Ravi With Rafi Duets Options

[cinemaniac2]

This is the first of the many Ravi/Rafi songs

this is from

Gharana-1961

Ravi-Shakeel

*Rajendra Kumar/Asha Parekh/Raaj Kumar.

but this song is picturised on Agha and Shobha Khotte.

the other duet from this film is very popular-i.e-jabse tumhe dekha hai

also there is a duet bhajan-jai raghunandan jai siyaram.

and of course there is rafi's classic solo- husn wale tera jawab nahin.

but do u know which is the most popular song of this movie-it's a children's song

dadi amma dadi amma maan jao-sung by-asha & kamal barot

regards
cinemaniac2

[myawan]

thanks for this gooodie!

[cinemaniac2]

this one is from -Ghunghat-1960

Ravi-Shakeel Badayuni

* Pradeep Kumar,Asha Parekh,Bina Rai & Rehman

song picturised on Pradeep Kumar & Asha Parekh.

Ravi rarely used Lata Mangeshkar but in this movie there were 2 Lata solos,
and these two songs were the only hit songs in this movie.
1-lage na mora jiya, sajana nahinn aaye
2-mori cham cham baje payaliya, aaj mile hai mohe sanwariya

Rafi & Asha-Yeh zindagi ka mausam aur yeh sama suhana


cinemaniac2

[cinemaniac2]

this one is from Grihasti-1963

Ravi-Shakeel

* Manoj Kumar,Rajashri
but this song is filmed on mehmood & shobha khote

Ja Ja Re Ja Diwane Ja-Rafi & Asha

[cinemaniac2]

one more and this one is beautiful.

Tu Nahi Aur Sahi--1960

Ravi-Asad Bhopali

* Pradeep Kumar,Kum Kum,Nishi.

[myawan]

Thanks Cine!

[cinemaniac2]

one more from grihasti-1963

Ravi-Shakeel

Jane Teri Nazarone Kya-Rafi & Asha

[Bawra Jay]

A very interesting and very touching (Last Stanza) article from another saved clipping of ZEE Magazine article...


In Tune : Ravi
Melodies of another day
June'99, Volume I / No: 8

When and how did you take to music ?

I used to sing from my childhood. Never really
understood what ‘sa re ga ma’ was, never had
any formal training, but I listened to old Hindi
film songs and sang along. This was way
back in 1935, when I was just a nine-year-old
boy. The passion grew with me.

My father (an avid music lover) arranged for a
harmonium and a music teacher. To the
teacher’s shock, I insisted that he skip the
basic sa re ga ma and teach me to play the
tune of Tum bin hamari kaun khabar le
govardhan giridhari. A month’s practice and I
was ready to perform. The audience response
was incredible and I became a regular feature
at satsangs and mehfils. This was in 1942.

When did you seriously contemplate coming to
Bombay and trying your luck?

In 1945, I joined the Post & Telegraph office
as an electrician at the Telephone Exchange and
stayed there till 1950. Around this time I got
married, and was into family life. I sang regularly
at private gatherings, and was enrolled to sing on
AIR as an amateur artist. To my bad luck, after
Independence, the P&T department posted me to the
border area of Punjab to set up a new telephone
exchange. My family, especially my father, agreed
to my decision to visit Bombay on a short leave of
20 days. Later, I quit my job and concentrated full
time on music.

Did at any time your family try to pressurise you
into giving up your struggle and going back?

At first, my father sent me forty to sixty rupees
per month and I managed by skipping lunch and having
only a late dinner. The entire day went in visiting
the studios and garnering promises and more promises.
Gradually, my family started worrying and my wife’s
letters spoke of loneliness. I had come to Bombay in
1950 and it was already the beginning of 1952.
Desperation was setting in and everyone had only one
suggestion: come back home. Just then my luck changed.
I got an offer to sing in a chorus with Hemant Kumar
for Filmistan Studio. The song was Vande mataram from
the film Anandmath.

How long did your association with Hemantda last?

Hemantda liked me and asked me to help him with his
pronunciation of Urdu words. Thus I was with him through
Shart, Samrat, Nagin, Champakali, Jagruti and
Durgeshnandini of Filmistan and a few other outside films.
Around this time my wife decided to come down to Bombay
and stay with me against all odds. I found a godown
(without electricity) in Kandivali, on a monthly rent
of 30 rupees. It was a tough life. Around this time
Devendra Goel’s Vachan happened. Goel had heard my
compositions Chandamama door ke and Ek paise dede
babu which I had written during my long walks between
studios and liked them. Vachan was a hit and I came into
my own.

How did Hemantda react to this?

After Nagin, Hemantda had signed about a dozen projects
and I used to get 200 rupees per month from every
production, thus I was earning 2400 rupees a month.
When Vachan became a hit, Hemantda said it was time
I became independent and concentrated on whatever
assignments I got. I sensed the wisdom in his words
and took the plunge.

Were you really ready for an independent career or
was it a gamble?

I would call it a calculated risk. After leaving
Hemantda I started visiting producers for work.
Nadiadwala signed me for Mehendi and Ghar Sansar
(for the song Yeh hawa yeh nadee ka kinara) and
SD Narang signed me for Dilli Ka Thug (which had
hits songs C.a.t cat...cat mane billi, Yeh raaten
yeh mausam, Hum to mohabbat karega). Guru Dutt
liked the songs of Mehendi, which was a Muslim
social and offered me Chaudvin Ka Chand which
turned out to be major hit. After that there was
no dearth of offers. Gemini Films from Madras
offered me many films including Ghunghat (Mori
cham cham baje payaliya), Gharana (Husnewale tera
jawab nahin, Dadi amma dadi amma maan jao), Grahasti,
Aurat, Samaj Ko Badal Dalo (Amma ek roti de) and
Paisa Ya Pyar.

Did this improve your financial situation?

In 1961, I started looking for a house of my own and
when Nadiadwala heard about it, he offered to sell me
a plot in Santa Cruz. I built my own house there and
have been staying here since then. I have fond memories
of this house because ever since I moved in, I had
an uninterrupted run of success. I did the music for
Bharosa (Is bhari duniya mein, Aaj ki mulaqat bas
itni, Woh dil kahan se laaoon) and Khandan for Vassan
Films, Do Kaliyan (Tumhari nazar kyon khafa) and
Meherban for AVM, Nazrana for Venus Pictures, Gauri
and Raakhi for Shivaji Ganesan. I also did two Gujarati
films Gher Gher Matina Choolah and Verni Vasulat for
Gemini and won a Gujarat State award for it.

I was doing so many films in Madras that I was called
the King of Madras. I suppose it was fate that all the
films for which I did the music went on to be a hit.
And with Jab chali thandi hawa, Raha gardishon mein
hardum, Naseeb mein jisko jo likha tha and Lo aagayi
unki yaad, all from film Do Badan, and Baar baar dekho
hazaar baar dekho from film China Town becoming major
hits I was on a high. By then I had completely given up
my dreams of being a singer.

How do you compare the styles of song picturisation then
and now?

Earlier, songs took the story ahead. Their picturisation
was situation based, in keeping with the lyrics and mood
of the song. And actors expressed a great deal with their
eyes.

Today’s heroes hide behind sunglasses. The camera lingers
more on the exposed parts of a heroine’s body than her
expressions. When a hero and heroine break into a duet,
you see 20-30 dancers leaping into the frame from nowhere!
Filmmakers justify such absurdity by saying that the public
wants it. But I don’t agree. People see it because they
don’t have a choice. Today’s biggest hits are forgotten
in weeks, whereas old songs have sustained their appeal,
and are popular even today. I feel a great sense of
achievement when I see that young singers sing only old
songs on music-based television programmes. But I am
extremely saddened by the trend of remixing old songs
which takes away their rich flavour. It is rather
unfortunate that even old-timers are jumping on the
bandwagon instead of protesting.

Who among the singers of your time were you particularly
in tune with?

Almost all the leading singers of the time have sung my
songs. But I rate Mohammed Rafi as the best. With him,
I could always be sure that he would do justice to any
tune, no matter how complex. He gave life to many of
my songs like Sau baar janam lenge, Is bhari duniya
mein koi bhi hamara na raha, Babul ki duwaayen leti
jaa, Mili khakh mein mohabbat (Chaudhvin ka Chand),
Choo lene do nazuk hoton se and Yeh zulf agar khulke
Kaajal). Rafi was an extraordinary human being too.

Amongst female singers Asha Bhosle has sung more songs
for you than Lata Mangeshkar. Is there any particular
reason for this?

Lata has sung several significant numbers for me.
Her songs Milti hai zindagi mein mohabbat in Ankhen,
Woh dil kahan se laaon in Bharosa, Aye mere dil-e-nadaan
in Tower House are very popular even today. But often,
because of her tight schedules, I opted for Asha. She
sang some outstanding numbers like Jab chali thandi
hawa, Lo aagayi unki yaad in Do Badan, Aage bhi
jaanena tu in Waqt, Tora man darpan kahalaye in Kaajal.
Suman Kalyanpur was another good singer, who had sung
popular numbers for me.

As you come close to completing a silver jubilee of your
association with the Hindi film industry do you have
any regrets?

Not really. But it does hurt sometimes that I didn’t
get the kind of recognition I deserved. Maybe because
I made no effort to buy publicity. Strangely, even
singers who sing my songs regularly underplay my name.
Years ago, I thought I would win an award for my score
in Chaudvin Ka Chand, but I didn’t, though Mohammed
Rafi and Shakeel Badayuni won awards for best singer and
best lyricist. It happened again with Gumrah. Mahendra
Kapoor was adjudged the best singer and Sahir Ludhianvi
the best lyricist, but I was ignored. It happened a third
time when Salma Agha (best singer) and Kamal Hasan
(best lyricist) won awards for Nikaah, but the music
director went unnoticed. Perhaps it was plain bad luck!
Anyway, I never wanted an award that didn’t come my
way legitimately. But the recognition I received from
colleagues more than compensated for it



Dadi Amma Dadi Amma Maan Jao- Asha & Kamal Barot - Gharana - 128 bitrate...

Enjoy

[YaarMere]

[Bawra Jay]

[YaarMere]

[Bawra Jay]

[myawan]

very true Bawra

[cinemaniac2]

i think he means u made a mistake of u'loading a non-rafi song here.

[Bawra Jay]

Hey posted here because it was with the context of the thread / topic....

Uff , you guys are getting even pickier than GALS...yeh karo woh na karo...idhar rakho udhar rakho....phewwwwww

(Looking towards the heaven) ---> Rafi sahab aap hi bataye....aap hote tau kya aitraaz karte ki meri topic mei itna acha gane ki posting kyu ki