Show-biz doesn't suit me: Kishore Kumar - Profile News - Issue Date: May 15,
As is commonly known, Mohammad Rafi & Kishore Kumar were born on 24th helped in further bonding their friendship & relationship to grow stronger!! I would like to quote an incidence to prove my point of view –. After the. The legends of Hindi film music - Mohammed Rafi with Kishore Kumar. .. Kishore Kumar, Bollywood, Dating, Singer, Quotes, Singers, Relationships. G T. In an interview after Kishore Kumar's death, his brother Ashok Kumar of India group, had a very close relationship with Kishore Kumar. As I mentioned before , it is strange that the fans of Mohammed Rafi and Kishore Kumar are at . *The source for this quote is contradictory, and I explained why in my.
You can listen to the clip here. Soon enough, he had a phone call from Kishore, asking him to come home, because Kishore's mother had made luchchis, rosogollas and aloo dum especially for Manna Dey.
So off they trooped from RD's house to Kishore's house so they could eat. When it came to the recording, Manna Dey was reportedly upset that a classically trained singer like him had to lose, albeit on-screen, to an untrained singer like Kishore, but the unassuming man that he was, quietly did his best and left.
For the two of us, the session had taken the magnitude of a duel. It took us 12 hours to complete it, and I must admit, Kishore was in his element that day.
Out of this tough battle to outshine one another, would emerge a new star in the world of music. Co-singer Shamshad Begum remembers Kishore Kumar with some fondness. As a young boy aspiring to become as famous as his much older brother who was already a name to reckon with in Hindi cinema, he would pester his senior with questions about his future.
Did aapa sister think he would be popular one day? She replied, "Destiny is a great thing. Tomorrow you may be more popular than anyone else. This song is a particular favourite, full of pep and verve, for Geeta Bali and Dev Anand on screen. There is an element of mischief in the song, and teasing, and a mild flirtation. This song is unusual, in that Kishore is singing for Raj Kapoor, and it is one of the rare RK films acted, produced or directed that had SD Burman as the music director.
Salilda had never thought much of Kishore's singing skills and in fact, had to be coerced into allowing Kishore to sing for himself in Naukri Hemant Kumar was originally supposed to sing Chotasa ghar hoga.
For Half-Ticket, the song was originally meant to be a duet with Lata Mangeshkar. She was away at the time of the recording, and Kishore Kumar begged to be allowed to sing both parts, arguing that he was playing the 'female' onscreen.
Reluctantly, Salilda gave in, with one caveat - Kishore had to prove he could do it. Kishoreda promptly sang the song, switching between female and male voice with ease. The rest, as they say, is history.
How Mohammed Rafi regained his confidence
The song was recorded in a single take. You can hear Salilda talk about the making of the song - here the first 30 seconds or so. The sarcasm in Gulzar's lyrics, its lightness only underscoring the seriousness of the situation, the youthfulness of the score, and a fantastic jugalbandi between the singers makes this an unforgettable song, and quite one of my favourites. Considering that, in real life, he once locked his doors and did not even allow his beloved eldest brother in, it is no surprise that he should torment his reel brother real-life brother Anoop Kumar with tales of what happened when a gorgeous Madhubala spent the night at the garage.
This was one of Kishore's earliest attempts at yodelling in films. Music director Roshan skillfully used their voices to come up with a frothy tune that was at odds with the rest of the score 8 out of the 9 songs were heavily imbued with gravitas. But it was a lot of many when colour had still to gain a firm foothold in the industry.
If Lata's price rose to Rs 15, for song with colour taking root in our cinema byRafi too now commanded a matching fee. Rafi therefore saw no reason to submit to Lata any longer. For years he had played second fiddle. Now that his hour had come, Rafi was no longer prepared to undervalue himself.
He held firmly to his royalty conviction and the industry -- especially the big music-director brigade in it -- was with Rafi! That the same industry ditched the same Rafi afterin the post-Aradhana era, is the way of the film world. Thus far, Rafi had been the voice of one and all. When therefore Dada Burman's own Aradhana overnight swung the industry tide against him, Rafi just did know what to do.
Where Kishore Kumar could mentally 'act' the song, Rafi was left to react. His stalwart heroes having failed him one by one, for the first time in his life, Rafi felt confusion to be entering his vocalising mind.
For all that, if R D Burman was emerging as the new wave-maker, Laxmikant-Pyarelal rooting for Rafi still never yielded the palm to Pancham. Maybe Pancham set the neo-music trend, but Laxmikant-Pyarelal still ruled the juke-box office.
Indeed the maximum number of songs rendered by Mohammed Rafi was to be for Laxmikant-Pyarelal -- a phenomenal total of numbers, of them being solos.
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Compare this with Rafi's aggregate of numbers solo for Shanker-Jaikishan and a total of numbers only 56 solo for O P Nayyar.
So long as Laxmikant-Pyarelal were predominant, Rafi could hope and cope. But even L-P could not indefinitely sail against the Kishore-Pancham wind. Still Rafi, by dint of sheer effort, had staged a comeback without parallel in the annals of the industry.
At a subsequent Usha Khanna recording, Rafi thought he had done full justice to this gracious lady composer's song. But Usha Khanna could not summon the gumption to tell a giant like Rafi that she had wanted 'a certain vocal effect' that she had not quite got in the song.
When Rafi later came to know of this, he asked Usha Khanna point-blank: Remember, you, as the music director, have the right to order me to this day. Even Lata had been taken on by Rafi only after continuing provocation. If only Rafi, likewise, had so stood up for his place in the sun where it came to accepting a mere Padma Shri!Best of Mohammed Rafi & Kishore Kumar - Ultimate Collection - Audio Jukebox
It is all very well to argue that the State was not fair to Rafi in the matter of the extent to which it chose to honour him. Yet the fact remains that the Padma Shri was a citation Rafi could have politely spurned. Indeed Lata had quietly done just that until they bestowed her with a Padma Bhushan in After that, the powers that be knew that they could take Rafi for granted.
Rafi felt deflated as Lata's silver jubilee in films came to be announced by the state government of Maharashtra. Lata had first sung in All-India Hindustani cinema only after Independence in Aap Ki Sewa Meinso how could she be completing her silver jubilee in before Rafi?
But Rafi dared not say that aloud.
'India did not give Mohd Rafi his due' | india | Hindustan Times
This Lata silver jubilee was the turning point. After that big happening, Lata always seemed to have the drop on Rafi. Of course, Rafi should have won many more honours than he did, considering the scale of his achievement. But his own humble persona became a bar to his getting his due -- beyond the Padma Shri Mohammed Rafi Chowk in the Bandra suburb of Bombay.
For instance, Rafi could have been bestowed with the Padma Bhushan even after he became a Padma Shri. But I doubt if Rafi knew about this, whether he discerned that winning a bigger award involved no end of lobbying. This was something at which Rafi was no good in any case. Shall we say that his own in-built sense of humility ultimately worked against Rafi?
It won him friends, but it did not influence people who awards-mattered. Or, who knows, maybe Rafi, ultimately, did divine how badly he'd been had.
It caught Lata totally unawares. Rafi just let himself go in that letter, only to get a rather escapist reply from Guinness. So that Rafi persisted, in a letter dated November 20,as he wrote: If only because it needs more elaborate treatment. Are you really quitting? What do you think of the next line of playback singers?
Mostly imitators of their more successful predecessors. Nitin Mukesh and Manhar are the poor man's Mukesh. Sabbir Kumar and Anwar are the poor man's Rafi. Bhupinder, Suresh Wadkar - they have styles of their own but are yet to be accepted. Why are you quitting films? I had a heart attack three years ago. And I need rest.
I don't want to retire after people have begun wondering whether I'm still there. And show business doesn't suit me any longer. Look at the prohibitive taxes for those who are really successful. The tax raids, the complicated laws and bylaws, the hassles - they all make popularity a punishable offence.
So that's the reason? Actually I'm tired of this life in Bombay. I just want to start over again at my old place, in the company of all those little people whom I grew up with. If I sing, I want to do it for myself. Has Indian playback singing any future? You don't expect music to be brilliant when the films are so bad. Actually the B-movies that are doing good business now cater to an audience which wants a lot of noise to fill the soundtrack.
Jeetendra, Sridevi, what kind of film and what kind of music do you expect with these ingredients?