Kishore Kumar (4 August 1929 – 13 October 1987) was an Indian playback singer, actor, music composer, lyricist, producer, director, and story writer. He is regarded as one of the most successful playback singers in Hindi cinema. Apart from Hindi, he sang in Bengali, Marathi, Gujarati, Assamese, Kannada, Bhojpuri, Malayalam, Odia, and other languages, and recorded private albums — especially in Bengali — that are remembered as all-time classics. He won eight Filmfare Awards for Best Playback Singer, a record in that category. The Madhya Pradesh Government honoured him with the Lata Mangeshkar Samman for 1985–86; in 1997 it instituted the annual Kishore Kumar Samman for outstanding contributions to Hindi cinema in the categories of actor, lyricist, story writer, and director.

Early life

He was born in Khandwa, Central Provinces (now Madhya Pradesh), into a Bengali family, as Abhas Kumar Ganguly. His father, Kunjlal Ganguly, was a lawyer; his mother, Gauri Devi, was a housewife from a wealthy Bengali family. Kishore was the youngest of four siblings — Ashok Kumar (the eldest), Sati Devi, and Anoop Kumar. While he was still a child, Ashok Kumar became a Bollywood actor. Young Kishore was a devoted admirer of the legendary singer-actor K. L. Saigal, whom he regarded as his guru and whose style he tried to emulate. He passed Inter I Year at Christian College and took a compartment in Economics in the second year, which he did not complete.

After Ashok Kumar became a star of Hindi films, the Ganguly family visited Mumbai regularly. Kishore Kumar began his cinema career as a chorus singer at Bombay Talkies, where his brother worked.

First films and playback breakthrough

His first film appearance was in Shikari (1946), in which Ashok Kumar played the lead. Music director Khemchand Prakash gave him a chance to sing “Marne Ki Duyayen Kyon Maangun…” for Ziddi (1948). More offers followed, but he was less interested in building an acting career than in establishing himself as a playback singer. In the 1950s he became known both as a singer and as an actor; he sang frequently for Dev Anand and for himself, and from the early 1970s he sang for many other leading actors as well.

S. D. Burman and early mentors

S. D. Burman is credited with recognising Kishore Kumar's gift for singing. During the making of Mashaal (1950), Burman visited Ashok Kumar's home and heard Kishore imitating K. L. Saigal. He encouraged him to develop a style of his own rather than copy Saigal. Kishore Kumar went on to develop a distinctive voice, including yodelling inspired by records of Tex Morton and Jimmie Rodgers. S. D. Burman recorded him for Dev Anand in Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), Paying Guest (1957), Guide (1965), Jewel Thief (1967), Prem Pujari (1970), and Tere Mere Sapne (1971). He also composed for Kishore's home production Chalti Ka Naam Gaadi (1958). Memorable songs from this partnership include “Maana Janaab Ne Pukaara Nahin…” from Paying Guest, “Hum Hain Raahi Pyaar Ke…” from Nau Do Gyarah, “Ae Meri Topi Palat Ke Aa…” from Funtoosh, “Ek Ladki Bheegi Bhaagi Si…” and “Haal Kaisa Hai Janaab Ka…” from Chalti Ka Naam Gaadi, and “Are Yaar Meri Tum Bhi Ho Gazab…” from Teen Deviyan (1965).

C. Ramchandra also recognised his talent; they worked together on songs such as “Eena Meena Deeka…” from Asha (1957). Among other early favourites Kishore Kumar often cited were “Nakhre Wali Nakhre Wali…” from New Delhi (1965) (Shankar–Jaikishan), “C.A.T. Cat Maane Billee…” and “Ham To Mohabbat Karega…” from Dilli Ka Thug (1958) (Ravi), and “Chhedo Na Meri Zulfein…” from Ganga Ki Lahren (1964) (Chitragupta).

Jhumroo, Padosan, and Aradhana

He produced, directed, acted in, and composed the music for Jhumroo (1961), and wrote the lyrics for the title song “Main Hoon Jhum Jhum Jhum Jhumroo…”. After seeing Satyajit Ray's Pather Panchali, he made Door Gagan Ki Chhaon Mein (1964), for which he also wrote the script and composed the music; it portrays the bond between a father (Kishore Kumar) and his deaf-and-mute son (played by his son Amit Kumar). In the 1960s, as an actor, he became known for arriving late on sets or missing shoots; several films did not fare well and he faced income-tax difficulties. As a singer, highlights from this period include “Zaroorat Hai Zaroorat Hai…” from Manmauji (1961), “Gaata Rahe Mera Dil…” from Guide (1965), and “Yeh Dil Na Hota Bechara…” from Jewel Thief (1967).

In the late 1960s, Rahul Dev Burman worked with him on Padosan (1968); Kishore Kumar sang “Mere Saamne Wali Khidki Mein…” and “Kehna Hai Kehna Hai…”. The comedy featured Kishore Kumar as a dramatist-musician, Mehmood as a Carnatic music and dance teacher, and Sunil Dutt as the simpleton Bhola; his character was inspired by his uncle, the classical singer Dhananjay Banerjee. Shakti Samanta's Aradhana (1969) brought three of his songs — “Mere Sapnon Ki Rani…”, “Kora Kagaz Tha Yeh Man Mera…”, and “Roop Tera Mastana…” — and established him as a leading Bollywood playback singer. He won his first Filmfare Award for “Roop Tera Mastana…”. The film also made Rajesh Khanna a superstar. The pairing of Kishore Kumar's voice with Rajesh Khanna's screen presence produced many popular romantic songs and several silver-jubilee hits; young audiences were drawn to both the actor and the singer. Kishore Kumar became the dominant playback voice for three superstars — Dev Anand, Rajesh Khanna, and Amitabh Bachchan — and through the 1970s and 1980s sang for Dharmendra, Jeetendra, Shashi Kapoor, Rishi Kapoor, Randhir Kapoor, Sanjeev Kumar, Mithun Chakraborty, Sunil Dutt, Vinod Khanna, Rajeev Kapoor, Vinod Mehra, Dilip Kumar, Rakesh Roshan, Pran, Jagdeep, Asrani, Parikshit Sahni, Anil Dhawan, Naveen Nischol, Aditya Pancholi, Sachin, Naseeruddin Shah, Raj Babbar, Sanjay Dutt, Sunny Deol, Anil Kapoor, Rajinikanth, Jackie Shroff, Govinda, Kumar Gaurav, and Javed Jaffrey. Many of Amitabh Bachchan's best-known songs were sung by Kishore Kumar and remain favourites with listeners.

Songs with S. D. and R. D. Burman

S. D. Burman and Kishore Kumar continued to create classics such as “Phoolon Ke Rang Se…” and “Shokhiyon Mein Gholaa Jaaye…” from Prem Pujari (1970), “Aaj Madhosh Hua Jaaye Re…”, “Khilte Hain Gul Yahaan…”, and “O Meri Sharmilee…” from Sharmilee (1971), “Meet Na Mila Re Man Ka…” and “Tere Mere Milan Ki Yeh Raina…” from Abhiman (1973), and “Jeevan Ki Bagiya Mehkegi…” and “Hey Main Kasam Li…” from Tere Mere Sapne (1973). In 1975, S. D. Burman composed his last song for Kishore Kumar — “Badi Sooni-Sooni Hai…” from Mili.

R. D. Burman recorded many songs with him in the 1970s, including “Yeh Shaam Mastani…”, “Pyaar Diwana Hota Hai…”, and “Yeh Jo Mohabbat Hai…” from Kati Patang (1970); “Chingaari Koi Badhke…”, “Kuchh To Log Kahenge…”, and “Yeh Kya Hua Kaise Hua…” from Amar Prem (1971); “O Majhi Re…” from Khushboo; and “Jab Bhi Koi Kangana Bole…” from Shaukeen. Though not trained in classical music, Kishore Kumar sang semi-classical numbers R. D. Burman gave him, such as “Hamein Tumse Pyaar Kitna…” from Kudrat and “Mere Naina Sawan Bhadon…” from Mehbooba. R. D. Burman also paired him with Asha Bhosle and Lata Mangeshkar on duets including “Jaane Jaan Dhoondhta Phir Raha…” from Jawani Diwani, “Kisi Shayar Ki Ghazal…” from Dream Girl, “Neend Chura Ke Raaton Mein…” from Shareef Badmash, “Panna Ki Tamanna Hai…” from Heera Panna (1973), “Rimjhim Gire Sawan…” from Manzil, and “Kya Yahi Pyaar Hai…” from Rocky (1981).

Other music directors

Beyond the Burmans, Kishore Kumar worked with many leading composers. Laxmikant–Pyarelal wrote numerous hits for him, including “Mere Mehboob Qayamat Hogi…” from Mr. X in Bombay (1964), “Mere Naseeb Mein Ae Dost…” from Do Raaste, “Yeh Jeevan Hai…” from Piya Ka Ghar, “Mere Dil Mein Aaj Kya Hai…” from Daag, “Nahin Main Nahin Dekh Sakta…” from Majboor, “Mere Diwanepan Ki Bhi…” from Mehboob Ki Mehndi, “Naach Meri Bulbul…” from Roti, “Chal Chal Mere Haathi…” from Haathi Mere Saathi, “Ek Haseena Thi…”, “Om Shanti Om…”, and “Tu Kitne Baras Ki…” from Karz. Laxmikant–Pyarelal also teamed him with Mohammed Rafi on duets for Dostana, Ram Balram, and Deedar-E-Yaar, and composed “Kaate Nahin Kat Te Yeh Din Yeh Raat…” for Mr. India (1987), a duet with Alisha Chinoy.

Salil Chowdhury recorded songs such as “Koi Hota Jisko Apna…” from Mere Sapne and “Guzar Jaaye Din Din Din…” from Annadata. Ravindra Jain recorded “Ghungroo Ki Tarah Bajta Hi Raha Main…” and “Le Jayenge Le Jayenge…” from Chor Machaye Shor, and “Totaa Maina Ki Kahani…” from Fakira. Khayyam recorded many duets with Lata Mangeshkar, including “Hazaar Raahen Jo Mudke Dekhin…” from Thodi Si Bewafaai and “Aankhon Mein Humne Aapke Sapne Sajaye Hain…” and “Chandni Raat Mein Ek Baar…”. Hridyanath Mangeshkar recorded “Zindagi Aa Raha Hoon Main…” from Mashaal. Kalyanji–Anandji recorded “Zindagi Ka Safar…” and “Jeevan Se Bhari Teri Aankhen…” from Safar (1970), “O Saathi Re…” from Muqaddar Ka Sikandar, and “Pal Bhar Ke Liye…” from Johny Mera Naam.

He also worked with Rajesh Roshan, Sapan Chakraborty, and Bappi Lahiri. For Rajesh Roshan he sang “Bhool Gayaa Sab Kuchh…” (with Lata Mangeshkar) and “Dil Kya Kare Jab Kisi Ko…” in Julie, “Yaadon Mein Woh…” from Swami (1977), “Chhookar Mere Man Ko…” from Yaarana (1981), and “Kahiye, Suniye…” (with Asha Bhosle) from Baton Baton Mein. Bappi Lahiri recorded many songs with him, including “Pag Ghungroo Baandh…” from Namak Halaal (1982), “Manzilen Apni Jagah Hain…” from Sharabi (1984), “Muskurata Hua Gul Khilata Hua…” from Lahu Ke Do Rang, and “Nainon Mein Sapna…” from Tohfa. He also sang Bengali songs under Bappi Lahiri, such as “Chirodini Tumi Je Aamar…” from Amar Sangi (1987) and “Ae Aamar Gurudakshina…” from Gurudakshina (1987). His only song under Naushad was “Hello Kya Haal Hai…” for Sunehra Sansar (1975). During the Emergency (1975–1977), Sanjay Gandhi asked him to sing for an Indian National Congress rally in Mumbai; he declined, and Information and Broadcasting Minister V. C. Shukla imposed an unofficial ban on his songs on All India Radio and Doordarshan from 4 May 1976 until the Emergency ended.

Later work and death

He also produced and directed several films in the late 1970s and early 1980s, including Badhti Ka Naam Dadhi (1974), Shabash Daddy (1978), Chalti Ka Naam Zindagi (1981), and Door Wadiyon Mein Kahin (1980), his last appearance as an actor. He performed hundreds of stage shows in India and abroad.

His last recording was “Guru Guru Aa Jaao…” (with Asha Bhosle) for Waqt Ki Aawaaz (1987), composed by Bappi Lahiri and picturised on Mithun Chakraborty and Sridevi, on 12 October 1987. He died in Mumbai on 13 October 1987, aged 58, after a heart attack at his home, Gauri Kunj — the day after Ashok Kumar's 76th birthday. His body was taken to Khandwa, Madhya Pradesh, for cremation, in keeping with his wish to be laid to rest in his native place.