Haalat Ka Maara, Bebas Insaan Aur Uske Bikhare Huye Sapne
This article is by Mr. A.S.Murty
One of the finest compositions and perhaps one of the most difficult ones – this piece of a song is a story of plight. Desperation pouring out from the bottom of the heart, the composition takes the listener on a different plane. Helplessness, loneliness and pathos all keep flowing from the start. The song is MAIN TOOTI HUI IK NAYYA HOON from the film AADMI. I have listened to the song several times again in recent times and am totally baffled by the sheer uniqueness of rendition. How can anyone sing it to such perfection? Each line, each paragraph and almost every word comes out from different angles and directions. No tune is repeated in the paragraphs and there is no knowing on what note the paragraph will end, until it actually does. How did Naushad compose such a difficult tune? Did he actually visualize the result that finally came out in the form of the voice of Mohammed Rafi? Did he leave it to the genius of Mohd. Rafi to present it in the form that the song was finally rendered? Several questions crop up my mind when I listen to the song again and again and frankly I have no answers. Alas! Both Naushad Sahab and Mohd. Rafi Sahab are no more with us. It continues to bewilder and baffle me repeatedly and each time with much more impact than the previous one. I can only visualize Mohd. Rafi Sahab, instead of Naushad Sahab directing the orchestra that was used while singing.
[audio:Aadmi_MainTooti.mp3]
Listen to this wonderful track
Rafi Sahab with Dilip Kumar
There are several songs of Mohd. Rafi that many good singers can sing. They will however never come anywhere near him. That has been an acknowledged fact and may be an understatement by itself. But there are some songs which even established exponents of Hindi film music or the best of singers can never even attempt. This song is one such rare and unique blend of music that has Mohd. Rafi’s name written all over it. At the beginning of the song itself, the sadness of the song is evidently exposed by this great singer who has rendered it from his heart. I once came upon a small Urdu phrase – NAGMA WAHI HAI NAGMA KE JISE, ROOH SUNE AUR ROOH SUNAYE.
Mohd. Rafi, like in thousands of other songs, has given such a soulful rendition. One can feel the heaviness in his throat and the flow of tears from his eyes. Maybe sad songs can best be forgotten and they do not appeal to the masses. But true connoisseurs of music will spot a good composition and rendition. I am not listing the several thousands of songs that Mohd. Rafi 
sahab has recorded with equal aplomb and which are unmatched. The other songs of the same film – AADMI – were more acclaimed. This song did not play on the radio too often and may not be a prized collection of many of the Rafi fans. But it is to be listened again and again to know the depth to understand it. The composition is different from the usual run-of-the-mill songs and the smooth flow of music from the voice of Mohd. Rafi Sahab unfolds newer dimensions as one immerses oneself into the song. I have on several occasions wondered if any other singer of that era – 1960s – male or female – can sing this song. Manna De, Mahender Kapoor, Kishore Kumar, Mukesh, Lata Mangeshkar and Asha Bhosle and several other good but small time singers who had pitched in every now and then. The song is not gender-specific. I tried to visualize the song in the voice of the above singers. The song has no set pattern which would have been helpful to any of them. But more than this, I found that the song could not have been sung in a better form had it been composed in a set pattern, and certainly not by any other singer. Every bit of bitterness, sadness and helplessness would have vanished.
“JEE CHAAHE DUBODO MOUJON MEIN YA SAHIL PAR LE JAO†depicts the total dependence of one human being on another and tells the untold story of the dark phases in a destitute life. In the second paragraph Mohd. Rafi says – BEETE HUYE DIN MIL JAYE JAHAN MUJHE AISI DAGAR LE JAYO. There can be no more pathos than a young man, a prince only a short time ago, is reduced to pleading. The entire gamut of hollowness in his life is beautifully narrated in the four lines in this paragraph. And there is neither any semblance of strain nor extra effort that Mohd. Rafi Sahab seems to putting into it. He has sung it with such ease to look a very simple composition. On the contrary, it is one of the difficult songs that cannot easily be learnt by most singers. Mohd. Rafi Sahab seems to have entered the soul of the character while rendering the song. Songs of this genre will be enshrined the list of the golden compositions for all time to come. I feel proud to be part of a generation that could create music of the tallest order and this song, like many more from Mohd. Rafi Sahab’s stable is a piece of art crafted to perfection by the singer and the composer Naushad Sahab.
Let songs of this kind be the yardstick in various talent hunt shows doing the rounds these days. If the song is forgotten by most RAFIANS, then they will yearn to listen to it once again and those who do, will find the depth that the song presents and rediscover the genius of a great saint and singer – a phenomenon called MOHAMMED RAFI. In recent times, Lata Mangeshkar has remarked that these so-called talent hunt shows are not the medium to discover the real singers as they are SMS based. Paradoxically and inexplicably, she was silent when the first ever such talent hunt produced a young man from Mumbai as the undisputed true singer, who was also chosen on similar lines. But then, she should have elaborated more and given examples of many songs sung by her and other peers like Mohammed Rafi Sahab and should have dared the singers and the organizers to make these gems of songs as the benchmark for determination and elimination.
Coming back to this song’s composition, the opening music is itself haunting and prods one to listen to the song in full and in total reverence. One would realize that the song is here to make a bold statement. If the song is not appealing to the masses for the sadness it depicts, then I am compelled to repeat the last lines in song and console myself – TOOTE NA TUMHARA NAZUK DIL, YEH DARD MUJHI TAK RAHNE DO. AB CHHOD DO MUJHKO RAHON MEIN YA DOOR NAGAR LE JAO.
[audio:Aadmi_MainTooti.mp3]
Listen to this wonderful track
Come on RAFIANS, there is a lot of bliss even in the saddest of songs and this one could give the pep that is badly required by all of us in this otherwise make-belief world of noisy stuff churned by movies after movies and by MDs of all ilk labeling them as music. Enough is enough, Let us revive and propagate the real music.
Truly written in a Rafian spirit Mr. Murthy. Apart from the finer points that mention about the song, Main TooTee huwee ik naiya hooN… what strikes me singularly is that you are so enchanted that you are able to cast your spell on us the readers. The bottom line is, that there is an unabashed love and admiration for the Great Legendary Rafi Sahaab as a person and as singer non-pareil.
Thanks a lot for your beautiful article.
A unique singer for all time
There is no male singer who can beat Rafi Saheb till now> He was not only a best singer of the world but also a nice and kind man too.He was the one who could sing all types of songs with the highest peak of its quality and perhaps no male singer can place this greatest singer of the all time .
MUJH KO MERE BAAD ZAMANA DHOONDEGA
According to Naushad Saheb who tribute after his death
SABHI SE JUDA JIS KA ANDAAZ HAI
ZAMEEN TA FALAK JIS KI PARWAAZ HAI
MOHAMMED RAFI KI WOH AAWAZ HAI
Toucing the popular songs of Rafi saab and writing about them is not very difficuilt but when it comes to be the first person to write reviews about a song which is untouched by others, it requires real mastery in understanding it perfectly!
This article explores about a rare number of Rafi saab, which is usually not heard by many. And it’s surprising to see such a big narration of this song with such an indepth and detailed intrusion into all aspects of the song. Great article!
Now coming to the song and singing of rafi saab, i would say, a good Composer can infact visualize the output of his compositions, and that’s why every song is not sung by tom, dick and harry! Every song is particularly composed for a particular singer keeping all his/her capabilities in mind. So, when invincible singer like Rafi saab needs to be recorded in a song, the composer too has to be equally skilled in his tunes. That’s why this song is a Rafi number and not a piece tried by other contemporary ones.
rafi saab had been chosen as singer for all the explorations/experiments with the most difficuilt compositions or tunes. Reason being, the only master, who can infact fill life into any song was none other than Rafi saab!
“Master”- this word has become so colloquial and usual term that every field contains a degree prefixed with this word, but infact nobody is a master except God, and there is no exaggeration if this title is given to Rafi saab!…He is “The Master!!…God of Singing!”…So everything i spossible for him!!
Dear RAfians,
I am thankful to mr. murty for such a nice research oo RAFI SAHIB. He was truly the best singer and a nice human being.
Thanks a lot to Mr. Haldar, Mr. Ramaswamy, Mrs. Ratna, Mr. Sai Eranky, Mr. PL Narasimham Ji, Mr.Shyam Mr. Ramakrishna, Mr. Gurumurthy, Mr. Parveen, Mr. Ahmed Kutty Sir for your responses. In fact, I would still appreciate if some of you listen to the song after reading the article. Maybe you will find more than I have already narrated. Did I do justice in describing the song ?? I am sure the song will provoke the likes of you all to say more about Rafi Sahab. I am still listening to it atleast once every day it continues to haunt me. Those who do not have the song, pls contact me at asmurty2@rediffmail.com and I shall email to them.
Murty sir,
Really a very nice number which you have presented. You have dug out another Diamond which was lost due to our lack of attention. Thanks a lot sir.
I can say this much sir , ‘ ke nagma vahee jo dilko ko chuey aur rooh tak phehel jaaye, aur yeh karishma sirf apna rafi sahab hi karsaktey hain ‘
aur mujhey behat khushi is baat ki hai ke log heerey ko dhirey dhirey pehechan rahein hain, kyon key asli heerey ko pehechan ney main kaafi waqt lagtaa hai, akhir bhagwan ke ghar main der hai par andher nahin hai ‘
murty sir aapko bahut dhanyavaad jo aap koshish kar raheinhain. hum aap key saath hai.
Naushad saab and Rafi Saab combination is one of the best in Hindi cinema.
The entire style of Indian film music had been changed by these two veterans
through ‘Biju Bawra’ and it given life for so many artists after that.It affected
all other languages as well.
Ahamed Kutty
Very good articles and insights into Rafi. Keep posting more regularly. The golden voice of Rafi spans not only generations but countries and continents. This site gives us a medium to share this bliss with others who feel the same way when they listen to his songs all across the globe.
As for talent shows , I think today’s music is guided more by commercial value than anything else. Each singer seems to be suitable for a certain genre of songs. These songs are part of the use and throw culture which has permeated the film industry also. Anyway, I would rather have these talent show singers not sing Rafi songs and spoil them, but sing the ones that suit their voice. Rafi’s songs are for you to keep forever and not a one time affair.
AS Murty seems to deserve a Ph D for his insight and research into Rafi’s contribution to Indian Film Msic. Undoubtedly, Mohd Raf is the doyen and no doubt he is immortal. I am a regular reader of his posts and feel enriched from his well researched articles.
We request more such informative articles from Mr. AS Murty on less known but great songs from Rafi. Frankly, I do not recollect this song from Aadmi but now that Murty has described this song so beauitifully and with full passion, I shall listen to it.
Once again , Kudos to you Murty. Please continue your great selfless effort and please keep us posted with more such musical info ab rafi saaheb. God bless you.
Sai Eranky
Congratulations, Mr. Murty on your wonderful research on Mohd. Rafi saheb’s immense contribution to the Music World – particularly to the listening pleasure of old-timers like myself.
My own collections take me back to that Golden Era of Rafi Saheb when he enthralled not only by his solos like :
– Dil Mein Chhupake Pyar
– Tera Khilona Toota Baalak
– Ek Dil Ke Tukde Hazar Huye
– Mohabbat Ke Dhoke Mein
– Tasveer Banata Hoon
– Suhani Raat Dhal Chuki
– Man Tarapat Hari Darshan
-Aaye Na Balma
– Tera Kaam Hai Jalna Parwane
-Yeh Zindagi Ke Mele
– Lal Lal Gaal
– Chhupne Wale Samne Aa
-Basti Basti Parbat Parbat
-Jin Raaton Mein Neend
– Maine Chand Aur Sitaron Ki Tamanna Ki Thi
– Parwar Digar-e-Alam
and many many more heart-rending compositions,
but also youth-awakening bubbler duets like:
– Yeh Hai Bombai Meri Jaan
– Uden Jab Jab Zulfen Teri
– Jaane Kahan Mera Jigar Gaya Ji
– Yaar Chulbula Hai
– Aaye Hain Door Se
– Sun Sun Sun Sun Zalima
– Zindagi Bhar Nahin Bhoolegi
– Yeh Aankhen Uff Yunma
and many many more to recollect to liven up and re-awaken our dormant young spirits!!!
Congratulations, once again! Keep good music eternally live!
PLAN
this song is a masterpiece. it should have won more accolades than the other two solos in the film. only rafi could have given it the depth and feeling to this composition which is full of pathos. the song invariably brings tears to eyes. would dilip kumar have been so evocative as an actor, if he did not have the rafi vocal to give him back up? i wonder
Dear Murty,
Wonderful. It seems our tastes are similar. Very often I use to hum this song “my tooti hui ik nayya hoon”. I think we must make an album of such beautiful collections and give it as a gift to all the FM wallas who play all dirty and rubbish songs and those who organise all these reality shows. I agree with you that Lataji should have gone a step further and highlighted the impact and importance of singing her as well as Rafi saab’s songs in the reality shows instead of advising them to sing their own songs. From where will they bring their own songs? It is very difficult to understand.
To
Mr.Murty
I did’t heard about this song but after readig this artical I somehow wanted to listen this song main tooti….
I am happy that I could listen this song & Rafi saab sang it with his whole heart.I think if I did’t read u r mail I could have missed this song like many other songs.
Mr. Murtygaru, I fully agree with your views. This is a wonderful song which unfortunately did not become a big hit like the other two solos from the movie AADMI. What made the song memorable was the acting of Dilip Kumar and Waheeda Rehman apart from of course, Rafiji and Naushadji’s contribution. The other two songs were also equally great. “Aaj Purani Rahon Se” was about a man liberated from his past eventful life and finding solace in his new life, especially listen to the lines – ‘pahuncha hun wahan nahi door jahan bhagavan bhi meri nigahonse’. Even “Na Aadmi Ka Koi Bharosa” highlighted the bitterness a person experiences due to betrayal by his friends. This song also had wonderful acting by DK, WR and Manoj Kumar.
dears
naushad no doubt man of supreme talent.his many compositions looks simple but actually they need special attention ,only one man can do justice with them,only mrafi.
Mr. Murty, very well-written article. The song that you mention, MAIN TOOTI HUI IK NAYYA HOON, is a favourite of mine. Wanted to let you know after Rafi saab passed away, Naushad saab came on the Jaimala program and played this song.