Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Aankhon ko milaa yaar se peene ka mazaa le

Posted on: July 13, 2012


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I had played my 78 RPM record (No. N.52584) of the song ‘ajab hai daastaan teri ae zindagi’ from the film ‘Shararat’ (1959) umpteen times on my record player in my younger days. But it did not occurr to me at that time that there was something amiss about this song. It was much later I came to know that in this song, Mohammed Rafi had given playback for Kishore Kumar. .

With the advent of internet, more surprises were in store for me. I found that there were few more cases where not only Mohammed Rafi, MannaDey but even Asha Bhonsle had also given playback for Kishore Kumar. In this blog, six such songs have already been discussed. Except in one or two cases, in my view, all such songs could have been sung by him. So what prompted music directors to use other playback singers for him? Since I could not get convincing answers to this while searching on the internet, I did some guess work in seeking the reasons :

1. In ‘Shararat’(1959), Kishore Kumar had double roles. In the first half of the film, he is paired with Meena Kumari and he sings 3-4 songs on himself. Towards the close of the first half, he dies consuming poison. During the second half, he dons the role of a younger brother of Raj Kumar who has already married Meena Kumari. In this slot, he is paired with Kumkum. So being a different character, Mohammed Rafi sings for him in the second half of the film. In ‘Baap Re Baap’ (1955), since he dressed as a lady in the song ‘jaane bhi de chhod ye bahaanaa’, Asha Bhonsle sings for him.

2. I find from Kishore Kumar’s filmography that as an actor, the years 1955-65 was the most busy period for him. It was quite possible that due to paucity of time at his disposal, especially for songs which required rehearsals of longer duration (example : ‘man moraa baawra from ‘Raagini’), he may have suggested other playback singers to sing for him.

3. It may have been deliberate attempt on the part of producers/directors, music directors or even Kishore Kumar to get the songs sung by different playback singers to add to some novelties or surprises on the filmgoers and listeners of the songs.

4. Kishore Kumar had excellent relations with his fellow singers like Mohammed Rafi and Manna Dey. It was quite natural especially for fan clubs and film scribes to make comparisons among the playback singers. Probably, as a part of the strategy to nip in the bud any misunderstanding that may be created by such comparisons, Kishore Kumar thought of this idea of prominent playback singers like Mohammed Rafi and MannaDey giving playback for him.

5. Lastly, this could be a part of Kishore Kumar’s eccentricity. He could have just told the producers/music directors that he was not in a mood to record the song and if they were in a hurry, they could get the song recorded in other playback singer’s voice.

The reasons I have guessed may not be mutually exclusive. It is quite possible that a combination of these factors may have influenced the decision to use other playback singers for Kishore Kumar.

Here is one more of such songs from the film BAAGAM BAAG(1956). The song is ‘aankhon ko milaayaar se peene kaa mazaa le’ written by Majrooh Sultanpuri and set to music by OP Nayyar. This is a duet song composed in qawaali style in which Mohammed Rafi and S D Batish are giving playback for Bhagwan and Kishore Kumar respectively. I have a feeling that for the first two lines of the song, it is Mohammed Rafi who is singing for Kishore Kumar and then continues to sing for Bhagwan. S D Batish starts giving playback for Kishore Kumar from the second last line of the mukhda. I would request the readers to confirm my presumption. If it is so, probably, this may be the only song in which two play back singers have given playback for Kishore Kumar in a single song.

Audio

Video

Song-Aankhon ko milaa yaar se peene ka mazaa le(Bhaagambhaag)(1956) Singers-Rafi, S D Batish, Lyrics-Majrooh Sultanpuri, MD-O P Nayyar
Rafi + S D Batish

Lyrics

dil diyaa daulat ko
ae insaan toone kyaa kiyaa
bhool baithaa pyaar ko
naadaan toone kyaa kiyaa

aa aa aa aa aa
aankhon ko milaa yaar se
aa aa aa aa aa
aankhon ko milaa yaar se
peene kaa mazaa le
aankhon ko milaa yaar se
peene kaa mazaa le
arrey mit kar kisi diladaar pe
jeene kaa mazaa le
mit kar kisi dildaar pe
jeene kaa mazaa le

daulat ki hawas chhod kahin
pyaar mein so jaa
aur jalawon ki barsaat mein
hastee ko dubo jaa

phirrrr
arre phir jhoom ke
aa aa aa aa aa
phir jhoom ke saawan ke
maheene kaa mazaa le
phir jhoom ke saawan ke
maheene kaa mazaa le

aahe
aankhon ko milaa yaar se
peene kaa mazaa le
mit kar kisi dildaar pe
jeene kaa mazaa le

aa aa aa
gaafil kabhi
paise ke tu nazadeek na jaanaa
khanzar hai ye
khanzar ko gale se na lagaanaa
aa aa aa
ye zindagi do din ki hai
aa aa aa aa aaa
ye zindagi do din ki hai
jeene kaa mazaa le
ye zindagi do din ki hai
jeene kaa mazaa le
aankhon ko milaa yaar se
peene kaa mazaa le
mit kar kisi dildaar pe
jeene kaa mazaa le

aa aa aa
daulat se chalaa pyaas bujhaane tu jigar ki
aa aa aa aa aa aa
daulat se chalaa pyaas bujhaane tu jigar ki
aa aa aa
bah jaa kahin maujon mein
kisi mast nazar ki

aa aa aa aa aa
pyaasaa hai to is mauj se
aa aa aa aa aa
arey pyaasaa hai to is mauj se
peene kaa mazaa le
pyaasaa hai to is mauj se
peene kaa mazaa le
mit kar kisi dildaar pe
jeene kaa mazaa le
aankhon ko milaa yaar se
peene kaa mazaa le
aahe aankhon ko milaa yaar se
peene kaa mazaa le

1 Response to "Aankhon ko milaa yaar se peene ka mazaa le"

From what I have read, Kishore Kumar wasnt considered a “real singer” for a long long time since he had no formal training. Sajjad Hussain used to call him “Shor Kumar” but then he also called Talat also “Galat”. Anyways except Dev Anand, no other major star used his voice till late 60s. Even for his own movies, many times, music directors and producers felt that voice of Rafi Saab would give more credibility and would be good for marketing, especially if it wasnt a dhamal-masti type of song, for which only Kishore Kumar was considered good. The way he excelled in mid to late 80s for Anil Kapoor, Jackie Shroff, Sanjay Dutt, etc, seems he would have been excellent for next generation of Khans as well. So, essentially Kishore Kumar was 20 years ahead of his time, and the Kumars (Dilip, Rajendra, Manoj, Raaj) and Kapoors (Raj, Shammi, and even Shashi for almost entire 60s) had no use for Kishore.

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