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Mohammad Rafi versus Kishore Kumar. An era changes with Aradhana (1.

When Aradhana unfolded in 1. Mere sapno ki rani kab ayegi tu, a phenomenon called Rajesh Khanna was born. Also born was another and perhaps more startling phenomenon – a new Kishore Kumar who with this one film swept aside Rafi to emerge as the No.

Rafi did have two duets in the film Bagon mein bahaar hai(with Lata) and Gunguna rahe hain bhanwre(with Asha Bhosle), but Kishore Kumar with Lata surpassed him with Kora kagaz tha ye man mera, and Rafi had nothing to counter his two solos Mere sapno ki rani kab ayegi tu and Roop tera mastana. This was no flash in the pan. Aradhana became a clear watershed film which marked the change between the old and the new, and the end of the Golden Era of fifties and sixties. What is most interesting is how Rafi started sliding behind, and Kishore Kumar became the new Rafi, singing not only for Rajesh Khanna, but later becoming Amitabh Bachchan’s voice, and then singing for virtually everyone.

This was in some ways similar to the earlier great watershed year of 1. Lata Mangeshkar with her immortal songs of that year with all the great composers such as Ayega Aanewala (Khemchand Prakash, Mahal), Hawa mein udata jaye mera lal dupatta malmal, Meri ankhon mein bas gaya koi re, Jiya beqaraar hai (Shankar Jaikishan, Barsaat), Uthaye ja unke sitam, Koi mere dil mein khushi ban ke aya (Naushad, Andaaz), Dil se bhula do tum mujhe (C Ramchandra, Patanga), Tumhare bulane ko ji chahta hai (Anil Biswas, Ladli), Sajan ki galiyan chhod chale, Baharein phir bhi ayengi (Shyam Sundar, Bazaar/ Lahore), La re lappa la re lappa ayee lakhda (Vinod, Ek Thi Ladki), Chale jana nahin (Husnlal Bhagatram, Badi Bahan) etc. Shamshad Begum and Suraiya. But here the comparison ends. There are several contrasts. Lata had been around for about two years and barely twenty then.

Kishore Kumar in 1. Rafi, and only a few years younger than him. Yet Aradhana seemed to make him twenty years younger. Then Lata’s rise can be explained by musical reasons; some have tried to attribute it to Noorjehan’s migration to Pakistan (to which I do not subscribe, see my article Lata Mangeshkar vs Noorjehan). But there are no such apparent reasons for Rafi’s slide. It was not as if one morning in 1.

His voice retained its timbre and he still sounded Rafi- ish. This has given rise to a whole ‘Who is greater- Rafi vs Kishore Kumar’ industry on the internet, some of the debate becoming downright abusive to one or the other. One story I have read is that when SD Burman took ill after composing the two Rafi duets of Aradhana, RD Burman took charge, and while Rafi was away on a tour abroad, instead of waiting for his return, he got his favourite buddy Kishore Kumar record the solos. As if to answer this charge, RD Burman got both Kishore Kumar and Rafi sing the same solo in a film – Tum bin jaoon kahanin Pyar Ka Mausam, and even an inveterate Rafi fan would have to admit Kishore Kumar’s version is far superior.

Later, RD Burman used the two in conjunction to sing the title song in Yaadon Ki Baraat (1. Kishore Kumar singing for one brother and Rafi for another. By this time there was no doubt who was the leader and who the follower. RD Burman- Kishore Kumar became a byword for the musical style of the seventies.

Laxmikant Pyarelal had achieved spectacular success with Dosti (1. Rafi’s voice. Post- Aradhana they continued with Rafi and you have a large number of peasant Rafi solos and duets in films like Khilona, Jeevan Mrityu, Humjoli, Anjana, Jigri Dost, Jeene Ki Raah, Mera Gaon Mera Desh, Aap Aye Bahar Ayee, Pratigya, Sargam etc. However, they were too smart to miss the winds of change. So you have Kishore Kumar’s Khizan ke phool pe aati kabhi bahaar nahito Rafi’s Ye reshami zulfen ye sharbati ankhenin Do Raaste.

In Aan Milo Sajna Rafi- Lata title duet is countered by Kishore Kumar- Lata duet Achcha to hum chalte hain, and Rafi solo Phalak se tod kar dekho…koi nazrana lekar aya hoon is now forgotten before Kishore Kumar solo Yahan wahan saare jahan mein tera raaz hai…jawani o deewani tu zindabad. And you have several more Kishore Kumar super hits, such as Main jahan chala jaoon bahar chali aye(Banphool, 1. Sachai chhup nahin sakti…vaada tera vaada(Dushman, 1. Haal kya hai dilon ka na poochho sanam(Anokhi Ada, 1. Mere dil mein aaj kya hai(Daag, 1.

The coup de grace was Karz (1. Rafi Dard- e- dil dard- e- jigar dil mein jagaya aapne, but Oops! Kishore Kumar sang the rock star song Meri umar ke naujawanon…Om Shanti Om. The message was clear; he was the voice of the new generation. Kalyanji Anandji did not have much Rafi baggage, their main singer was Mukesh. While they continued to create songs for Mukesh, their adoption of Kishore Kumar as the lead singer was breathtaking.

Theirs was a most amazing transformation in style – it is difficult to believe that it is the same composers that composed Kishore Kumar’s Khaike paan Banaraswalawho in the 6. Hum chhor chalein hain mehfil ko, Tumhein zindagi ke ujale mubarak, Mere toote hue dil se koi to aaj ye poochheetc for Mukesh.

And what stupendous success they achieved with Kishore Kumar’s voice in Sachcha Jhoota, Safar, Kahani Kismat Ki, Haath Ki Safai, Victoria No. Apradh, Kora Kagaz, Don, Muqaddar Ka Sikandar, Lawaris and Vidhata, catapulting themselves to the top league with RD Burman and Laxmikant Pyarelal. Other stalwarts of the Golden Era had already faded or were on the decline. Shankar Jaikishan owed their supremacy in the 6. Rafi. In the new era they had a major success with Rajesh Khanna starrer Andaaz (1. While Rafi sang a largely forgotten Re mama re mama re, Kishore Kumar had a winner Zindagi ek safar hai suhana singing for Rajesh Khanna.  Incidentally there is also a Rafi slow version for Shammi Kapur, but again the Kishore Kumar version stood out. Madan Mohan valiantly continued with Rafi in songs like Teri ankhon ke siwa duniya mein rakha kya hai(Chirag), Ye duniya ye mehfil mere kaam ki nahin(Heer Ranjha), Tum jo mil gaye ho(Hanste Zakhm) etc, which all sounded the same.

Coming to Mausam (1. Dil dhoondta hai phir wohiwas in Bhupinder’s voice. Rafi sang Chhadi re chhadi kaise gale mein padi. The song hardly enhances the prestige of Rafi. There was a time when Rafi could sing a chhadi (stick) song Laal chhadi maidan khadi, which would make the song and Shammi Kapoor a cult figure (Jaanwar, 1.

For over the next 1. Rafi continued singing, the same story repeated. Whatever Rafi did, Kishore Kumar did one better.

He would sing for Rajesh Khanna, and later he would become the voice of Amitabh Bachchan. He would sing for Dharmendra, Vinod Khanna, Vinod Mehra, Jackie Shroff, Rishi Kapoor, Anil Kapoor and everyone.  And as the ultimate irony, he also sang for Dilip Kumar – Saala main to saheb ban gayain the film Sagina Mahto.  Lest you thought this was an aberration, Kalyanji Anandji used Mahendra Kapur to sing for Dilip Kumar in Gopi – Ramchandra kah gaye Siya se aisa kaliyug ayega.  Kishore Kumar would sing the iconic paan song Khaike paan Banaraswala, and he would sing the bhang song Jai jai Shiv Shankar.  He would sing from ghazal Dil aaj shayar hai gham aaj naghma haito drunken song Peenewalon ko peene ka bahana chahiye. He would sing for the street performer, Ei hai Bambai nagariya tu dekh babuato the night club to a five star hotel party to a rock concert, Apni to jaise taise thodi aise ya waise kat jayegi, Pag ghunghroo baandh Meera nachi reand Sara zamana haseeno ka deewana. Three O`Clock High Full Movie Online Free. He could sing of the life’s ebullient and carefree journey Zindagi ek safar hai suhana, and he would be the voice to express sombre uncertainty of life Zindagi ka safar hai ye kaisa safar. In his voice the evening could be passionate and intoxicating Ye sham mastani madhosh kiye jaye, but at times it could also be melancholy Wo sham kuchh ajeeb thi ye sham bhi ajeeb hai.

He would sing the holi song Aaj na chhorenge bus humjoli khelenge hum holi, and he would sing the wedding song Le jayenge le jayenge dilwale dulhaniya le jayenge.

Feb by Arab Times. Published on Feb 1.