Mohammad Rafi – The Real God of Our Time
Tuesday, June 3rd, 2008This article is written by Mr. Vinod Viplav.
Mohammad Rafi transformed thousands of ordinary songs into unforgettable & immortal with the touch of his charismatic voice. After the departure of this great legend, incalculable numbers of new singers came to light and many of his contemporary singers claimed to be best, but all disappeared in the dark. On other hand the magical effect of the songs of Rafi Sahab on the hearts of millions of music lovers is becoming deeper day by day. (more…)
Dev Anand was called evergreen hero because of his looks, boyish charm, his style, his positive energy and perhaps also due to the fact that he acted with maximum heroines in his career. The songs he sang on screen added to his romantic image whether the Singer was Rafi or KK or Talat or Hemant or even Mannadey (‘Chale Ja Rahe Hain, Mohabbat Ke Maare’ from Meena Kumari starrer Kinare Kinare). Songs from his fiftees and especially early sixties were mainly instrumental in popularising his movies. 
It was a CLASSIC rain song sung by Rafi Saheb with beautiful composition by Roshan Saheb on extraordinary lyrics by Sahir Ludhyanvi from the film Barsat Ki Raat with perfect lip harmonization by Bharat Bhushan on whom good numbers of Rafi gems had been picturized and who came to spotlight of stardom with golden voice of Rafi Saheb. The said song was twice in the film, one solo by Rafi Saheb and one duet by RafI-Lata picturised on Bharat Bhushan and Madhubala. There was another classical rain song in the film “Garjat Barsat Sawan Aayo Re†which was sung by Suman Kalyanpur and Kamal Barot. 
Mohammed Rafi Sahab has sung plenty of duets with many female Singers, but quantity-wise, duets with Asha and Lata stand out. It is gathered that Rafiji has sung about 903 duets with Asha and about 447 with Lata. The huge difference was perhaps due to Rafi-Lata’s rift for about three years and consequently the higher number of duets of Rafi- Asha during that period. One more reason was the preference of MDs like OPN to have only Rafi and Asha.
Songs in background in films are used to describe a special occasion in a film where either there is turning point in the story or a special message to be conveyed. Among all the singers a classic example would be the legendary composer S D Burman who never gave play back to any actor as a singer. He sang for only special occasions in many classics like Bandhni, Sujata, Guide, etc. All most every singer has contributed incredible songs sung in background. There are few gems contributed by Rafi Sahab as well. 
Mohammed Rafi Saheb had lent his golden voice in the above amusing song for romantic hero Biswajeet in Subodh Mukherjee’s APRIL FOOL (1964) under amazing composition by Shankar-Jaikishan in the lyrics of Hasrat Jaipuri and the song was picturised on Biswajeet and Saira Banu in the plot of April Fool. April Fools’ Day is a notable day celebrated in many countries on 1st April as a day marked by the charge of tricks and other practical jokes of varying cleverness on friends, enemies and neighbors or sending them on fools’ tasks with a aim to make uncomfortable the innocent. The history or origins of April fool’s Day custom are complex and a matter of much debate. It is likely a relic of the once common festivities held on the vernal equinox, which began on the 25th March, old New Year’s Day and ended on the 2nd April. However, the present thinking is that it began around 1582 in France with the reform of the calendar under Charles IX and New Year’s Day was moved from 25th March to 1st April. 
Aisa ghazal woh gaate rahe, aur hum sunte rahe. Truly, there are some songs that make you just stop and force you to pay attention. Ghazals belong to an era long gone by. The intensity and pure mastery required for this ghazals are sadly not present in today’s music. But true ghazal lovers will know that there is so much more than what the film industry has chosen to popularize – this is one medium which can do justice to romance, heart break and anger. 
Recently there were two articles in the web site on romantic songs of Rafiji. Ms. Chandni in the issue of 25th December, 2007 had written about the NISHAAN song “Haye Tabassum Tera†and Ms. Asha on March 5th, 2008 had written about “Ishq Ke Garmiye†from GAZAL, especially for ‘Ishq Karnewalon Ke Liye’. How true, in those days wooing was done with Rafiji’s songs unlike these days with SMS, mobile / telephone, e-mail, etc. Whenever any one fell for some body, if he were bold enough, he would always praise his sweetheart with a romantic song of Rafi Saab in most of the cases and even the lady would have been too glad to be praised with such melodious songs. 
A great man is one who has a great following. Several names of great human beings come up in our mind and the sheer following that they command is a true testimony to their greatness. Hindi film world and music has produced hundreds of such great men and women, who have been or are still household names and the country is proud of them all. And one such tall and towering personality is known by the name MOHAMMED RAFI SAHAB. Such is the aura attached to this great name that his name will rank first and foremost as long as music is discussed by all lovers of Hindi film music. 
I have a Cassette by name “Anmol Ratan Volume 12 Mohammed Rafi†– “Phir Rafi†released by HMV which I very frequently listen to while I travel. All the songs are classical based and are soothing to ears. Side A contains “Radhike Toone†(BETI BETE) music by SJ, “Manare Tu Kahena†(CHITRALEKHA) by Roshan, “Madhuban Me Radhika†(KOHINOOR) by Naushad, “Saaz Ho Tum†(SAANZ AUR AWAAZ) by Naushad, “Nache Man Mora†(MERI SOORAT TERI AANKHEN) by SDB and “Aaye Bahar Banke†(RAJHATH) by SJ.