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Maverick of many shades Kishore Kumar

It has been over two decades since his premature demise, but his songs still haunt many and his fans are spread across all age groups. He is not only the ultimate ‘Guru’ for the 30 plus crowd but many from the Gen X consider him to be the definitive singing intellect in the film world.

“He was versatile! Kishore da could sing any number and it touches the inner core of the heart. His songs are loaded in my ipod and my mobile. He voice brings in a whiff of freshness whenever I plug the earphones in my ears. I have categorised the songs depending on the moods,” says Srinivas, a third-year engineering student.

Youngest of the Kumar brothers (Ashok and Anoop), Abhas Kumar Ganguly moved to Bombay at the age of 18 from his native village Khandwa in Madhya Pradesh, to try his luck in acting. He changed his name from Abhas to Kishore Kumar and joined the Bombay Talkies as a chorus singer without even knowing the rudiments of music. He found few offers coming his way though his elder brother Ashok Kumar held sway at the talkies. His first break came with the offer of a small role in the film Ziddi by Khemchand Prakash. During the shooting, Khemchand heard him sing between a break and asked him to record a song for the movie. The song was ‘Marne ki duayen lyon maangon’.

His rise to stardom was also related to a freak incident. The veteran music director S.D. Burman, during one of his visits to Ashok Kumar’s house, heard Kishore sing in the bath. He waited to meet him and the rest was history. Kishore Kumar announced his arrival with the hit number ‘Mere sapnon ki rani’ in the film Aradhana, music for which was composed by S.D. Burman.

After the success of Aradhana, he never looked back. Delivering hit after hit, he lent his voice to many superstars and the list includes the likes of Rajesh Khanna, Amitabh Bacchan and Dev Anand. He was the first person to introduce yodelling in Indian film music.

“He breathed life into music,” says Prajit, an upcoming singer and a die-hard Kishore fan. Narrating an incident from Kishore’s biography he says, “During the recording of the song ‘Mera jeevan kora kagaz’ for the film Kora Kagaz, he asked the music directors Kalyanji-Anandji for a piece of white paper and drew some dotted lines on it. He then stuck the paper in the recording enclosure and sang the song in one take, by simply looking at it. The singer later claimed that he used the paper to reflect the feelings of loneliness.” He also adds that it is the dream of every promising singer to imitate him but none succeeds.

The old albums of Kishore Kumar are still a huge hit with the music companies. “The singer’s old albums that are reproduced by different music companies each year sell like hot cakes. Young or old alike walk through the door for the albums throughout the year. His songs have become immortal. The music companies record the same songs by the changing the mix and still they become hits. Kishore Kumar albums are our staple diet. The demand for new releases last for a month or two but his songs continue to be in vogue. College students come and ask for originals and they shun remixes,” says Ramesh, manager of a music shop.

The owner of a cell shop adds that Kishore ring tones are very popular among the Gen X. “They take it as a pride to load one of his songs as ring tone,” he says.

Kishore was not only famous for his singing but was also an actor.

He was regarded as a complete entertainer. He acted in over 81 films, directed 12 films, produced 14, won 8 Filmfare awards and was nominated for 19 times.

In the film world, he was also well-known for his antics and eccentric behaviour. Once, a producer went to court to get a decree that Kishore Kumar must follow the director’s orders. Next day, he did go to the sets but refused to alight from his car until the director ordered him to do so.

In another incident, in a car scene in Mumbai, he drove on till Khandala because the director forgot to say ‘cut’. Despite all his antics, he was a legend and continues to rule in the hearts of many.

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