Naushad says that, ever since he saw the results that Rafi gave him first in Dillagi and then in Dulari, he had been on the lookout for a theme in which he would be able to explore every vista of this fantastically gifted voice. Such a theme, points out Naushad, came his way with Baiju Bawra. As Naushad explains it:
"Rafi those days used to feel concerned that, though singing extensively, he had not been able to create the same impact as Talat Mehmood or Mukesh. 'Well, here's your chance", I said. 'This Baiju Bawra theme offers you the kind of vocal challenge which, if you meet, you will find yourself made for life.'
"Of course in saying that, I could not know, at the time, that the film would become an all-time musical classic. But about one thing I could be sure - that the theme offered me scope to create the kind of music that Rafi alone could articulate. And the scale of effor that Rafi put in during our elaborate rehearsals was something to commend in this singer, even if he was young, strong and tireless.
I can't ever forget, for instance, the vocally meticulous manner in which Rafi explored the dfferent stages in which O duniya ke rakhwale is picturised. My diary shows that we rehearsed O duniya ke rakhwale for 21 days, Insaan bano for 17 days and Man tarpat for 14 days. "
These 3 songs thus marked Rafi-Naushad's epogee. Can you name which ragas these songs have been set in?
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The answers are
O Duniya Ke Rakhwale - Darbaari Kanhra
Insaan Bano Karlo - Todi Gurjari
Man Tarpat Hari Darshan - Malkauns (Parvati Ji Ki Lagan Ka Raag)
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