Abhas Kumar Ganguly was born in Khandwa, now in Madhya Pradesh, to Kunjilal Ganguly, a Brahmin lawyer by profession, and Gouri Devi, both of whom came from wealthy landowning families. Kishore was the youngest in the Ganguly family, preceded by Ashok, Sati, & Anoop. While Kishore was still a child, his brother Ashok became a Bollywood actor. Later, Anoop also ventured into cinema with Ashok's help. Post Ashok Kumar's stardom, the Ganguly family shifted base to Mumbai. This was also the time when Abhas Kumar Ganguly changed his name to Kishore Kumar. His first venture into the big cinema career was as a chorus singer in the film "Bombay Talkies". His first film as an actor was in the film called "Shikari" which was released in the year 1946, wherein Ashok Kumar was the lead hero. In 1948, Kishore Kumar got a chance to sing the song "Marne Ki Duayen Kyon Mangu" for the film "Ziddi". After this, he got many other assignments, but he was not very serious about a film career. Although his films flopped initially, he achieved success as a comic hero with movies like "New Delhi", "Half Ticket" and "Padosan". All the praise and honor for his acting skills was still not the platform for his successful throne. He achieved his varied and unrivalled fame only after he was recognized as an established singer. Spending time with his brothers, Kishore became interested in films and music. He became a fan of singer-actor K. L. Saigal—whom he considered his vocal guru—and tried to emulate his singing style.The popular music director Sachin Dev Burman, who was impressed by his singing skills, advised him not to copy Saigal but develop and condense his own style. Kishore kept this advice in mind and eventually developed his own style of singing, prominently featuring the yodelling that he had heard on some records bought by his brother Anoop. In the Bollywood music circles, yodelling became Kishore's trademark.
With time, music directors started recognizing the potential of Kishore Kumar and he became one of the leading singers in the Indian film industry. The 1960s was a lean patch in Kumar's career graph. Most of his films bombed at the box office. However, in 1969 the tables turned once again, as R. D. Burman took over the recording initiatives after S. D. Burman fell ill for the film "Aradhana". R. D. Burman deployed Kishore Kumar to sing the songs "Mere Sapno Ki Rani" and "Roop Tera Mastana", both of which gained instant recognition and success at the box-office. Kishore Kumar also won his first Filmfare award for the song "Roop Tera Mastana". During the 1970s and 1980s, he sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor and Jackie Shroff.
With R. D. Burman, Kishore delivered great hits "O Maanjhi Re" from Khushboo, "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Kuchh To Log Kahenge" from Amar Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), "Musafir Hoon Yaaron" from Parichay (1972), "Diye Jalte Hain" from Namak Haraam (1973), "Meri Bheegi Bheegi Si" from Anamika (1973), "Zindagi Ke Safar Mein" from Aap Ki Kasam (1974), "Agar Tum Na Hote", "Humein Tum Se Pyaar Kitna" from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and "Chingari Koi Bhadke" (Amar Prem), "Jab Bhi Koi Kangana" from Shaukeen. Apart from the Burmans, Kishore Kumar worked with other music directors such as Laxmikant-Pyarelal, Rajesh Roshan, Sapan Chakravarty, and Bappi Lahiri.
His low-profile marriages to some of the most popular and attractive Bollywood actresses (Madhubala, Yogeeta Bali, Leena Chandavarkar) raised eyebrows, but added to his witty, eccentric persona although close friends and colleagues remember him as being reticent and sentimental.
During the Indian Emergency in 1975-77, Kishore refused to sing for Indira Gandhi's 'Emergency Propaganda'. In retaliation, she banned his songs on all national media. When Amitabh Bachchan refused to do a guest appearance in a film produced by him, Kishore stopped singing for the actor, which affected the latter's future film endeavours immensely. By the late 1980s, Kishore had grown tired of the type of songs he was singing and decided to retire from the industry. Later in the 1970s and early 1980s, Kishore Kumar produced and directed movies such as "Badhti Ka Naam Daadhi" (1978), "Zindagi" (1981) and "Door Wadiyon Mein Kahin" (1980). His last appearance as an actor was in "Door Wadiyon Mein Kahin". In the mid-1980s, Kishore Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, "Woh Saat Din" and also recorded "Mr. India". He sang a duet with Alka Yagnik, "Tumse Badhkar Duniya Mein Na Dekha" for "Kaamchor". He also recorded some songs for the film "Saagar" with R. D. Burman.
On October 13th 1987, co-incidentally also the birthday of his elder brother Ashok Kumar, Kishore suffered a heart attack and breathed his last. His untimely and unexpected death shocked the entire nation. He left behind a rich vocal and visual legacy and millions of fans who still prefer his rich-coffee baritones over present-day playback singers.
Ek Din Pakhi Ure Jabe
Kishore Kumar Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ekdin pakhi urey jabe je akashe
Firbe-na se to ar. karo akashe. Ekdin, aa ha ha hm hm.
Buke jeno badoler oi, megh jome na.
Mon venge dite jeno ar, jhor ashe na.
Taare vebe karo chokhe jeno jol na ashe.
karo akashe.
Ekdin Pakhi Urey
Firbe-na se to ar. karo akashe. Ekdin.
Udashir banshi ar keno, keu to shone na.
Kono-din keu tar keno, mon to bojhe na.
Ghor chere konodin jeno seshe pothe na boshe.
Pothe na boshe.
Ekdin Pakhi Urey
Ekdin pakhi urey jabe je akashe
Firbe-na se to ar. karo akashe.
Ekdin.
The lyrics to Kishore Kumar's song Ekdin Pakhi Ure Jabe reflect the sentiments of someone who is longing for a better tomorrow. The opening lines speak of a bird flying away into the sky and never returning, symbolizing the fleeting nature of time and how we must make the most of every moment. The following lines describe a sense of unease and restlessness, as if the singer is waiting for something to happen but nothing ever does. The image of a storm brewing is used to convey this feeling, with the singer hoping that the storm will never come, and that everything will remain calm and peaceful.
The second stanza describes a sense of isolation and loneliness, with the singer wondering why no one seems to listen to the sad songs they play on their flute. They cannot understand why no one seems to feel the same way they do, and why there seems to be a disconnect between their heart and the world around them. The final lines suggest a sense of resignation, with the singer accepting that they may never find what they are looking for, and that they will continue to wander aimlessly.
Overall, the song is a poignant reflection on the human condition, and the universal themes of hope, longing, and despair.
Line by Line Meaning
Ekdin pakhi urey jabe je akashe
One day, the bird will fly away in the sky
Firbe-na se to ar. karo akashe. Ekdin, aa ha ha hm hm.
It won't come back. It will be someone else's sky. One day, ah ha ha hm hm.
Buke jeno badoler oi, megh jome na.
As if a storm cloud is in the heart, but it won't rain
Mon venge dite jeno ar, jhor ashe na.
Trying to control the mind, so the storm won't come
Taare vebe karo chokhe jeno jol na ashe. karo akashe.
Hoping that tears don't come to anyone's eyes while looking at the stars in the sky.
Udashir banshi ar keno, keu to shone na.
The flute of sadness no longer plays, and no one is listening
Kono-din keu tar keno, mon to bojhe na.
One day, no one will understand the pain
Ghor chere kono-din jeno seshe pothe na boshe. Pothe na boshe.
Leaving home, but never arriving at the destination. Never arriving.
Contributed by Elizabeth H. Suggest a correction in the comments below.
@arittroganerjogot8978
একদিন,পাখি উড়ে
একদিন,পাখি উড়ে যাবে যে আকাশে
ফিরবে না সে তো আর কারও আকাশে ।।
বুকে যেন বাদলের ঐ,মেঘ জমে না
মন ভেঙে দিতে যেন আর,ঝড় আসে না
তারে ভেবে কারও চোখে যেন জল না আসে।
কারও আকাশে............................।।
একদিন,পাখি উড়ে যাবে যে আকাশে
ফিরবে সে তো আর কারও আকাশে ।
উদাসীর বাঁশি আর কেন,
কেউ তো শোনে না,কোনদিন কেউ তার কেন
মন তো বোঝে না.........................।।
ঘর ছেড়ে কোন দিন যেন শেষে,পথে না বসে
পথে না বসে..............................।।
একদিন,পাখি উড়ে যাবে যে আকাশে
ফিরবে সে তো আর কারও আকাশে ।।
@ashischakraborty7102
My son has lost his mother this year, as he is now 10 years of age, every day he looks on the sky, searching his mother, and listen this song. Love you Kishore da.
@bristibristi9236
Darun
@bhaskardas6990
vison kasto hoche cheletir katha vebe.
@mm__1659
https://youtu.be/k-4XjlFeeow
Ei gan tar moto ....o tota pakhi re
@pratibhapeherwar9405
Aapke bete ke bare me sunkar bahut dard hua Bhagwan aap aur bete ko ye sahane ki takat de Samay bahut balwan hai Aap use ma baap bankar pale Say ke sath aap sambhal jayenge
@ashischakraborty7102
@@pratibhapeherwar9405 Thanks for your nice comments
@alghalibccr9028
ভারতীয় উপমহাদেশের অন্যতম সেরা একজন শিল্পী, যার গানের প্রতিটা লাইনে রয়েছে আবেগ ♥️♥️♥️♥️
@KanchanKarmakarvulcan
এই গান শুনলে পুজোর সময়ের কথা মনে পড়ে। সেই সময়ে এক আলাদা আনন্দ ছিলো যা এখন নেই, এখন আর পুজোর গানই হয় না।
@rio7228
😢😢😢 সত্যিই সেই দিন গুলো হারিয়ে গেছে কোথায় যেনো
@golamkibriakcc7396
আসলে প্রেম পিরিতির গান বাজনার সাথে পূজার যে কোন সম্পর্ক নেই এই সত্যটা আস্তে আস্তে মানুষের সামনে উন্মোচিত হতে শুরু করেছে। এসব গান উপভোগের জন্য উপযুক্ত পরিবেশ হলো সিনেমা হল, থিয়েটার মঞ্চ বা কনসার্ট অনুষ্ঠান। যে গানের কথাগুলো বিধাতার প্রতি আকর্ষণ তৈরি না করে প্রেমিকার প্রতি প্রেম উথলে দেয় সেগুলো কি কখনো উপাসনালয়েচালানো ঠিক? এতে কি উপাসনালয়ের পবিত্রতা ও ভাবগাম্ভীর্যতা ক্ষুন্ন হয় না?