdhury   

This is an amazing composition by Salil Chowdhury; it’s one of KIshore’s best renditions. Ironically, Kishore dint want to sing this song as he thought he could not sing it the way Salil Da wanted. He completed this one after multiple takes and in the end we have a gem of a creation.

Chaala jata hoon kisi ke dhun me.

Film: Mere Jivan Sathi (1972).

Lyricist: Majrooh Sulatnpuri.

Music Director: R. D. Burman

Ek Ajnabi hasina se yun mulakat ho gayi.

Film: Ajanabi (1974).

Lyricist: Anand Baxi.

Music Director: R.D. Burman.

Oh hansini, meri hansini

Film – Zehareela Insaan (1974).

Lyricist: Majrooh Sultanpuri.

Music Director: R. D. Burman.

Rimzim gire sawan.

Film – Manzil (1979).

Lyricist: Yogesh.

Music Director: R.D.Burman

The feel of this song is unmatched. It seems when this song was being recorded, R. D. Burman was crying profusely and beating his hand on the wall praising Kishore Kumar’s versatility for singing this song so soulfully. On screen, you see Jitendra simply dressed, with spectacles standing on the boat and rendering this great number; there is no romancing, no glamour, no heroine in the scene (except twice Sari-clad simply dressed Hema Malini is shown separately in different shots) the song is just shot on a boat, rowed by a boatman(mazi).

River has a magical beauty, and it lends itself to a variety of metaphors. Its timeless flow denotes jeevan ki dhara. The river plays an important role in the country side. The rivers mark boundaries of villages; and are usually meeting place of lovers. Rivers play a significant role in our life. We therefore see many songs with river themes. Also, river water can inspire, soothe, cuddle and calm a person. I think river water has a musical feel which great composers like S.D.Burman, Salil Chowdhary, Hemant Kumar, R.D.Burman, Kalyanji Anandaji and Bhupen Hazarika have captured in their songs.

This song is from film Kushboo, based on the Bengali novel “Panditmashai” by Sharat Chadra Chattopadhyay. The film was released in 1975, produced by Prasan Kapoor and directed by Gulzarsab. The film’s music was composed by the great R.D.Burman.

The genre of the song is “Bhatiyali folk song.” Bengal has a vast coastal land with long rivers and sea. Hence you will see many Bhatiyali songs sung by boatmen. S.D Burman used to say that Bhatiyali has its roots in earth, flowers, sky, and river. The notations of Bhatiyali songs, its words, and its pathos have an enchanting interpretation reminding the listeners of the river, and the journey by river. Bhatiyali’s mood and its passion are immersed in philosophies of life.

‘O mazi re’ song is written by Gulzar Sab. The song is about life’s unstoppable journey without a shore and an anchor. The river has eroded many shores which are now flowing with the river. Life is like a paper boat which flows directionless and it can’t reach any shore. The lyrics are awesome describing the solitude and yearning of the protagonist of the film Jitendra (Dr. Brindavan) who is separated from his childhood love Hema Malini (Kusum). He is married but loses his wife and is lonely.

The song is sung by Kishore Kumar and is has a magical hollow effect on the listeners.  It seems when this song was being recorded the people present for recording were so much moved by Kishore Kumar’s singing that most of them burst into tears like R.D.Burman did. Kishore Kumar’s voice full of twinge and pathos had that magic effect on them. R.D always said that though Kishore was an untrained singer, he was like a volcano of talent, who could improvise any song incredibly and he would provide vocal insights and expression beyond the composer’s imagination.

Watch this soulfully magical song and enjoy few stirring moments.

It is raining since last few days, and I enjoy rains.  The only way to enjoy rains in to step outside and get drenched in rains! Don’t wear a raincoat or don’t take an umbrella, just go out there and enjoy the rains. Splash around the water as you walk; feel the rain drops, try to hold them in your hands. Rains indeed have the magic of transforming our moods. Look around yourself; see the colors of new flowers, fresh green leaves. So many hues of greens, reds, yellows observe them; they are simply amazing. The rains clean the world around us; specially the roads and lampposts.  I love the fragrance of earth and the rainy flowers. The markets are full of lush green vegetables. And, the aroma of tea and coffee at various tea stalls on the roads – oh if you want to appreciate all this you have to venture out!!  It’s not a great idea of sitting indoor and watching the falling rain.

Take a long walk to nearby park or go to a market. Being outside for a while and moving helps makes you feel like you did something useful with your day. Catch up with a friend – take your friend also along. Enjoy some good rainy songs.

With the arrival of the rains, the scorching heat starts vanishing. The dry, arid look of the cities turns into shades of green. The Mumbai monsoon rains are like a much-anticipated guest – the first few days are magical. But, the charm soon fades when local trains run slow due to clogged water on tracks, roads clogged with slush and brown muddy water and clothes that never dry. From ages, Bollywood has used the magic of monsoon to the fullest. Countless movies have used the rain in a variety of shades. Rains depict romance, thrill, ecstasy and joy. It has the magic to kindle the flame of intense feelings.

I love this song from Manzil (1979) Lata’s version of “Rimzim gire sawan” more than the Kishore’s. Music is composed by the genius R.D.Burman. This song has great magic in it. Both lyrics and music are superb! The song is filmed on Moushami Chatterjee and Amitabh Bachchan in Marine Drive, Churchgate and Colaba in Mumbai. Mumbai then was much pleasant than today.

Besides being melodious this version is more expressive; a woman’s idea of romance is very well portrayed in the song. Women are more prone to talk about what they are thinking and feeling, and they reveal how they are feeling with their smile, facial expressions, hand gestures, and body language. Moushami has done it all in this song. It’s happier and peppier.  It’s a delight to both eyes and ears. The song says it all. Both Moushami and Amitabh seem to enjoy walking in rains, they look cheerful and comfy and sung in each other’s company.

Though Amitabh and Maushami don’t make a great couple; but, because of the captivating song they both look good on the screen. Amitabh walks at faster pace and Maushami literally runs to keep pace with him in some shots. However, it seems, both enjoyed getting soaked in rains. I can hear and watch this song any number of times.  It’s a hummable and lingering song.

Lata’s version is soothing and gentler with the sporadic alaaps and mild variations than Kishore’s version. She sings the first line of the antara, “pehle bhi yun to” a bit differently than Kishore’s “mehfil mein kaise.” The song is written by lyricist Yogesh. 

Hear it to enjoy it!

I am sure, like me many readers might be Dev Anand’s die-hard fans. Can Dev Anand be called the style icon? Yes certainly. In the 50s, 60s and 70s he brought in the fashion of scarves, mufflers and jackets and his signature puff which he imitated from his childhood idol Gregory Peck. He was a trendsetter and a guide, who gave an impetus to Bollywood fashion. On screen he personified serious and romantic roles with a penchant. His eyes spoke – he had the most expressive eyes that usually expressed more than words. Besides being a good looker Dev had the oodles of charm which left viewers spell bound!

He has the most memorable songs like Abhi na jao chodkar; koi son ke dlilwala, koi chandi ke dilwala, Jia o, Khoya khoya chand, aise to na dekho, tu kahan ye bata, arre yar mere tum bhi ho gazab, kahin bekhayal hoke, oh I can go on and on. Music was another facet of his films. He was lucky to have great singers rendering voice to him off screen and some of the great composers.

Some of the most popular Bollywood songs were filmed on him. Dev Anand’s association with music composers like – S. D. Burman and R. D. Burman, lyricists – Majrooh Sultanpuri, Neeraj, Shailendra and playback singer Mohammad Rafi and Kishore Kumar produced some of the best songs in the Bollywood history. Considering the fact that he was so full of life and bubbling with energy all the time, it doesn’t come as a surprise that the only film Dev Anand had a death scene in, was Guide. Dev Anand never went on funerals and never mourned anyone’s death. His philosophy about death was different.

Dev Anand had girls swooning over him. There was a time when female fans passionately started sending him letters in their blood especially after seeing him in a black suit. Such was his personality that he was warned or “banned” from wearing a black suit in public.

He preferred to look ahead, than looking back with nostalgia; in such a wonderful career that had milestones such as Baazi, Kala Pani, Kala Bazar, Paying Guest, Guide, Jewel Thief, Hum Dono , Teen Deviyan, Maya, Nau-Do-Gyarah  etc; this because he had the tireless energy and the genius to craft more and more films.

It is said that in the 50s and 60s, the day his films were released, colleges and universities used to wear an abandoned look. His hurried style of dialogue delivery, his enchanting smile and the frequent nodding of head became his unmatched style, what is called ada in Urdu. He romanced yesteryear’s bold and beautiful actresses; most of them have vouched him being a gentleman.

Dev Anand was spotted by Ashok Kumar, who gave him a lead role in Ziddi, a production of Bombay Talkies. Before this, he had acted opposite the famous singer- actress Suraiya in the 40s, but Suraiya’s popularity surpassed his talent – leaving him high and dry. But, his off-screen failed romance with Suraiya filled many gossip columns.

It was during his period of struggle that he came across Guru Dutt, and the two made a promise to each other, whosoever achieved success first, would help the other. And, the rest is history. In 1951 Guru Dutt made Baazi, starring Dev Anand and Geeta Bali. The film became a trend-setter in urban crime thrillers and was a hit. The film also introduced Kalpana Kartik, who became Dev Anand’s lead heroine for many films like House No 44, Nau Do Gyarah and Taxi Driver (1954). After delivering some hits, Kalpana married Dev and retired from films.

He was a simple at heart. He never had stylish cars, never had a huge birthday bash and no show offs. Dev Anand took keen interest in politics. He formed a party called National Party of India which he later dispersed. He was among the group of film personalities who stood up to the internal emergency imposed by then Prime Minister of India, Indira Gandhi. In 1977, he actively campaigned against her with his supporters in the Lok Sabha.

He began his early career as he worked in the postal department of armed forces for a while. The actor was paid Rs 165 a month. His work was to read the letters that came for soldiers and censor any unwarranted information.

For Dev Anand, life in all shades was a festivity. Today, though he is not around, he still remains a dream hero with his peculiarity as well as eccentricity. His puffed hair style, a scarf around neck, drawl, the speech, the gait… all these made him what he was. Can brand Dev Anand ever be replaced? Certainly not.