SOTD: Tadap Tadap Ke – Hum Dil De Chuke Sanam

  1. Reddemon 10 years ago

    One of my favourite song.
    P.s.- zara sa from jannat is my fav kk Song

  2. Ritz 10 years ago

    K Kunnath hits right notes with high octaves than lower ones. Its not like he is bad with lower octave but he is exceptionally good in higher one. Be it this song or Uyire Uyire from “Kaakha Kaakha”. ( Khwabon Khwabon from Force) and many more songs.

    Whenever he has sung song like “Akhon me teri” (OSO) – which are melodious but in lower octave – I always had a feeling that the songs are good but its more because of the tune than the singers contribution. Or in better words – the singer can be replaced with another one and still the song would sound good.
    But K Kunnath does best job with high octaves – not kind of like a trained classical singer (which he is not) – but a very good folk singer.

    This one is his landmark song:

  3. Suprabh 10 years ago

    KK has a very likable voice..and good range,,,

    I also like

  4. Author
    sputnik 8 years ago

    KK’s Interview – Telling it straight

    Krishnakumar Kunnath aka KK needs no introduction. The singer, who was initially heard in the Maachis number Chodh aaye hum (1996), has survived almost two decades in the industry. In fact, his range and popularity as a singer only seems to amplify with the years. Recently, his songs Tune maari entriyan from Gunday, Soniyo from Heartless and Piya aaye na from Aashiqui 2 made it to the chartbusters and became the pride of every music channel. That he has been unswerving in his renderings is envisaged from the fact that numbers like Tadap tadap ke (Hum Dil De Chuke Sanam), Awarapan banjarapan (Jism) and Alvida (Life In A… Metro) among many have assumed a timeless flavour thanks to his soulful resonance.

    Yet KK is not someone who will grab every opportunity that comes his way. “I have been selective from the beginning. If I sing just five-six songs a year, I feel it’s enough. I believe in doing good work. Recording a song everyday is not my cup of tea.” He’s a nonconformist and he knows it. “I like doing things my way. I can’t work under pressure. If someone asks me to record a song in an hour I refuse it. I can’t consider my work as a job. You can’t churn out something creative within a time limit. I may take anything from 20 minutes to three hours to sing a composition. But if you cannot record a song within three hours then it isn’t for you.”

    After graduating in Delhi, KK had a brief stint as a marketing executive in the hotel industry. He joined an advertising company later where he sang 3500 jingles in 11 languages before he took on music as a fulltime career. He credits his wife Jyothi Krishna and mentor Hariharan for his success. Incidentally, Hariharan heard him sing at the Meridian Hotel in Delhi and asked him to come to Mumbai. “My wife wanted me to try my luck in the city. I believed in her more than I believed in myself. I came to Mumbai in 1994. We were expecting our first born (son Nakul) then.

    I recorded two English songs on a cassette and gave it to Hariharan and Leslie Lewis.” Soon KK got the opportunity to cut a solo album Pal composed by Leslie Lewis for Sony.
    He then sang for AR Rahman in Sapne (Strawberry aankhein) and a few Tamil and Telugu songs. But unfortunately, the regional films didn’t release. “I had sung three songs for Shekhar Kapur’s Tara Rum Pum, which was shelved. I sang for Vishal Bhardwaj’s Hum Panchi Ek Daal Ke, which too got shelved. Nothing in life is in your hands.”

    Life took a somersault when music composer Ismail Darbar offered him Tadap tadap ke for Sanjay Leela Bhansali’s Hum Dil De Chuke Sanam (1996). “We recorded the song at 4 am. The entire team including Sanjay Leela Bhansali and Ismail Darbar spent the night in the studio. Sanjay is a reservoir of emotions. After the recording, he must’ve heard the song about
    30 times and cried while he heard it,” he says of the song that was tinged with the pain of separation. He’s quick to add, “I have suffered no tragedies in life. I married the girl I loved. I am a happy man. But if you can understand the lyrics then everything becomes easy. It’s all about convincing yourself that you can feel the pain.”

    He narrates another incident with Mahesh Bhatt during the film Jism (2002). “I had to record Awarapan banjarapan for Jism. Just before that I had recorded a tapori fun song. I was in a happy frame of mind when I came to the studio where Bhatt saab was waiting. He casually started talking about sad things. I began feeling depressed. Then I heard the tune and the lyrics of the song I had to record. I understood why Bhatt saab had got me in such a mood. Awarapan was all about sorrow and loneliness. Bhatt saab is such a great director that he can get anything out of anyone, be it an actor, singer or musician.”

    KK has worked with everyone from AR Rahman to Jeet Ganguly But he has kept a low profile. “I have never marketed myself. I give my 100 per cent to everything I do. But I vanish after my work is done. I thought people would make an effort to know who the singer is. Why blow your own trumpet?” But that wasn’t always so. “People actually never take the pains to know who the singer is. This pains me. I realise I was stupid not making myself known. When I go for shows, people realise how many superhit songs I have to my credit.”

    He goes on to say that legendary singers like Mohammed Rafi, Kishore Kumar, Mukesh, Lata Mangeshkar and Asha Bhosle are sheer genius and hence they are still heard and enjoyed. During the ‘90s singers like Shaan, Sonu Niigaam and Alka Yagnik managed to carve a niche for themselves. “But today it’s the fast food-scenario. The perception is that if a singer has sung five-six songs it’s considered enough, now we need a new singer. This reduces the lifespan of an artiste.” He adds, “There’s abundant talent and for newcomers the competition is stiff. Also, people don’t recognise independent music. It has few listeners. Private music should also be given importance so that avenues open up.” Doing stage shows is a lucrative option, says he, “It is not easy to survive only doing playback, especially for someone like me who sings few numbers in a year. Hence, doing stage shows is one way a singer can earn well.”

    Through the many ups and down, the one who supported him all along was his wife Jyothi. He dedicates the line, ‘Main jab bhi jahan bhi kadi dhoop mein tha… teri zulf ne mujh pe saaya kiya’ from his song Haan tu hai (Jannat) to his wife. “I never sing this song on stage. It makes me emotional. The same way, Yaaron dosti from Rockford and Pyaar ke pal from my album Pal move me. These songs are the milestones of my life.” KK’s children have inherited their father’s talent. “My son Nakul has been singing since the age of 10 (he sang the number Masti from his album Humsafar). He is more hardworking and dedicated than I am. He loves to play the guitar. He completed his education and left for Pondicherry where he’s learning music at the Swarnbhumi Academy. My daughter Taamara enjoys playing the piano.”

    Zen-like KK, is a part of the industry and yet away from it. “I’m reserved and shy. I don’t like partying or socialising. I feel weird in a crowd. But I can talk to someone alone for hours,” he explains his maverick personality. Apart from work, family is a priority. “No matter how busy you are, you must make time for your family. They are all you have. They stand by you through the changing seasons,” he says. He has yet another resolution. “I have resisted technology. But now I want to welcome it to make my music better.” Surely, success
    is about learning the new notes of the game.


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