Mohd. Rafi - A Legend's Legend, His life and times - A Tribute Options

[SAJDAH]

Twenty six years without that beloved presence in our midst. Has it really been that long ? Has there ever been a moment when that dulcet voice has been absent from our lives ? Just the thought is unimaginable. Entire generations have grown up, during this time. But they do share one common trait – their love for you – Rafi saab.
The face of the Hindi music industry has changed beyond recognition ; the quality, tone, and values of the playback artistes have never seen so much upheaval as in these past decades.
But, look deeper, and it is quite obvious – it’s the stamp of Rafi saab’s influence that’s always governed the popularity charts and trends, where it matters most – with the people.

Time instead of dimming memories, has only sharpened it – we cannot stop pining for the magic of that voice which still have us all under a spell. Simply put we cannot have enough of Rafi. That explains why we feel the insatiable need to plunder the rich treasury of music that he’s left behind for us.

Mohd. Rafi’s passage into the music world has been told and retold time and again, and all devoted music fans would now be quite familiar with it. Even so, some of them bear repeating again, if only for their fascinating value. The fortuitous meeting with K L Sehgal and being blessed by him at the Lahore concert is one such one. So, was the rare experience of co-singing ( even if they were only a few lines ! ) with K L Sehgal for the 1946 movie Shahjehan, under the musical baton of Naushad. To think that no other music legend of that era, not Lata Mangeshkar, nor Kishore Kumar, nor Mukesh or Talat got this unique experience is in itself amazing, particularly when one considers the reach they had in the industry compared to the young Rafi.
The song ‘Roohi Meri Roohi’ is now an unforgettable part of musical folklore.
And then came another rare experience of sharing a duet with the Mallika-e-Tarannum NurJehan in the 1947 movie Jugnu. The song ‘Yahan Badla Wafa’ composed by Firoze Nizami was a runaway hit, and they say that this song was on the lips of every youth in the country, even going beyond the Vindhyas – such was the rage. The song catapulted Rafi saab to ever ascending fame and glory, even in those troubled times the nation was passing through.

Rafi’s musical career graph owes its beginning to two mentors – composers Shyam Sunder and Naushad. The former is credited with introducing the young Rafi to the world of movies and the latter for grooming and nurturing the young singing talent. Rafi sung his first song a duet ( with Zeenat Begum ) ‘Soniye nee Heeriye’ for the Punjabi movie Gul Baloch. Who can ever forget the intricately laced duets with the still not out of NurJehan’s shadow Lata Mangeshkar in the movie Bazaar ? Composer Shyam Sunder notorious as a hard taskmaster and a perfectionist to the core, quickly perceived the potential in the two young would be singing legends – why else would he have brought them together like he did ?

Critics often voice the view that Rafi saab displaced the then popular singing stars of the era such as G M Durrani, Surinder and Shyam.
Well, there is no doubt that with Rafi’s entry into the world of Hindi music, (raw though it may have been then) nearly all competition was clean swept away. Of course there were Mukesh and Talat, and they had their own legion of followers. While Mukesh was yet to establish himself as the permanent voice of the showman Raj Kapoor ( Manna Dey came to be exploited much later ), Talat was still the thespian Dilip Kumar’s first choice. The irony was that both these singers were the top choices for the ruling heroes’ Dilip and Raj when Rafi was going through his struggling days. Naushad for instance wholly patronized Mukesh from the days of Anokhi Ada, Mela, Andaaz etc..So, did he with Talat in Babul, Mela etc..
The only exception was Dev Anand whose movie career took off ( after a string of flops ! ) with his favourite artiste Kishore Kumar giving the playback for the movie Ziddi under the music direction of Khemchand Prakash.
Rafi’s first song for Naushad was as a lead singer in a chorus song ‘Hindustan Ke Hum Hai’ for the movie Pehle Aap. Naushad recounts that at the time of recording, everyone felt that the song was found lacking in a marching beat. So, hurriedly a pair of military boots was procured from the infamous Mumbai’s Chor Bazar and Rafi was compelled to don them and march in time as well as sing – an incredible feat, that left the young singer’s feet more than a little chafed. But then, Rafi saab was no stranger to pain or hardships. He took it stoically in his stride spreading happiness and bliss through his divine voice and music.

Naushad must have liked the perseverance and devotion of the young Rafi, for he offered him a solo song in the 1946 movie Anmol Ghadi. ‘Tera Khilona Toota’ was noticed, despite it being under the shadow of the eternally beautiful duet in raga Pahadi ‘Awaz De Kahan Hai’ sung by Surinder and NurJehan.
I’ve always wondered why Naushad didn’t offer this duet to Rafi – surely it wasn’t due to any lack of belief in the new singer’s musical talent ? Of course, Surinder was only giving his own playback in this movie, but - what wouldn’t i give to hear this wondrous duet in Rafi saabs’ voice !
Strange are the ways of the commercial world of Hindi movies ! This was the same composer who gifted away one of the most powerful background songs ( A solo at that ! ) – ‘Chand Chupa Aur Tare Doobe’ in Sohni Mahiwal to the then rank newcomer Mahindra Kapoor.
After Anmol Ghadi came the title song from Mela ‘Yeh Zindagi Ke Mele’ which was another runaway hit. In Andaaz, he shared a duet with Lata Mangeshkar ‘Yun Toh Aapas Mein’, which was ironically picturised on Raj Kapoor, while Mukesh was the voice of Dilip Kumar ! Naushad’s next offered Dillagi’s ‘Is Duniya Mein Ai Dil Walon’ and ‘Tere Kooche Mein’ – Rafi saab’s rendition of both were soul-perfect.
It was soon to be followed by ‘Main Zindagi Mein Hurdam’ for Raj Kapoor’s Barsaat and the enchanting ‘Suhani Raat Dhal Chuki’ for Dulari.

The beauty of this timeless melody is only surpassed by the jewel of a voice that adorned it – Rafi’s. Even if for some reason, this was the only song that Rafi had ever sung for Hindi movies, it would still have assured him immortality, such is the bounteous grace and purity of that voice, that he displayed even then.

There was no looking back after that, for the young Rafi was on the way to creating musical history. The newly independent nation couldn’t have enough of Shaheed’s patriotic number ‘Watan Ki Raah Mein’ composed by Ghulam Haider and sung by Rafi with Khan Mastana. Yet another feather in the cap for our young legend in the making.
This article would suffer if the composer duo Pandit Husnlal and Pandit Bhagatram aren’t mentioned. Their immortal composition ‘Suno Suno Aye Duniya Walon’ in the voice of Rafi captivated the newly formed nation mourning the assassination of their beloved leader. This musical duo offered Rafi saab many a hit number in movies like Pyar Ki Jeet ‘Ek Dil Ke Tukde Hazaar Huye’ and Badi Behan ‘Muhobbat Ke Dhoke Mein’.

It has often been mentioned in the media that Rafi imitated K L Sehgal and G M.Durrani, which I think is erroneous. There is no truth to that story, whatsoever. While Mukesh’s early songs like ‘Dil Jalta Hai’ from Pehli Nazar and Kishore’s ‘Marne Ki Duayein’ from Ziddi clearly showed the stamp of Sehgal’s influence, no such song exists that proves beyond doubt that Rafi saab indeed tried to emulate K LSehgal’s vocal style.
It is one thing to admire someone’s style and quite another to try to let it influence your work.
As for the unsubstantiated claim of having tried to imitate G M Durrani - that’s totally baseless too.
Rafi saab never needed to copy anyone’s singing style. He set his own style. This can be clearly proved right from the very first song he sang for Naushad in Pehle Aap. Listen to the way he intones the line ‘Jahan Hari Khetiyan Jhoom Rahi Hai’, and then quick forward to the hit number from Karz ‘Darde Dil’. Is the voice, or the timbre or the diction any different despite the huge span of years in between ? Anyone with a discerning ear for music will corroborate to the same. More similar instances come to mind from ‘Yahan Badla Wafa’ to ‘Tera Khilona Toota’. Where oh where is the so-called ‘shadow’ of K L Sehgal’s and G M Durrani’s influence in these songs ?
In the mid 40’s and early 50’s, Rafi adopted a more restrained, ‘heavier’ timbre and style to his voice because the then movie songs mostly required it.
It was the demand of the times, rather than consciously trying to emulate someone.
Rafi saab radically kept changing and adapting his style in the eras to come, which is why there is a freshness to all his songs, which is sadly lacking in today’s singers. None could justly accuse Rafi of being monotonous, such was the spectacular variety of style that he introduced to Hindi film music. For every sizzler of a song like ‘Jawaniyan Yeh Mast’, he made sure there was a gentle ‘Tum Chale Jaaoge Parcchaiyan’. A ‘Husn Waale Tera Jawab Nahin’ along with a shocker like ‘Chahe Koi Mujhe Jangli Kahe’. A ‘Tum Ek Baar Muhobbat Ka’ to an ‘Akele Akele Kahan Ja Rahe Ho’.
The magic was in his voice – it was so adaptable there was nothing he could not do with it !

The singer with the Midas touch – that would be one way to describe his voice and music. In the 50’s and the 60’s when Rafi was at his career peak, he could hardly keep pace with the demands on his voice and time; such was the spell he cast on the nation which had absolutely nothing to do with petty commercial interests. Producers, film directors, lyricists, music composers, and actors flocked to Rafi saab because they knew that could make ALL the difference to their sometimes less than ordinary creations. Rafi could make or mar the box office success of a movie with the heady popularity of his timeless melodies set to tune by some of the most talented composers to have come together in a single era.

Rafi was Rafi because he sang with his whole being; it hardly mattered what emotions he was asked to contribute to each song. Every song that came to him, like a practised jeweller, he polished it up with his oh-so-pure voice and the final result was a sparkler of a song that has never stopped dazzling music lovers ever since.

Composer C.Arjun shared this incident at the recording of ‘Paas Baitho Tabiyat Behal Jayegi’ from Punarmilan. A certain something was evidently lacking, and it was Rafi saab who ‘fixed’ it by his creative introductory alaap. C. Arjun needless to say was one happy composer afterwards.
Who can ever forget the joie de vivre with which Rafi saab sang the peppy ‘Zulm Kare Zulf Ka Bikhar Jaana’ ( Main Aur Mera Bhai ) ? And the philosophical ‘Moorakh Hain Insaan’ ( also from the same movie) for the same composer ? Which other singer could do equal justice to the two having-nothing-in-common emotions with such breathtaking virtuosity ? None !

Regretfully Rafi saab was given a raw deal by several composers who had no hesitation to piggy-back at the beginning of their careers on his talent and popularity. One instance would be the Kalyanji Anandji brothers’. The older brother as Kalyanji Virji Shah extensively relied on Rafi’s vocals for nearly all the movies they gave music to, at the start of their musical career, such as Samrat Chandragupt, Preet Na Jaane Reet, Bedard Zamana Kya Jaane to mention some. It was the musical success of Jab Jab Phool Khile that their place in the Hindi music scene was firmly established. The songs needless to say were sung by Rafi saab.
Later on they switched their loyalties to other singers’ ( first Mukesh, and later Kishore, in the 70’s ). That was when they were not forging new partnerships with Mahindra Kapoor at the behest of the self proclaimed Mr. Bharat – Manoj Kumar. For some reason that only Manoj Kumar knew best, he too preferred Mahindra Kapoor over Rafi, despite the stupendous musical success of a movie like Do Badan. Can anyone forget ‘Naseeb Mein Jis Ke’, Raha Gardishon Mein Hardam’ and ‘Bhari Duniya Mein Akhir Dil’ ?
Even so, some of the most popular compositions in the 70’s were sung by Rafi for the Kalyanji Anandji brothers’ ( a quirk of Fate, nothing else ! ) in such movies as Raaz ( Akele Hain ), Geet ( Mere Mitwa Mere Geet ), Choti Bahu ( Yeh Raat Hai Pyaasi ), Gopi ( Sukh Ke Sab Sathi), Haath Ki Safai ( with Lata -Vaada Kar Le Sajna), Maryada ( with Lata- Yun Hi Tum Mujhse ), Ek Shriman Ek Shrimati ( with Asha- Pyar Toh Ek Din Hona Tha), Aamne Samne ( with Lata- Kabhi Raat Din ), Bairaag ( with Asha – Sare Shahar Mein ), Zanjeer ( with Lata- Diwane Hain), Upasna ( with Lata ‘AaoTumhen Main Pyar’ ), Qurbani ( with Asha- Kya Dekhte Ho ), Kaatilon Ke Kaatil ( with Lata – O Meri Morni ) etc..

Similarly, O.P.Nayyar, the temperamental composer with whom Rafi saab shared a successful musical partnership with a long line of hit movies from AaarPaar, CID, Tum Sa Nahin Dekha, Mr and Mrs 55, Choo Mantar, Ustad, Johnny Walker, Mujrim, Howrah Bridge, 12 O’clock, Kalpana, Phir Wahi Dil Laya Hoon, Mere Sanam, Sawan Ki Ghata, Baharen Phir Bhi Ayengi, Phagun, Naya Daur, Ek Musafir Ek Haseena, Yeh Raat Phir Na Ayegi, Kashmir Ki Kali, Hum Saya, etc.in a fit of pique substituted Rafi saab with Mahendra Kapoor, which proved to be a costly mistake at least in terms of career – it clearly marked the beginning of his downfall.
It is true, Rafi and Nayyar patched things up later, but it was never the same again.

R.D.Burman chose Rafi to sing for his first movie Chote Nawab ( all of its number’s are still evergreen ) – and then after the huge success of Teesri Manzil, and The Train started favouring other artistes. In fact, had it not been for producer / writer / director Nasir Hussain, perhaps he might not have made use of Rafi saab’s voice at all ! Thank goodness for small mercies, that never happened !

Then there are the oft repeated and well-known stories of Anil Biswas’s, and Salil Chowdhary’s condescending attitude towards Rafi and his style of singing.
Salil Chowdhary at least did an ‘appraisal’ of Rafi’s ‘singing merit’ – which, (surely much to his dismay ) produced remarkable results in movies such as Madhumati ( Toote Huye Khwabon Ne, Jungle Mein Mor Nacha ) and Maya ( Tasveer Teri Dil Mein, Koi Sone Ke Dil Wala, and Zindagi Hai Kya), Poonam Ki Raat, Kabuli Wala, Jagte Raho to name a few.
Anil Biswas never bothered ! Heer doesn’t count.

These incidents just had to be mentioned for it wouldn’t be possible to elaborate on Rafi’s musical career in the Hindi movie industry without even a hint of his trials and tribulations, now would it ? And Rafi, the gentle soul that he was – bore it all so patiently. Bearing petty grudges might have been for lesser mortals, not him. To him, music was ibadat ( worship ) – it was certainly higher than organized religion. He sang with equal devotion and involvement bhajans dedicated to popular Hindu divinities, as well as shabads, naats and qawwalis.
When you hear Rafi sing, you hear Him – never was heard a voice which appealed not just to the ear, or to the heart, but to the soul. Even today, it is Rafi’s voice which is largely heard from neighbourhood temples in many parts of India.
Surely you have to be a stony-hearted person not to feel anything when you hear him sing ‘Mitr Pyare Nu’, even if that’s the very first time you are ever hearing the Punjabi language.
Rafi saab knew that he had been blessed with a talent for bringing people closer and succeeded in doing that admirably. The vast repertoire of bhajans which he sung for Chitragupt, S N Thripathi, ShivRam, Avinash Vyas and other small time composers is testimony to this. Some of the most charming bhajans dedicated to Lord Krishna were sung by Rafi and composed by Khayyam – they are mesmerizing for its purity. ‘Paanv Padoon Tore Shyam’ is one such outstanding composition from this album – it never fails to tug at your heart-strings, no matter how many times you hear it. That was Rafi saab’s specialty – he enraptured you – and you let it happen, for you have ( yes, the present tense is deliberate ! ) no other choice.

Rafi made no distinction between big and small time composers – he worked with them all, and successfully at that.
Even a not-so-comprehensive list of composers would be enough to see the mark he left on film music through the ages – Feroze Nizami, Shyam Sunder, Khemchand Prakash, Naushad, Husnlal Bhagatram, Ghulam Haider, Sajjad Hussain, Ghulam Mohd, Hans Raj Behal, Jamal Sen, Bulo C.Rani, S.Mohinder, Vinod, Iqbal Qureshi, C.Ramchandra, Sardar Malik, S.D.Burman, O.P.Nayyar, Shankar Jaikishan, Ramlal, Mukul Roy, Adi Narayan Rao, Khayyam, S.Madan, N.Dutta, Dhaniram, Hemant Kumar, Shankar Jaikishan, RonoDev Mukherji, Salil Chaudhary, Vasant Desai, A.R.Qureshi, Jaidev, Avinash Vyas, S.N.Thripathi, C.Arjun, Surinder Kohli, Chitragupt, Ravi, Roshan, Madanmohan, Snehal Bhatkar, Pt.Ravi Shankar, LacchiRam, Naashad, Babul, Prem Dhawan, Dattaram, G.S.Kohli, Lala Assar Sattar, Brij Bhushan, Ravindra Jain, Sapan Jagmohan, Sonik Omi, Ajit Merchant, Vanraj Bhatia, Kalyanji Anandji, RajKamal, Manas Mukherji, R.D.Burman, Rajesh Roshan, Shyamji Ghanshyamji, Lakshmikant Pyarelal, Hemant Bhonsle, Bappi Lahiri…


His partnership with Naushad, Madanmohan, Shankar Jaikishan and Lakshmikant Pyarelal, though are particularly remembered for changing the musical history of Hindi movie music. It would be futile and well nigh impossible to pick out only a few outstanding compositions of these composers, especially composed with Rafi in mind, but I’ll give it a try. The selections are purely based on personal taste.
Some of the peerless Madanmohan and Rafi early compositions that effortlessly comes to mind are the soulful bhajan (s) from Mastana ‘Mat Bhool Are Insaan’, and ‘Maati Ke Putle’ from Sheroo. Then there is the song of the wandering minstrel ‘Basti Basti Parbat Parbat’( Railway Platform ). The way that the emotions spill out drenching the notes with that difficult to capture spiritual flavour is what distinguishes Rafi from any other singer in the world.

The 1950 movie Ankhen had a beautiful sad number ‘Hum Ishq Mein Barbad Hain’, then there is the semi-classical ‘Main Nigahen Tere Chehre Se’ ( Aap Ki Parcchaiyan) – with what grace and vocal dexterity Rafi emotes without losing any of the romanticism either. The same movie had the effervescent ‘Yahi Hai Tamanna’ – no one could ever replicate the ardour with which he sang this declaration of love.

Rafi was so impressive in romantic numbers that he could charm anyone out of existence.


Other Rafi / Madanmohan favourites that just have to be mentioned are the high-on-drink ‘Sawan Ke Mahine Mein’ ( Sharabi) which was also Madanmohan’s favourite, the desperate for love ‘Kabhi Na Kabhi’ ( same movie ), the dream-like ‘Ek Haseen Shaam Ko’ ( Dulhan Ek Raat Ki ), and surely some of the most beautiful ghazals ever composed for movies – ‘Kisi Ki Yaad Mein’ ( Jahanara), the raga Shivranjini based ‘Rang Aur Noor Ki Baraat’( Ghazal), ‘Tu Mere Samne Hain’( Suhagan ), ‘Akhiri Geet Muhobbat Ka’ ( Neela Akash) , ‘Main Yeh Soch Kar’ ( Haqeeqat), and ‘Tumhari Zulf Ke Saye Mein’ ( Naunihal ). Madanmohan loved the orchestral arrangement of ‘Tum Joh Mil Gaye Ho’ – the song is yet another one of his personal favourites.
Every movie they came together as a team was a musical success as can be seen from this list –Ankhen, Sheru, Gateway of India, Suhagan, Haqeeqat, Adalat, Chirag, Neela Akash, Naya Qanoon, Naunihal, Mera Saya, Neend Hamari Khwab Tumhare, Ek Kali Muskayee, Dastak, Mausam, Chowkidar, Hanste Zakhm and Laila Majnun. The last named movie’s music was such a hit with the masses that it proved without doubt that the Madanmohan / Rafi partnership can work its magic in any age.
Tragically, Madanmohan’s early passing on didn’t allow for an encore.

Many a music critic and music lovers’down the ages have tried and failed to deduce what exactly was special about Rafi’s voice that was so appealing.
It is an established fact that Mohd Rafi had a unique voice – it could glide through the entire gamut of emotions, from joy to despair that God intended for us to have. Feel the unmistakable pain and loneliness in ‘Aap Ke Pehloon Mein Aakar’ ( Mera Saya ). Quite often the lead actor’s onscreen performance pales before the vocal intensity of Rafi saab. One such example is ‘Muhobbat Zinda Rehti Hai’ ( Chengiz Khan ). Another such example is ‘Yeh Duniya ‘Yeh Mehfil’ ( Heer Ranjha ) a song that was one of Madanmohan’s personal favourites.. This movie also has a splendid duet with the nectar-voiced Lata Mangeshkar. What tenderness and passion Rafi saab breathes into this song – his dulcet voice weaving magic, so much so that we feel the melody queen struggling to match up.

Rafi’s voice was a natural dulcet which he preserved till the very last song he was to ever sing.

Even the way he enunciated certain words like ‘Zindagi’ with the stress on the first syllable has a heady charm, that thankfully no impersonator could or ever successfully duplicate.

Everything about Rafi saab’s voice spelled refinement and purity – qualities which he himself was associated with.

Whenever he was offered a classical based composition, he made sure that it was sung to perfection – every note, every ‘alaap’, ‘gamak’, in place. The way he went through the paces of a ‘tarana’ is particularly impressive and delightful.
Bada Admi’s ‘Akhiyan Sang Akhiyan’, ‘Kohinoor’s ‘Madhuban Mein Radhika’, Rani Roopmati’s ‘Baat Chalat Nayi Chunari’and ‘Jhana Jhana Jhan Baaje Koyaliya’ and Suvarna Sundari’s ‘Kuhu Kuhu Bole Koyaliya’ are wonderful instances of this vocal dexterity. And one of my eternal favourite classical based song in raga Deepak is – ‘Deepak Jalao’ ( Sangeet Samrat Tansen ) – the consummate ease with which Rafi saab hits the low and the high notes takes your breath away !

The Naushad / Rafi partnership merits a dozen articles altogether - so vast is the result of their musical collaboration.
Even so, it should be possible to pick out some memorable compositions that’s never stopped delighting music lovers ever since they first came to be created. ‘O Duniya Ke Rakhwale’ – it admirably displayed Rafi’s awesome vocal range and also helped draw out that mystic quality that’s so inherent in his voice. Baiju Bawra‘s other songs in Rafi’s voice – the Malkauns based bhajan ‘Man Tarapat Hari Darshan’, and the Bhairvi based ‘Tu Ganga Ki Mauj Mein’ – so soothing, so soul-refreshing.
Kohinoor’s famous Hamir based classical ‘Madhuban Mein Radhika Nache Re’ – the participants of the popular singing talent contests all have a singular affinity for this song for some strange reason – they do make an extraordinary success of tearing up its soul, i’ll grant them that.
The pure strains of raga Pahadi in ‘Suhani Raat Dhal Chuki’ ( Dulari ) , the hoof-beat song ‘Dil Mein Chupake’ ( Aan ), Mere Mehboob’s timeless romantic classic ‘Aye Husn Zara Jaag Tujhe’ – confession – I love taking up the cue in the second stanza when Rafi saab sings ‘Saaze-Dile Khamosh Mein Ek Soz Jaga De / Tu Bhi Meri Awaz Mein Awaz Mila De’ – his charm is irresistible. Then there is Admi’s pushed-to-the-point-of-no-return ‘Aaj Purani Raahon Se’, and the lonely embittered ‘Na Admi Ka Koi Bharosa’, the wallowing in self-pity ‘Main Tooti Hui Ek Naiyya Hoon’, and the life’s-over-for-me- ‘Koi Sagar Dil Ko Behlata Nahin’ ( Dil Diya Dard Liya ). And not forgetting the love-turned-into-hate, almost vicious sounding ‘Guzre Hain Aaj Ishq Mein’ from the same movie.
Rafi saab and Naushad went on to create magic whenever they worked together. A list would include Pehle Aap, Shahjehan, Anmol Ghadi, Chandni Raat, Mela, Dulari, Dillagi, Dastan, Andaz, Dastan, Babul, Aan, Jadoo, Deedar, Baiju Bawra, Shabab, Amar, Udan Khatola, Mother India, Sohni Mahiwal, Kohinoor, Mughal-e-Azam, Ganga Jamuna, Son Of India, Leader, Saaz Aur Awaaz, Dil Diya Dard Liya, Ram Aur Shyam, Palki, Sangharsh, Admi, Ganwar, Dharam Kanta, and Love and God.
And the unreleased song from Habba Khatoon – one of Rafi saab’s personal favourites ‘Jis Raat Ke Khwab Aaye’.
Magnificent songs that captured the infinite variety of Rafi saab’s vocal eminence.
Different moods, different emotions, and one voice that captures it all.

The Rafi / Shankar –Jaikishan partnership was equally eventful – the proof being the infinite number of melodious compositions that are ever popular even now. While Shammi Kapoor, Rajendra Kumar, Shashi Kapoor, Dev Anand,Jeetendra... got the benefit of peppy, groovy, modern numbers, Bharat Bhushan, Rajkumar, Balraj Sahni were treated to gentle, soft, numbers. Rafi saab did eminent justice to both genres with consummate ease.
Hear the ‘attitude’ that was a Shammi Kappor trademark in ‘Badan Pe Sitare’ ( Prince) and the smouldering intensity of ‘Dilruba Dil Pe Tu’ ( Rajkumar ). In complete contrast to the soulfulness of ‘Badi Der Bayi’ and ‘Duniya Na Baye Mohe’ (Basant Bahar), and ‘Kahan Ja Raha Hai ’ ( Seema).

Some ‘hot’ numbers’ that S-J composed for Rafi saab are ‘Aa Gale Lag Ja’, ‘Akele Akele Kahan Ja Rahe Ho’, ‘Jaan Pehchaan Ho’, ‘Kis Ko Pyar Karun’, ‘Aja Re Aa Zara Aa’…
For every such composition there were soul-stirring songs like ‘Yeh Ansoo Mere, ‘Aaj Kal Mein Dhal Gaya’, ‘Dil Ke Jharokhe Mein’, ‘Yaad Na Jaye’, ‘Gham Uthane Ke Liye’, etc…
The list of romantic songs from this team would be too long but the one’s that readily come to mind are ‘Teri Pyari Pyari Surat Ko’, ‘Baharon Phool Barsao’, ‘Dheere Chal’, ‘Meri Muhobbat Paak’, ‘Tum Kamsin Ho’, ‘Rukh Se Zara Naqab’, ‘ Chehre Pe Giri’, ‘Is Rang Badalti Duniya’, ‘Ek Buth Banaoonga’, ‘Falsafa Pyar Ka’, ‘Bura Maan Gaye’, ‘Jab Muhobbat Jawan’, ‘Tu Bemisal Hai’, ‘…

Romance it seems was invented for Rafi saab’s voice. Aren’t these songs more than proof enough of that ? ‘Jane Bahar Husn Tera’, ‘Chaudwin Ka Chand Ho’, ‘Husn Wale Tera Jawab Nahin’, ‘Husn Se Chaand Bhi’, ‘Khoya Khoya Chaand’, ‘Tere Chehre Se’, ‘Mujhe Tum Se Muhobbat’, ‘Tum Se Izhar-e-Haal Kar Baithe’, ‘Itni Haseen Itni Jawan’, ‘Zara Sun Haseena-e -Nazneen’, ‘Tum Jis Pe Nazar Dalo’, ‘Hum Aur Tum’, ‘Maana Mere Haseen Sanam’, ‘Aise Toh Na Dekho’, ‘Kahin Bekhayal Hokar’, ‘Zindagi Bhar Na Bhoolegi’, ‘ Aur Kuch Der Thahar’, ‘Ab Ke Bahar Aayi Hai’, ‘Itni Nazuk Na Bano’, ‘Main To Tere Haseen Khayalon’ – and the list goes on….

In an industry which is infamous for typecasting artistes, Rafi saab was the first playback artiste who could and did get away singing for nearly every Hindi movie artiste ranging from character actors like Manmohan Krishna ( ‘Tu Hindu Banega’), David (Nanhe Munhe Baccche), Om Prakash (Yeh Duniya Patang ), a negative character like Pran ( ‘Raaz Ki Baat Keh Doon Toh’ ) to comic stars like Jagdeep, Johnny Walker ( ‘Aye Dil Hai Mushkil’, ‘Zulf Ke Phande’ ), Mehmood and Rajendra Nath. He had even sung for the famous movie ‘villain’ Ajit when he entered the movies as a lead actor in such movies as Halaku( Aaja Ke Intezar Mein ), Miss Bombay, Shikari ( Agar Main Poochoon ), etc.
For Mehmood’s first movie as a producer Chote Nawab, Rafi saab carried off the heart-wrenching ‘dua’ ‘Ilahi Tu Sunle’ complete with the required lisp so endearingly that it never ceases to amaze you. Shabnam’s memorable romantic numbers ‘Yeh Teri Saadgi’ and ‘Maine Rakha Hai’ was also for Mehmood. Yet, in later years Mehmood was to ignore Rafi saab for other singers’.
When comedian Jagdeep started off as a hero, it was Rafi who provided the magic vocals in stunning duets with Lata like the ones in Bhabhi ‘Chupa Kar Meri Ankhon’ and in Punarmilan the so perfectly romantic ‘Paas Baitho Tabiyat’.

Just like the purity of Lata Mangeshkar’s silvery voice could make every Hindi actress look even lovelier onscreen than they probably were – Rafi achieved the impossible too. It would be rude to take names but the unacknowledged Truth is that even the most looks challenged actor in the Hindi movie world seemed otherwise in the eyes of the glamour struck people when he had the benefit of Rafi saab’s captivating voice singing for him.

It is impossible to analyse what exactly made Rafi saab’s voice so special. If it were just one or two qualities, this task would soon be done, but that’s just not possible.
Rafi saab’s voice is like the clear waters of a lake – just as a fallen leaf can cause a ripple on the surface – that’s how it was with him. A thousand and one expressions and emotions flit within – his voice, the image of perfection personified.
It is enough to know and say that his is not just one of the most beautiful voices in the world, but certainly THE best loved voices that this world has ever heard.

Rafi was peerless not just for his divinely bestowed flawless voice, and mellifluous singing, but also because he was a gentleman singer – a very rare combination indeed.

Much is made of the professional differences between him and Lata Mangeshkar, over the royalty issue, which had the unfortunate result of the two icons of the Hindi music world refusing to sing together. But the point to be noted is that those differences were eventually patched up- unlike Lata’s fall-out’s with composer C.Ramachandra and singer G M Durrani. – which stayed permanent.
The Rafi / Lata duets are considered the ultimate in romance – they complemented each other so perfectly. Their’s was a long association starting from the 1947 movie ‘Shadi Se Pahle’ till the late 70’s. It was every composer’s dream to have them singing together – and lucky for us, their dreams came true. Some of the most romantic duets were composed with thrm in mind. Heer-Ranjha’s ‘Meri Duniya Mein Tum Ayi’ composed by Madanmohan is one instance. Yet another romantic duet – a very special song - is Chambal Ki Kasam’s ‘Simti Hui Yeh Ghadiyan’ by composer Khayyam. This song could certainly be classed as a voyeur’s delight – another such would be difficult to find.
Every duet of the two are classy. Take the innocence of first love in ‘Sun Mere Saajna Re, the very youngish sounding quaint ‘Mil Mil Ke Gayenge’and ‘Raat Rangeeli’ from Dulari, the tease and banter of ‘Tere Husn Ki Kya Tarif’ and the flirtatious ‘Tujhko Main Jaan Gayi’, the very convincing ‘Dekho Roota Na Karo’ to win over the sulky heroine, the ragamalika from Suvarna Sundari ‘Kuhu Kuhu Bole Koyaliya’ where their voices blend in perfect form. Romancing the Taj in moonlight ‘Ek Shahenshah Ne Banwake’, pledging eternal love in ‘Joh Wada Kiya’, the one of a kind kite flying song ‘Chali Chali Re Patang Meri Chali Re’, the playfulness of ‘Agar Main Poochoon’, the enthralling ‘Bhool Jayen Saare Gham’, you-are-the-only-one-for-me ‘Tum Hi Tum Ho’, the delightful ‘Jare Jare O Makhan Chor’, the deeply in love ‘Masoom Chehra’, ‘Mujhe Kitna Pyar Hia Tum Se’, ‘Jane Wafa’, the eternal lovers’confession ‘O Sanam Tere Ho Gaye Hum’, or the let-our-eyes-do-all-the-talking ‘Palkon Ke Peeche Se’, and the who-needs-a-third-when-we-have-each-other ‘Yeh Dil Diwana Hai’…Then of course there are the innumerable pangs of separation songs ‘Aja Ke Intezar Mein’, ‘Piya Kaise Milon’, ‘Teri Shehnai Bole’, Voh Jab Yaad Aye,‘Awaz De Ke Hamein’, Chahe Paas Ho’, Jeet Hi Lenge Baazi Hum Tum, ‘Mujhe Teri Muhobbat Ka’, etc..
The two more than made up for the years they lost by setting a record number of hit songs in the 70’s in movies such as Laila Majnu, Asha and Sargam among others..


Rafi saab and the Lakshmikant Pyarelal duo, hit it off from the very start – Chaila Babu’s ‘Tere Pyar Ne Mujhe Gham Diya’ – what a stunner of a composition ! It was soon to be followed by ‘Roshan Tumhin Se Duniya’ from Parasmani. Their partnership continued strong all through the 70’s decade, producing hit after hit songs, till AasPaas – Rafi saab’s last movie.
The song ‘Tu Kahin Aas Paas Hai Dost’.

Composers Lakshmikant- Pyarelal belonged to that rare class of people whose loyalty towards Rafi saab never wavered despite the changing times.


A lot of harsh comments have regularly appeared in the media making much of Rafi’s alleged ‘eclipse’ in the early 70’s, which is not only offensive, but totally unfounded. The insinuation is totally mischievous, when the Truth is that the two playback artistes Rafi and Kishore weren’t at all the warring adversaries they are made out to be, but close friends in real life.
Rafi saab was too much of a gentleman anyway to have professional differences with co-artistes.

It is also totally erroneous to conclude that his recording assignments had declined in the 70’s while the facts are otherwise.
Rafi was at his career busiest when God decided to recall him on that fateful July day.
The media is all to blame for spreading this false rumour, and it probably arose due to the fact that Rafi saab didn’t make himself quite as visible as maybe he ought to have. But then, Rafi saab didn’t really believe in taking resort to Public Relations. – he never had any use for their kind.

And he proved it with the grand musical success of movies like Hanste Zakhm ( ‘Tum Joh Mil Gaye Ho’), ( ‘Yeh Maana Meri’), Laila Majnu ( ‘Barbad-e-Muhobbat’), and ( ‘Tere Dar Pe Aya Hoon’), Sawan Bhado ( ‘ Kaan Mein Jhumka’), Pavitra Paapi (‘Allah Hi Allah’), Pagla Kahin Ka (‘Tum Mujhe Yun’), Khilona ( ‘Khush Rahe Tu’), Jeevan Mrityu (‘Jhilmil Sitaron Ka’), Wapas (‘Ayi Baharon Ki Shaam’), Ishq Par Zor Nahin (‘Mehbooba Teri Tasveer’), Humjoli (‘Haye Re Haye’), (‘Dhal Gayi Shaam’), Gopi ( ‘Sukh Ke Sab Saathi’), Geet ( ‘Mere Mitwa’), Dharti ( ‘Yeh Mausam Bheega’), Dastak (‘Tum Se Kahoon’), Choti Bahu (‘Yeh Raat Hai Pyaasi’), Ek Baar Muskurado ( ‘Zamane Ki Ankhon Ne’), The Train (‘Gulabi Ankhen’), Maa Aur Mamta ( ‘Rut Beqarar Hai’), Heer Ranjha ( ‘Yeh Duniya Yeh Mehfil’), Aan Milo Sajna ( ‘Falak Se Tod Ke’) , Caravan (‘Kitna Pyara Vaada’), (‘Chadthi Jawani’), (‘Goriya Kahan Tera Des Re’), Uphar (‘Main Ek Raja Hoon’), Seema (‘Jab Bhi Yeh Dil’), Patanga (‘Thoda Ruk Jayegi’), Mera Gaon Mera Desh (‘Kuch Kehta Hai Yeh Sawan’),Mela( ‘Gori Ke Haath Mein’), (‘Rut Hai Milan Ki’), Mehboob Ki Mehndi (‘Yeh Joh Chilman Hai’), ( ‘Itna Toh Yaad Hai Mujhe’), Maryada( ‘Yun Hi Tum Mujhse’), Lal Patthar (‘Unke Khayal Aye Toh’), Aap Aye Bahar Aye, (‘Saare Zamane Pe’), Adhikar ( ‘Jeena Toh Hai’), Lalkar (‘Bol Mere Saathiya’), Mahua ( ‘Donon Ne Kiya’), Koshish (‘So Ja Baba’), Dastan ( ‘Na Tu Zamin’), Anurag ( ‘Voh Kya Hai’), Piya Ka Ghar (‘Yeh Zulf Kaisi Hai’), Yaadon Ki Baraat ( ‘Chura Liya Hai’), Humshakl (‘Kahe Ko Bulaya’), Naina (‘Hum Ko Toh’), Ek Nazar (‘Patta Patta’), Loafer (‘Aaj Mausam’), Haath Ki Safai (‘Wada Kar Le Saajna’), Suraj Aur Chanda (‘Tere Naam Ka’), Nawab Sahib ( ‘Hum Main Hai Kya Baat’), Hindustan Ki Kasam, (‘Title song’), Heera (‘Main Tujhse Milne’), Abhiman (‘Teri Bindiya Re’), Thokar ( ‘Apni Ankhon’), Ek Nari Do Roop (‘Dil Ka Soona Saaz’), Haathi Mere Saathi (‘Nafrat Ki Duniya’), Naya Din Nayi Raat (‘Title song’), Jeene Ki Raah (‘Aaane Se Uske Aaye Bahar’), Chowkidar (‘Jeete Je Duniya Ko Jalaya’), Aap Toh Aise Na The ( ‘Tu Is Tarah Se Meri’), Chor Machaye Shor (‘Ek Daal Par Tota’), (‘Paanv Mein Dori’), Pratigya (‘Main Jat Yamla’), Ek Mahal Ho Sapnon Ka, (‘Title song’), Naach Utha Sansar (‘Tere Sang Jeena’), Bairag (‘Main Beraagi’),( ‘Saare Shahar Mein’), Adalat (‘Tum Se Door Rehke’), Zanjeer (‘Diwane Hain Diwanon’), Dharma ( ‘Raaz Ki Baat’), Kaanch Aur Heera (‘Nazar Aati Nahin Manzil’), Hawas (‘Teri Galiyon Mein’), Abdullah (‘Maine Poocha Chaand Se’), Shankar Hussain (‘Kahin Ek Masoom’), Shirdi Ke Sai Baba (‘ Saiyenaath Tere Hazaron Haath’), (‘Sai Baba Bolo’), Hum Kisi Se Kam Nahin (‘Kya Hua Tera Wada’), Dostana (‘Mere Dost Qissa’), Sajan Bina Suhagan ( ‘Kaise Jeet Lete Hain’), Main Tulsi Tere Aangan Ki (‘Meri Dushman Hai Yeh’), Saajan Ki Saheli (‘Boondein Nahin Sitare’), Suhag (‘Athrah Baras Ki Tu’), ManPasand (‘Logon Ka Dil’), Chambal Ki Kasam (‘Simti Hui Yeh Ghadiyan’, ‘Sher Ka Husn Ho’ ), The Burning Train (‘Pal Do Pal Ka’), Kali Ghata (‘Title song’), Asha (‘Dhak Dhak’), Ladies Tailor (‘Ab Yeh Jaan Ise Kehte Hain’), Naseeb (‘John Jani Janardan’), Amar Akbar Anthony ( ‘Parda Hai Parda’), Kaatilon Ke Kaatil ( ‘O Meri Morni’), Ek Naav Do Kinare (‘Yeh Shaam Hai Dhuan Dhuan’), Zamane Ko Dikhana Hai ( ‘Poocho Na Yaar’), Desh Premi (‘Mere Desh Premiyon’), Karz (‘Darde Dil’), Shaan (‘Yamma Yamma’ ) among others.
Rafi saab's voice even graced one of Anu Malik’s first movies Poonam – the song ‘Muhobbat Rang Layegi’ with Chandrani Mukherji.

Despite that, Rafi saab was distinctly left feeling unappreciated and undervalued – the 70’s was a period of disillusionment for him. So, was it for the nation.

Rafi’s overwhelming influence is evident among the present day singers of Hindi movies, even though they proclaim that they’ve come out of his shadow, to carve out their own identity. Would that were true !
It is the listener who has to rack his brain trying to pinpoint what exactly their individual creative input sounds like without that bit of ‘inspiration’ from their idol Rafi saab. It is highly distressing, to say the least !

Innumerable singers have sprung up to fade away into oblivion, trying to replicate Rafi’s musical wizadry. Yet, no one’s willing to give up striving, for Rafi is that benchmark of singing excellence that every singer can only aspire to, never quite making it.

They say that imitation is the sincerest form of flattery, but sometimes it is taken too far, especially when it spills over on to the professional sphere. Trying to do a Rafi in the professional line is just another way of encroaching on the intellectual identity and trying to capitalize on that to quickly make themselves rich or famous or both.
In the competitive world of the recording industry, even stranger things have been known to happen, but that does not make it in anyway ethical.
The attitude of the media in this regard is even more shocking. Any ‘wannabe’ Rafi ( carefully chosen phrase ! ) because the term commonly abused in the media ‘clone’ is absolutely degrading to Rafi saab – is hailed by it as the ‘substitute’ ( An actual quote from a highly respected newspaper ! ) of Rafi saab.
A clone is defined as a person or a thing that is an EXACT copy of another. Going by that, does anyone qualify to be a ‘clone’ of Rafi saab ?
The answer is a resounding NO !
To think that the media is allowed to get away with stamping this vile term on any singer who impersonates Rafi saab is disgraceful. It is almost blasphemy.

There can be no clone of Rafi saab. Not ever.
What’s so hard to accept about that ?

What more proof of Rafi’s super-eminence of musical virtuosity is needed when not one Rafi impersonator till date has been able to improve on an original Rafi song ever ?

His was a voice that would stand out even in a confusion of voices. None could or ever dream of even coming close to the seemingly effortless sublimity of his singing style. Listen to ‘Ab Koi Gulshan Na Ujde’ and you’ll know what I mean.

His voice could capture with amazing perfection the spirit of any song whether it was uncontrollable joy like in ‘Chahe Koi Mujhe Jungli Kahe’ to evoking embittered loneliness in ‘Din Dhal Jaye’.
Every one of his songs are intense, melodic, passionate, pulsating with the joy of life.
It is enough to say that there is hardly any mood, occasion or emotion that his voice didn’t capture.
From a ‘bidai’' song like ‘Babul Ki Duayein’ to a 'barati' number’ ‘Mera Yaar Bana Hai Dulha’, a ‘hori’ song like ‘Biraj Mein Hori Khelat Nandlal’, to folksy numbers like ‘Pipra Ke Patwa’, and ‘Nain Lad Jai Hain’and ‘Mere Pairon Mein Ghunghru’, a ‘lori’ ‘Main Gaaon Tum So Jaao’, a kiddie song like ‘Chun Chun Karti’, or ‘Gori Zara Hans De Tu’– his voice wove magic in them all..

Listening to him gives you a ‘high’ like no other. It is safe to say that no one could ever overdose on Rafi saab !
The poet Sahir once famously said that what actors were supposed to do onscreen – EMOTE - Rafi saab achieved with just his voice !
Rafi simply excelled at expression. No one could better that – no one ever will !

It hurts when you think that the only state honour this singing legend ever received in his lifetime was the Padmashri.
That was ages ago – and sadly the recognition that deservedly ought to be his is yet to be given.
It is never too late to rectify the oversight – but it must be done.
For no delay can put off the inevitable from happening.
Besides the Truth is that no award in the world compares to the love and adoration almost bordering on insanity that this gentle giant even now raises in the hearts of millions of music lovers all over the world.

This day returns every year to remind us not of the ‘what-ifs’ – but to be ever grateful for the light of his voice that he left behind, without which our ever-darkening world would have been a lot harder to bear.
Rafi saab lived a full life – aren’t his songs more than proof of that ? He’s carved out such a place in every music lovers’ heart that not a moment passes in our lives when we don’t pine for him.

He is with us and yet not with us. A conundrum that’s difficult to piece together.

As Rafi saab was fond of saying ‘Khushboo Hoon Main / Phool Nahin Hoon Joh Murjaoonga / Jab Jab Mausam Lehrayega Main Aajaoonga’.
That’s a good philosophy to follow – but we can’t be philosophers, not when it comes to you, Rafi saab !

The magic of your glorious voice fills our hearts with happiness every morn and eve, and that’s the way it’s always going to be. For ever.
Every new day brings with it a new devotee who once smitten by you, will be consumed by no less than a ‘junoon’.
What else did you expect, Rafi saab ? You deserve nothing less.

Who says you aren’t with us ? Every time we listen to you we are rewarded with a part of you.
A piece of your heart, Rafi saab. We are lucky that yours is a large one to accommodate your teeming fans from around the globe.

SAJDAH

[dhiren]

Very well written Sajdah bhai. Rafi Saab is truely a Legend's Legend.

[harihar]

Sajdah Excellent

Ever thought of writing a book cos what you have written is what a layman is always thinking of but cannot express. Bravo

[LEGENDRAFI]

Phew! That's just a huge article and I don't know how you managed to write it Sajdah ji? Neverteless, great effort and a great read. I think there would be a time when all of us at HFM would have to create a 'Pre-Formatted Appreciation Post' for your articles as all of us might run out of words to praise it, very soon.

Rafi Sahab is immortal and his voice would continue to live forever. I salute Rafi Sahab and thank him for making such a difference to my life with his melodiously unforgettable songs. Here are some words that I would like to put down -

KYA KAHOON TERE LIYE, MAINE AANSOO BHI PIYE,
KABHI KHAMOSH RAHA, KABHI SHIKWE BHI KIYE....

Sajdah ji, Keep it up!

[princeali]

Great write-up, enjoyed reading every bit of it, keep on writing more such pieces, Rafi saab is a class apart !.

The Nasir Hussain films like Teesri Manzil, Caravan, Yaadon Ki Baraat, Hum Kisi Se Kum Nahin, Pyar Ka Mausam etc. all are amongst RDB's best and they are all Rafi dominated albums. Kind of ironic don't you think ?, that it is the Rafi-backed albums that rank amongst his most creative works.

[ketadxb]

Dear Sajdah,
excellant tribute, LONG LIVE RAFISAAB

Regards

Keshav

[amooly]

A very thoughtful article Sajdah ji - it has the characteristic of immersion of the whole being, a thorough analysis, feeling, sensibility and the spark of constructiveness, as well as understanding conveyed at a simplified level and an even better understanding when one goes into it deeply - characteristics of our very own Rafi Saab, the Kalyug ki Gayak, Anmol Ratan (of the World), the Great Singer and Great Human.

Well done Sajdah - I am sure Rafi Saab, up there, is pleased with your essay.

[nasir]

Amazing, Wonderful, Incredible.
Sajdahji I have never read such a fantastic appraisal. I have read only half of it. Want to savour each and every word. (and if you don't mind i will copy it too to preserve).
Bye for now, o Charming Soul. (This blessed Cyber Cafe is closing as usual at midnight).
Again, I can't believe your power of perception and analysis.
Yours humbly,
NASIR.

[orbitor13]

wow......what an article......


proud to be a rafi fan

[naveen]

Sajdah..what a great article..thanks a lot...
naveen

[dryunussumra]

Amazing, incredible,wonderful!
A very thoughtfull article Sajdaji,
Keep it up

[ANT6]

superb article.......thanx Sajdah ji

[deewani]

A post like this makes me realize that there are so many members here at HF who have something to contribute. Thank you very much for this this history lesson and article. Enjoyed it much while listening in a bit to the marathon.

[unni]

Sajdah:

Thank you, and CONGRATULATIONS!!!!

Well conceived, comprehensive, analytical, and excellently presented. Tremendous effort, indeed.

Hats off to you!!!!

[SAJDAH]

Sajdah:

Thank you, and CONGRATULATIONS!!!!

Well conceived, comprehensive, analytical, and excellently presented. Tremendous effort, indeed.

Hats off to you!!!!

This is overwhelming ! I don't know where to begin - i just know that i have a lot to be grateful for.

Thank you Unni~ji, and the admins, especially Pradeep~ji, and ALL the HF members for accepting me as a part of this family. It is a great privilege - one that i am very proud of.
I had never imagined in a million years that i would get so much love, support and appreciation from everyone here.

I only wish i could go back and change the way i started out here, though. Harold saab, if you are reading this - i want you to know how much i regret what happened - it takes a big heart to forgive me, like you did. And i am glad that we are friends again.

Now i had better get started on thanking personally, everyone who took precious time out to go through this lengthy tribute to our Rafi saab.

Once again many thanks for all your kind words - i'll try to be always worthy of it.

SAJDAH