Rafi with Music Composers – Part 3
This article is by Mr. Anmol Singh.
Rafi with O P Nayyar
Another highly innovative music composer from Lahore, Punjab. It is none other then O P Nayyar. Specializing in Punjabi folk music, O P Nayyar made the most effective use of the Dholak / Mridang. O P Nayyar is known for promoting Asha Bhosale and made the best use of Geeta Dutt & Shamshad Begum. Rafi Saab has provided many ultimate gems to O P Nayyar’s innovative works. Though O P Nayyar claims that he doesn’t know classical, but his Raag based compositions are marvelous.
To start with Punjabi folk music, Nayyar uses Rafi and Balbir for the song “Yeh Desh Hai Veer Jawanon Ka†and Asha for the song “Uden Jab Jab Zulphen†from Naya Daur and “Haaye Re Haaye…Bale Bale†from Kashmir Ki Kali.
Rafi Saab’s duet’s with Asha for Nayyar’s composition are all remarkable “Aap Yun Hi Agar†based on Raag Kedar, “Mein Pyaar Kaa Rahi Hoon†based on Raag Kirwani, “Bahut Shukriya Badiâ€, “Diwana Huva Badalâ€, “Isharon Isharon Mein Dil†based on Raag Pahadi. The most unique aspect of Nayyar’s composition is that he uses Rafi to sing at much higher scale compared to Asha. There are other classics with Asha from ‘Phagun’, “Ek Pardesi Mera Dil Le†and ‘Sone Ki Chidiya’, “Raat Bharka Hai Maheman†based on Raag Jogiya.
O P Nayyar is also known for providing the TANGA Rhythm in songs. To name a few examples – “Maang Ke Saath Thumharaâ€, “Yun Tho Ham…Tumsa Nahin Dekhaâ€, “Banda Parwar Tham Lo Jigarâ€, etc.
With Geeta Dutt, Rafi Saab has sung some unforgettable numbers “Udhar Tum Haseen Hoâ€, “Jane Kahan Mera Jigarâ€, “Ankhon Hi Ankhon Meinâ€, “Sun Sun Sun Zaalima†and one with Shamshad Begum / Asha from CID, “O Leke Pahla Pahla Pyarâ€.
No song can define the spirit of Mumbai (Formerly Bombay) like “Yeh Hai Bombay Meri Jaan†picturized on Johnny Walker from CID. Another song “Mein Bambai Kaa Babu†is also great. The whistling effect is perfectly co-ordinated in the song. It is believed that Rafi Saab was himself very good at whistling.
Many solos sung by Rafi for O P Nayyar are mind blowing. A classic devotional song “Aana Hai Tho Aa Raha Mein†from ‘Naya Daur’ is par excellence; some romantic numbers “Aap Ke Hasin Rukh Peâ€, “Anchal Mein Saja Lenaâ€, “Honton Pe Gulab Haiâ€, “Dil Ki Awaaz Bhi Sunâ€, “Taarif Karun Kya Uskiâ€, “Pukaarta Chala Huin†based on Raag Kirwani, “Tukde Hein Mere Dil Keâ€, “Phir Miloge Kabhiâ€, “Gharib Jaan Ke Ham Ko†based on Raag Bhairavi and many more. O P Nayyar used Rafi to sing for Kishore Kumar in the film ‘Raagini’, “Mann Mora Banwaraâ€.
The song “Pher Miloge Kabhi Es Baat Ka Wada†shows Rafi Saabs terrific control of the voice. The Sthai (starting part) of the song can be described as ‘Rising from the Bottom of the sea to the Sky’.
Pher Miloge – Bottom of the sea
Es Baat Ka Wada – Surface of Water
Hum Se Ek ur Mulaakat – Rising to the Sky
Its like firing a torpido / missile from a submarine in the bottom of the sea to the sky, which shoots down an enemy aircraft.
A tribute from O P Nayyar
“The biggest blunder of my entire career was in removing this farishta from my music rooms for two years in the ’60s because Rafisaab reported late for a recording of mine! Two years later, he met me and affectionately asked me why I was not working with him. I had missed him tremendously, so I relented and he was back with me. He would love my peppy songs, and would hope for yet another whenever he arrived after singing a melodramatic litany with someone else!”
Rafi with Shankar Jaikishan (SJ)
Shankar Raghuvanshi from North India and Jaikishan Dayabhai Panchal from Gujarat are from different backgrounds, the most successful music composers in the film industry. Their compositions have made the maximum contribution to Rafi Saab’s overall success.
Shammi Kapoor was known as ‘Monkey’ by the Media. A monkey is difficult to handle if one carefully observes on street shows or in a circus. But for this Monkey called Shammi Kapoor, both SJ and Rafi Saab do not use a stick or a Damru (musical instrument) to control, but they both use their classic compositions incorporated with a golden voice. Some examples “Dil Ke Jharonke Mein†based on Raag Shivaranjani, “Tum Mujeh Yun Bhula†based on Raag Jhinjhoti, “Akele Akele Kahanâ€, “Aji Aisa Mouka Phirâ€, “Aasmaan Se Aaya Farishtaâ€, “Badan Pe Sitaareâ€, “Ehesaan Tera Hoga Mujh Par†based on Raag Kalyan / Yaman, “Chahe Koyi Mujeh Jungle Kahe†based on Raag Bhairavi, “Tumse Achha Kaun Haiâ€, “Meri Mohobbat Jawan Rahegi†based on Raag Shuddha Kalyan, “Lal Chadi Maidan Khadi†based on Raag Bhairavi, “Savere Wali Gaadi Seâ€, “Is Rang Badalti Duniya Meinâ€, “Ay Gulbadanâ€, “Ayayaya Karun Mein Kya Sukoo”. In fact the Monkey was very very demanding when it came to the picturization of song sequences. No other singer other than Rafi Saab could satisfy the Monkey to such an extend. It is believed that the Monkey was speech less for several hours when the news of Rafi Saab’s death hit his ears. Actors like Joy Mukerjee & Biswjeet did try to follow Shammi Kapoor’s footsteps, but couldn’t excel to that level in terms of potential and energy that Shammi could produce. Rafi Saab indeed has sung many remarkable scores for the duo quiet similar to the monkey rhythm.
For the Jubilee Star of 1960s Rajendra Kumar, Rafi Saab along with SJ create magic. “Tum Kamsin Hoâ€, “Ay Phoolon Ki Raniâ€, “Aji Hamse Bach Kar†based on Raag Desh, “Chalke Teri Ankhon Seâ€, “Baharon Phool Barsaao Mere†based on Raag Shivaranjani, “Kaun Hai Jo Sapnon Mein Aayaâ€, “Teri Pyaari Pyaari Surat Koâ€, “Yeh Mera Prem Patra Padkarâ€, “Yaad Na Jaaye†based on Raag Kirwani, “Khuda Bhi Aasmaan Seâ€. A song from the film ‘Aman’ “Aaj Kee Raat Yeh Kaisi†sung by Rafi has sexy giggles of Saira Bano, which are very well coordinated, full marks to SJ. In today’s remix videos where models dance with half naked bodies, cannot create such an effect. Another song from ‘Suraj’, “Chehere Pe Giri Zulphen†Rafi Saab goes deeper & deeper every time while singing “Gustaki Maafâ€.
For the evergreen Dev Anand apart Dada Burman, SJ have also made contributions in the films, ‘Asli Naqli’ & ‘Jab Pyar Kissi Se Hotaa Hai’. Songs like “Ek But Banavungaâ€, “Pyaar Ka Saaz…Cheda Mere Dilne Taranaâ€, “Tujeh Jeevan Ki Dor Seâ€, “Teri Zulphon Se Judaayiâ€, “Jab Pyar Kisise Hota Haiâ€, “Yeh Aankhen Uff Yun maa†are all classics of all times. In the film ‘Jab Pyar Kissi Se Hotaa Hai’ again Dev Anand’s association with mountains & hills can be witnessed.
Many duets with Lata, Asha, Suman Kalyanpur, Shaarda and Mubarak Begum along with Rafi under SJ are remembered till date. “Gori Chalo Na Hans Ki Chaalâ€, “Aaj Kal Mein Dhal Gayaâ€, “Aaj Kal Tere Mere Pyarâ€, “Aaja Ke Intazaar Meinâ€, “Ramia Wasta Waia†based on Raag Bhairavi, “O Sanam Tere Hogaye Hamâ€, “Raat Ke Hamsafarâ€, “Awaaz De Ke Hamen Tum Bulavo†based on Raag Shivaranjani, “Mujeh Kitna Pyar Haiâ€, “Ay Chand Zara Chup Jaâ€, “Jaane Chaman Shola Badanâ€, “Dil Use Do Jo Jaanâ€, “Tumne Pukaara Aur Ham Chaleâ€, “Yeh Mausam Bhiga Bhiga Haiâ€, “Mujhko Apne Gale Lagaloâ€, “Jab Bhi Yeh Dil Udaasâ€, “Sau Baras Ki Zindagi Seâ€, “Main Chali Main Chali†based on Raag Bhairavi, “Dil Ek Mandir Hai†based on Raag Bhairav and many more. In the last song the high pitch Alap “Janne Waale Kabhi Nahi Aate. Jaane Wale Ki Yaad Aati Hai” sung by Rafi Saab is magneficent. How true are the words that Rafi Saab will never come back to us, but his memories and works will be remembered forever. The same holds true for SJ as well.
Manna Dey had privilege to sing most of the classical and devotional numbers under SJ. Shankar along with Raj Kapoor always backed Manna Dey for all the classical numbers. What Rafi was to Naushad, Manna Dey to quiet an extend was to SJ. But Rafi Saab sung few classical numbers for SJ, “Radhike Tune Bansari Churaayi†based on Adana, “Ajahuna Aaye Balama†based on Raag Pilu, “Kaise Samajhavun†based on Raag Bhairavi and devotional numbers “Duniya Na Bhaye†based on Raag Todi. There could many more.
Rafi Saab has sung many funs songs for children under SJ. “Chake Pe Chakkaâ€, “All line clearâ€, “Hai Na Bolo Boloâ€, “Sunlo Sunatha Hoon..Re Mamaâ€, “Gori Zara Hans De Tuâ€, “Nanhe Mune Bacheâ€, “April Fool Banaayaâ€, etc.
Considering the comedian Mehmood’s Hyderabadi style of speaking, no other singer other than Rafi Saab can match it so perfectly in the song, “Ham Kaale Hein Thoâ€. In this song, Rafi Saab apart from singing narrates a line in the same language.
There are many classic solos sung by Rafi Saab for many Actors under SJ. To name a few “Aye Bahar Bann Ke Lubha Karâ€, “O Mere Shah-e-khubanâ€, “Rukh Se Zara Nakaabâ€, “Gar Tum Bhula Na Dogeâ€, “Mein Zindagi Mein Hardam Rota Hi†based on Raag Bhairavi, “Yeh Ansoo Mere Dil Kiâ€, “Likhe Jo Khat Tujehâ€, “Aa Gale Lag Jaa†and many more. Apart from O P Nayyar, SJ also use Rafi to sing for Kishore Kumar in the film ‘Sharaart’.
Mukesh and Manna Dey have rendered most of the songs for Raj Kapoor’s classic ‘Mere Naam Joker’. But when it comes singing a Heer, ‘Sadke Heer Tujh Pe Ham’ based on Punjabi folk music, SJ had no choice but to use Rafi Saab for Raj Kapoor. This indeed speaks of Rafi Saab’s versatility; the one who could sing for any personality with out any rejection.
A tribute from Lata Mangeshkar
“All singers have a style, but Rafisaab could change completely even for the same composer, like Burman Dada’s ‘Sar jo tera chakraaye…'(Pyaasa) and ‘Hum bekhudi mein tumko…'(Teen Deviyan). We met for the first time when we were both strugglers, way back in 1947. We always got along famously, and that’s why we sang more duets than any other team of singers, all the way till his last song in Aas Paas. “Rafi was very close to my brother Hridaynath, and in the late’40s would visit my house during Ganpati Utsav and once he even sang in my house. But otherwise there was hardly any socializing between us. Even when we did not sing together for three long years, the differences between us were only on the matter of royalties, and Rafisaab had been provoked by vested interests that did not want us to sing together. Jaikishan finally engineered a patch-up between us. “Rafisaab’s voice was of course his greatest blessing. High-pitched or soft,there was a certain namrataa in it. The inimitable harkatein and taan were all a natural part of his talent.”
A tribute from Manna Dey
“Rafi was the complete singer who could sing everything. Among the frontline singers, only he and I would be called to sing every kind of song. And I did not grudge that he always remained ahead of me because he was a far better singer than I was.”
A tribute from Shammi Kapoor
“It is the gravest mistake to say that Mohammed Rafi was good only for my kind of songs – he sang every kind of song wonderfully. I mean, look at his Johnny Walker songs – Rafisaab never drank, Johnny Walkersaab never had a drop of alcohol, and yet together they were so outstandingly convincing in a drunken song. I think that Shama Parwana was my first film with beautiful music – by Husnlal-Bhagatram – and that’s where Rafisaab first sang for me. But the Shammi-Rafi style as it is known was first established with O.P.Nayyarsaab’s ‘Tumsa Nahin Dekha’. As a hero I was so involved with my songs, from concept to tunes to lyrics, that I would make it a point to attend all my recordings and offer the suggestions for the audio part of the visuals that I would enact. But whenever I could not, it was uncanny how Rafi would know exactly what I would want by way of pronuances! I asked him how he knew exactly what I would want, and he would say, “Maine socha ke tum kaise karoge!”. “He was a very conscientious worker, a simple soul who meant well for everybody. It is strange that though he was an outgoing guy he was also shy. Probably singing all the uninhibited songs was his only way of being able to break through his shy nature! Outside our professional association we barely interacted, since our social lives were completely different. “Strangely, I also feel that it was Naushadsaab who truly give his voice a body and basic colour to start with, that everyone later used and moulded to their needs. I missed a chance to work with that combination in ‘Shabab’ , because though I was signed, they dropped me for a more saleable hero!”
Recent review of GUMNAAN songs, music Shankar-Jaikishen:
R.D. Burman was an excellent composer but it is often mistakenly assumed that he was the first person to introduce a western influence into Hindi film songs. His senior colleagues in the industry were experimenting with western sounds years before he came onto the scene. This is because of the rock ‘n’ roll revolution that took place in America in the late 1950’s and the 1960’s due to a certain person named Elvis Presley. Shammi Kapoor cultivated a similar image and his popularity pushed music directors like O.P Nayyar and Shankar-Jaikishen into creating the western type of music that suited him. “Gumnaam†does not star the Indian Elvis but the soundtrack displays the knack that S-J had of turning out a foot-tapping rock ‘n’ roll track.
And that track is “Jaan Pehchaan Ho, Jeena Aasaan Ho!â€. Mohammad Rafi is so passionately charged… it sounds like he is breathing fire. Dance to it and you may also find your shoes on fire. The high-powered music reaches your bones making you want to move them to the funky rhythm! Rafi is just absolutely positively amazing. This classic has experienced a rebirth of sorts because of its use in a scene in the funny American film, “Ghost World†(2000).
Don’t go to a shrink to receive advice on what to do with your life. Instead, listen to what Lata Mangeshkar has to say. “Is Duniya Main Jeena Ho To Sunlo Meri Baat, Gham Chhodke Manao Rang Reli†Says she. Sound advice, I say! The music has a western undertone to it mixed with a traditional Indian sound (which explains why many people could not resist the temptation to make remix versions). With Lata’s boisterous rendition, Hasrat Jaipuri’s logical lyrics and Helen to drool over, this one is a knockout!
By the mid-1960’s, it became a standard convention for any thriller or supernatural movie to have a slow theme tune rendered by Lata. Here, she whispers, “Gumnaam Hai Koi, Badnaam Hai Koi…â€. If you are a person who is well-versed in Hollywood films then listen carefully to this song, you may realize that it is a tad inspired by the theme tune of the classic movie, “Charade†(1963). That does not really spoil the enjoyment as S-J have added their own unmistakable touch to the composition. It is an exquisite number that has mysterious lyrics, which make you ponder.
Sharda is one of those singers who made a good but very brief impact during Lata and Asha’s reign as the queens of playback singing. But, then all of a sudden, poof! She disappeared. Her “Aayega Kaun Yahan†carries on in the same vein as the last number. This one makes a more dramatic use of the piano, which combines wonderfully with Sharda’s bewitching rendition. The rift between Lata and Rafi (due to a misunderstanding) meant that they did not work together for a short while. As a result, Rafi did more duets with other female singers. Hence the following Rafi-Sharda duet, “Jaane Chaman Shola Badanâ€. This unusual pairing of singers makes a nice refreshing change. It is an intoxicating song that is a treat on the ears.
There are two more solo Rafi songs on the album and both are different in style yet similar in theme. “Khayalon Main (Hum Kaale Hain To Kya Hua Dilwale Hain…)†has become a classic thanks to Rafi’s spot-on impersonation of comedian Mehmood. Mehmood is attempting to woo Helen but she is ignoring him. He assumes that it has something to do with his dark skin and argues that that should not matter as he is a romantic at heart. In today’s times, the humor has dated badly and could be conveyed as being racist. In my opinion, it is the opposite… the song has a tongue-in-cheek message about how skin color is irrelevant when it comes to love. “Ek Ladki Hai Jisne Jeena Mushkil Kardiya†is a more conventional approach to the similar scenario of a hero talking about his crush on a girl. This is amiable enough but, needless to say, the team of S-J/Rafi have given us better songs on this type of situation.
What could have been nothing more than a routine drunk song is surprisingly catchy and endearing. Asha Bhosle and Usha Mangeshkar are clearly enjoying themselves in “Peeke Hum Tum Jo Chale Aaye Hain Is Mehfil Mainâ€. Even the regular interruptions of “hic!†can be forgiven as the track is so loveable. Asha and Usha obviously make a great team. I feel that the chemistry in this duo had a lot of potential that has gone unexplored by music directors, which is a shame.
“Gumnaam†is sometimes unfairly overlooked but I believe that it is one of Shankar-Jaikishen’s best albums. Give it a listen today.
Whenever I want to get into a good mood this is what I go for!
http://www.musicindiaonline.com/p/x/q5KmFXK.7d.As1NMvHdW/
Rafisaab was the man for all seasons!
http://www.musicindiaonline.com/p/x/25O7BbVy9t.As1NMvHdW/
Regarding Rafi Saab singing max songs for Rajendra Kumar could be correct. Infact Shammi Kapoor got his first break in “Tum Sa Nahi Dekha”, from where the Rafi-Shammi magic started
Prior to “Tum Sa Nahi Dekha” success Shammi was a very ordinary actor and was critisized by the media for appeaing Raj Kapoor. During this era Talat and Mukesh had sung few songs for Shammi.
In case of Rajendra K it was Rafi from the very beginning except for a few songs rendered by Mahendra K in “Dhool Ka Phool” & “Sangam” and by Mukesh in “Saathi”.
Therefore from over all telly it could be true that Rafi Saab sang more songs for Rajendra K then Shammi K.
WELL DONE ANMOL,
I ALWAYS FELT THAT OUR RAFI SAHAB HAS SUNG THE MAXIMUM NUMBER OF SONGS WITH ANOTHER GREAT MD SHANKER JAIKISHEN AND THEY WERE ALL HITS. THIS NEWS WAS REVEALED BY THE COMPERE IN SJ NITE CONDUCTED IN BLORE THAT RAFI SAHAB HAS SUNG FOR MORE THAN 360 SONGS COMPARED TO THE SUCCESS COMBO OF MUKESH N RAJ KAPOOR WHICH IS ABOUT 122.
ALSO MANY ARDENT MUSIC LOVERS HAVE TOLD ME THAT RAFI SAHAB HAS SUNG MORE SONGS FOR RAJENDRA KUMAR COMPARED TO ALL THE SONGS SUNG FOR SHAMMI BY HIM. IS THIS CORRECT ?
ALSO WITH O.P NAYYAR RAFI SAHAB HAD THE BEST COMBO WHICH INSPITE OF A GAP OF 2 YEARS BREAK REMAINED STRONG AND EVERETCHED IN THE MEMOIRS OF MUSIC LOVERS.
P.Narayanan
Excerpts of Asha Bhonsle’s interview in indianexpress.com this year [n which she says”Lata and RAFI made a great contribution to music” Please read on:
From the heydays of Bollywood music to the trauma after R D Burman’s death, legendary singer Asha Bhosle recounts the good times and the bad, in a conversation with The Indian Express Editor-in-Chief Shekhar Gupta in NDTV’s 24X7
• You spread happiness everywhere.
People say they don\’t have time but if you want something from the heart, you will always find time. If you wake up and go to the kitchen you can also cook food in time. You can always find time.
• People who know you always say that you stay happy and spread happiness.
Being able to spread happiness is one of the greatest joys. There is no point in spreading sorrow, it is better if you keep smiling.
• We have just left the Gateway of India on this boat and we can see the Bombay skyline at a distance.
Yes, I am sitting on a boat for the first time in my life. This has never happened before. I am very scared of water.
• How long have you lived in Mumbai ?
Since childhood, actually we are from Goa.
• I have heard that you make excellent Goan fish curry ?
Yes I love cooking. Like I sing all kinds of songs I also cook all types of food.
• That is great, you love cooking and singing, I love eating and listening!
Songs those days were different, if things have changed for good it is because of Lata didi. She has changed the way people listen to music, how songs should be, the feel of songs. She and Md. Rafi made an immense contribution.
• Which are your favourites from the early days of your career?
I can\’t remember at this moment. Actually I don\’t like the songs I\’ve sung. I love Lata didi\’s songs.
• You and Lata have many duets ?
Yes we sang a lot together starting from Mayur Pankh (Sings)
• I heard that you had a very different style of singing. One used to hold the notes on the right hand and the other with the left hand.
Yes that\’s true, we used to face opposite directions when singing. But the interesting thing is that we never missed a beat. I got my cues from the movement of her hand.
• You had a perfect understanding. Lata and you had many duets, most recently in Utsav in 1985.
Chaap Tilak from Utsav was our last duet.
• Can you sing us a song from Maan kyu Bheka?
(Sings)
• This was a very naughty song from a very naughty film. You have sung a lot of naughty songs and done a lot of naughty things.
Naughty things, no. Naughty songs, yes. I have done everything with good intentions. I got married, if people think its naughty let it be so. I got married on my own terms, a lot of people talk about it, but I have faced the consequences. I believe that if you do something you should be strong enough to face the consequences.
• You have no regrets?
No, none.
• You have lived your life on your own terms. Did you at any point feel you would have done better had you listened to the advice of others? Do you give your children the same advice?
Actually in every house there is this problem, where kids think their parents are crazy if they tell them what to do. Only when they reach a certain age do they realise their parents were right. Children who are a bit naive get in trouble easily and the more they try to get out of the mess they create, the more difficult it gets. But that\’s also a stage in life. God has been fair to me.
• We read that there was a lot of tension between you and Lata – sibling rivalry. A film also was made on it, Saaz.
No, there is no truth in these stories. There was healthy competition between us. I always wanted to sing better that didi but never wanted to bring her down in order to reach that level. One should compete against a stronger opponent, there is no fun competing with a weaker one. That\’s why I don\’t enjoy singing these days. Those days we used to have Kishore Kumar, Md. Rafi, then we used to try competing with them. It was so much fun.
• You and Rafiji have done a number of duets.
Yes, 900 of them.
• There was a revolution in Indian music with R D Burman\’s entry in the industry. You remember Teesri Manzil?
Yes.
• The concept of Indi-pop started with that. From Ae mere sona re sona re…, aaja aaja main hu pyar tera…oh haseena zulfo wali… this was just the beginning.
An American classical band has remixed eight of R D Burman\’s songs, which I had been part of and were nominated for the Grammy Awards.
• Which is your favourite from Teesri Manzil?
Oh mere sona re sona re.
• Many remixes have been made of that song, you have one too. Don\’t you have any problems with remixes?
Yes I have. When a remix is being recorded, a lot of thinking should go into how to sing it, considering the feelings and the hard work put in the original. But people concentrate more on dance moves. We have seen dancers like Hema Malini and others, but shaking a leg with skimpy clothes is not dancing. I have never changed a music director\’s tune. I have maintained their originality because when they write a song they have a particular emotion that permeates it.
Hear the first songs of Usha Khanna and RD Burman!
http://www.youtube.com/watch?v=S2OVq-xxpDM
http://www.youtube.com/watch?v=vXpShFw3xPY
First ever song of RD Burman Film Chhote Nawab http://www.youtube.com/watch?v=vXpShFw3xPY
First ever song of Usha Khanna film Dil Deke Dekho
http://www.youtube.com/watch?v=S2OVq-xxpDM
Respected Anmol Singh, Mohan Flora, Kalyani &
P. Narayanan ji,
Your suggestions and love can encourage every fan of Rafi Sahib, a lot. We ‘ll put the demand of ‘honouring Mohd. Rafi Sahib with Punjab Rattan’ before the Punjab Government as early as possible. Mohd. Rafi himself was a Punjabi, that is why this demand will not seem awkward. You, from the other states, on bealf of your prestigious organisations can also put pressure upon the Punjab Government in this regard. It ‘ll clear our way.
Moreover, the message of Mr. Mohan Flora has also filled new spirits into me.
I have felt through my conversation on telephone with Mr. P. Narayannan that he (Mr. Narayanan) is so enthusiastic about Rafi Sahib. Such type of spirits, as mentioned above, ‘ll definitely lead us to our destination, i.e. to get the numerous sweet and melodious messages of Rafi Sahib to every corner of this planet.
—MEHTAB-UD-DIN
+919815703226
Dear Mehtab,
Thanks for your comments. I am aware of many fan clubs in Chandigarh started as a tribute to Rafi Saab. Possibly if any of the clubs can write to Capt Amrindar Singh, the present Chief Minister of Punjab to hounor Rafi Saab with the highest Punjab State award, ‘PUNJAB RATAN’, which has been given earlier to personlities like Amrita Pritam, Khushwant Singh, Yash Chopra, etc. for their achievements.
Dear Venkat,
It doesn’t matter what the world thinks about Rafi Saab. In the most the articles at various points you will find a common factor, most music composers have used Rafi Saab at a much higher scale compared to his female counter parts in duets. This it self is a compliment.
Plus I have read once the the song “Ehsan Tera Hoga” sung by Lata was not in the original plan. During the film making it was request from Shammi Kapoor that the heroine should also sing the same song. So Lata had to sing the song at Rafi Saab’s swar. This was stated by Lata herself. I do not have the linked with me.
Anmol Ji,
A nice article once again.
Pardon my saying this. But, I do not take Lata’s ‘tributes’ very seriously, because I know they just do not come from the bottom of her heart, but only convenient words from the tip of her tongue. She is capable of paying bigger tributes tomorrow to someone like, say, Kumar Sanu.
Venkat
According to Bilkis Rafi, wife of Rafisaab,”I think his greatness lay in his humble attitude towards people. He was very religious and never forgot to thank Allah for what he had become and achieved.
The whole world around him had progressed, people had changed, but Rafi saab knew nothing of it, his ways never changed according to the times.
For him, it was the togetherness of his family which mattered. I think he was at his best when he would call all of our relatives over, ask me to cook a lovely meal and sit and chat. The unity of our whole family, is what Rafi saab was very sentimental about.
My husband did not have any favourite singers. For any song that was sung well, he would praise the singer. And even if he did like someone more than another, it was never mentioned, even to us. He always felt that if he took sides, he would be hurting so many others in the bargain.
If anyone came and said, ËœRafi saab, you sang so well that that movie is a hit and the hero has become big, he would answer, Ëœif it was not for the music director or that hero, I would not be singing that song. Inki vajay se mujhe kaam mila
Every music director that he worked with was treated with equal respect. For example: when Rafi saab was already an established singer, Laxmikant-Pyarelal were violinists in Shankar-Jaikishen’s group. Yet, when Laxmi-Pyare became big, never once did Rafi saab consider them as mere violinists. He would always say, ËœMere ustaad hain, I will learn more by
singing for him.
Favourite songs? I know he loved his song from Dulari under Naushad saab’s music Ëœsuhani raat dhal chuki, na jaane tum kab aaogee
But there were quite a few of his own songs which he liked. I knew it, because after his recording, he would gather the children, bring out the harmonium and sing the song. He would do this quite often when he was in a happy mood. What Rafi saab did quite enjoy, was when he had sung a song with a star like with Nanda in Jab Jab Phool Khile or with Saira in Aman.
He always told us excitedly,ËœToday I sang with so-and-so.
Favourite films? God knows what he liked about it, but he saw Sholay thrice.
He attended many trials, but I do not remember him mentioning any film in particular.
As far as actors were concerned, Rafi saab did have a special liking for Sammiji and Dharamji.
Shammiji, almost at every recording, would listen to Rafi saab and literally act out how he would do a particular line, or make an expression with a particular word.
Dharamji was another actor who always openly showered his love on Rafi saab. Bada pyar tha in dono actoron ke liye. In fact, I am proud to say that I do not think there is any film industry person who did not love my husband. And personally, he never spoke a word against anyone.”
Read more on page 6 of the following link which has 15 pages of great articles and scores of the best songs of Rafisaab. CLICK
http://guyanafriends.com/eve/forums/a/tpc/f/541601562/m/22110249331/p/1
Dear Mehtab,
Anmol is not wrong in refering “Hum Kale hain to” to SJ as composers of the song as they are very rightly so. In fact, SJ later on went to compose the same tune in English in 1970 with Rafsaab singing”The she I love is a beautiful, beautiful dream come true”.
I agree with all else that you have written.
Mohanflora
Respected Anmol ji,
You have rightly said that Mohd. Rafi can be a great topic for the further research. After 26 years of his passing away, we are still finding the depth of his melody and scaling milestone heights of his ‘gems like songs.’ One can never be satisfied with one research. Numerous researches are needed to access the heights and depth of Rafi Sahib. None other singer can dive so deep or fly much high as he has done. Every aspect of Rafi Sahib is an example of its own. One can’t have an extremely remarkable behaviour like him. One can’t imitate his voice. Music India (Polydor) has rightly released a Gramaphone Record namely ‘The Voice Incomparable’ as a tribute to Rafi Sahib. We should not compare Rafi Sahib with anyone. The Sun can’t be compared with stars or Moon or any other planet. The Sun always remains the Supreme. Last month when Sonu Nigam was asked ‘What did you think of all the singers who have come from Pakistan?’ He replied that “In a country that has witnessed Lata Mangeshkar and Mohd Rafi who wants these voices?” Sonu Nigam’s answer says all about the talent of the great accentor of this sub-continent i.e. Mohd. Rafi Sahib.
Anmol ji, why did you give the reference of “Hum kale hain to kya hua, dil wale hain” (Gumnam) in the section of Shankar Jaikishan ji, as this song was composed by respected Madan Mohan ji. Was this a mistake or mere a reference?
The narration of the song ‘Phir Milogi Kabhi …..’, given by you Anmol Sir, is unforgettable. You have got the point. We can only thank you for such research about Rafi Sahib.
While commenting upon your articles Mr. P. Narayanan recently said that we should honour the film personalities. I think we should give honour to the people like you Anmol Sir, who go so deeply in the research about Rafi Sahib. We should honour Mr. P. Narayanan, who dares to take an initiative in this regard. We should honour the proponents of ‘Yadgare Rafi Society’ (Amritsar), ‘Mohd. Rafi Memorial Society’ (Chandigarh) ; so that more people can be encouraged to go such a way i.e. the way of Rafi Sahib.
Mehtab-Ud-Din (Chandigarh), Mobile : +919815703226
e-mail :
Dear Ammad,
I never say some thing bad about KK ,i think that KK was a good singer and better Actor ,only I don’t like when some one say that KK is better singer than Mohd Rafi or best singdr in this case I become crazy.really I don’t understant how one can say like that because it is clear like sun
Dear Anmol Sir,
Fantastic work ….. toooo gooddddddddddddd………….
HOLLLAAAAAAAAAAAAAAAAAAAAA…… Feels good and refreshing
dear unknown
how do u manage to send emails to ignorant and illogical kishorians.
i have been trying my level best but all the time this message appears “urs comment will be moderated first”
ammad
Great job sir again