FOREVER MOHD RAFI:

VOLUME 3:  31 - 45

MOVIE : RAAZ: 1967
SINGER: MOHD RAFI
LYRICS: SHAMIM JAIPURI
MUSIC : KALYANJI ANANDJI

45) AKELE HAIN CHALE AAOO JAHAAN HO

http://www.songs.pk/artists.php?songid=988

Akele hain chale aao, Jahaan ho
I am all alone, come on over
Kahan awaaz de tumko, Kahaan ho
Where shall I call you? Where are you?
Akele hain chale aao, Jahaan ho
I am all alone, come on over

(Tumhe hum dhoondte hain, Hamay dil dhoondta hai)2
I am looking for you, my heart is looking for me
Na ab manzil hai koi, na koi raasta hai
There is no end to this now, there is no way

Akele hain chale aao, Jahaan ho
I am all alone, come on over
Kahan awaaz de tumko, Kahaan ho
Where shall I call you? Where are you?

(Ye tanhaai ka aalam, aur is par aap ka gham)2
This realm of loneliness, and the pining for you
Na jeetay hain na marte, batao kya karen hum
I am not living, nor am I dying, tell me what should I do?

Akele hain chale aao, Jahaan ho
I am all alone, come on over
Kahan awaaz de tumko, Kahaan ho
Where shall I call you? Where are you?

Trans: Venkat

FOREVER MOHD RAFI:

VOLUME 3:  31 - 45

MOVIE : RAAZ: 1967
SINGER: MOHD RAFI
LYRICS: SHAMIM JAIPURI
MUSIC : KALYANJI ANANDJI

45) AKELE HAIN CHALE AAOO JAHAAN HO

FOREVER MOHD RAFI:

MOHD RAFI: VOLUME 3: NUMBER 31 - 45

31) O NANHA SE FARISHTE: EK PHOOL DO MALI 1969

http://www.mastimag.com/download.php?song_id=27851

O little angel, what relationship is this I have with you

32) AANE SE USKE AYAY BAHAR: JEENE KE RAAH 1969

http://www.mastimag.com/download.php?song_id=24650

she comes in comes springtime, and in springtime she leaves

33) TERE PYAARI PYAARI SURAT KO KISISI: SASURAL 1961

http://newmp3mad.com/128-20128...ari%20Surat%20Ko.mp3

May malicious glances vanised and may God preserve from evil eyes

34) SAU BAAR JANAM LENGE USTADON KI USTAD 1963

http://newmp3mad.com/128-14827...%20Janam%20Lenge.mp3

Will born a hundred times and will die a hundred times

35) CHAUDVIN KA CHAND HO: CHAUDVIN KA CHAND 1960

http://www.mastimag.com/download.php?song_id=28822

Be it the moon that comes every fourteen days or the sun

39) TERE ZULFON SE: JAB PYAR KISISE HOTA HAI 1967

http://www.mastimag.com/download.php?song_id=11533

I never asked to be separated from your hair

40) BAR BAR DEKHO HAZAR BAAR DEKHO: CHINATOWN 1962

http://www.mastimag.com/download.php?song_id=27001

Look again and again, look a thousand times

41) MERE DOST KISSA: DOSTANA 1980

http://www.mastimag.com/download.php?song_id=24721

My friend, why did this happen?

42) RANG AUR NOOR KI BARAAT: GHAZAL 1964

http://www.mastimag.com/download.php?song_id=42651

Marriage procession full of color and lights, who shall I offer to?

43) LAAGE CHOOTE NA AB TU: KALI TOPI LAL RUMAL 1959

http://link.songspk.info/india.../download.php?id=249

Let us not break the friendship, my beloved

44) MUJHE ISHQ HAI TUJHE SE: UMEED 1971

http://link.songspk.pk/artists.php?songid=1047

It is you alone that I love

45) AKELE HAIN CHALE AAOO JAHAAN HO: RAAZ 1967

http://www.songs.pk/artists.php?songid=988

I am all alone, come on over

FOREVER MOHD RAFI:

Shemaroo releases ‘101 Mohd. Rafi Hits’ in a premium 3 DVD pack

Mohammed Rafi - a man whose voice not only painted the various colours of emotions in a film but also contributed to the success of several stars like Shammi Kapoor, Dilip Kumar, Sunil Dutt, Rajendra Kumar, Dharmendra, Rajesh Khanna, Jeetendra, Rishi Kapoor and many more by singing for them on screen.

Shemaroo Entertainment remembered the great singer on his 31st death anniversary by releasing ‘101 Mohd. Rafi Hits’ in a premium 3 DVD pack. The songs included in the pack ranges from the golden era of Hindi Cinema when each frame was in black and white to the colourful days of Bollywood. Mohammed Rafi has sung more than four thousand five hundred Hindi film songs of different moods during his lifetime. The pack is an effort to compile together every shade of his singing and features 101 all-time favorite solo songs. It includes his peppy numbers like Dil Deke Dekho, Govinda Aala Re, Mere Pairon Mein Ghungroo Bandha De to romantic songs like Ye Mera Prem Patra Padhkar, Dard-e-dil Dard-e-jigar, O Meri Mehbooba & Yeh Reshmi Zulfein and many more. Two important highlights of this compilation-it features the AAS PAAS (1980) song–Tu Kahin Aas Paas Hai Dost which was the last recorded song of Rafi Saab, hours before his death on 31st July, 1980. It also features the song Meri Awaz Suno from NAUNIHAL, which shows the 1964 funeral of Pandit Jawaharlal Nehru.

Capturing the different moods of Rafi Sahab’s singing in one pack,'101 Mohd. Rafi Hits' is the best gift for any Mohd. Rafi fan.

FOREVER MOHD RAFI:

Mohammed Rafi montage

It was clear from the beginning that Rafi had a unique talent which distinguished him from the other playback singers of the era but it was only when he teamed up with the music composer Naushad – most notably in the 1952 classic film Baiju Bawra – that Rafi established himself as one of the greatest playback singers in Indian cinema.

Rafi revealed a golden voice of unrivaled tonal quality and range, which had the power to pitch lyrics from the lowest modulations to high soprano.

This incredible versatility of range soon attracted all the stars and, during the 1950s and 1960s – unquestionably the golden age of Hindi film music – Rafi became the voice of all the cinema greats, from Dilip Kumar and Guru Dutt, to Shammi Kapoor and Dharmendra.

Rafi proved his greatness further with an astonishing display of vocal pyrotechnics that used intonation and inflection to ensure no actor he lent his voice to ever sounded like the other.
But Rafi was more than just an outstanding Hindi playback singer. During his 40-year career he sang over 26,000 songs in all the national languages of India, achieving an unequaled level of success in many genres of Asian music, from ghazals and geets, to qawwalis and bhajans.

FOREVER MOHD RAFI:

LEGENDS COMMENTS ON THE LEGENDARY GREAT...THE MASTER:

Exactly 25 years after Rafi's death, his songs remain immortal. On July 31 every year, musicians and fans do their bit to remember their idol.

LAXMIKANT/PYRELALL ON RAFI:

Pyarelal spins back down the years. He recalls: "Laxmiji and I became music directors after a long period of struggle. But we had known Rafi because we had been musicians for many years. In our early days, Rafi had given me Rs 500, which was a big amount those days. I told him I won't return it and he just smiled. Till today, I have kept that money."

According to Pyarelal, Rafi laughed a lot. "He talked less and had a special style of nodding his head. He always looked down and talked, no matter whom he talked with. For him, everybody was the same, and he talked to everybody in the same tone," he points out.

Rafi had a special habit of keeping his car spotless clean. "He had a Fiat, and he would put together all these lights and bright-coloured objects. Even at home, he would insist on cleanliness. There was one room full of awards, and he took care of each award. Another thing he loved was good food. He'd have a lavish meal whenever he could," he says.

Pyarelal, however, points out that Rafi rarely went to parties. "He liked to stay in his own world, and concentrate on two things "” namaz and riyaz. But he has come to my birthday party twice. They may be among the exceptions he made, but we were so close," he adds.

The conversation naturally shifts to Rafi's approach towards singing. Says Pyarelal: "He was God-gifted. He used to do so much riyaz that everything looked so simple. Then, he would modulate his voice to suit each hero, whether it was Dilip Kumar, Bharat Bhushan or Shammi Kapoor."

Pyarelal says Rafi was a strict disciplinarian when it came to work. He elaborates: "He never cancelled any recording, even if he had a 102 degree temperature. In fact, he was the first singer to regularly go on foreign tours. He would go every year, first with his small orchestra, and later with a bigger group."

Was there anything that Rafi loved as much as singing? Pyarelal laughs: "Yes, he loved whistling. He would whistle regularly, either in the form of a tune or just loudly when he was happy."

For Pyarelal, the tales would never cease. But then, Laxmikant-Pyarelal and Rafi not only made some great music together, but shared a special bond too.

LEGENDS continues........

FOREVER MOHD RAFI:

In 1948 on the death of Mahatma Gandhi, Md. Rafi sang the song ''Suno, suno ae duniya vaalon, bapuji ki amar kahaani'', written by Rajinder Krishan and music scored by Husnlal Bhagatram. Rafi's voice echoed the sadness of this great tragedy and listeners soon had their eyes filled with tears.
Such was the magic in his voice and soon he became the favourite of millions. THen during his long career he sang a vast number of songs for all kinds of characters portrayed on the screen. Be it a hero, a drunkard, a beggar, a comedian etc., Rafi catered to all and did justice to the lyricist, the music director, and to the song itself. Music directors had a choice of many singers but there was always the thought at the back of their minds, that in the event no other male singer could do justice to their song, there was always Mohd. Rafi to sing for them. Even other singers have admitted that to sing a duet with him was extremely taxing. Being trained in classical music, he sang a number of very good classical numbers, both solos as well as duets. He has also sung a song for Kishore Kumar in the film Ragini.

.

FOREVER MOHD RAFI:

JULY 2012 MARKS 32 YEARS SINCE THE PASSING OF MOHD RAFI:


HIS LEGACY WILL REMAINS FOR GENERATIONS TO COME:

Is it any wonder, therefore, that when Rafi Sahaab died in the holy month of Ramadan the entire locality of Bandra and the known and the unknown faces of the Bollywood fraternity as well as thousands of outsiders formed the huge procession that followed his bier to the grave, braving torrential rains? Even after 31 years of his sad demise, nearly a thousand people from all over the country, including his fans, the film and the TV personalities, gathered at his grave in the burial grounds of the Juhu Mosque to pay homage to their departed icon, the Great Indian Legendary Playback Singer, Mohammed Rafi Sahaab.

FOREVER MOHD RAFI:

SUNO SUNO AI DUNIYA WALO BAPU KI YEH AMAR KAHANI: MP 3

Several years earlier, Lata had rendered the same song live before an audience comprising, among others, the then Prime Minister Jawaharlal Nehru, and it had brought tears to his eyes. Similarly, when Mohammed Rafi sang a patriotic song on the life of Mahatma Gandhi on the occasion of India's first Republic Day function, Suno suno ai duniya waalo Bapu ki ye amar kahani it had moved Nehru to tears.

FOREVER MOHD RAFI:

Year : 1970
Singer: Mohd Rafi
Lyric :
Music : Shankar Jaikishan

ALTHOUGH WE HAIL FROM DIFFERENT LANDS:

Although we hail from different lands,
we share one earth and sky and sun,
remember friends, the world is one

We want all enmity to seize,
for we want peace, we all want peace,
we want no hate, we want no strife,
since we were born for love and life,
come let us chant while joining hands,
we shall not rest till wars are done,

remember friends, the world is one

Although we hail from different lands,
we share one earth and sky and sun,
remember friends, the world is one

we have matured to dream and build,
we want our dreams to be fulfilled,
we have come here to dream and plan,
a world of joy and hope for man,
a world is dignity demand,
a world that we shall see begun,

remember friends, the world is one

Although we hail from different lands,
we share one earth and sky and sun,
remember friends, the world is one

FOREVER MOHD RAFI:

A shrine to Mohammad Rafi in Birmingham
By Prasun Sonwalkar, London, Sep 26:

Some critics call Indian singer Mohammad Rafi a mere 'qawwal', while millions revere him as the epitome of romance and solace - and now a Birmingham-based fan has built a shrine to his idol who he sees as nothing less than a saint.

Tasawar Bashir, a Birmingham-based artist, has designed a contemporary shrine to Rafi (1924-1980). It is currently on display at the Festival of Xtreme Building, Birmingham. Visitors are encouraged to bring offerings.

Bashir, who designed the relic, said: "There is no doubt in my mind that Rafi is already a saint. However, life moves at a much faster pace in the 21st century and therefore I believe that achieving the status of sainthood should reflect this societal shift.

"I asked myself how I could pay homage and honour Rafi, and was struck by the simple solution to make a shrine; a capsule in the middle of a bustling city which compresses time and space and expresses a one-to-one transmission between Rafi's voice and the listener. It is my intention that the shrine will transcend time and space."

The shrine has been built from transparent materials to emphasise its accessibility, and to encourage people who may not be familiar with Islamic art, or Rafi, to explore the space. The shrine, which is still only a prototype, will eventually be taken to India.

Tasawar added: "The shrine will be affected by the environment, weather and light depending on the time of day, meaning that every visit will be unique."

Dave Pollard, Curator of the Festival of Xtreme Building, said: "Mohammed Rafi had near universal appeal and his songs covered both the sacred and the secular. We hope that the shrine will create a link between the city and communities that may not normally visit the town centre, and urge the public to assist Tasawar in his attempt to turn this respected man into the peoples' saint."

The shrine is a 'Project 500' commission, a challenge set by the Festival of Xtreme Building asking artists and architects to work within a community to build a structure or installation with a budget of only 500 pounds. The shrine has been constructed with help from community residents and the support of Travel West Midlands, SAMPAD and Marketing Birmingham.

Tasawar told the media: "Mohammed Rafi embodies the golden age of Bollywood. He was never present in any of these films but everyone knew who he was through his voice. He was so prevalent in the 70s and 80s when I was a kid.

"My mum used to put him on in the kitchen, dad in the car - you couldn't get away from him."

Ameet Chana, a former actor in the popular serial "EastEnders", hosted the event Saturday and said: "It's great everybody's come out to celebrate the renowned voice of Mohammed Rafi. I was very young at the time he passed away but I grew up with his sound through going to watch classic Bollywood films."

Shin, an artiste with Birmingham-based bhangra band DCS, said: "Rafi was a great influence on me and he's the reason I'm singing. He encouraged me to sing like him and my singing is still based very loosely on his style. This shrine is a great idea and well overdue."

--- IANS

FOREVER MOHD RAFI:

TRIBUTE TO MOHAMMED RAFI THE LEGENDARY SINGER OF INDIA...1...

ARTICLES BY NASIR WHO IS TODAY CONSIDERED AN AUTHORITY ON THE LIFE AND TIMES OF MOHD RAFI:

Part 1

With special reference to the 1950's and 1960's.

What I present below is just a general observation and impressionistic views of an ordinary fan who did hear and enjoy the songs of Rafi Sahaab in the good old days and cherishes them still.
With the untimely death of the legendary Kundanlal Saigal in January 1947 a void had been created. Most of the actors having given up singing too about the mid-Forties, playback singing was a new industry and those who came in at that stage, most of them were heavily influenced by the Saigal style. Naushad, who had teamed up with Saigal in Kedar's masterpiece Shahjehan had given the last of great musical hits that kept the memory K.L. Saigal alive. The older generations were crazy after Saigal's songs. For several years, after his demise, Radio Ceylon used to play a 78 rpm record of Saigal's songs every day at 7:57 a.m.. It is against this background that emergence of Mohammad Rafi has to be seen and appreciated. Without going into his story of his earlier beginnings and forays in the Bombay film industry which are too well-known, I would like to begin at once with taking small glimpses of the "Rafian Process" that had a solid foundation in the late Forties itself, and which began building on that foundation in earnest with the 1950's. In accordance with the compositions of the Music Directors of the late Forties, Rafi Sahaab sang those songs that involved use of low octave in his earlier voice. For example, HAAY RE DUNIYA....in Zeenat (1945), YAHAAN BADLA WAFAA KA (with the reigning queen of melodies, Noor Jahan), and a light number for collegians: WOH APNI YAAD DILAANAY KO where he also appears as himself (Jugnu 1946); or TERA KHILONA TOOTA BALIK... in Anmol Ghadi (1946) had him singing in a deep bass. However, personally I'm surprised at Rafi Sahaab's rendition of KEH KE BHI NAA AAYE TUM...in Safar – a 1946 number under C. Ramchandra. The style belongs to the Fifties with another tonal quality. The following years we find a powerful amalgamation of the emotional feel of Rafi Sahaab blended in his songs In 1947, Do Bhai which had hit numbers of Geeta Roy, he lamented: DUNIYA MEIN MERI AAJ ANDHERA HI ANDHERA. The same year he gave such hits as TUM HAMAARAY HO NAA HO, in Saajan IK DIL KE TUKDE HAZAAR HUYE...was another of his song giving that hapless unrequited love in PYAAR KI JEET (1948). Emotion mixed with Romance in HAMM KO TUMHAARA HI AASRA in Saajan (1947). In 1948 he gave quite a few numbers for Amirbai Karnataki in Shehnaz. However, in MORE RAJA HO LE CHAL... in Nadiya ke Paar the voice used for Dilip Kumar is still in low octave. Which is again reflected in YEH ZINDAGI KE MELE in Mela (both of 1948) though not filmed on the protagonist.

Part 1 continues.....

FOREVER MOHD RAFI:

Part 1 continues.......

With special reference to the 1950's and 1960's.

The year 1948 also promised that we had in Rafi Sahaab a singer who could stir up feelings of patriotism in a manner hitherto not done as when he sang in the musical composition of Husnlal Bhagatram: SUNO SUNO AY DUNIYA WAALO BAPU JI AMAR KAHANI. The then Prime Minister of India, Pandit Jawarharlal Nehru evidently having heard of Rafi Sahaab invited the young singer to his residence to sing to him that lyrical obituary relating to the Father of the Nation - that Bapu JO PUNJYA HAI ITNA JITNAA GANGA MAA KA PAANI. There was, perhaps, no one to record how many precious tears the Indian Prime Minister must have shed on listening to the deep, rich voice, that heart-rending pathos... Though Rafi Sahaab had sung several patriotic numbers such as in Shaheed (1948) which had Ghulam Haider as the Music Director, WATAN KI RAAH MEIN...showed the promise that Rafi Sahaab would be excelling the genre of the patriotic number as well. Since this song is a duet, one can easily fathom what an emotional singer Rafi Sahaab was even at that very young age. The rendition of this song established him as the singer of patriotic songs too. For Ghulam Mohammad he sang in Kajal (1948), Shayar (1949). His DIL KI LAGI NAY HAMM KO DIWAANA...in Paras (1949) was at the simple best. Rafi Sahaab sang for Music Director like Shyam Sunder right from 1948 till at least 1953 for movies such as Actress, Bazaar, Chaar Din, Dholak and Alif Laila, giving such hits as AY DIL MERI AAHON MEIN (Actress -1948); AY MUHABBAT, UNSE MILNAY KA BAHAANA MIL GAYAA and the lament in MERAY BHAGWAAN TU MUKHKO, YUNHI BARBAAD REHNAY DAY (Bazaar 1949); the light foot-tapping HALLA GULLA LAEE LAA (Dholak – 1951); KYA RAAT SUHAANI HAI (Alif Laila – 1953). Khemchand Prakash and Husnlal Bhagatram were some of the other composers for whom Rafi Sahaab sang giving them many hit numbers. In Meena Bazaar, Husnlal Bhagatram tasked Rafi Sahaab to sing all their numbers, nearly ten, either solo or duets. For Husnlal Bhagatram he sang such soulful songs as: IK DIL KE TUKDE HAZAAR HUWYE (Pyar ki Jeet - 1948); MUHABBAT KE DHOKE MEIN KOI NA AAYE (Badi Bahen – 1949); THUKRA KE HAMEN CHAL DIYE BEGAANA (Baalam -1949) among others. The romantic AYE MUHABBAT, UNSE MILNEY KA BAHAANA MIL GAYA, (Bazaar), and DIL HO UNHEY MUBARAK in Chaandi Raat, the vocal timbre sounds the same. The song of Badi Bahen: MUHABBAT KE DHOKE MEIN KOI NAA AAYE, and in Dillagi ISS DUNIYA MEIN AY DILWAALO.n...is still effectively at low key though the latter was under the baton of Naushad Sahaab. We find certain direction of the genre of Ghazal or Nazm in JIN RAATON MEIN NEEND UD JAATI HAI....(Raat ki Raani) and that of a soulful lament in MUJHE BHAGWAAN TU MUJHKO YUNHI BARBAAD REHNEY DE...(Bazaar). In other song of Dulari (duet) such as MIL MIL KE GAAYENGE HO DO DIL YAHAAN...or in Rafi Sahaab's duet with Suraiya in Duniya (1949): HAAYE RE TUNE KYA KIYA, and YUN TO AAPAS MEIN BIGADTEY HAIN..in Andaaz with Lata definitely reflects the style of late forties and early Fifties with a special reference to the sweetness of Rafi Sahaab's vocals. But in RK'S Barsaat (1949), Rafi Sahaab's MAIN ZINDAGI MEIN HARDAM ROTA HI RAHA HOON...seems to be the precursor of the songs that were later composed under the baton of Naushad Sahaab in the fifties. However, the all-famous song from Dulari SUHAANI RAAT DHAL CHUKI... stands as the benchmark of a style that was common to all the coming decades.

Part 1 continues.....

FOREVER MOHD RAFI:

ARTICLES BY NASIR WHO IS TODAY CONSIDERED AN AUTHORITY ON THE LIFE AND TIMES OF MOHD RAFI:

With special reference to the 1950's and 1960's.

Part 1 continues.....

The picture that emerges shows that in the Forties itself Rafi Sahaab's name became a household name and that his songs had become a run-away hit with the masses. The presence of other male singers such as G.M. Durrani, Surendra, Khan Mastana, Shyam and others could not suppress the rising star. Bollywood song sequences by the mid-forties had become more dynamic and the camera was liberated to roam around freely. This was synonymous with Rafi Sahaab's voice that had laid the foundation in the forties to make the business of musical recording songs more exciting. When we come to the Fifties, in the very early couple of years we still find traces of the style that was prevalent in the late forties – again probably due to the fact the Music Directors had not explored the potentials of Rafi Sahaab and were content with their same old style of song and music. Thanks to the experimentation of Naushad, the Fifties were to witness, or rather hear, and treasure that quality of Rafi Sahaab that was not present in the earlier playback singers, namely, his phenomenal range of voice. The song from Baiju Bawra (1953) : O DUNIYA KE RAKHWAALAY is still fresh in the memories of music lovers even after the lapse of fifty-four years. This high range was of Rafi Sahaab was used in MERI KAHAANI BHOOLNAY WAALAY (Deedar 1951), YAHI ARMAAN LEKAR. (Shabab 1954) or O DUUR KE MUSAAFIR (Udan Khatola 1954). Shankar-Jaikishen made use of this range in Basant Bahar (1956): DUNIYA NA BHAAYE MOHAY...where the voice rises in crescendo and is one of the most difficult songs to sing. Some singers have tried to sing the Baiju Bawra and the Udan Khatola songs but hardly one is found attempting to sing the Basant Bahar Bhajan of Rafi Sahaab. Hansraj Behl too got him singing MUHABBAT ZINDA REHTI HAI with the high octave of the words: CHALI AA, CHALI AA, CHALI AA....(Changez Khan – 1956). So did S. Mohinder for the song HAZAARO.N RANGG BADLEGAA ZAMAANA...(Shirin Farhad – 1957). In the late fifties Salil Choudhry had to give TOOTAY HUWAY KHWAABON NAY to Rafi Sahaab in Madhumati (1958) and so also Shankar-Jaikishen had no option but to give that difficult but racy and thunderous number: YEH DUNIYA YEH DUNIYA (Yahudi 1958) to him.

Part 1 continues.........

FOREVER MOHD RAFI:

ARTICLES BY NASIR WHO IS TODAY CONSIDERED AN AUTHORITY ON THE LIFE AND TIMES OF MOHD RAFI:

With special reference to the 1950's and 1960's.

Part 1 continues.....

It had became as clear as crystal to the Music Directors and the film industry in general in the Fifties as to what a storehouse of powerful voice did Rafi Sahaab have. They thus could come up with many compositions without restrain about the scales for they had found in Rafi Sahaab a singer who could not only understand and emote the finer nuances of lyrics effectively but also deliver the songs with grace and sweetness going from the low and high and back without losing the voice quality. Rafi Sahaab's ability to staying in tune even in fluctuation of voice range, producing specific vowel sounds and tone colours for the sound that were needed were now all too evident. So by the close of Fifties it was Rafi Sahaab all the way. He could sing all genres of songs with great ease. The classicals he had already rendered in Baiju Bawra and Basant Bahar and other movies of the Fifties, culminating in 1960 with MADHUBAN MEIN RADHIKA NAACHE RAY....(Kohinoor). His duet with Lata in Suvarna Sundari: KUHOO KUHOO BOLAY KOYALIYA is again an unforgettable number. Other genres such as Ghazals, Qawwalis, Western-influenced numbers too were already mastered by him in the Fifties. To give just an example each when the question of rendering a ghazal of Ghalib (Mirza Ghalib – 1954) in a difficult composition came up before Ghulam Mohammad he could only turn to Rafi for rendering HAI BAS KE HAR IK UNKAY....As for the qawwali style and its feel, who can forget AANKHON MEI.N TUMHAARE JALWAY in Shirin Farhad. In the Fifties itself the Western pop music had begun its assault and the Bollywood film industry could not remain unscathed. Therefore, when the West danced to Rock ˜N' Roll music, we had our own Desi version in LAL, LAL GAAL, JAAN KE HAIN LAAGU...(Mr X - 1955) belted by our own Rafi Sahaab who could not at all be repressed. Later, O.P. Nayyar found it to his comfort to use Rafi Sahaab's mastery over this style to churn out lilting numbers such as JAAWAANIYA YEH MAST MAST BIN PIYE...(Tumsa Nahin Dekha - 1956). When Usha Khanna was introduced as the Music Director in DIL DEKE DEKHO (1958) she seemed to be under this influence too. Rafi Sahaab rendered the title song of the movie that was inspired by SUGAR IN THE MORNING, SUGAR IN THE EVENING. In the same movie, Rafi Sahaab also rendered the Desi version of the DIANA number: I'M SO YOUNG AND YOU'RE SO OLD... by KAUN YEH AAYA MEHFIL MEIN... By the way, after a quarter of century later, Rafi Sahaab would be singing to Usha Khanna HUM AUR TUM AUR YEH SAMAA from this movie showing his pleasure for the masterly composition of TU ISS TARAH SE MERI ZINDAGI MEIN SHAAMIL HAI from the 1980's AAP TOH AISAY NA THHEY. The Fifties was also a decade when many low-budget mythological movies were made. It was a boon for their music directors that Rafi Sahaab sang the Bhajan's with so much emotion, pathos, power, and mastery of Hindi dialect as well. (He had already proved that with MANN TADPAT HARI DARSHAN KO...in Baiju Bawra). His Bhajans from Shri Chaitanya Mahaprabhu (1953) including GOKUL GAAWOON, and from Tulsidas (1954) including MUJHE APNI SHARAN MEIN LAY LO RAM....; from Chakradhari (1954): KAHAY KO BISRAA HARI NAAM; Aastik (1956) O JISKA SAATHI HAI BHAGWAAN.... Or from the Dilip Kumar starrers: Amar (1954): INSAAF KA MANDIR HAI, Insaniyat (1956): APNI CHHAAYA MEIN BHAGWAN, Naya Daur (1957): AANA HAI TO AA.., can never be forgotten. The genre comedy are amply represented by such songs as: AY DIL HAI MUSHKIL (C.I.D – 1956) SAR JO TERA CHAKRAAYE (Pyaasa -1957), JANGAL MEIN MOR NAACHAA (Madhumati – 1958). These songs are specially known for their uncanny resemblance to the voice and the mannerisms of comedian Johnny Walker. But then he also sang such songs for other actors too. One such notable movie is HAMM SAB CHOR HAIN. In the Fifties the Voice of Rafi Sahaab was sugar and honey and tugged at the hearts of its listeners, evoking all shades of noble emotions. No doubt he became a national icon.

Part 1 continues.....

FOREVER MOHD RAFI:

ARTICLES BY NASIR WHO IS TODAY CONSIDERED AN AUTHORITY ON THE LIFE AND TIMES OF MOHD RAFI:

With special reference to the 1950's and 1960's.

Part 1 continues.....

Mohammad Rafi's songs in the Golden Age are vocally seductive, rendered under great composers such as Naushad, Shankar-Jaikishen, S.D. Burman and C.Ramchandra, as well as the musicians of the next in ranks. Letting aside the most popular songs of Rafi Sahaab in the Fifties under the batons of Naushad (Dastaan, Deedar, Aan, Baiju Bawra, Udan Khatola, Sohni Mahiwal, Amar, Shabab,Mother India... ); Shankar Jaikishen (Seema, Shri 420, Raj Hath, etc.) O.P. Nayyar, (Aar-Paar, Mr. and Mrs. 55, Tumsa Nahin Dekha, C.I.D., Phagun, Howrah Bridge, 12 O'Clock, Naya Daur, Aakhri Dao...); S.D. Burman (Nau do Gyaraah, Pyaasa, Solva Saal, Kala Pani, Kaghaz Ke Phool); C.Ramchandra: (Sargam, Hangama, Insaniyat, Amar Deep...); Heman Kumar (Jagruti, Miss Mary, Payal...), A few of other representative numbers of the Fifties in general are: AKELAY MEIN WOH GHABRAATE TO HONGE from BiwiARRE DENE WAALAY YEH KYA ZINDAGI DI..from Meena Bazaar.HAMM ISHQ MEIN BARBAAD HAI.N..from Aankhen.ADA SE JHOOMTAY HUWAY...Sinbad the Sailor. YEH SAAWAN AUR HAMM AUR TUM from Dastaan.DUNIYA EK KAHANI (Afsana)JAB SHAMMA NAY PUKARA TOH ....(Albela)O SANAM O SANAM (Sanam)NAIYYA TERI MAJHDAR HOSHIYAAR. (Awara)JAYEGA JAB YAHAAN SAY (Moti Mahal)TOOFAANON SE KHELAY JAA (Sinbad the Sailor)AJAB TORI DUNIYA HO MORAY RAAMA (Do Bheega Zameen)DEVTA TUM HO MERA SAHAARA (Daaera)NAYI ZINDAGI SE PYAAR KAR KE DEKH (Shikast)TERA KAAM HAI JALNA PARWAANAY (Papi)CHAL CHAL RE MUSAFIR CHAL (Pooja)OH MAI HOON MASTANA; (Mastana)AB WOH KARAM KAREN KE SITAM (Marine Drive)DAULAT KE JHOOTHE NASHE MEIN HO CHOOR (Oonchi Haveli)HAI DOOR BADI DOOR, BADI DOOR THIKANA (Madhur Milan)MERA TANGA BADA NIRALA (Tangewaali)KAALI KAMLI WAALEY TUM PAY (Hatim Tai ki Beti)RAHI O RAHI (Devdas)PARWAR DIGAARE AALAM (Hatim Tai)APNA HAI PHIR BHI APNA (Bhai Bhai)BIGDI HUWI BANAADE AJMER WAALEY KHWAAJA (Alam Ara)DAULAT KE JHOOTHE NASHE MEIN.. (Insaf)MAINAY CHAAND AUR SITAARON KI (Chandrakanta)CHUN CHUN KARTI AAYI CHIDIYA (Ab Dilli Duur Nahin)AA HA BADLA ZAMAANA (Miss India)ANDHE NE BHI SAPNA DEKHA (Sujata)CHAL UD JAA RAY PANCHCHI (Bhabhi)LAY CHALA JIDHAR YEH DIL NIKAL PADE (Miss Bombay)MAN MORA BAAWRA NIS DIN GAAYE..(Raagini)MAI.N, MAI.N MAI.N CARTOON M.A. (Title Song)Ai JI MAINAY POOCHHAA AAPKO HUZOOR KYA HUA (Mainay Jeena Seekh Liya) AJAB HAI DASTAA.N TERI AY ZINDAGI (Shararat)And many, many more.

Part 1 continues.....

FOREVER MOHD RAFI:

ARTICLES BY NASIR WHO IS TODAY CONSIDERED AN AUTHORITY ON THE LIFE AND TIMES OF MOHD RAFI:

With special reference to the 1950's and 1960's.

Part 1 continues.....

Rafi Sahaab is generally credited with having given us about 27,000 songs in his career. The great forte of Mohammad Rafi Sahaab was that he moved with the times. In this process, he himself brought about a positive change in the playback singing, widening the horizon for the music directors, and was responsible for the liberation of filmy music that had become type-cast and monotonous to say the least. By the time we come to the year 1960, we find that Rafi Sahaab had no more musical territories to conquer. As Lata Mangeshkar was to observe much later: "The void that was created by K.L. Saigal had been filled". But another sign of a great playback singer is not to rest on his laurels. But that story belongs to the Sixties.We saw the tremendous impact of Rafi Sahaab on the film music in the Fifties. However, it should not be in the least imagined that it was a smooth sailing for him. Of course he sang duets with all the female singers of the Fifties, including Shamshad Begum whom Asha Bhonsle had once called "Punjab Ka Jaadu," Lata and Usha Mangeshkar, Asha Bhonsle, Raj Kumari, Ameer Bai, Madhubala Jhaveri, Meena Kapoor, Mubarak Begum, and others. But he faced the toughest of competition from the other male singers such as Talat Mehmood, Kishore Kumar, Manna Dey, Hemant Kumar, C.Ramchandra and Mukesh. Naushad's home production, Babul, (1950) had Talat Mehmood's number for Dilip Kumar. Rafi Sahaab figured just nominally in the background voice singing: DUUR JAANA DUUR HAI...in the Talat-Shamshad duet: NADI KINAARAY PAAS HAMAARAY SHAAMD SUHAANI AAYI. In fact, by the time we approach 1960, Mukesh had won the 1959 Film Fare best singer award for his SABB KUCHH SEEKHA HAMMNAY in Anari. At the same time it also goes to the credit of Rafi Sahaab that he was called upon to render playback singing for established singer such as Talat Mehmood in Lala Rukh: HAI KALI KALI KE LABB PAR in a subdued voice to sound like Talat; and for Kishore Kumar in Baghi Shehzada, Ragini and Shararat. The songs in Raagini: MANN MORA BAAWRA, in Shararat: AJAB HAI DAASTAA.N TERI AY ZINDAGI; were great hits. O.P. Nayyar's decision to make Rafi Sahaab sing the classical song Mann Mora Baawra was upheld by Ashok Kumar who was the producer of Ragini. Shankar-Jaikishen too for their Shararat song needed Rafi Sahaab for his classical background and the phenomenal range of voice. Rafi Sahaab's duet with Asha Bhonsle was lip-synched by both Bhagwan and Kishore Kumar in HAMEN BHAYY DARR HAI in the 1956 flick, Bhagam Bhag which had lilting duets of these male singers.

Part 1 continues.....

FOREVER MOHD RAFI:

The debate as to who was the greater singer carries on even today, even decades after their death. Both of them left an indelible mark in the world of Indian film music, a void that still cannot be filled today. No wonder that their fans are at constant feud with one another trying to prove that their hero was better.

FOREVER MOHD RAFI:

There was a period in the early seventies, precisely from 1972 to 1976, when it was considered that Rafi was eclipsed by Kishore Kumar. Was it really so?

Well, the reasons can be many. First of all, it was given that Rafi refused to sing for nearly eight months due to certain beliefs he suddenly developed, otherwise, perhaps Rafi would have sung all the hit songs of ARADHANA, due to which KK became popular and became the voice of the then heart throb Rajesh Khanna. Though Rajesh had Rafi as main play back Singer in other movies released during the period like MEHABOOB KI MEHENDI, THE TRAIN, DO RAASTE, apart from the two songs in ARADHANA itself, some how the voice of KK got stuck with RK. And Producers, Directors, Actors rushed to KK to make hits like ARADHANA, but all other MDs were not SDB and the standard of music in most of these movies was far below that of ARADHANA. And these people were also handicapped by the fact that Rafi refused to sing for a long period. Changing tastes, commercial interests, a combination of different factors made the situation very complicated and perhaps, the down slide of Hindi Film Music started during this period.

One of my friend used to say that a song can appeal to your ears, but will soon fade out after sometime like most of the songs of today, but a great quality song will always appeal to your heart and remain there forever. How true, most of the songs of fifties and sixties are still etched in our memory but most of the songs of mid seventies and eighties are hardly remembered.

Mohd RafiFor Rafi fans having brought up on more or less on strict Rafi diet, it was especially frustrating to listen to ONLY other Singers, when the BEST of all reduced his songs. That too, just prior to this period, we had wonderful Rafi songs from movies like CARAVAN, DO RAASTE, MEHABOOB KI MEHENDI, HIMMAT, HUMJOLI, THE TRAIN, MELA, MAA AUR MAMTA, GANWAR, ANDAZ, BHAI BHAI, etc.

When Rafi realized and took the challenge, to the immense joy of his Fans, he could once again give quality songs, but no doubt, the quantity had come down considerably. Even in popular Film music programs like Vivid Bharati and Radio Ceylon and especially Binaca Geet Mala, the number of Rafi songs could be numbered to one or two, but there was a considerable increase in the number of KK songs. But Rafi being Rafi, he gave good songs as usual in the same voice, same melody, with same distinction with which he had enthralled countless of his Fans for the previous three decades. The QUALITY in the following songs recorded by MR during the period of 1972 to 1976 remained intact.

In fact, when "Main Ek Raja Hun" (UPHAAR) with LP as MD came on Binaca Geet Mala, the compeer, the redoubtable Amin Sayani remarked that with this song, Rafi would make a come back. How prophetic his words were! The period also had wonderful songs from LP like "Aaj Mausam" (LOAFER), "Aa Batandege Tuzhe" (DOST) with Lata and Shatrughan Sinha, "Bade Bewafa Hain Yeh" and "Hasin Dilruba" (ROOP TERA MASTANA), "Ke Aaja TerI Yaad Aayi" (CHARAS) with Lata and Anand Bhakshi, Solos "Ik Na Ik Din Ye", "Tere Nain" and title song of GORA AUR KALA, "Patta Patta Boota Boota" (EK NAZAR) with Lata, "Nafarat Ki Duniya Ko" (HAATHI MERE SAATHI), "Main Wohi, Wohi Baat" (NAYEE DIN NAYEE RAAT), "Na Zat Yamla" and a duet with Lata "Morni Re Morni" (PRATIGYA), "Koi Nazarana" and title song with Lata (AAN MILO SAJANA), two solos "O Meri Mehabooba" and "Are Maine Tuzhko Chaha" and with Mukesh "Saat Ajube" (DHARAMVEER), "Tere Ishq Ka Muzhpe" with Asha and "Hapte Mahino Barson Nahin" with Lata (NAGIN), "Tere Hathon Me Pehanake Chudiyan" and "Chalo Re Doli Utao". "Tu Gaddar Sahi" (GADDAR) was another hit song.

KA gave "Tumse Door Rahke" (ADAALAT) with Lata, "Wada Karle Sajana" (HAATH KI SAFAI) with Lata and "Deewane Hain Deewanon Ko Na" (ZANJEER) with Lata and "Main Tuzhase Milne Aayi Mandir Jaane Ke Bahane" (HEERA) with Lata and "Yeh Raat Hai Pyaasi Pyassi" (CHOTI BAHU). Another musical was BAIRAAG, the songs became hit during this period though the movie was released much later. It had two duets with Asha "Sare Shahar Me" and "Peete Peete" apart from the Lata duet "Are Sunore Suno". MARYADA had "Mohabbat Ke Suhane Din", Lata duet "Tu Bhi Aaja" and Asha duet "Humse To Hasina". SAMJHAUTA had two wonderful solos "Badi Door Se Aaye Hain" and "Sabake Rahte".

Madan Mohan during this period gave "Jis Din Se Maine" with Asha and solo "Are Hasnewalon" (PARWAANA), "Tum Jo Mil Gaye Ho" and "Ye Mana Meri Jaan" (HANSTE ZAKHM), "Chadi Re Chadi Kaise" (MAUSAM) with Lata as well as some patriotic songs in HINDUSTHAN KI KASAM.

SDB as usual, came out with stunning numbers like "Tere Nainon Ke Me Deep" (ANURAAG) with Lata, "Teri Bindiya Re" (ABHIMAAN) with Lata, "Ae Mere Dil" (US PAAR), "Sare Gama" (CHUPKE CHUPKE) with KK.


RDB, the so called KK Fan also gave some hit numbers with MR like "Chura Liya Hain Tumne Jo Dil Ko" with Asha and title song with KK (YADON KI BARAAT), "Ek Shok Hasina Se" (CHAANDI SONA) with Mannadey, "Kahe Ko Bulaya" with Lata and solo "Tere Attaroo" (SHAHJADA) and "Ae Jaane Wafa" (CHALIA).

Naushad gave "Nayi Hawa Me" (GAON HAMARA SHEHAR TUMHARA) and title song of TANGEWALA.

OPN after patching up with MR gave beautiful songs like "Zamane Ki Aankhon Ne" (EK BAAR MUSKURADO), "Hont Hai Tere Do Laal Heere" with Dilraj Kaur and "Kuch Aur Nahin Bas Dyaan Tera" with Mannadey (HEERA MOTI). In fact, OPN is suppose to have remarked, ˜give me one film, I will show you who is Rafi?' which is sufficient proof of OPN's acceptance of Rafi's superiority.

SJ, the true Rafi fans came out with solos "Jab Mohabbat Jawan Hoti Hai", "Mere Sapnon Ki Raani", and duets with Asha "Mil Gayi Mil Gayi" and "Na Rooto Na Rooto Na" (JAWAAN MOHABBAT) as well as "Maati Ke Jalte Deepak Ki".

MD Ravi came out with stunners in "Door Rahakar" and "Matlab Nikal Gaya" (AMANAT) and "Mere Dost Tuzhe" (DHARKAN) and "Aaj Mere Yaar Ki Shaadi Hai"

Rajesh Roshan gave "Sazi Rahi" (KUNWARA BAAP) with Mehamood, "Kahun Kya" (GINNY AUR JHONNY) with Asha and "Ghadi Milan Ki Aayi" (EK BAAP CHE BETE) with Sulakshana Pandit and another duet in PRIYATAMA – "Na Na Na Na".

There were other quality songs like "Apni Aankhion Me Basakar" (THOKAR), "Dil Ne....... Pyaar Kiya Hai Ek Bewafa Se" (SHARARAT) under MD Ganesh, "Kahin Aisa Na Ho" (MILAP) under MD Brij Bhushan, "Kahin Ek Masoom, Nazuksi Ladki" (SHANKAR HUSSAIN) under Khayyam, "Teri Galiyon Me Na" (HAWAS) under Usha Khanna, "Raaj Ki Baat" and "Main Tera Gunahagar Hun" (DHARMA) with Asha under Sonik Omi, "Dil Ka Suna Saaz" (EK NARI DO ROOP) under MD Ganesh, etc. which clearly showed Rafi's class. Two other movies with Rafi as main singer were AAP KE DEEWANE and ZINDA DIL. RAM BALRAM and PROF. PYAARELAL also had some MR songs.


If one observes closely the above songs, majority of these songs have LP as MD and followed by others like KA, RDB, RR, MM, SDB, OPN, Naushad, Usha Khanna, etc. Does it reveal some thing? I have listed only some of the quality songs which I could immediately recollect and which I have enjoyed listening to, though Rafiji sang many more songs during this period.

Later, once again Rafi wave started with Laila Majnu with Music by the great Madan Mohan followed by AAA, HKKN, Aasha, Shaan, Sargam, Abdullah, Naseeb, Mrig Trishna (the classic "Nava Kalpana Nava Roopase"), ZKDH, Karz, Swayamvar, Sazan Ki Saheli, Naach Uthe Sansar, etc. reestablishing Rafi as no. 1 Singer again in terms of quantity though he was always no. 1 as for as quality was concerned. And after 1976, the songs of Rafiji as usual occupied the main space in programs like BGM, VB, RC, etc.

Mr. Nitish Sinha from Rourkela has already written a very good article on the same subject, but I thought I could substantiate further on the topic. I am sure other Rafians can come out with scores of other songs sung by Rafiji during this period.

This entry was posted on Saturday, February 23rd, 2008 at 9:37 pm and is filed under Meri Awaaz Suno. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

7 Responses to "Quality Rafi Songs from So Called Lean Period"

1.
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A S MURTY Says:
February 23rd, 2008 at 10:28 pm

Fabulous writing by Mr. Gurumurthy Ji. You have practically named almost all the movies of that period where Rafi Sahab once again produced gems of songs, in his most inimitable voice. I particularly liked reference of one song "Bade Bewafa Hain Yeh Husnwale Par Teri Baat Kuch Aur Hai" (ROOP TERA MASTANA). That is a grandstand rendition once again but not very popular. I request some of the rafians having the song to kindly send it to me at asmurty2@rediffmail.com. Then again, although the movie Mehboob ki mehendi was mentioned, one song "pasand aa gayi hai ik kafir haseena" is again a very unusual style but very appealing song. This again went unnoticed but is a class song by itself. One correction though Gurumurthy ji, the song from "amaanat" is "matlab nikal gaya hai toh pehchaante nahin" and not as stated. Several other songs mentioned in the article emphatically establish the supremacy of rafi sahab over all other singers. perhaps rafi sahab had cut down on his singing, else the list would be much much lengthier. great article and great piece of writing too. thanks.
2.
2
Suraj Says:
February 23rd, 2008 at 10:44 pm

Rafi was #1 for 20 years and even in the same film he was the voice for multiple characters. Very few like to hear one voice all the time. Eventually people wanted to take a break from his voice. This is why great Rafi songs in early 70s did not get due justice THEN (people were taking a BREAK) but today are revered (people are not JUST coming from a 20 year streak by Rafi as voice for everyone). Raj Kapoor was clever to want a fresh new voice for Bobby (1973). Had the songs been in Rafi's voice, today they would be even more revered than they are. In 1973 they would have been relatively ignored like the other Rafi classics from Abhimaan, Haathi Meri Saathi, Yaadon Ki Baraat. Shocking to imagine songs by Mahendra Kapoor & Shailendra Singh being more popular than Rafi's from the 1971-1975 period but it happened. Never for musical reasons but the "break" factor. Shankar Jaikishan went down in early 1970s because they remained loyal to Rafi (besides Sharda, rifts, alcohol). If they replaced Rafi with new voices they would have remained #1 even in early 70s against RD Burman. Of course Rafi songs from early 71-75 easily outstrip the Mahendra Kapoor & Shailendra Singh songs from that period in the TEST OF TIME 30 years later today (heavenly voice can never be replaced) - but back then during the wave & trends it was a different scenario.

Courtesy: Ruffian tribute to Mohd Rafi.
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FOREVER MOHD RAFI:

Philatelic Tribute to the Legendary Indian Playback Singer, Mohammed Rafi  whose rich melodious voice,  attract the older and the newer generations day by day.

===TRANSLATION of Other version ===
''Suno suno ai duniya walon bapu ki ye amar kahani''
Listen O' World The immortal story of Bapu (informal word for father)
----------------------------
''Vo bapu jo Pujay hai itna jitna ganga maa ka pani''
The Bapu is as respectable as the Holy water of mother "Ganges"
------------------------------------
''Suno suno ai duniya walon bapu ki ye amar kahaani''
Listen O' World The immortal story of Bapu
------------------------------------
''Porbandar Gujrat desh mein ek Rishi ne Janam Liya''.
A Saint was born in Porbandar, the land of Gujrat
----------------------------------------
''Maat-Pita ne Mohandas Karamchand Gandhi naam diya''
His parents named him "Mohandas Karamchand Gandhi"
---------------------------------------------
''Bachpan Khel Kood mein Gujra London Jakar Vidya Payee''
Childhood was gone in playing games and education he completed in London
--------------------------------------
''Baristar ban Afrika mein Jakar Apni Dhaak Jamai''
He became a Baristor in Africa and achieved fame
---------------------------------
''Lekin Jo Phaani Duniya mein Amar Kahaane aaten hein''
But those who come to the World to become immortal
---------------------------------------
''Vo kab maaya moh mein faskar apna samaa ganwate hein''
They don't waste their time in Glamour and Endearment
-----------------------------------------
''Suno suno ai duniya walon bapu ki ye amar kahani''
Listen O' World The immortal story of Bapu
---------------------------------------
''Afrika mein Hindi Jan ki badi durdasha paayee''
found the Indians (Hindi) in a bad condition in Africa
-----------------------------------------------
''Gore raaj se takkar lekar sattay ki jyot Jalayee''
He fought against the white government on truth
(literal meaning - He lightened the lamp of truth after challenging White Govt)
-------------------------------------------------
''Fir bharat ki Sewa karne Apne desh mein aaya''
Then came back to India to serve his own country
-------------------------------------------------
''Sabarmati mein Satyagrah ka aashram aan banaya''
Made an "Satyagrah" ashram in Sabarmati
(Satyagrah literally means clinging upon truth - it can be better considered as A Fight for truth, but without any violence)
------------------------------------------
''Aur Khilafat Kanfrence (Conference) mein Sabhapati ka Darja Paaya''
and became Chairman in "Khilafat Conference"
("Khilafat" is an urdu word it means reluctance, Here the reluctance was against Britishers)
------------------------------------------------
''Islaami Adhikar ki raksha mein bhi haath bantaya''
Also Helped in "Islaam" rights
---------------------------------------------------
''Hindu Muslim dono uski aankhon ke taare thhey''
Hindu and Muslims were both dear to him
----------------------------------------
''Duniya ke saare hi mazhab bapu ko pyare thhey''
All the religion of the world were beloved to Bapu
-----------------------------------------------
''Suno suno ai duniya walon bapu ki ye amar kahani''
Listen O' World The immortal story of Bapu
----------------------------------------------------
''Bharat Kaumi Kangress (Congress) ki Aisi dhoom Machaai''
Made such a boom of Indian National Congress
------------------------------------------------------
''Kaumi Jhande ke neeche fir janta daudi aayee''
The public ran under the National Flag
--------------------------------------------------------
''Khadi Ka parchaar kiya fir ghar ghar khadi aayee''
He introduced Khadi to every household
-------------------------------------------------------
''Aur badeshi (Videshi) maal ki holi Gandhi ne Jalwai''
and Gandhi burnt all the foreign clothes
----------------------------------------------------------
''Charkhe ki aawaj jo goonji hui Machine thandi''
When "Charkha" shouted, the machines closed
(literally:- when the voice of Charka echoed, the machines became cold.- Machines are symbolizing factories here)
--------------------------------------------------------------
''Aur Shaan se lahraayi bharat ke tirangi Jhande''
And gracefully Indian tricolor flag waved
---------------------------------------------------------
''Suno suno ai duniya walon bapu ki ye amar kahani''
Listen O' World The immortal story of Bapu
-----------------------------------------------------------------
''Vo bapu jo Pujay hai itna jitna ganga maa ka pani''
The Bapu is as respectable as the Holy water of mother "Ganges"
--------------------------------------------------------
''Suno suno ai duniya walon bapu ki ye amar kahani''
Listen O' World The immortal story of Bapu

ONE DAY THE POLITICIANS WILL RECOGNISED THE MASTER AND KNIGHTED HIM WITH THE BHARAT RATNA: UNTIL THEN HIS FANS SHOUTS FOR RECOGNITION OF THIS AWARD: 

FOREVER MOHD RAFI:

SONU NIGAM PAYS RESPECT TO THE LEGENDARY MASTER IN RAFI RESURECTED - AN EVENING IN LONDON:

MUJHE TERE MOHABAT KA SAHARA MIL GAYA HOTA: #1

FOREVER MOHD RAFI:

SONU NIGAM PAYS RESPECT TO THE LEGENDARY MASTER IN RAFI RESURECTED - AN EVENING IN LONDON:

KAUN HAI JO SAPNO MAY AAYA: #3

FOREVER MOHD RAFI:

SONU NIGAM PAYS RESPECT TO THE LEGENDARY MASTER IN RAFI RESURECTED - AN EVENING IN LONDON:

KYA HUA TERA WAADA VO KASAM VO IRADA 

FOREVER MOHD RAFI:

SONU NIGAM PAYS RESPECT TO THE LEGENDARY MASTER IN RAFI RESURECTED - AN EVENING IN LONDON:

SUHANI RAAT DHAL CHUKE NA JANE TUM KABOUGE:

Bollywood stars paying tribute to Rafi sahib on the occasion of opening ceremony of Mohammad Rafi Academy launched by Shahid Rafi the son of Mohammad Rafi on 31 July 2010.

Best of tributes to Rafi on 31 July 2010

FOREVER MOHD RAFI:

Sonu Nigam talking about Rafi Sahib during the launch of "Rafi Resurrected"

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FOREVER MOHD RAFI:

LEGENDARY GREATS PAYS TRIBUTE TO THE MASTER:

A Nostagic trip down memory lane with tributes by Lata Mangehkar, Naushad Sahab, Manna Dey, Mahendra Kapoor, Jagjit Singh & Anup Jalota!

FOREVER MOHD RAFI:

Sonu Nigam sings Oh Door ke Musafir on an old episode of Sa Re Ga Ma back in the days when he used to host the show.

We can safely say that Sonu Nigam came the closest in duplicating the Master

FOREVER MOHD RAFI:

RECORDING CAREER OF MOHD RAFI

He associated with many music directors of his time, most notably Naushad. In the late 1950s and 1960s, Rafi worked with other composers of the era such as O. P. Nayyar, Shankar Jaikishan and S.D. Burman, although his renditions for the movie Taj Mahal (1963) composed by Roshan, grandfather of Bollywood star Hrithik Roshan, marked the pinnacle of his brilliant career.

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FOREVER MOHD RAFI:

RECORDING CAREER OF MOHD RAFI

Association with Naushad

As per Naushad, Rafi came to him with a letter of recommendation from Naushad's father. Rafi’s first song for Naushad was "Hindustan ke hum hain" ("We belong to Hindustan") for the film Pehle Aap in 1944. The first song for the duo was the soundtrack of the movie Anmol Ghadi (1946). Before Rafi, Naushad’s favorite singer was Talat Mahmood. Once Naushad found Talat smoking during a recording. He was annoyed and hired Rafi to sing all the songs of the movie Baiju Bawra.

Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi Cinema. Songs from Baiju Bawra (1952) like "O duniya ke rakhwale" and "Man tarpat Hari darshan ko aaj" furthered Rafi's credentials. Rafi ended up singing a total of 149 songs (81 of them solo) for Naushad.

In the 1960 film Mughal-E-Azam, Mohammed Rafi sang the song "Ae Mohabbat Zindabad", composed by Naushad, with a chorus of 100 singers.

FOREVER MOHD RAFI:

RECORDING CAREER OF MOHD RAFI

Association with S D Burman

S. D. Burman patronized Rafi as the singing voice of Dev Anand and Guru Dutt.^[19] Rafi worked with Burman in movies like Pyaasa (1957), Kaagaz Ke Phool (1959), Tere Ghar Ke Samne (1963), Guide (1965), Aradhana (1969), and Abhimaan (1973). S. D. Burman was also another music director besides Naushad who used Rafi prolifically to sing for most of his songs.

Association with Shankar-Jaikishan

Rafi and Shankar Jaikishan was a partnership in the Hindi film industry. Under Shankar-Jaikishan, Rafi produced some of his songs for actors like Shammi Kapoor and Rajendra Kumar. Out of six Filmfare awards, Rafi won three for S-J songs, viz., "Teri pyari pyari soorat ko", "Baharon phool barsao", and "Dil ke jharokhe mein". The song "Yahoo! Chahe koi mujhe junglee kahe" was sung by Rafi, only to be matched a fast-paced orchestra and a composition by Shankar Jaikishan. S-J made Rafi give playback for Kishore Kumar in the film Shararat ("Ajab hai daastan teri yeh zindagi"). Rafi sang a total of 341 numbers (216 solo) for Shankar-Jaikishan. Among the films of this combination, are Basant Bahar, Professor, Junglee, Suraj, Brahmachari, An Evening in Paris, Dil Tera Deewana, Yakeen, Prince, Love in Tokyo, Beti Bete, Dil Ek Mandir, Dil Apna Aur Preet Parai, Gaban and Jab Pyar Kisi Se Hota Hai.

Association with Ravi

Rafi got his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960), composed by Ravi. He got National Award for the song "Babul Ki Duaen Leti Ja" from the film Neel Kamal (1968), also composed by Ravi. Rafi actually wept during the recording of this song. He, himself, admitted this in his interview to BBC in 1977.

Ravi and Rafi produced several other songs, in the films China Town (1962), Kaajal (1965), and Do Badan (1966).

FOREVER MOHD RAFI:

RECORDING CAREER OF MOHD RAFI

Association with Madan Mohan

Madan Mohan was another composer whose favorite singer was Rafi. Rafi's first solo with Madan Mohan in Ankhen (1950), "Hum ishq mein barbad hain barbad rahenge". They teamed up to produce many songs including "Teri Aankhon ke Siva", "Yeh Duniya Yeh Mehfil" and "Tum Jo Mil Gaye Ho".

Association with O. P. Nayyar

Rafi and O. P. Nayyar created music in the 1950s and 1960s. O. P. Nayyar was once quoted as saying "If there had been no Mohd. Rafi, there would have been no O. P. Nayyar". He and Rafi created many songs together including "Yeh hai Bombay meri jaan". He got Rafi to sing for singer-actor Kishore Kumar – "Man mora baawara" for the movie Raagini. Later, Rafi sang for Kishore Kumar in movies such as Baaghi, Shehzaada and Shararat. O. P. Nayyar used Rafi and Asha Bhosle for most of his songs. The team created many songs in early 1950s and 1960s for movies such as Naya Daur (1957), Tumsa Nahin Dekha (1957), and Kashmir Ki Kali (1964). Rafi sang a total of 197 numbers (56 solo) for Nayyar. The song "Jawaaniyan yeh mast mast" and the title song "Yun to humne lakh hansee dekhe hain, tumsa nahin dekha" of the film Tumsa Nahin Dekha. They were followed by songs like "Taareef karoon kya uski jisne tumhe banaya" from Kashmir ki Kali.

Rafi and OP had a fallout during the recording for movie "Sawan ki Ghata", as disclosed by OP during one of his interviews.^[24] In the interview, he says, "Throughout my career, I have been famous for my punctuality. Rafi had given me a time for recording a song from Saawan Ki Ghata. The musicians were all set. Rafi came late for that recording and said, “Sorry, I was stuck up in Shankar- Jaikishan’s recording.” I said, “You had given me the time by your choice. So I gather, you have time for Shankar- Jaikishan and not for O.P. Nayyar. Now onwards, O.P.Nayyar will not have time for Rafi.” I cancelled the recording in front of shell shocked musicians and told the accountant to charge the expenses for the cancelled session to my account! After three years, Rafi came to my house crying like a baby. I also broke down. Both of us touched each other’s feet. I said, “Rafi, by coming here today you proved that you are much greater than O.P. You could overcome your ego. I could not!” He often used to sing – Yuun To Humne Laakh Sangeetkaar Dekhe Hai, O.P.Nayyar Sa Nahi Dekha! (I have seen many a composer but never one like O.P.Nayyar!) He also used to tell me, “Your music could turn a eunuch into a he-man!”

Association with Laxmikant-Pyarelal

The composer duo Laxmikant-Pyarelal (L-P) also patronized Rafi as one of their singers, right from their very first film, Parasmani (1963). Both Rafi and L-P won the Filmfare Awards for the song "Chahoonga main tujhe saanjh savere" from Dosti (1964). Rafi rendered the maximum number of songs for the music director duo Laxmikant-Pyarelal: a total of 369 numbers (186 solo) for L-P.

Once, when composer Nisar Bazmi (who had migrated to Pakistan) didn’t have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He also helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed – “He always gave without thinking of the returns”.

Between 1950 and 1970, Rafi was the most sought after singer in Bollywood. He sang for many male stars in Hindi films. In 1965, he was honoured by the Government of India with the Padma Sri award. Rafi recorded two Hindi songs in English on 7" release in 1968. He also sang a song in Creole while on his visit to Mauritius in the late 1960s. Rafi recorded two English albums as well. One of them is Pop Hits.

FOREVER MOHD RAFI

THE ROYALTY ISSUE WHICH RAFI DIFFERS WITH LATA MANGESHKAR

In 1962-1963, the popular female playback singer Lata Mangeshkar raised the issue of playback singers' share in the royalties. Recognizing Rafi's position as the leading male playback singer, she wanted him to back her in demanding a half-share from the 5 percent song royalty that the film's producer conceded to select composers. Lata's contention was that, there was no way producers and music directors could deny this singing duo, one-half share in that 5 percent song royalty to the composer. Rafi's stated that his claim on the filmmaker ended with his being paid his agreed fee for the song. After that, if the film proved a hit, the filmmaker was welcome to keep the Gramco (HMV) royalty he earned from it. If the film did not prove to be a hit, argued Rafi, that he had already been paid the same fees for his song; so later the situation is resolved. Lata viewed his stand as a stumbling block on the royalty issue and this subsequently led to differences between the two. During the recording of "Tasveer Teri Dil Mein" (Maya, 1961), Lata argued with Rafi over a certain passage of the song. Rafi felt belittled, as music director Salil Chowdhury sided with Lata. The situation worsened when Lata Mangeshkar declared that she would no longer sing with Rafi. Rafi stated that he was only so keen to sing with Lata as she was with him. Later, at the insistence of S. D. Burman, the two decided to reconcile and sing duets.

FOREVER MOHD RAFI:

Personal life

Rafi married twice; his first marriage was to the cousin of his second wife, and took place in his ancestral village. The marriage ended when his in laws and wife migrated to Lahore, Pakistan after partition. Rafi and Abdul Hameed married each one of two sisters in Mumbai in the late 1940s. Rafi had one son from his first marriage and three sons and three daughters from his second marriage with Bilquis in Mumbai. He was very much a family man, following a recording-room, to home, to recording-room itenerary. He never attended film parties, did not smoke or drink, was religious, and was considered a humble man. He used to perform his riyaz (musical practise) from 3 AM to 7 AM without fail. His only indulgences were playing carom, badminton, and flying kites.

FOREVER MOHD RAFI:

His voice made him immortal
M.L. Dhawan

As a child, Mohammed Rafi spent hours listening to a fakir sing folk songs in his village Kotla Sultan Singh (now in Pakistan). It was this fakir who aroused in Rafi a passion for music. Impressed by Rafi’s talent, music director Shyam Sunder asked him to sing Soniye ni heeriye ni teri yaad ney bada tarpaya for the film Gul Baloch in 1942.

Rafi came to Bombay where he met Naushad who used his voice for Ek unhen mila and Tum Delhi main Aagrey in A.R. Kardar production Pehle Aap. Yahan badla wafa ka bewafayee ke siwa kya hai, a duet with Noorjehan from film Jugnu proved to be a turning point for him. Music lovers warmed up to Rafi’s numbers in film. Jin raton main neend ud jati hai kya kahar ki raten hoti hain from Raat Ki Rani underscored Rafi’s ability to deliver the best.

Baiju Bawara

established Rafi’s credentials. O duniya ke rakhwale sun dard bhare mere naale and Man tadpat Hari darshan ko aaj were considered epitomes of perfection in singing.

Rafi had the passion of a workaholic. A perfectionist to the core, he would rehearse his songs a number of times till he achieved the desired level of perfection. Before the final take, he insisted on one final rehearsal. This accounted for the quality of his songs.

Rafi ability to depict every mood through his songs speaks volumes about the diversity of talent. Tasveer banata hoon teri khoon-e-jigar se from Diwana spelt class, while Phir wo bhuli si yaad aayi hai showcased Rafi’s vocal virtuosity. Over five decade have passed since these songs were recorded and yet none of his songs have lost their appeal.

The composers for the day were thankful for a singer like Rafi. He could deliver whatever they wanted. He lent his voice to S.D. Burman’s ode to existential disillusionment, Yeh duniyan agar mil bhee jaye to kya hai in Pyasa. In Dekhi zamane ki yaari bichde sabhi bari bari from Kagaz Ke Phool, Rafi sang about love and loss. In Roshan’s Carvan guzar gaya ghubar dekhte rahey from Nai Umar ki Nai Fasal, Rafi brought out a lingering sense of loss and longing. Under the baton of N. Dutta, he conveyed the agony of a man whose dreams had been shattered in Main ne chaand aur sitaron ki tamanna ki thi from Chanderkanta. Nain lad jayi hein to manva maan kasak hoi be kari from the film Ganga Jamuna is still remembered for its exuberance.

It was with Rafi’s voice that became the leitmotif for Shammi Kapoor’s famous "yahoo" exuberance in love songs. Numbers like Chahe koi mujhe junglee kahey, Bar bar dekno hazar baar dekho, Youn to humne lakh haseen dekhe hain, Ho gaya dil mera sooku sooku madeShammi the star he was.

Rafi was known for his camaraderie with his co-singers. The spirit of one-upmanship was absent in him. He never asked what he was going to be paid for a particular song. It was characteristic of his generosity that he sang Chanda ka dil toot gaya hai rone legey sitarey for Nissar Kaazmi for the film Khoj for just Re 1. Sometime he did not accept even that much.

Rafi brought cheers and smiles to millions of his fans through his songs. In his songs like Main zindagi ka saath nibhata chala gaya, Rafi tried to inspire the dejected and give hope to those who had lost faith in life and God. On July 31, 1980, a massive heart attack silenced this peerless singer forever. But his songs keep him alive.