Naushad Ali and Mohd. Rafi: A matchless permutation
Compiled by: Mr. Biman Baruah, resident of Lakhiminagar,Sivasgar, Assam.
Naushad Ali and Mohammed Rafi both were the legends of Hindi Film Music, former one is one of the greatest Music Directors of Indian Cinema and later one is one of the greatest playback singers of Indian Cinema who made for each other and born on 25th and 24th December respectively.
Naushad Ali was born on 25th December 1919 in Lukhnow, a traditional city famous for refined North Indian Culture. From early childhood in Lukhnow he was a keen listener to the live orchestras accompanying silent films. Before coming to Bombay, he used to repair harmoniums and composed for amateur theatricals such as the Windsor Music Entertainers.
Mohammed Rafi was born on 24th December 1924 at Kotla Sultanpur, a town near Amritsar in undivided Punjab. In childhood, he started singing by imitating chants of a Fakir in his village. He started his career at the age of 20, as singer in a Punjabi film Gul Baloch.
Lessons in Music:
Naushad studied classic Hindustani music under Ustad Ghurbat Ali, Ustad Yusuf Ali and Ustad Babban Seheb.
Rafi learnt Hindusthani Classsical music from Ustad Bade Ghulam Ali Khan, Ustad Wahid Ali Khan, Pandit Jiwanlal Matto and Firoze Nizami.
Initial Days in Bombay:
Naushad moved to Bombay in late 1930s to try his luck in Hindi Cinema as a musician. After struggle, he got a job as a pianist in composer Mushtaq Hussain’s orchestra. Then, he joined as an assistant to music director Khemchand Prakash. His first independent break as a composer in Prem Nagar (1940), but he was noticed with Sharda (1942) and then Rattan (1944) took him right to the top which enabled him to charge Rs. 25,000 a film. He composed hit music in the 1940s mainly in the films of A.R. Kardar’s Shahjehan(1946), Dard(1947), Dillagi(1949), Dulari(1949), and Mehboob Khan’s Anmol Ghadi(1946), Elaan(1947), Anokhi Ada(1948), Andaaz(1949). He was one of the first composers to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He combined first the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Hindi film music and was among the first to concentrate on background music to make perfection in characters’ moods and dialogues delivery through music.
Rafi moved to Bombay in 1944 and Tanvir Naqvi introduced him to leading film producers like A.R.Kardar, Mehboob Khan and actor-director Nazeer. He met the famous music director Naushad with a letter of recommendation from Naushad’s father. Initially, Naushad used Rafi as part of a chorus in the song “Hindustan Ke Hum Hain Hindustan Hamara Hindu-Muslim Dono Ki Aakhoon Ka Tara” with Shyam Sundar, Alauddin and others from A.R.Kardar’s Pehle Aap(1944) for which Rafi got only 50 rupees. Rafi sang a number of songs for Naushad as part of chorus, including the famous one “Mere Sapnon Ki Rani Roohi Roohi” with his idol K.L. Saigal from the film Shahjahan(1946). Rafi was first noted for the song “Tera Khilona Toota Balak” from Mehboob Khan’s Anmol Ghadi (1946) and his duet “Yahan Badla Wafa Ka” with Noor Jehan in the film Jugnu also became a hit. In 1949, Rafi was given solo songs by Naushad in the films Chandni Raat, Dillagi and Dulari.
In 1952, the songs of Baiju Bawra established Rafi as the number one playback singer of Hindi Cinema. It is said that Talat Mahmood was the Naushad’s favorite singer and once he found Talat smoking in recording room, so he irritated and hired Rafi to sing for Baiju Bawra. Later on Naushad started using Rafi as a male voice in almost every song composed by him. In fact, Nuashad Saheb found a singer in Rafi Saheb, who was capable of singing all type of songs of his compositions perfectly.
Naushad-Rafi and tragic hero Bharat Bhushan:
Naushad Ali was best known for version of Indian traditional classical music into the Hindi Film Music. Almost his compositions were inspired by traditional raga modes. Baiju Bawra is a good example of Naushad’s clutch of classical music. Dilip Kumar and Nargis was the original choice of veteran filmmaker Vijay Bhatt for this grand project, but composer Naushad cut off star names and insisted on comparative newcomers. The all songs of the film “O Duniya Ke Rakhwale Sun Dard Bhare Mere Nale“, “Tu Ganga Ke Mauj Mein Jamuna Ki Dhara Ho Rehega Milan Ye Hamara Tuhmara“, “Man Tarpat Hari Darshan Ko Aaj“, “Nirdhan Ka Dhan Lutnewale Lut Loo Dil Ka Pyar“, “Mohe Bhool Gaye Sawariya“, “Akeli Mat Jaiyo Raadhe Jamuna Ke Teer“, “Jhoole Mein Pawan Ki Aayi Bahar“, “Door Ki Gaae Dhun Ye Sunaae“, “Bachpan Ki Mohabbat Ko Dil Se Na Juda Karna“, “Insaan Bano Karlo Bhalai Ka Koi Kaam” was became very popular and out of which first two are everlasting. The film was a golden jubilee hit with much help from Naushad’s classical raga based compositions and vocals of Rafi and it established two new stars Bharat Bhushan & Meena Kumari.
When the film celebrated its silver jubilee at the Broadway Theatre in Bombay, Naushad Saheb told producer Vijay Bhatt, “I used to sleep on the pavement opposite the theatre when I first came to Bombay. It took me 16 years to cross the road and get here”.
In the words of India’s greatest playback singer Lata Mangeshkar who sang for Naushad in Baiju Bawara, “The music he composed for Baiju Bawara surprised even me. It was entirely different from what he had done before. Different ragas were used for different situations and the purity of the ragas was maintained to the greatest possible extent.” Naushad was among the early composer who gave Lata a break to sing and the films Andaaz and Dulari were influential in her rise to the top in 1949.
The other impressive Rafi songs composed by other than Naushad were “Ek Pardesi Mera Dil Le Gaya” from Phagun, Do Ghadi Woh Jo Paas Aa Baithe” from Ghunghat, “Zindagi Bhar Nahin Bhulgi” from Barsaat Ki Raat and “Jab Jab Bahar Aaye Aur Phool Muskurayee” from Taqdeer picturised on Bharat Bhushan with perfect lip harmonization.
Naushad-Rafi-Sakeel Badayuni and tragedy king Dilip Kumar:
In late 1950s, Rafi’s voice, Naushad’s music and Shakeel Badayuni’s lyrics would become super-duper hit and the songs were being heard in all corners of the streets. The combination is famous for extraordinary songs picturised on Dilip Kumar, the greatest actor whose performances are renowned as the epitome of Indian Cinema. He earned the title of “tragedy king” for playing tragic roles in the films Babul (1950), Deedar (1951), Amar (1954), and Devdas(1955). The Naushad’s music and Rafi’s voice had much facilitate the thespian Dilip Kumar in getting this title.
Naushad composed the music for Dilip Kumar starred films like Mela(1948), Andaz(1949), Babul(1950), Deedar(1951), Aan(1952), Amar (1954), Uran Khatola (1955), Kohinoor (1960), Mughal-E-Azam(1960), Gunga Jamuna(1961), Leader(1964), Dil Diya Dard Liya (1966), Ram Aur Shyam (1967), Sungharsh(1968) and Aadmi(1968). Naushad had used the voice of Mukesh in Mela and Andaz and Talat Mehmood in Babul to playback for Dilip Kumar.
Naushad had used the voice of Rafi to playback for Dilip Kumar first time in Deedar and all the songs were everlasting: “Hue Hum Jinke Liye Barbaad Sahe Woh Humko Kare Na Yaad Jeevan Bhar Hum Unke Yaad Mein Gaye Jayenge“, “Meri Kahani Bhulne Wale Tera Jaha Abad Rahe“, “Bachpan Ke Din Bhula Na Dena“, “Naseeb Dar Pe Tere Aazmaane Aaye Hoon” by Rafi and “Dekh Liya Meine Kismat Ka Tamasha Dekh Liya” by Rafi-Lata. Mehboob Khan’s Aan had two evergreen Rafi songs: “Maan Mera Ehsaan Aare Nadan Ki Meine Tujshe Kiya Hai Pyar” and “Dil Mein Chupa Ke Pyar Ka Toofan Le Chale“. The songs of Udan Khatola “O Door Ke Musafir Humko Bhi Saath Le Le Re“, “Mohabbat Ki Rahoo Mein Chalna Sambhal Ke Yahan Joo Bhi Aaya Gaya Haath Maal Ke“, “Sambhal Kar Khelna Dariya Se Moojee Ki Ravani Mein“, “Mera Salam Le Ja“, “Haal-E-Dil Main Kya Kahoon” were very expressive.
The songs of Kohinoor “Do Sitaron Ka Zameen Par Hai Milan“, “Madhuban Mein Radhika Nache Girdhar Ki Murliya Baaze Re“, “Dhal Saki Syame-Gam Muskurra Le Sanam“, “Chalenge Teer Jab Di Par” were so outstanding with special effects of bhajans.
Naushad Saheb was also famous for using of eminent classical artistes in his films and Mughal-e-Azam is a very good example of it, where two songs “Shubh Din Aayo” and “Prem Jogan Ban Ke Sundari Pio Chali” were sung by noted classical singer Bade Ghulam Ali Khan. In spite of exceptional musical score in the film with Rafi’s “Ae Mohabbat Zindabad” with chorus of 100 and everlasting Lata jewels “Pyar Ki To Darna Kiya” and “Mohabbat Ki Jhooti Kahani Pe Roye“, it was surprising that Naushad Saheb lost the Filmfare Award that year which goes to Shankar-Jaikishan for popular melody in Dil Apna Aur Preet Parayi (1960).
In 1961 Dilip Kumar’s home production starred with his real life brother Nasir Khan in Gunga Jamuna had exciting Rafi number “Nain Lad Jayeehen Tu Maan Rama Khatak Hoibe Kori Prem Ka Nagari Mein Hum Ka Bhi Hauqe Hoibe Kari” with bhojpuri mixture even picturised on Dilip Kumar. Another Rafi-Lata duet from the film was “Chhalia Re Chhalia“. Leader had classic Rafi songs with romantic plea: “Mujhe Duniyawalo Sharabi Na Samjo Mein Pita Nahin Hoon Pilayee Gayee Hai“, “Humi Se Mohabbat Humi Se Laddai Aare Mar Dala Duhayee Duhayee“, “Teri Husn Ki Kiya Tariff Karun“, “Ek Shahenshah Ne Banke Hasin Tajmahal” and “Apni Azadi Ko Hum Hargiz Mita Sakte Nahin” by Rafi-Lata. All the Rafi songs from Dil Diya Dard Liya : “Dilruba Meine Tere Pyar Mein Kiya Kiya Na Kiya Dil Diya Dard Liya” “Koi Sagar Dil Ko Bahlata Nahin“, “Gujre He Isqe Mein Hum Us Mukam Se Nafrat Si Ho Gayi He Mohabbat Ki Naam Se“, “Sawan Aye Na Aye” were one of the bests which harmonized with Naushad’s compositions.
After a number of box office flops in mid 1960s, Dilip Kumar comeback in double role with full of comedy, action, dance and all nitty-gritty in Ram Aur Shyam (1967) that was a biggest box office hit. But Naushad’s compositions with Rafi songs overruled all nitty-gritty of the film. The remarkable songs were “Aaj Ki Raat Mere Dil Ki Salami Le Le“, “Aayee Hai Baharen Mite Zulm-Sitam Pyar Ka Zamana Aaya Door Huye Gaam” by Rafi, “Main Hoon Saqi Tu Hai Sharabi Sharabi” by Rafi-Lata was picturised on Dilip Kumar and Waheeda Rehman and “Lut Liya Dil Tune Mera Raah Mein Chalte Chalte” by Rafi-Asha was picturised on Dilip Kumar and Mumtaz.
Dilip Kumar-Vyjayanthimala starred Sangharsh had two popular Rafi songs composed by Naushad Saheb : ” Mere Peron Main Ghungroo Bandha De Tu Phir Meri Chal Dekh Le” and “Jaab Dil Se Dil Takrata Hai Maat Poocheyee Kiya Hota Hai Rukti Hain Zuban Jukti Hai Nazaar Mathe Pe Pachina Aata Hai“. Both the songs are very good example of versatility of composition and singing of two legends. The first song creates hullabaloo among the audiences in the Cinema Hall and the second one creates motionlessness. Dilip Kumar-Waheeda Rahman-Manoj Kumar starred AADMI was the last film of this combination and the film had two emotional and precious songs: “Aaj Purani Rahano Se Koi Mujhe Aawaz Na De” and “Na Aadmi Ka Koi Bharosa Na Dosti Ka Koi Thikana“.
Naushad Saheb used to compose music for most of the thespian’s film suffered his profession due to decline of Dilip Kumar in late 1960s. He completed music of PAKEEZAH after death of Ghulam Mohammed and continued doing occasional film up to 1990s without old magic due to popularity of westernized music. Rafi Saheb continued doing playback for Dilip Kumar in films like Gopi (1970), Daastan (1972), Bairaag (1976) and Kranti (1981).
Naushad-Rafi and Jubilee hero Rajendra Kumar:
In 1960s, Raf-Shankar-Jaikishan combination was famous for songs picturised on jubilee hero Rajendra Kumar in beautiful and natural locations of Kashmir and Himachal. Rafi Saheb was the natural voice of Rajendra Kumar and catch of Rafi songs supported to a great extent making Kumar’s six consecutive films hits between 1963 to 1966: Mere Mehboob(1963), Sangam(1964), Ayee Milan Ki Bela(1964), Zindegi(1964), Arzoo(1965) and Suraj(1966), which felicitated him the label of “Jubilee Hero”.
Naushad Saheb also composed music for Rajendra Kumar starred films like: Mere Mehboob (1963), Palki(1967), Saathi(1968), Ganwaar(1970), Tengewala(1972) and Sunehra Sansar(1975), out of which Mere Mehboob and Ganwaar were box office hits. H.S. Rawail’s Mere Mehboob, a triangular romantic and muslim social drama had popular Rafi songs: “Ai Husn Zara Jaag Tujhe Isqe Jagati Hai“, “Mere Mehboob Tujhe Meri Mohabbat Ki Kasam Phir Mujhe Nargisi Aakhon Ka Sahara De De“, “Tumse Izhaar-e-Haal Kar Baithe“, “Aaj Purkat Ka Khwab Tut Gaya“, “Yaad Mein Teri Jag-Jag Ke Hum Raat Bhar Karwate Badalte Hai” in ghazal forms. Mahesh Kaul’s Palki had also similar Rafi ghazals like “Aye Shehr-e-Lakhnoo Tujhe Mera Salaam Hai“, “Dil-e-Betaab Ko Seene Se Lagaana Hoga“, “Mere Ghar Se Pyaar Ki Palki Chali Gayee“, “Kaal Raat Zindegi Se Mulakat Ho Gaye Lab Tharthara Rahe The Magar Baat Ho Gaye“, “Bhari Mehfil Mein Agar Mere Maula Ek Tera Sahara Mil Jaaye“.
Mukesh and Lata sang the memorable song from Sridhar’s Saathi “Mera Pyar Bhi Tu Hai Ai Bahar Bhi Tu Hai Tuhi Nazroon Mein Jane Tamanna” picturised on Rajendra Kumar and Vyjayanthimala. Naushad used the voice of Mukesh for Jubilee Kumar in the above duet in Saathi on pressure from the side of producer and again in Sunehra Sansar duet “Bheegi Bheegi Hawa Hai, Kali Kali Ghata Hai” picturised on Rajendra Kumar & Hema Malini under similar circumstances.
Rajendra Kumar’s home production with his real life brother Naresh Kumar in director’s seat had number of popular and memorable songs: “Duniya Hanse Hanste Rahe Main Hoon Ganwaar Mujhe Saab Se He Pyar“, “Mehka Mehka Roop Tuhmara Beheki Beheki Chal Main Pholoon Ki Daal Girahi Pooche Ek Sawal Tuhmara Naam Kya Hai” and the sharabi number “Peekar Sharab Khelunga Main Tu Sabab Se Bathe Hai Mere Samne Chehere Gulab Se” by Rafi, “Hum Se To Achhi Teri Payal Gori Jo Rooj Rooj Tera Badan Sumee” and “Tera Chikna Roop Hai Aaicha Anar Jaisa Kajra Laal Sajini” by Rafi-Asha. Mahendra Kapoor sang another song from the film “Woh Kaun Hai Jo Maaki Tarah Booj Uthayee Palkoo Mein Bethayee, Yehi Dharti Yehi Dharti“. Ganwaar was the last box office success of Rajendra Kumar and also the last film of Vyjayanthimala who paired with him in six films.
Naushad-Rafi-and superstar Rajesh Khanna :-
Naushad used the voice of Rafi to playback for Rajesh Khanna in Sultan Ahmed’s multicast film DHARAM KANTA (1981) starring Raaj Kumar, Waheeda Rahman, Rajesh Khanna, Reena Roy, Jeetendra, Sulachana Pandit and Amjad Khan in dual role. The songs from the film: “Yeh Gotey Dar Lahenga Nikele Jaab Chaal Se” by Rafi-Asha was picturised on Rajesh Khanna & Reena Roy in a train and “Duniya Chhoote Yaar Na Chhote Dil Ki Dharam Kante Par Dekha Pyar Ka Palla Bhari Hai” by Mohd. Rafi & Bhupinder was picturised on Rajesh Khanna & Jeetendra riding horse. Another Rafi-Asha duet from the film “Tera Naam Liya Dil Tham Liya” was picturised on Jeetendra & Sulachana Pandit. The lyric of the songs was penned all time favourite lyricist Majrooh Sultanpuri. It was the last notable film of composer Naushad and Naushad-Rafi matchless combination which was started with film the Pehle Aap (1944).
Music Career:
Naushad Saheb was one of the top music directors of Hindi Cinema from 1942 until the late 1960s and composed music for 68 Hindi films. Rafi Saheb was the top playback singer of Hindi Cinema from 1948 to 1980 and had sung over 26,000 songs in 11 Indian languages from 1944 to 1980. Rafi Saheb sang a total of 149 songs for Naushad in 41 films.
Additional Assignments:
Naushad Saheb had produced the films: Babul (1950), Uran Khatola (1955) and Malik (1958) and he had also written the story of the film Palki (1967). He also composed the music for all these films. Rafi Saheb forcefully acted in films like Laila-Majnu, Jugnu and Samaj Ko Badal Daloo in small roles. He was hit paired with Lata Mangeshkar as a playback singer.
Award and Recognitions:
In 1952, Naushad received the Filmfare Award for the Best Music Director. He was awarded the Dadasaheb Phalke Award in 1981 for his lifetime contribution to Indian Cinema. He also got the Sangeet Natak Akademi Award in 1992. Naushad was a guest of honor at the premiere, when a colorized version of K. Asif ‘s historical classic Mughal-E-Azam was released in 2004.
In 1948, Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru, on the first anniversary of the Indian Independence Day. In 1965, the Government of India with the Padmashri Award honoured him. He also won the National Film Award two times and Filmfare Award six times for Best Male Playback Singer.
Last works:
The last film that Naushad Saheb composed music for was director Akbar Khan’s Taj Mahal: An Eternal Love Story, which was released in 2005. He passed away on May 5, 2006 in Mumbai due to cardiac arrest.
On Thursday, July 31,1980, Laxmikant-Pyarelal recorded Rafi’s last song “Shaam Phir Kyun Udaas Hai Dost, Tu Kahi Aas Paas Hai Dost” for Dharmendra-Hema Malini starred film Aas Paas. After recording of the song, Rafi asked L-P if he could leave for home and L-P were shocked because Rafi would be the last person to leave for home. On the same day, Rafi Saheb died at 10.50 p.m. due to massive heart attack.
In the golden days of HFM, Naushad Saheb used to study each and every portion of his tunes meticulously, if he were not satisfied with even one word, he would ask the lyricist to write the whole line. Usually he takes a fortnight to compose a single song and often could compose music for just two films a year. In his words, “In my 65 years in the film industry, I composed music for 68 films. These days you come across people who have done the music 200 films in two years. What I’m saying is that, we used to agonise over every tune and phrase in music, spend sleepless nights over a song, and work on it until it was perfected. And I am still looking for perfection.”
After Independence in 1947, due to partition of India and Pakistan it was very critical for Hindi Film Music because of the people moved to Pakistan and decided to stay in India. Both Naushad and Rafi decided to stay in India and created a treasure in later days for Hindi Film Music, otherwise the heart of it would have been lost and there would not have been Baiju Bawra(1952) or Mughal-E- Azam(1960). Now both the legends are not amongst us, but the marvelous compositions and vocals of them will never die away from this Earth and will be Immortal as a major force in Hindi Cinema and Music world.
A list of jewels of Naushad-Rafi immortal permutation: –
| Year | Film |
Song
|
Lyrics | Actor |
| 1948 | Mela | Yeh Zindagi Ke Mele Duniya Mein Kam Na Honge Afsoos Hum Na Honge | Shakeel Badayuni | Unknown Actor |
| 1952 | Baiju Bawra | O Duniya Ke Rakhwale Sun Dard Bhare Mere Nale | Shakeel Badayuni | Bharat Bhushan |
| 1952 | Baiju Bawra | Tu Ganga Ke Mauj Mein Jamuna Ki Dhara Ho Rehega Milan Ye Hamara Tuhmara | Shakeel Badayuni | Bharat Bhushan |
| 1952 | Deewana | Tasveer Banata Hoon Teri Khoone Jigar Se | Shakeel Badayuni | Suresh Kumar |
| 1951 | Deedar | Meri Kahani Bhulnewale Tera Jaha Abad Rahe | Shakeel Badayuni | Dilip Kumar |
| 1952 | Aan | Maan Mera Ehsaan Aare Nadan Ki Meine Tujshe Kiya Hai Pyar | Shakeel Badayuni | Dilip Kumar |
| 1955 | Udan Khatola | O Door Ke Musafir Humko Bhi Saath Le Le Re | Shakeel Badayuni | Dilip Kumar |
| 1960 | Kohinoor | Madhubaan Mein Radhika Nache Girdhar Ki Murliya Baaze Re | Shakeel Badayuni | Dilip Kumar |
| 1961 | Gunga Jumna | Nain Lad Jayeehen Maan Rama Khatak Hoibe Kari | Shakeel Badayuni | Dilip Kumar |
| 1964 | Leader | Mujhe Duniyawalo Sharabi Na Samjho | Shakeel Badayuni | Dilip Kumar |
| 1966 | Dil Diya Dard Liya | Gujre He Aaj Isqe Mein Hum Us Mukam Se | Shakeel Badayuni | Dilip Kumar |
| 1967 | Ram Aur Shyam | Aaj Ki Raat Mere Dil Ki Salami Le Le | Shakeel Badayuni | Dilip Kumar |
| 1968 | Sungharsh | Mere Peron Main Ghungroo Bandha De Tu Phir Meri Chal Dekh Le | Shakeel Badayuni | Dilip Kumar |
| 1968 | Aadmi | Aaj Purani Rahoo Se Koiyee Mujhe Aawaz Na De | Shakeel Badayuni | Dilip Kumar |
| 1960 | Mughal-E-Azam | Ae Mohabbat Zindabad | Shakeel Badayuni | Unknown Actor |
| 1963 | Mere Mehboob | Mere Mehboob Tujhe Meri Mohabbat Ki Kasam | Shakeel Badayuni | Rajendra Kumar |
| 1963 | Mere Mehboob | Ai Husn Zara Jaag Tujhe Isqe Jagati Hai | Shakeel Badayuni | Rajendra Kumar |
| 1967 | Palki | Kaal Raat Zindegi Se Mulakat Ho Gaye | Shakeel Badayuni | Rajendra Kumar |
| 1970 | Ganwaar | Main Hoon Ganwaar Mujhe Saab Se He Pyar | Rajendra Krishna | Rajendra Kumar |
| 1970 | Ganwaar | Mehka Mehka Roop Tuhmara Beheki Beheki Chal | Rajendra Krishna | Rajendra Kumar |
Rafi saab jaisa naa koi hua naa hya aur naa hoga.
Rafi hamare dilon main bastain hain. Woo sangit ke bhagwan hain.
Binu saab. please do write for great singers Manna Dey saab and Mukesh saab also, both were voice of the joker (raj kapoor saab.)
Its unforgettable the greatest music director Naushad saab who was a very good urdu poet also. His every song was based on classical music.
For Rafi Saab, I can just say that he was the voice of Late Rajender Kumar Saab, Shammi Kapoor Saab and above all Late Johney Walker Saab.
Agar aankh band kar ke geet sune to lagta hey Rajender Saab yaa Shammi Saab yaa Johney Walker Saab hi gaa rahe hey.
Voice of Rafi saab played fantastic roll for success & establishment of Jitendra & Rajesh Khanna in the industry.
I was shocked to know that Binaca geetmala was behind the forced retirement of Rafi Saab. Amin Sayani saab should had left the program at once under protest.
Naushad Saheb,Rafi Saheb and Dilip Kumar Saheb, are not forgettible, what they had contributed in Bollywood.
Very detailed and informative article about Naushad Sb. and also relation of Nausahad Sb & Rafi Sb. Rafi sb was the favorite singer of Naushad sb and he used him in his best compositions. It will not be wrong that Rafi Sb did justice with Naushad Sb great compositions and combination of both legends is unforgettable.
Regards,
-Imran-
surojit bose: Post 41…..
U have mentioned about the “selection” process of songs in the binaca geet mala. just like the filmfare awards nominations by readers of filmfare where composers would buy filmfare mag. in bulk, fill up favourites and send it back to filmfare to gain awards. the binaca geet mala too had many flaws for the purpose of making mischief and playing the favouritism card. they did it too.
in the sixties, there was no such close competition among the male singers for the numer one spot whereas in the seventies it was not. a group of people in the latter part was trying to prove 2 points. that being kishore kumar is the number one singer of the times. it had merits and there was nothing wrong in it. the second one was – that mohd rafi was passe and his singing days are virtually over. this was malacious, mischievious and wrong. it hurt mohd rafi and his supporters – no end.
i remember the article “those five years” recently written in this website which described some great songs of mohd rafi during those tumoltous days. my viewpoint on the binaca geet mala coincides with the views of the author of the said article.
there is no use saying amin sayani’s hands were clear and he did’t play the game of favouritism in the binaca geet mala. i will stick to the point that there was a “insider game” being played in binaca geet mala to undermine mohd rafi in the seventies. numerous rafi lovers feel the same and our opininion will never change any time – for we have seen the role of mischief mongers very closely and felt the pangs, those five years.
binu nair.mumbai
hi surojit bose : since i have not heard the interview of amin saaheb, please let me know where i will find them. in the alternative u may mail whatever info you have on the binaca geet malas songs selection to me or else tell me which website will have them. does amin saaheb has an active website ?
a dialogue is always welcome and it educates many of us. if this purpose is served then it must, must be carried forward for the sake of music lovers most of them who are of “gen-next” time span.
binu nair, rafi foundation, mumbai, binus2000@hotmail.com
I compliment Mr Surajit A Bose (Post No 41) for providing the requisite details and also making all the points in respect of Mr Ameen Sayani very clear
Hope this matter which has been unnecessarily dragged should stop forthwith with immediate effect is an earnest appeal by the undersigned to all the admirers of Rafi Saab
Thanks
surojit bose : my point is based on the fact that why there was a total, total white-wash of rafi songs in the binaca geetmala during those days. i know that kishore kumar was peaking and giving hits. but, why a total white wash of rafi songs – is the question raking in the minds of numerous rafi lovers.
the scene then was akin to removing sachin tendulkar from the cricket team just because virender sehwag was scaling and hitting centuries and getting into great form along with his fellow opener.
i still remember amin sayani saying in a programme on wednesday that he has received so many letters about why rafi songs are not included in the programme. for the befefit of those listeners, bhaiyon aur behnon ab suniye ek naya geet, mohd rafi ka gaaya huwa, film hai dastaan and geet : na tu zameen ke liye na tu aasmaan ke liye.
we were happy to hear a rafi song at the beginning of the binaca geet mala but did not miss the fact that the producer of the movie is b r chopra, music by l.p., geet by sahir and actors – dilip kumar. all big names.
my point is very clear – ultimately. favouratism was done by the binaca geet mala – which you have mentioned in your latest post.
since amin sayani was the presenter and the face of the programme, he ought to be in the firing line. he is responsible in many ways for the success and the debacle of the geet mala.
binu nair
Surajit bose : I welcome ur post on some of the aspects of emerging trends in playback singing from the fifties. infact, talat mahmud was the leading singer of the times. mohd rafi, very dejected during those days for lack of songs and popularity – was even thinking of retiring and going back from mumbai – when the rehearsals of baiju bawra happened., just like our own big b.
the rehearsals of baiju bawra changed everything for rafi and its music success saw the launch of rafi-naushad-shakeel team taking off – big time.
before this c.ramchandra gave some really nice songs to mohd rafi which made music lovers take note of rafi, the new singer on the music horizon. music from the fifties to the seventies is always nostalgia. beginning seventies the trends again changed and this time the golden era of film songs virtually ended.
binu nair
Hi Binu Nair,
Just wanted to clarify a few points. Having listened to the 6-part detailed interview of Ameen Sayani, a couple of things were explained. I don’t think KK being Ameen Sayani’s favourite singer had anything to do with it.
I am posting details about the show (paraphrasing it as I don’t have all the links to the various sources) based on Mr. Sayani’s 6-part audio interview as well as his various other printed interviews.
In the early years of the show (after the program was expanded to 1 hr as a hit parade in 1954/1955), the top-10 list was usually compiled based on the sales lists of the HFM records provided by about 40 major music record shops from different parts of India, and about 400 music clubs across the country who provided details as to which song or songs were in most demand.
These criteria were accurate because:
1. each record usually contained just 2 songs and so the popular songs could be narrowed down by the sales volume.
2. In those cases where the records of a very popular song were sold out very early, there was the chance that their volume count remained constant even though they were still very popular. To counter this situation, the music clubs were included. These clubs used to continue to update Radio Ceylon as to which songs were in most demand etc.
As years progressed, Geetmala gained in credibility and became so reliable that the Gramophone Company Ltd. i.e HMV, the main music company supplying records then, would ask for an advance list so that they could keep pressing those numbers, and not land in a situation where records were sold out.
As the program gained in popularity, in the late ’50’s the producers wanted to air it on Vividh Bharati too (a I & B minister in the late ’40’s and early ’50’s had banned HFM on AIR) , but the station wasn’t ready to accept the program with the same name (probably bcos Binaca was a British name). It took on the program only after the name was changed to Cibaca Sangeetmala. So it was telecast on two stations, as Cibaca Geetmala on Radio Ceylon, and as Cibaca Sangeetmala, of half-an-hour duration, on Vividh Bharati. After the show was discontinued on Radio Ceylon, it was telecast as Cibaca Geetmala on Vividh Bharati.
Cibaca Geetmala caught on in a big way in a matter of time. It was the absolute barometer for HFM. So much so that, by the late ’50’s and early ’60’s, the remuneration of a music director was on the basis of whether his songs featured in the Geetmala.
Now it so happened that there were good music directors who, though they were composing good songs, were not doing that well in salary because their songs didn’t feature in the Geetmala. Now these composers complained to the film industry leaders that Cibaca Geetmala was ruining their careers and wanted it to be discontinued.
Radio Ceylon people took their complaint into consideration and for one year Geetmala didn’t announce the ratings of the songs, just playing it in popularity order, without rating it as number one, two or three.
After sometime it was realized this had no meaning and the essence of the show was lost. The producers told the film industry leaders that knocking out the ratings was not helping anybody, and decided on continuing with the ratings. It was suggested that the film industry appoint an ombudsman who would approve the ratings and ensure that they were accurate. So, concerned top executives from Ciba and Mr. G.P. Sippy, the then president of IMPPA, were the first ombudsman for the show. After that B.R. Chopra and Shreeram Bohra were together appointed ombudsmen. Every week, Mr. Sayani had to go to them, show them the ratings and get their signature to prove that there was no bias. In short, it was a consensus between them.
Sayani claims that he could only vary the script by about 5 % (depending on the next week’s list that had already come in while the current week’s list was broadcast) and he had no hand in the ratings themselves. He also added that the film producers also didn’t have much hand in the ratings because if one film producer tried to promote songs from his film even though they were not in much demand, another film producer would complain about it. So Sayani claims that the list was more or less accurate with the public demand.
Now Sayani says that this was taking place in the ’60’s when Rafi’s songs were very popular. But because majority of the songs were sung by him, most music fans didn’t think of any foul play.
From about 1970, majority of the film songs went to KK and probably that’s why more of his songs came up in the show.
I won’t get into another debate about Rafi-KK, but I think it’s clear that Sayani himself was not responsible for whatever happened in the early ’70’s because the same procedure for the song selection was being done since the ’60’s.
Post 35 Surajit Bose : u have vindicated all of us, the hard-core mohd rafi lovers by stating that the binaca songs were selected by the sponsors and the film producers. what about the composers.
right from the beginning rafi lovers from around the globe was feeling that mohd rafi songs were being sidelined in the binaca geet mala. amin sayani was in fact lying to music lovers when he was saying that this week , this particular songs – has climbed the ladder or the other song was eliminated.
the songs were never based on popular choice but hard cash and other reasons. many letters to binaca to include rafi songs found its way to the dustbin, its amply clear now.
big time money changed hands it seems now and amin sayani and company made hay while the sun shone, during the binaca geet mala programme days.
this amounts to cheating the music lovers who thronged the radio sets to hear popular songs – in all corners of the country and outside.
i am not surprised by the fact that – both the binaca geet mala and the binaca tooth paste – flopped ; thrown out by music lovers.
during the seventies, amin saaheb was busy promoting kishore kumar at the geet mala at the cost of mohd rafi.
and today, he is marketing some mohd rafi vintage tapes in live music programmes and raking in the moolah. well done amin sayani saaheb the popular announcer from the mercantile kutch area. we never expected ardent music lovers to sell their souls for various reasons.
binu nair,
Going back a little bit, a concise history could be given as follows:
In the late ’40’s and early ’50’s, playback singing for the lead actors and dominant singers was predominantly in the softer style as exemplified by Talat and Mukesh. Saigal influence was still very strong and MDs from the previous era like Anil Biswas, Khemchand Prakash, Sajad Hussain, and even Naushad mostly composed songs in that vein. These kinds of songs didn’t exactly suit Rafi’s voice and didn’t bring out his singing talents.
Although Feroze Nizami gave Rafi the proverbial big break with “Yahan Badla Wafa Ka” in “Jugnu” (1947) for Dilip Kumar, it didn’t exactly jump-start Rafi’s singing career. Biswas, noting the similarities in the voice timbres of Mukesh and Saigal, used Mukesh for Dilip Kumar in “Anokha Pyar” in 1948 (“Jeevan Sapna tut gaya”). Around the same time, Naushad also used Mukesh for Dilip Kumar in “Mela” (“Gaeja geet milan ke”)and “Andaz”. “Andaz” esp. was a milestone for Mukesh.
To add to this, S-J, with “Barsaat” in 1949 also decided to use Mukesh for Raj Kapoor. Though Naushad did use Rafi for Raj Kapoor in “Dastaan” (“Tarari arari”) in 1950.
Anil Biswas then pushed Talat big time into the limelight by using him very successfully for Dilip Kumar in “Arzoo” (“Aye dil mujhe aisi jagah”). Naushad used Talat for DK again in “Babul” (“Milte hi aankhen”). And others followed suit as Talat was the prime choice for Dilip (“Jogan”, “Tarana”, “Sangdil”, “Footpath”, “Daag”, “Shikast” etc.).
It’s not like Rafi was missing in action during this time. He sang some very good and popular songs, but the problem was his voice was not associated with any of the leading heroes at that point of time. And so his exposure was not as great as it would be later. Talat and Mukesh took more of the limelight as they were the prime choices to sing for Dilip Kumar.
And then “Baiju Bawra” happened in 1952. Songs for this movie required a voice that was robust and could sustain in the higher registers, and further the voice had to have a classical flavour to it. All these meant that both Talat and Mukesh were disqualified. Manna dey still didn’t make his mark while Kishore was not an appropriate choice. Rafi was the one and only choice.
And it was here that Rafi’s open-throated singing (going against the restrained, softer singing that was pre-dominant till then) was brought to the limelight. Rafi got a tremendous boost as a result of this.
However, certain other things were happening in the back-ground. MD’s from the previous era like Biswas, Bulo C Rani, Khemchand Prakash, Sajad Hussain etc. went out of vogue as the style of music being brought in by C Ramachandra, Naushad, Shankar Jaikishen, SDB etc. was changing the musical landscape. The way the songs were being presented on the screen also changed. All these meant that songs were now more boisterous, out-in-the-open, so to speak. And this was right up Rafi’s alley.
But, even so, from 1952 – 1955, there was no one dominant singer as Talat continued to give memorable songs in movies like “Patita”, “Armaan”, “Daag, “Bewafa”, “Taxi Driver”, “Yasmin”, “Azad” etc. etc. Kishore became the voice of Dev Anand with “Baazi” and also to himself, Mukesh was the choice for Raj Kapoor.
Naushad further made Rafi the voice of Dilip Kumar with “Aan”, “Amar”, and then “Uran Khatola”. OPN got Rafi for “Aar Paar” and “Mr. and Mrs. 55”, that were all hugely successful. With this double stroke, Talat was displaced from the top. SDB then joined in with “Pyaasa” in 1957.
1957-1958 was the start of Rafi’s dominant period as Madan Mohan and Roshan also joined in the fray, and Rafi became the voice for most of the leading heroes of the times.
Coming back to the above article, I just wanted to add my opinion about the rafi-naushad combination.
While a lot of credit has to go to naushad for bringing out and highlighting rafi’s strengths as a singer, I think rafi was in the danger of being type-cast by Naushad in the early phase of his career. And it was first OPN with “Aar Paar” and “Mr. and Mrs. 55”, then SDB with “Pyaasa”, and finally Madan Mohan and Roshan, who really expanded Rafi’s repertoire and made him the numero uno among the male singers of the time.
Naushad made Rafi the primary singer for Dilip Kumar but, in tune with the kind of movies Dilip Kumar used to star in, Naushad made Rafi sing some really “heavy” songs. They were melodious and successful but they were “serious” and, IMO, didn’t make good use of the frothy effervescence and mischief in Rafi’s voice that was so beautiful.
OPN was the first to really make good use of Rafi’s great voice with some really frothy, hummable, and light-hearted solos and duets.
SDB also, IMO, made excellent use of Rafi’s voice in the late ’50’s (starting with “Pyaasa”) and early ’60’s, right until “Guide”.
A little more detailed look into some history of film music is in the following post of mine.
Post 35 : Surjit Bose:
My information as stated by amin sayani about the selection of binaca geet mala songs is little different.
Amin Bhai used to say in his programme that the songs were selected on the basis of sale of records of songs. then, i used to wonder : a film is not released and months before, the songs become sell-outs enabling it to enter binaca geet malas. i never could buy this binaca argument.
and when we look back, we see that many of the songs played were “dabbha songs”, lost for ever and dead for sure.
I hope amin saaheb will throw some more light on the binaca song selections, if only for academic reasons. and, your views on mohd rafi’s glittering career – freshes up the discussion.
binu nair, mumbai.
its very good article i would like say that rafi saab died in Bombay hospital where he was admitted and not as stated in article i think facts needed to be checked
this was read by me in rafinama a Marathi book
Binu Nair,
As much truth there is in a lot of what you say, there recently was a 6 part program on Ameen Sayani, where he explained how BGM (Binaca Geet Mala) was run.
There was a 5 part interview by Kamala Bhatt where Sayani said that the songs list was mostly chosen by sponsors, producers etc., especially towards the later years, and how he didn’t have much hand in choosing the songs himself. So I don’t think he is directly to blame. He even said that some of the smaller MD’s used to ask him why their songs were not played. He said there were many instances where songs which he didn’t like made it to the top-10 while songs he really enjoyed never made it to the top.
Coming back to SDB and RDB, some things need to be cleared up. Firstly, even in the beginning, SDB never particularly used Rafi. If you will see, he rarely used Rafi till about 1957. He gave Rafi one song in “Do Bhai” (1947), a couple of songs in “Naujawan” (1951), “Jeevan Jyothi” and “Ek Nazar”. There were also songs in “Devdas” and “Society” in 1955. It wasn’t until “Pyaasa” in 1957 that SDB focussed on Rafi.
On the other hand – till 1957, SDB gave Kishore all the male songs in “Pyar” (for Raj Kapoor), “Baazi”, “Jaal”, “Munimji”, “Funtoosh”, “Paying guest”, apart from a few songs in other movies like “House no. 44”, “Naujawan”, “Ek Nazar”, “chaalis baba ek chor”, “Bahaar”, “Mad bhare nain” etc. Further, SDB also used Talat and Hemant also in movies like “Jaal”, “Taxi Driver”, “Armaan”, “House no. 44”. In “Nau do gyarah”, SDB used both Rafi and Kishore.
In an interview for a Marathi magazine, SDB said that from “Chalti ka naam gaadi”, KK turned producer and concentrated on producing and directing films and was unavailable for singing other than for himself (though rumour has it that they had a misunderstanding). SDB then smoothly shifted to using Rafi pre-dominantly.
However, by 1965, KK’s films started flopping and he was beset with tax problems. He came back to SDB who gave him a song in “Guide” and a couple more in “Teen Deviyaan”. SDB then again used both in “Jewel Thief” and used Rafi for a couple of songs in “Talaash”. However, after “Aradhana”, he went back to KK.
In short, it was not like he suddenly dropped Rafi. SDB mostly preferred KK since early on, and once he and KK patched up their misunderstandings, he came back to KK.
Also, it is well known that RDB preferred Kishore over other singers. RDB used/borrowed western orchestration and found KK to be more suited to those compositions.
Politics and bias always existed in films. Manna Dey always complained about how producers insisted on using either Rafi or Mukesh for most of his songs. He was very bitter about it for many years. Similar thing happened to Talat, Geeta Dutt.
Even Kishore struggled for a few years early on when many MD’s refused to listen to him once they found out that he had no formal training in music. KK confessed about how he was sometimes insulted by some of the MDs. Kishore said that except for Biswas, CR, and Khemchand Prakash, and SDB, none of the other MDs were
I am sure there are many things for many music fans to be bitter about. Rafi actually had a glittering and great career, and he has a lot to be proud of, as do his fans. Better to focus on the positives.
Respected mr.bijoor and mr.sandip: i hope yourselves and many many mohd rafi lovers will allow me to tell some of the facts – as it happened – however indiscreet many of you will find them.
the idea that many of us should tell the musical facts as it was and not allow charlatans to paint the picture the wrong way and get away with it pre -determines my intentions to write the facts of what we are collectively aware of.
we rafi lovers for long as been too soft, very diplomatic, very kind too often and take things for granted even in the face of great disinformation bandied about by various musical camps. this was also the characteristics of our “king of melody”, we all know. but, at some time, a spade has to be called a spade i strongly believe.
the sentiments expressed are true and genuine gentlemen and must form the part of our expressions – most of the time.
binu nair, mumbai, rafi foundation, binus2000@hotmail.com
mr.sandeep and mr. bijoor : even i read the screen story and was thinking of asking amin sayani a few questions about his role in the binaca geetmala with regard to mohd rafi – in the seventies.
we are very sure that a caucus ruled the music industry in the seventies. add the fact that r.d.burman did not summon mohd rafi for three long years. sdb too ignored mohd rafi . the father and the son had used rafi’s voice for too many great hits – and suddenly one day found out that – mohd rafi is passe.
a lot of dabba songs from rdb/kishore and the dip in the fortunes of rdb made him summon rafi saaheb – once again to the recording rooms
coming back to to topic of the “caucus” who played with the popularity charts let me add that like the filmfare awards, the binaca geetmala was also rigged.its popularity too dipped and we say that the binaca tooth pasted – never did take off.
binaca geet mala was a great musical idea and it was the best that could happen to h.f.m. but shortscuts, avarice, greed and the need to settle scores with fellow artistes – brought about its waterloo
there were rumours also of radio announcers being on the rolls of music companies and composers at various stations.
the degradation of music from the seventies coincided to reach its nadir – in recent times. it consumed rdburman the trend setter who relied on western and borrowed tunes. no doubt, rdb had a great start in a great musical marathon, but stumbled mid-way .
amin sayani the know-all our music era must be honest to his salt and bring out a correct review of h.f.m era – from the forties, for each decade- without being partisan.
this will be a treat to music lovers and many of those who were hurt by the binaca geet mala programme when mohd rafi songs were “laboriously kept out” – during the early seventies.
one point more amin sayani saaheb and others would have noted. and that’s nobody has been able to put down mohd rafi so far. and, that’s the truth of mohd rafi’s music . and it will remain so for a great amount of time.
binu nair mumbai rafi foundation.
Amin Sayani!!!!!!!!!!!!!!!!!!!??????????jest listen to his programms done by him offourse he is great but when ever music is good and songs sang by Mohd Rafi he say the music director is great !!!!!!!!!!!!???Amin Sayani is the part of bad media who tried there best to put KK and RD on the top but they was not able to do that….Thanks Kairali TV doing programms on greatest singer ever born on this earth and shame to Zee TV and Sony TV.
The Kairali channel show, I believe, would be a documentary rather than a reality show. I think I would be able to watch it this Sunday.
Hi,
Is there any website where I can see this program ? I hope it is not similar to “K for Kishore”.
“K for Kishore” was a travesty, a fancy-dress show. A mockery of Kishore Kumar, with most of the participants not worthy of being called playback singers.
Surajit
Regarding Post 27:
I highly respect the feelings & the pure sentiments of Mr Binu Nair.
Binuji please take a careful note that the sole & only intention of carrying out the post in detail by Mr Bijoor was mere informing the innumerable fans of the Greatest Rafi Saab of the opportunity which has come forth mainly since the subject of release of the volumes consisting of the gem of the songs on 26/01/2009 will range from the 1930s to 1950s which in turn can be termed as the golden period of the hindi film music industry
In this respect the undersigned had detailed telephonic discussions with Mr Bijoor in respect of the program to be held on 26/01/2009 and also that he intends to post the matter in mohdrafi.com for the information of the innumerable fans of rafi saab
I am always of the personal opinion & believe in refraining one self from the unwanted & unnecessary controversies which in terms should never be at the sole cost of pure music & especially when the matter involves a personality of the Magnitude of our beloved king of melody – Mohammed Rafi. Further all such grimmics & controversies must be totally avoided in this Rafi.com site
Binuji we all the ardent fans & admirers of the legend have always come across the so-called third degree & dirty politics and have deeply experienced the trauma when we a few of us had gathered after the sad & untimely demise of Rafi Saab. From Bandra to New Delhi was our pillar to post when we all had requested the then so called Government to felicitate the legend in a befitting manner & it is for all of to us to judge what the government has done so far & what are we expecting from them in the near future. The then personalities in the Maharashtra government were Mr Antulay as the CM, Mr Memon as the Mayor and Dilip Kumar as the sheriff
Binuji we all are the ardent admirers of the legend. Rafi Saab hamare dil aur khoon me shamil hai hum jagte hai unkee madur awaz se aur sothe bhi hai unke loree se
Dil kee bathe dil hee mein rahe to behetar hai. Rafi saab ne kitna sahee kaha tha —
Kya Kya na sahe humne sitam aap ke khatir mar jayenge hum tere liye aap ke khatir!!!
Hame amin sayani aur binaca geetmala se kuch nahi lena hai binujee magar phir bhi ek bat zaroor hai — tuzhe kya sunaoo mai dil ruba tere samne mera hal hai!!!
Congrats to Kairali channel and all of us for the great news.atlast some channel has recoginised our rafi saab.I am sure many people like me may have missed out on the first episode because of non availiablity of the channel.I am in Ahmedabad and I am not having that channel.I request anybody out there (Narayanan sir, Binu sir) to upload it or some small clipings of the prog for us all.
And one more thing I am not at all interested in this amin sayani crap.He was a person who did not understand music.Had he understood music he would have been a rafi lover and not a kishore patronist.This is what saddens me that deserving people like our rafi saab is ignored and such crap persons are given importance.
Any way hail Kairali channel and rafi saab
A) regarding post 26 : I wish to know from mr.amin sayani a great kishore kumar fan, on who were those souls – working laboriously to keep mohd rafi songs – out of this geetmala.
who were those people who was trying out a “Forced Retirement Plan for Legend Mohd Rafi” ???
there were lot of “dabba” songs played on binaca those days. they are nowhere to be heard. they are at the place it belonged to – in the dusbins of unwanted songs and dead songs.
amin sayani is a steadfast radio anchor, a respected figure. he is marketing some mohd rafi videos very well for his company. good luck to him. but, expect to hear from him about the music companies, the caucus who all gave a harrowing time to mohd rafi saaheb in the early seventies.
b).. the mohd rafi serial of 32 parts was aired on kairali tv last sunday at 9 am morning time. it was a treat. please do not miss it every sunday morning at ” 9.00 a.m. ”
binu nair…. mumbai.
Ameen Sayani;s Geetmala Ki Chhaon Mein
————————————————-
Few radio programmes have achieved such iconic status as Ameen Sayani;s Binaca Geetmala. The memory of his voice booming from the radio remains embedded in the hearts of millions. The panache of its presenter and the program format he developed bought an overwhelming response then, and even now 50 years down the lane, requests for Ameen Sayani;s Geetmala continued unabated.
Geetmala ki chhaon mein brings back the radio industry;s icon in an album series comprising of 5 volumes and this album contains gems from the Indian Film Music from the 1930s to the 1950s – songs as timeless as the hits of the time but missed the limelight by a whisker. The remarkable repertoire of songs selected for geetmala ki chhaon mein has been interwoven with interviews of the famous film stars Amitabh Bachan, Kishore Kumar, Meena Kumari, Ashok Kumar, Nutan, Sunil Dutt and others. Ameen Sayani takes the listners through these lanes of Hindi film music in his inimitable style, sharing milestones from the Geetmala phenomenon. At a time when SMS and emails were yet to appear on the horizon the success of the radio show was clear since it almost drew 9000 letters after its first show and thereafter an astounding 60,000 letters a week. This album is courtesy the non-stop request that listeners have en making for more Ameen Sayani and Geetmala.
Volume 1 to 5 of Geetmala Ki Chhaon Mein will be launched on January 26th 2009 at the Mumbai;s Shanmukhananda Auditorium where the great Ameen Sayani will also be felicitated by Melody Revival, which is organizing this extravaganza where he will share his rare audio and the video recordings of Naushad, Shankar-Jaikishan, Laxmikant, Hemant Kumar, R D Burman and many others. The evening will also include a live music performance of some of Ameen Sayani;s favourite Hindi film songs.
This article was published in the Screen Magazine for their issue dated 02/01/2009 and will interest innumerable RAFI Fans since the 5 volumes to be released on 26/01/2009 will range from the gems of the songs from the 1930s to 1950s
WELL DONE, KAIRALI CHANNEL : A GREAT programme on king of melody – mohd rafi saaheb. It talks about rafi fan’s , rafi’s breakthrough songs and how rafi saaheb redifined playblack singing.
everry sunddaayyy at 9.00 a.m . its telecast on kairali channel (malayalam). you may miss it at the peril of missing a beautiful musical journey….
congrats kairali, for taking the lead…
binu nair, mumbai rafi foundation
With reference to the previous comment about a Rafi serial, I assume this is a musical programme along the lines of the Sony TV Asia broadcast version of “K for Kishore”? I wonder if this Malayalam channel can be accessed via Satellite?
Why is Rafi saab so kept away in the media spot light compared to other musical celebrities? Naushad saab is hardly mentioned in the main stream media as with many other great Music Directors.
Thank you so much, sir, for the information of a dedicated programme on Mohd. Rafi Saheb on the Kairali channel. I am an active member of Rafi Foundation, Hyderabad Chapter and would spread this message to Rafi Bhaktas in our forthcoming musical session on 4th January. Thanks, once again.
CONGRATS TO KAIRALI CHANNEL A LEADING MALAYALAM TV MEDIA FOR INTRODUCING A RAFI CENTRIC SERAIL TITLED HRIDHYATHIL RAFI MEANING DIL MEIN RAFI….
I WAS TOLD THE FIRST EPISODE IS ON SUNDAY 4TH JAN AT 9 AM AND THEY ARE PLANNING FOR A SERIES OF EPISODES EVERY SUNDAY AT 9AM…
MAIN THO ITNA HI KAHUNGA KI JO HINDI TV SERIAL WALE EK ACHA SABAK SEEKH LE YA THO CHULLUBHAR PAANI MEIN DUBH MARE..JIS PRANTH MEIN HINDI AUR URDU BASHA NAHIN JAANTHE DEKHIYE UNKA PYAAAR AUR MOHABHAATH…..
Very nice and informative article. A thanks to the author for this compilation. I have thoroughly enjoyed the Naushad-Rafi combination especially so in Baiju Bawra. Another song that is ingrained in my mind is “Madhubaan Mein Radhika Nache”.
Sir Mr D P BIJOOR
as you know in 1970’s people like dilip kumar,rajendra kumar and many more they replace MohdRafi with KK but only Madan Mohan and shammi Kapoor they was with our greatest Mohd Rafi………
Lata ji is great singer because of that she got Bharat Ranta Award but bad human(as I think)and she got God award that no one asking about her today,when we speak about mohd Rafi got the God award because still he is on the top of the singer and about Bharat Ranta award I hope Gov’t will wake up one day
Naushad did say that Rafi’s ability allowed him to compose music without restraint and wrote that with the death of Rafi, one note of music was “no more”. Rafi also popularized SJ’s and SD’s music and that has been noted in many write-up. However, Rafi sang many excellent songs for Ravi. In fact his first filmfare award was for Ravi’s Chaudavi Ka Chand, and he and O P Nayyar gave us many scintillating hits. I believe that era has gone like the era of Europe’s Baroque music. It is unfortunate that the recording studies did not see it fit to release all of Rafi’s songs instead of releasing the same set of songs under various tiltles.
Thanks for the great piece of information, Binu sir. You know what, for us Malayalees, Rafisahab is our own singer(though singing in a language we don’t speak).
mohd rafi serial to be aired from 4th , sunday, jan 2009…
kairali is starting the new year with a bang, its broadcasting a rafi serial titled : rafi de hrudayathil ( rafi ke dil se ) on 4th at 9.00 p.m.
its a forerunner to the hindi channels and a lesson worth emulating for the national media, on how a regional channel faraway in kerala where the people speak malayalam, worship a national icon who is a hindi singer known as the incomparable mohd rafi.
three cheers to the kairali channel and the rafi lovers in the state.
binu nair,
I have no words for your superb article Bimanji which has been informative, apt wonderful and the compilation is great
It was indeed Naushad Saab who had initially experimented Mohammed Rafi for Raj Kapoor & Mukesh for Dilip Kumar in the classic Andaz which had lyrics by the great Majrooh Sultanpuri
From the list of the Jewels of Naushad — Rafi immortal permutation one combination of the 4 greats Dilip Kumar, Mohammed Rafi, Naushad and Shakeel Badayuni can never ever again happen!!!
Thank you Mr Biman Baruahji for considering to write on Rafi -Rajendra Kumar and Rafi-Dilip Kumar combinations.Rafi Sahab’s singing for Shammi Kapoor,Darmendra,Shashi Kapoor,Jetendra,Raaj Kumar, Dev Anand,etc made these gentlemen popular with the masses.Infact there was no hero who would be complete without the eternal voice of Rafi Sahab.But there was a certain charm and magic when Rafi Sahab sang for Johnny Walker.They were ideal for each other and the songs become very popular especially the ones for which OP Nayyar gave the music.I request you to kindly consider writing about this great combination which will gladden the hearts of all Rafi fans.
Binu sir: No, I am not Prabhanjan Marathe. I am just a simple Rafiji and SPB sir admirer. btw, I am very glad to be here in this forum 🙂
Post 10 : Mr.Prabhanjan : R you the same Prabhanjan Marathe, the rafi centric singer from mumbai who sang great songs in our music concert recently and also won accolades for the manna dey song : jhanak jhanak tore baaje paaayaaliyaaaa from mere huzoor.
if yes, very glad to meet you here. welcome to the rafi lovers site.
binu nair, rafi foundation, mumbai. binus2000@hotmail.com
many many thanks to all rafi lovers for their valuable comments of appreciation & suggestions . both the legand were made for each other. without them the treasure of hindi film music could not be filled to A great extent. THEIR CREATION ARE EVERLASTING .
i will also propose to come with my write-up on rafi-dilip kumar and rafi-rajendra kumar combinations.
thanks once again to all rafi lovers for their appreciations. wishing all of you a very very HAPPY & PROSPEROUS COMING NEW YEAR AHEAD, 2009.
WITH WARM REGARDS
BIMAN BARUAH
Thank your Bimalji for a wonderful and informative article on our beloved Nausad Sahab and Rafi Sahab.Both were made for each other and one can safely say that each of them would be incomplete without the other.Nausad Sahab’s music was from this earth of Bharat and Rafi Sahab’s voice was that of India.Together they produced magic and their songs will live on ever till music is there. Nausad sahab always stood by Rafi Sahab and felt that the great singer had not got his due.How true.Their songs will continue to bring a tranquility to all their fans for ever. After listening to today’s trash being doled out by the industry, Nausad Sahab and Rafi Sahab music is an ocean of oasis for good music starved population.May God rest their souls in eternal peace.
Just what I had requested the web-master. My wish has come true. Thanks a zillion 🙂
great article and good research….. biman ji… like always.
of late yours truly has been lucky in one great sense. its that i hava had the opportunity to visit the “mandir” of music on mumbai’s carter road. the mandir where naushad saaheb made the tunes of mughul e azam, mother india, baiju bawra, anmol ghadi and many many gems.
the harmonia is stiill preserved. the sofa is still there where legends like saigal, lata, mukesh, manna dey, rafi used to sit for weeks to practice the naushad songs. yes – the mandir is called aashiana. in the evening, raju naushad the maestro’s son habitually light the agarbhatties in this mandir, for naushad saaheb liked it.
once in only many centuries, a naushad ali is born and his works are engraved on the sands of time – never to be erases – like the songs : madhuban me radhika naache re, or suhaani raat dhal chuki or mere mehboob and countess others. more, nausad ali polished rafis voice and made it gold., pure 24 carat gold for all of us to enjoy.
i bow my head to the maeastro….
binu nair, rafi foundation, mumbai…cell : 9833 250 701
Dear Baruah Ji,
Many thanks for narrating the Rafi-Naushad relationship.
If there was ever one MD who could genuinely be termed a Rafi Loyalist, it was Naushad Ali.
It was a noble reltionship that started with the Film:Pehle Aap(1944) for the song, “Hindustan Ke Ham Hain”. Since then, there was never any looking back and there were never any misunderstandings that are quite possible in that field.
They were so close and intimate that Naushad would address Rafi Saab in singular number as Tum, Miya, etc.
This combination of two greatests had resulted in the ever-green, all-time great hits from Films such as Mela(1948); Chandni Raat, Dillagi, Dulari (1949); Dastaan(1950); Deedar, Jadoo (1951); Aan, Baiju Bawra, Deewana (1952); Amar, Shabab (1954); Udan Khatola (1955); Mother India(1957); Sohni Mahiwal(1958); Kohinoor, Mughal-e-Azam (1960); Son Of India (1962); Mere Mehboob (1963); Leader(1964); Dil Diya Dard Liya, Saaz Aur Aawaz (1966); Palkhi, Ram Aur Shyam (1967); Aadmi, Sangharsh (1968); Ganwar (1970); Tangewali(1972); My Firend(1974); Sunehra Sansar (1975); Love and God (1986).
Naushad not only always preferred Rafi Saab for his own compositions, but also strongly believed and wished that Rafi Saab should always be and should continue to be the No.1 in the field!!
He used to frequently caution Rafi Saab from the late 60’s to take extra care of the voice. He would say to Rafi Saab, “Doodh Ghee Shakkar Thhoda Qam Khaya Karo, Miyan”.
Not surprising because Rafi Saab was reportedly a connoisseur of food, as confirmed by Khayyam Saab too in an interview. Kahyyam Saab had mentioned in that interview that Rafi Saab’s Ghar is the place if one was looking for heavenly food!
Naushad Saab himself mentioned in an interview that there was a time when Rafi Saab used to be very upset and disheartened at certain events that took place at the onset of 70’s. During those times, Naushad Saab used to always advise and counsel Rafi Saab and used to uphold the great soul’s morale. He would say to him, “You are the monarch of HFM, who are all these others?”
I had the good fortune of listening to many an interview of Naushad Saab on Radio. Whenever I heard Naushad Saab’s soft, but articulate sentences on Rafi Saab with so much of passion, I used to get highly emotional.
I am sure Naushad Saab would have taken his rightful place beside his friend in the Heavens!!
Venkat
Dear Sir,
Happy birthday to Legendary Music Director Naushan Sahib,
In My words I had never seen Tansen or Baiju Bawra. but I
saw a legendary Naushad sahib as a sangeet samrat & rafi
sahib as a sur samrat. Really they are made for each other.
Both were belongs to the muslim family but when they work
on the bhajan/shabad everybody imagine that who sing or
composed. When rafi sahib died i am only 10 years i don’t
know about rafi sahib but a peerless voice also attract me to
listen and sing. On the other hand i always saw rafi sahib as
a messenger of god who sent him on the earth.Thanks for
writing a column on Legendary Naushad Sahib & Legendary
Rafi Shib.
Thanks,
Suresh Chauhan
dear,
thanks for such a nice artical. rafi is rafi aur woe sab ki mujboori thai,kia khayal hai app ka?.
Birth date of rafi sahab is mentioned as 24th Dec. is it or 24 November?
WOW!!!! WOW!!!! WOW!!!!!
You did some very serious research on both these legends!!!
I grew up with Naushad Saheb and Rafi’s songs in India – born 1952. By the time I was 6, I know a lot of Rafi Saheb’s songs and even today at the age of 55 I sing on Karaoke Rafi’s songs. The versatility, meticulousness and melody in the numbers made by this duo is unmatachable.
Thanks for sharing this.
I would like to mention the movie ‘Love & God’ which was released in 1986. Naudshad and Rafi yet again created a magical score. the movie took 20 years to complete, it is not known when these songs were recorded, Rafi is peerless as usual. My favourite is the late entry in ‘Rahega Jahan mein tera naam’ and also the ghazal- yeh naadanon ki duniya hai’ and easily overshadows all his co singers in an effortless manner( Lata and Manna sound as if they are panting). The music has a very authentic Arabian feel
I would like to mention the movie ‘Love & God’ which was released in 1986. Naudshad and Rafi yet again created a m
biman baruahji, as always you have come up with a very finely crafted article that provides all the information that one requires on naushad-rafi sahab combinations with various actors. this is fabulous writing. only one point i would like to make about the film aadmi wherein you state that it had two precious and emotional songs. there is another very precious and highly emotional song – main tooti huyi ik naiyya hoon (another classic example of naushad-rafi combo) and then there is a male duet of rafi sahab and talat mahmood “kaisee haseen aaj baharon ki raat hai”. excellent writing by all standards in any case.