Rafi’s contribution to the Muslim Socials of the 60’s
By: H.A.K. Walijah
Mohd Rafi
The 60’s were probably Mohd. Rafi’s greatest years. The decade started off with him winning his first Filmfare award for the title song in “Chaudavi Ka Chand” (1961). Throughout the decade he produced many hits with many top music directors, such as Naushad, Roshan, Madan Mohan, Ravi, Shankar – Jaikishan and others. Rafi’s prominence for the decade is the best it ever got for any singer in the history of Hindi Films and in the many of those movies he was the only male voice. The songs list goes as ~ Zindabad Zindabad e Mohabat Zindabad; Sangam Yeh Mera Prem Patra; Nain Lad Jaiye Hain; Tum Se Izhar-e-haal Kar; Waqt Se Din Aur Raat; Yeh Reshmi Zulfe; Ek Tha Gul Aur Ek Thee; Aaj Ki Raat Mere Dil Ki; Baharon Phool Barsoo; Mast Baharon Ka Mein; Aap Ki Pehlu Mein; Ye Parda hata do; Rahe Manva Dukh ki Chinta; Chalkey Tere Aankhon Se; Ahsaan tera hoga; Paon Chu Lene Do; Bade Miya Deewane; Janu kya Mere Dil; Kya Se Kya Ho Gaya; Madhuban main Radhika naache and many more. In addition to those magnificent songs, I selected today six movies which are now best remembered as Muslim Socials, the songs of those movies have penetrated deep into the hearts’ of music lovers and movie goers for its grandeur of songs and picturisation. The maximum songs in male voice were performed by Rafi Saab. Those six movies are: Barsaat ki Raat; Chaudvin ka Chand; Mere Mehboob; Bahu Begum; Palki and Mere Huzoor.
Look at those movie titles which are mainly focused on love, romance and sacrifice, being most of them belong to Muslim social dramas. It reminds us magnificent havelis, scintillating fountains, men in shervanis, women decked in ornate jewellery, music and poetry flowing like honey with umpteen shers and shayris belted out as repartees at every turn, energizing qawwalis, which was the musical battlefield of the cultured; the gentle gesture of the palm being lifted to the forehead as the characters uttered “Aadab, Tasleem” etc. in salutation and every couplet being appreciated with a “Subhan Allah”. Muslim socials often include ghazals, qawwalis, Urdu poetry, expressions, and musical forms. The ‘Muslim social’ was a sub-genre of Bollywood drama about love, marriage, family, festivals, customs, and rituals and so on. Muslim socials are divided into two categories: “classic Muslim socials” that explore nawabi culture and focus on upper class or elite Muslim families, and “new wave Muslim socials” that portray middle class Muslim families who experience economic problems, discrimination etc.
Muslim social dramas remained a popular genre. During this genre, Muslim men were shown wearing Aligarh cut Sherwani, chewing betel nut and reciting Iqbal or Ghalib’s poetry at the drop of their cap. The women would either dress in Burqa (veil) or wear heavy Lehngas and Ghagras with jarring makeup on their faces. The old ladies or Ammi jans were either seen offering prayers or chewing beetle nut with much aplomb. Such caricatures, the moment appeared on the screen, audience knew that it’s time for a Qawwali, or Ghazal. Tales of nawabs, purdah, qawwalis and ghazals made up an enticing world and the 1960s saw Muslim socials in full glory. Among the notable films were Chaudhvin ka Chand, Barsat ki Raat, Chhote Nawab, Mere Mehboob, Benazir, Ghazal, Palki, Bahu Begum and Mere Huzoor. One still recalls Sadhana’s beautiful eyes rolling in the window of the burqa and Nimmi dancing to the number Allah bachaye naujawanon se in Mere Mehboob. Then there was the rain-drenched Madhubala in Barsat ki Raat, with its famous qawwali— Na to karvan ki talash hai.
The movies made through the 50s and, 60s are indicative of the graph of Muslim socials and the associated use of Urdu in cinema. The fifties and sixties saw the growth of Muslim socials with the likes of Anarkali, Barsaat ki Raat and Chaudvin ka chand. The genre peaked with K. Asif’s magnum opus Mughal-e-azam (1960), which set unattainable standards in cinema. Close to its heels came Mere Mehboob. For the first time, a Muslim social was celebrated for three hours in full blown Technicolor. The color of the screen matched the color of the language. It was now trendy to express the choicest emotions of the heart in Urdu. Films like Bahu Begham and Chaudhvin ka Chand similarly displayed clothing, language, and other cultural aspects of Muslims in India.
BARSAAT KI RAAT (1960) – This black and white movie is an evergreen classic and the only movie based on timeless Qawwalis. Barsaat ki Raat is the story based upon such a rainy night only in which the hero, Bharat Bhooshan happens to see the heroine, Madhubala in a drenched state with her dress sticking to her body. Madhubala was so beautiful that she used to be referred to as the Venus of the Indian screen. Well, such an extra-ordinary beauty and that too in the drenched state in the rainy night, needless to say that heavens fell for the heart of our young hero which prompts him to sing on radio station ~ Zindagi bhar nahin bhulegi woh barsaat ki raat, ek anjaan hasina se mulaqaat ki raat. Just close the eyes and feel the voice, it will take you to another dreamy world as if the heart gets the wings and soaring high and high in ecstatic mood. When the heroine asks the hero / poet to recite a poem, then what should he do nothing but to sing another heartwarming number, “Main ne shayad tumhein pehle bhi kahin dekha hai” amid the public gathering (another best remembered song of Rafi Saab). The lyricist Sahir Ludhianvi and the music director Roshan both have done an outstanding job in creating memorable songs too for the story of the movie. In fact, it’s the extra-ordinary music of this movie which has made it immortal. When the film moves further the father of the heroine rejected hero being poor and unemployed and restricted his daughter to keep aloof from the hero, then what will he sing a wailing melody “Maayus to Hoon Vaade Se Tere” another grand sad song by Rafi Saab, all and all grand treat for the genuine music lovers. Listening to these songs take the music-lover to a different enchanting world, where he / she lose the sense of the outer world and just lost in the melody and the Shayari drenched with sentiments. Who will forget the memorable Qawwaalis for the story of the movie? Especially “Na to karwan ki taalash hai” the mother of all qawaalis is one of Sahir-Roshan masterpieces, the seasoned singers like Manna Dey, Rafi, Batish, Shankar-Shambhu, Balbir, Lata, Asha, Suman Kalyanpur, Sudha Malhotra, Kamal Barot have given their voices for the Qawwalis.
Mohd Rafi
CHAUDVIN KA CHAND (1961) – It was really the incomparable Rafi’s film, from the mesmerizingly sung soft Technicolor Chaudvin Ka Chand to the heartbroken b&w Mili Khak Mein Mohabbat. A golden age classic filled with musical poetry centers around the custom purdah of veiled women not showing their faces to men outside of their immediate family. The alluring glimpse of the heroine through the veil or burqa not only aroused passion, it would potentially cause misunderstandings and tangled wires, sometimes with tragic consequences as in Chaudvin ka Chand. The trouble begins when a man catches a glimpse of a beautiful woman, sets out his plans to win her with the help of his friend but ultimately bringing tragedy on their collective heads. The Lukhnavi traditions are captured beautifully, as the title song fetch Rafi Saab his first Filmfare for best singer. Johnny Walker was here too providing a bit of light relief as usual in “Mera yaar bana hai dulha”. Urdu is now relegated to theatre and the pages of literature. It is a loss, not just of some words, songs or dialogues, but of an entire culture. As for cinema, the famed havelis, shervanis, shers and shayris represent an era gone with the wind. Ye Lucknow ki sarzameen is an added flavor dedicated to the culture of Lucknow sung by legend Rafi Saab.
MERE MEHBOOB (1963) – Starts with highly romantic encounter of Anwar (Rajendra Kumar) and Husna (Saadhana) in the college campus. Now Anwar is in search of his sweetheart whose fingers (or hand) only were seen by him and left their imprint on his heart. He sings a song expressing his restlessness to see her – Mere Mehboob Tujhe Meri Mohabbat Ki Kasam, Phir Mujhe Nargisi Aankhon Ka Sahaara De De – in the auditorium of the college (in a poetry contest) and wins the heart of his lost sweetheart who is seeing and listening to him while sitting there as a part of the audience. She at once comes to understand that the dashing youth singing on the mike is addressing to none else but herself only. The decade of sixties was inarguably Sadhana’s decade. Her Choodidaar Payjamas (tight-fitting trousers containing crinkles) were perfect for her hourglass figure and they, along with her famous hairdo, had made her the icon of fashion in those days. She was very fair and her sharp features ensured that she was a treat to watch and any guy would fall for her. Her proficient acting was the icing on the cake. She portrayed a Muslim girl with such finesse in this movie that you can’t imagine any other actress in the role of Husna which was a perfect screen-name for her (Husna means full of beauty).
The movie scores because of the songs. The best song is definitely the one in the title “Mere Mehboob tujhe meri mohabbat ki kasm”, the premise of the original romantic sequence of the movie. In addition to that Rafi Saab has delivered two more gems in this movie – Aye Husn Zara Jaag Tujhe Ishq Jagaaye and Tumse Izhaar-E-Haal Kar Baithe. The great music has been composed by Naushad whereas the touching lyrics have come from the pen of Shakeel Badayuni. The picturization of the songs is also admirable. We can feel the romance when the song – Aye Husn Zara Jaag Tujhe Ishq Jagaaye – runs on the screen. The movie provides a glimpse into the life of Lucknow – the City of Tehzeeb (culture) as it might have been those days. Yaad Mein Teri Jaag Jaag Ke Hum is another great Rafi-Lata duet.
BAHU BEGUM (1967) – Lucknow based Muslim social drama, story of a woman Zeenat Jahan Begum (Meena Kumari) torn between lover, Yousuf (Pradeep Kumar) and husband Sikandar Mirza (Ashok Kumar), the Haveli culture shown in this one is itself a treat to watch with a few light moments with Johnny Walker. A story passionately woven by Jaan Nisar Akhtar who was also happened to be the producer of this movie. The lavish sets and the beautiful photography by Nariman Irani is so mesmerizing so as the dialogues by Tabish Sultanpuri that will be remembered for years. No one forgets the haunting and beautiful melody of “Hum intezaar karenge tera qayamat tak, Khuda kare ke qayamat ho, aur tu aaye”, it is one of the soul stirring songs among Sahir & Roshan combo who created many gems. When it comes to this song, it is an outstanding song sung wonderfully well by Mohd. Rafi and Asha Bhonsle considering that this song was recorded in the same year where Asha Ji also sang the “Teesri Manzil” songs, one must appreciate the versatility of Asha Bhonsle. And it was one of the last compositions of Roshan. And what remarkable songs he composed in this movie! The movie also had a Rafi solo version, which is picturised on Pardeep Kumar. This is a very beautiful composition; duet and solo, both are appealing. I think the last in the memorable combo of Ashok Kumar, Pradeep Kumar, Meena Kumari and Roshan. They gave us a lot of wonderful movies and songs together (Aarti, Chitralekha, Bheegi Raat, Bahu Begum). There are also fantastic two awesome qawalli’s ‘dhoon ke laavu kahan‘ and ‘waqif hoon khoob‘ in the voices of Rafi Saab and Manna Dey.
PALKI (1967) – It was a sentimental creation of composer Naushad who penned the story. Long delayed in the making, it had become ‘dated by the time of its release and could not replicate anything like the success of the other Rajendra Kumar starrer. Despite the love he lavished on every nazm and qawwali, despite every frame of the film reflecting the nawabi culture of a bygone era, Naushad’s period film petered out, leaving in its wake a few hummable tunes. In the beginning the movie starts with Rafi’s song “Aye Shehr-e-Lakhnao Tujhe Mera Salaam Hai”. Naseem (Rajendra kumar) well known for his poems who lives a poor lifestyle with his widowed mother in Lucknow, Mehrunisa (Waheeda Rehaman) the fiancé permits him to attend the poets gathering (Mushiara) and win a reward of five thousand so that they could be married. A heart touching classic duet Dil-e-Betaab Ko Seene Se Lagaana Hoga Aaj Parda Hai sung by ‘Mohammad Rafi’ and ‘Suman Kalyanpur’ really gives the peace of the heart. Another solo song by Rafi Saab, Sadka utaariye ke na lage kahin nazar; and poetical fantasy poured out by Shakeel Badayuni in “kal raat zindagi se mulaqaat ho gayi” and moreover the unforgettable Rafi Saab recitation beautiful nazm in the Mushiara, a treat for Rafi lovers. The Qawali Main idhar jaon ya udhar jaon a classic memorabilia with Manna Dey and Asha Bhosle bring back the memories & luster of bygone era.
MERE HUZOOR (1968) – This is justly famed for its songs by Shankar Jaikishan and for the sets and costumes, the story revolves around a love triangle between Nawab Salim (Raaj Kumar), whose wealth allows him the luxury of a life immersed in dancing, horses, tennis and other pleasures; beautiful Sultanat (Mala Sinha, who looks really lovely in this); and Akhtar Hussain Akhtar (Jeetendra), a poet who had once saved the Nawab’s life and has now come to him looking for a job. One can feel the poetic ecstasy in the form of a song: “Rukh Se Zara Naqab Utha Do Mere Huzoor.” It is used as a theme throughout, so thank goodness it’s as beautiful as it is an unforgettable solo number by Rafi Saab. Akhtar meets with Saltanat and both plan to get married. Unknown to them, Salim also loves Saltanat, but Saltanat rejects his advances, and proposal, leaving his heartbroken thereby the feelings was portrayed in the song of “Jo guzar rahi hai mujh par“… again a matchless rendition by Rafi Saab. Akhtar, meanwhile, has fallen in bad company, drinks alcohol, and romances a courtesan. When Saltanat finds out about this affair, she is outraged, and asks Akhtar to improve, but instead Akhtar divorces her, leaving her and her child alone… at that point the “Gham uthane ke liye main to jiye jaaonga” explodes from the heart of Rafi Saab, a true jewel to keep in sad songs. Apart from those three solos, there is Rafi-Lata duet (kya kya na sahe hum ne sitam aap ki khatir) also very attractive and resonant.
Rafi Saab’s contribution to the Muslim socials was incomparable as those were the days when music, lyrics and singers were immensely valued and played an important role in the movies. The songs were treated as the integral part of storyline in movies and cannot be separated. Moreover the voices of Rafi, Lata, Asha, Suman and Manna Dey were real assets for HFM. It is not possible to encompass the entire gamut of ideas in a single article and thereupon to write something on Rafi Saab songs is as tough as to collect the pearls from the bottom of the ocean. Rafi Saab the legendary singer possessed some unique characteristics like creativity, style and freshness in singing that kind of things one can see in an incredible variety, range, style and modulation in his voice for all types of actors, musicians and trends. He could very much sound like actors demonstrating their emotions on the screen, an unparallel art in which only he excelled.
I know where rafi is nowadays
Very good article…informative.. enjoyed reading it…I feel, Mohammad Rafi’s and laxmikant-pyarelal’s “MEHABOOB KI MEHANDI” 1970 should also have been included in this category…
respected HAK Walijah sahab,
You once again have put an excellent essay before us. simply superb. Hearty congratulations for excellent efforts. Regards;
shrirang nawathe
Post # 29
Dear Ahamad Kutty Sahab,
Thanks for your kind comments.
With regard to the bhajans as you requested, there is already a beautiful article appeared on this website on 9th August 2009 with the title ” Devotional Rafi ” – compiled by Mr. Biman Baruah from Sivasagar, Assam. I think you should read that one to know the bhajans sung by Rafi Saab. Here is the link for that article for your pleasant reading.
http://www.mohdrafi.com/meri-awaaz-suno/devotional-rafi.html
Thanks & regards
H.A.K. Walijah
Walijah Sahab, salaam, It was a treat to read this article. Because the muslim socials were unmatched in their grace, is there any other language as romantic as the urdu language? And Rafi Sahab’s voice is the perfect fit for all the heroes of these evergreen films. Dilip, Rajendra, Rajkumar, Jeetendra, you name it – even Guru Dutt. I never find words to express my feeling about Rafi Sahab’s songs. It is such a pity that Pakeezah (another of my favourite muslim films) did not have many songs by Rafi Sahab – but of course, that was a woman’s story and Lata-ji’s voice did wonders with songs like “Thaare Rahiyo” and then refreshing “Mausam Hai aashiqaaana”.
As many of the fans have said, this article is to be read and re-read; somehow, this shows that no matter how much time has gone by, the era of urdu poetry, romance, shervaanis, tehzeeb, ghazals and havelis with fountains, shimmery curtains and grand furniture and modesty…still remain etched deep in our hearts and souls. But most, most of all, it is the voice of Mohd Rafi Sahab singing those beautiful unforgettable songs because if those songs had not been part of those films, would we still remember them in the way we do? Perhaps not as much. Even now as I write, In can hear the melodious voice saying:
“Tere saaye ko samaj kar main haseen Taj mahal
Chaandni raat mein nazron se tujhe pyaar karoon”
I can’t think of any words more romantic, or a voice more suited to sing these words than the voice of our immortal Rafi Sahab.
Rafi Sahab will always unrivalled in the singing world because the melodious deep and sweet voice which was bestowed upon him by Allah (SWT) was unique in every respect whose replication is impossible by any human effort.
Deat Binu JI.
Thanx for ur reply .
Today 15rh April is the birthday of The great romantic Lyricist ” Hasrat Jaipuri saheb “. so many songs coming to my mind .
Tujhe bhool jaaun ye mumkin nahin hai
kahin bhi rahoon mera dil to yahin hain
ghate chaand lekin mujhe gham na hoga
tera pyaar dil se kabhi kam na hoga. Tujhe pyaar karte hain karte rahenge.
Dil banke dil mein dharakte rahenge.
Main kaise Khuda haafiz keh doon
mujhko to kisi ka yakeen nahin
chhup jaaon hamari aankhon mein
Bhagwan ki neeyat theek nahin!!.. is rang badalti duniya mein Insaan ki neeyat theek nahin.
Anginat saalon se meri tujhse ik pahachaan hai
ab gale mil jaao aakar itana hi armaan hai
tujhe dekha tujhe chaaha tujhe pooja maine
bas itni khata hai meri aur khata kya..
Jo aag dil mein lagi huyi hai
yehi to manzil ki roshni hai
na yeh bhuji hai na yeh bhujegi
sada rahi hai, sada rahegi.. Meri mohabbat sada rahi hai sada rahegi
It is sheer romance unleashed ..
WAH RE HASRAT!! WAH RE RAFI! WAH-WAH RE Shankar jaikishan.
Aap sab log ” Dil banke dil-mein dhadakte rahenge “.
I wish to thank you all for your beautiful comments. One more thing I would like to inform you that rafi saab voice can fit in any dimension for any song for any mood for any person. Especially those six movies I selected for this topic were all my favourite movies and songs too.
I once again thank you all rafians for your wonderful comments.
Long live Rafi Saab.
Regards to all Rafians
H.A.K. Walijah
post 38 sunil ji… pls note that thre are 2 events held in new delhi during dec and july months.
the one in july is held at kamani auditorium . the other one is held by the rafi foundation, delhi.
we are working on the National event tooo and wait for more details please…..
regards
the rafi foundation
mumbai : cell : 9833 250 701
Dear Binuji, It is really heartening to note that Rafi foundation is undertaking a national event on rafi saheb’s work. It will benefit our young audiences who always wanted to know about rafi saheb and his work. I hope it will informed in advance so that all of us can take advantage of this event and take our children to these events. I also request you to give enough publicity to these events so that the message reach to every music lover. It will be useful for people like me also who always want to more about rafi saheb. Thanx sir
Onika Setia Ji : post 33
In your comment you write ” hand’s off lacknow”, if you allow me I would correct this as it should have the proper word hats off. Whereas your phrase completely changed the meaning of the sentence.
By the way, hands off means that he keeps his hands away from the work of others and doesn’t interfere.
I really appreciate your idea, but could not resist myself to write this comment just to inform you the correct way.
Thanks a lot for your lovely comment.
Zaheen Danish
To Post 21
I agree with Dr. Khaja Aiuddin Saab, I would be more happy if Dr. Saab collect and compile the articles of Walijah Saab, I really wish that could have a vision fulfilled.
Walijah Saab: Many thanks for your articles and thoughts displayed on this website on the world’s greatest singer – Mohd. Rafi Saab.
I really went back to those days and movies after reading this write up, no one forget the legend Rafi Saab contribution to this decade of 60’s where his brilliance and super songs were recorded. He climbed to the peak of the Mt. Everest such was his popularity and goodwill. This site and the lovers of Rafi Saab are very much laudable for their efforts to keep alive the memories of this great legend.
Walijah Saab,
You have such flair & fluency on any subject related to Rafi Saab which you choose for him. I wait for your next article in continuing to applaud your mastery overy the topic of this article.
My best wishes for your forthcoming write ups. Please keep writing on Rafi Saab.
Thanks again for this brilliant article.
Man Mouji
mind blowing article and hand’s off lacknow’ ”nawabi tehzeeb”.
rafi sahab giving a natural touch by his immortal ,sweetest voice.
Dear Walijahji,
Thanks for the excellent article. The list of bollywood films based on music socials are too long. There were films like Ghazal with Sunil Dutt, Meena Kumari, Jahanara with Bharat Bhushan, Mala Sinha, Lal Patthar with Raj Kumar, Hema Malini, to name a few. The other thing was Mohammad Rafi’s excellent playback singing was given shape by the legendary lyricists and composers. For example Shakeel Badayani and Naushad Ali were matchless in Mere Mehboob. Raja Mehendi Ali Khan and Madanmohan Kohli were excellent in Ghazal. Hasrat Jaipuri and Shankar Jaikishan were excellent in Mere Huzoor and Lal Patthar. Sahir Ludhyianvi and Roshanlal Nagrath were brilliant in Taj Mahal and Barsaat Ki Raat.
Thanks for choosing the topic and doing justice to it.
Souvik Chatterji.
great write – up as usual. keep it up walijah saaheb……
there are also rare and great songs of the legend which needs to be highlighted.
which includes song from haqueekat, sharabi , barsaat ki raat, nai umra ki nai fasal and many others.
shukriya, once again.
=================================================
the rafi foundation will be undertaking a national musical event which will highlight mohd rafi’s great songs and his lifes work. its planned to be held in delhi and then in other cities.
this info is for the benefit mohd rafi lovers.
binus2000@hotmail.com
cell : 9833 250 701
Mayoos to hoon vaade se tere was a gem of songs from Barsaat ki Raat, one of my favourite songs. The music that includes the tinker sound of the blacksmith is so real and believable.
Dear Walijah Saab,
each of your topics are interesting.”zindagi bar naheen bhoolegi”
is one of the favourite rafi saab songs of yesudasji.
can we expect a write up about the “bajans” of rafi saab from you.
with all good wishes.
ahamed kutty
great write-up…can any other singer do justice to the songs described in this well written article ..?
Very nice written H.A.K. Walijah…….. Hats off to u
Altogether an untouched subject so far by any rafian. Indeed, a very polished and nice essay on the subject. I loved reading it many times.
Now we all know why Rafi Saab was known as the singer for all occasions, for all moods and for all times.
Long live Rafi Saab.
The commentary and flow of subject and its related things are wonderful. A lovely piece of writing, I read and re-read so many times and it takes me to another world where I found peace of the mind in the solos and duets of Rafi Sahab.
Thanks again Walijah Saab, I truly admire you for your dedication and love for the legend.
One of the most comprehensive and best written articles that I have read in recent times. Many congratulations for this master stroke. You have written with a very free hand, words flowing as though you were speaking your heart out. You have left nothing, nothing at all for anyone to add more to it. Such great articles prove time and again that the genuine music lovers and fans of Rafi Sahab are themselves crafty and can come up with some of the best essays ever. A million thanks to you. I would not like to pin point anything that you have missed, since you have not. On the contrary, such an exhaustive article has to be read again and again.
A very well analysed and researched article.. The writer is at his best when he writes…
Janab Walijah Sahab,
A brilliant and lovely write up and a fitting tribute to the legend Rafi Sahab.
I am speechless.
Thanks a lot.
Anees
ASA, Janab Walijah Sahab,
Bahut khoob, Aap ne to ghazab kardiya. I am compiling all your articles. I don’t have any words to say. What a topic, what a penmanship, what a class, it is unbelievable.
Khuda kare zore khalam aur ziyada.
” Muddath hui hai yaar ko mehman kiye huey
baithe rahe bazm-e chiraghan kiye huey”
With regards to all Rafi lovers,
Long live Rafi Sahab,
Dr. Khaja Aliuddin
What a fantastic article. The observation and fact that comes out of the above is that without the master vocals of the king, all these films would be like the shine of a pepsi can and not pure gold.
Rafisahab’s singing has a midas touch and this fact makes him the only one in his unmatched league of singing.
http://www.youtube.com/watch?v=aR658lFXVKQ
Kumar Sanu singing Mukesh and mohd rafi song
Dear Shri Walijah ji,
Once again you have come up with a brilliant essay. This time you have selected a great theme. The amount of effort you put in every write-up to make it most comprehensive is amazing. Please accept my compliments and congratulations.
It is a sad fact that this genre of films (Muslim socials) has become extinct. Not only there are no makers having capabilities of attempting this kind of films but also there are no Naushad, Shakeel, Mohd. Rafi, Sahir, Shankar Jaikishan, Roshan etc. (to name a few) who can add to the grandeur. The class of the films that you mentioned (and their music) will never fade.
-J.K. Bhagchandani
assalam alaik Walijah sahab
kya information hai aapke paas…….
i dont know what sort of intellectual are u! Walijah sahab.
i dont have words to appreciate Rafi Sahab
As usual very informative writing. Congratulations.
thanks for your writings
Muhtram Walijah Sahab,
Aadab,
Very nice write up. Well crafted essay with subject & content, a lot of adroit skills of writing. I truly appreciate your efforts for bringing out the unexplored facet of rafi singing for muslim socials. It is really a feast to the ears to listen those melodious and sweet songs & ghazals in the voice of rafi saab.
My complimentary laurels for your untiring efforts.
Best regards
Y. Sharif
Janab Walijah Saab,
I have literally no words to express my gratitude to you for this great article. I am just mesmerized or say hypnotized while reading this article, it is having such impact on readers. At the same time. It is a great pleasure to have such great write-up published in rendering the whole humanity a great service to pay such a versatile kalakar who is irreplaceable and no the performer has ever created in this creation.
It will be a forever memorable for the generations to come to pay a humble tribute to such a fantastic singer who had love for people of all religions the way he sang songs.
Rafi sahab will remain in our hearts and for the generations to come because of his inimitable voice.
Once again thanks for this fantastic article.
Truly
Syed Zameer
Dear Walijah Sahab,
Very nice of you to come again yet with another brilliant article on Rafi Sahab, where again Rafi Sahab had shown brilliant and amazing renditions which are incomparable. The list of the movies and songs mentioned are almost famous songs and on the lips of every rafi lover. we had been grown up listening rafi sahab and he is truly a legend of legends. Your article has withstand the glory yet again brought out the pathos, romance and grace in the songs of Rafi Sahab. A brilliant piece of write up.
I simply salute you for this polished article can be regarded as a great articles posted to rafi forum in recent times.
With all my respects and regards to rafians
Kabeer Aman
Dear Mr. Walijah,
Once again you took me into the cobweb of the past era of 60’s which was almost great Rafi Saab decade. Rafi Ji was unchallenged king of playback singing throughout 60’s. Your essay has portrayed the exact replica of those time in the words and sentences. It is like you taken the picture of those times giving the top six films you have mentioned, are all of my favourite films and its songs too.
Thanks a lot for your great love towards the legend Rafi Saab.
Narendra
Dear Walijah ji,
Brilliant write-up on a great topic! You really provided in-depth analysis and highlighted each and every aspect of this beautiful essay. Many congratulations to you.
Thanks and best regards.
Prem Kumar
Walijah Saab, Aadaab.
What a great article… it has made every reader very emotional… your narration and their amalgamation/matching with Rafi saab great songs is just heavenly… its true that we like to hear Rafi Saab songs in all are mental states, be it love,joy,sorrow,etc… be it any occasion,there is a song by Rafi Ji which fulfills the meaning,essence of that occasion… do continue to write about Rafi Ji , because no matter how much anyone writes,it is never enough for us fans…
Dear Walijah Saab,
Thank you for your nice writing on Rafi Sahab and his contribution to the muslim socials of 60’s. I really went back to the era of those magnificent palaces and costumes, language and culture.
Thank you once again for reminding the greatness of Rafi Sahab on every dimension.
Very best
Raja
Dear Walijah Sahab
I have seen the interesting topic – and am looking forward to reading it; but am already a bit late for my maghrib prayers. So will come back later. Oh no the song “Mere Mehboob” has started, how can i go? But I have to, Rafi Sahab would not have approved if I stayed. Will come back later, am so looking forward to reading it. It’s so hard to turn this off.
Nasreen
truly excellent. cheers.
Rafi saab deserved all the praised. He was matchless in his talent.
thank you for the essay.
warm regards,
r l arora
Great Writing.Loved reading it many times. Took me down the memory lane…to my school days….
Keep Writing..
Regards
Raju-Dubai
Janab Walijah Sahab,
A very different topic yet undiscovered, you have summed up very aptly. Those movies and the songs therein are the treat to the masses of those times when the culture and language went hand and glove.
The songs of Barsat Ki Raat are most melodious and the tunes are hummable. The Sahir and Roshan Combo were created many precious gems, but Barsat ki Raat and Bahu Begum are the highlights.
I really enjoyed your article on Rafi Sahab.
Thanks a lot, God bless you.
Hashmat Alvi
Good subject to choose and a well written article.
In this thread I can say this much that , who else can produce the well modulated reverberating voice that stands at the highest pitch even a longer time than expected ? in addition to it the melody factor is maintained constant with a haunting effect ! ! !
the voice which becomes sweeter & sweeter as it ascends.
the voice which becomes deeper & deeper as it descents.
thats the legend of the legends our own Rafi sahab.
Dear Walijah Saab, ASA
A fantastic and mindblowing article. Very nice and relevant article to the topic.
Thanks & best regards
A. Almas
Walijah Saab,
A very beautiful essay, I really enjoyed reading your fluent article. I shall be back to write my comment later on.
Thanks
Man Mouji
Janab Walijah Sahab,
A very different topic yet undiscovered, you have summed up very aptly. Those movies and the songs therein are the treat to the masses of those times when the culture and language went hand and glove.
The songs of Barsat Ki Raat are most melodious and the tunes are hummable. The Sahir and Roshan Combo were created many precious gems, but Barsat ki Raat and Bahu Begum are the highlights.
I really enjoyed your article on Rafi Sahab.
Thanks a lot, God bless you.
Hashmat Alvi
Dear Walijah Saab,
Fantastic, wonderful and mind-blowing, you are simply written a great essay on the rare topic. Thanks for your dedication and devotion towards Rafi Saab.
A very good title – Rafi’s contribution to the muslim socials of 60’s, a very mesmerizing essay. I am just speechless.
Please accept my congratulations for your untiring efforts.
Thanks
Zaheen Danish