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. Dev ve Shalu birbirlerini çok. Dil Bole Oberoi 15th March 2017 Written Episode, Written Update on TellyUpdates.com. Om calls out Chulbul. Gauri worries and says Om is calling Chulbul and I m. 3 There is also another version of this duet sung by Mukesh and Kamal Barot. Suman Kalyanpur had a special niche in folk based songs she sang with other female singers. Top 10 Songs; Indian Movies; Indian POP/Remix; Indian Artists; Old Hindi Songs; Punjabi Songs; Indian Ghazals; Telugu & Tamil Songs; Pakistani Albums; Instrumentals. Alka Yagnik has won several music awards for best female playback such as Filmfare Awards, National Awards, Bollywood Movie Awards, IIFA Awards, Star Screen Awards. 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. 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 . 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. And you have several more Kishore Kumar super hits, such as Main jahan chala jaoon bahar chali aye(Banphool, 1. Sachai chhup nahin sakti. 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. 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. 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. 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. 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. Kishore Kumar was the new Rafi, and more. He would define the popular music of 1. Rafi won the Flmfare and National Award for Kya hua tera vadafrom Hum Kisi Se Kam Nahin (1. But this could not be much of a consolation. It would be difficult to put this song among his greats or anywhere near Kishore Kumar’s iconic songs of the period. Rafi’s sudden fall from the pedestal must have been bewildering to him, as it was to his fans. Incidentally Manna Dey and Mukesh would not have suffered the same agony. Their strength was never in numbers but in quality, they were not as prolific as Rafi. In the new era too their well known songs can easily be placed among their greatest – Manna Dey’s Nadiya chale chale re dhara, Yaari hai imaan meri yaar meri zindagi, Zindagi kaisi hai paheli, Ae bhai zara dekh ke chalo; or Mukesh’s Duniya se janewale jane chale jate hain kahan, Kahin door jab din dhal jaye, Maine tere liye hi saat rang ke sapne chune, Jaane kahan gaye wo din, Main pal do pal ka shair hoon, Kabhi kabhi mere dil mein khayal ata haietc. Rewind the clock back to pre- 1. Rafi was the master of all he surveyed. He had his first major success with Naushad’s Suhani raat dhal chuki (Dulari, 1. Naushad juggled between Talat Mehmood and Mukesh as Dilip Kumar’s voice. But he soon settled on Rafi as his lead singer, and what immortal music they gave in Aan, Amar, Deedar, Baiju Bawra, Kohinoor, Mere Mehboob, Palki, Dil Diya Dard Liya, Ganga Jamuna, Leader etc. Shankar Jaikishan had a clear distinction – Mukesh for Raj Kapoor and Rafi for everyone else. SJ- Rafi combination made Shammi Kapoor into a cult figure. SJ owed their dominance in the 1. Rafi. OP Nayyar, Roshan and Ravi were also on Rafi bandwagon and created countless unforgettable melodies of the Golden Era. Among great composers only SD Burman used Kishore Kumar in some significant manner for Dev Anand. But he used several other singers, and Rafi was no less important for him than Kishore Kumar. In Jewel Thief (1. Aasman ke neeche for Kishore Kumar- Lata, he had Dil pukare aa re aa re aa rein Rafi- Lata’s voice. In Teen Deviyan (1. Kishore Kumar’s Khwab ho tum ya koi haqeeqator his duet with Asha Bhosle Are yaar meri tum bhi ho ghazab, Rafi’s Kahin bekhayal ho kar mujhe chhoo liya kisi neand Aise to na dekhowas more than adequate reply. In Guide (1. 96. 5), if he gave Kishore Kumar a duet with Lata, Gata rahe mera dil, all the beautiful solos, Kya se kya ho gaya, Din dhal jaye haye raat na jayeand Tere mere sapne ab ek rang hain, were in Rafi’s voice. If in Paying Guest, Fantoosh and Nau Do Gyarah SD Burman tilts towards Kishore Kumar, it is Rafi all the way in Tere Ghar Ke Samne,Kala Bazaar, Kala Pani and Bambai Ka Babu, and what unforgettable songs SD Burman- Dev Anand- Rafi combination gave such as, Khoya khoya chand, Dil ka bhanwar kare pukar, Tu kahan ye bata is nashilee raat mein, Hum bekhudi mein unko pukare chale gayein the late 1. On the other hand you have SD Burman- Rafi’s immortal songs in Kagaz Ke Phool, Pyasa, Insan Jaag Utha and Meri Soorat Teri Ankhen. A survey of SD Burman’s music for Rafi and Kishore Kumar pre- 1. Rafi. Kishore Kumar was nowhere a competitor to Rafi. None was, though Mukesh, Talat Mehmood, Manna Dey and Hemant Kumar commanded huge respect and following. Kishore Kumar was reckoned after them. And as if to make the position clear, many composers also used Rafi’s voice as playback for Kishore Kumar. In Shararat (1. 95. Kishore Kumar sang a beautiful song Hum matwale naujawan, yet Shankar Raikishan used Rafi’s voice for Ajab hai dastaan teri ye zindagito go on Kishore Kumar. Homeopathic medicine for men and women - Sex medicine for men and women - Make Money Online. Having impotency or a lot of desire but being unable to doing sex is the embracing thing for young. This article is about Homeopathic and herbal medicines for sex and cure impotency. Sex medicine for men: Selenium Cm: Selenium is the natural medicine for sex that improves penis health. Lack of erection is the symptom that selenium cures. 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