Rafi’s Late Entry
This article is written by Mr. H.V.Guru Murthy.
Mohammed Rafi has sung innumerable duets with Lata Mangeshkar, Geetha Dutt, Asha Bhonsle, Suman Kalyanpur, Sharada, Shamshad Begum, etc. apart from other male Singers like Mannadey, Mukesh, Kishore Kumar, Talat Mehmood, Shailendra Singh, Balbir, etc. But there are certain duets where the other Singers commence the song and Rafi enters the song late. Invariably it is found that in such songs Rafi has stolen the thunder from other Singers and has elevated the quality of the song.
Perhaps Nazir Hussain started such a trend in his movies with TUMSA NAHIN DEKHA where Asha’s Dekh Kasamse is followed by Rafi’s Kya Lagai Tumne Ye Kasam Kasamse in the last stanza. Similarly in O Mere Sona Re from TEESRI MANZIL Asha commences where as Rafi enters only in the third stanza or antara with O Phir Humse Na Ulazhana. The song is a treat to watch and listen especially with Asha Parekh and Shammi Kapoor on screen. In the YAADON KI BARAAT title song KK is followed by Rafi with O …. Badalena. This song especially is so well picturised by the Director Nazir Hussain with Dharmendra, Tariq and Vijay Arora. This movie also had the vintage Rafi – Asha duet Churaliya Hai where Rafi enters in the second antara – O Sajaunga. The subsequent Nazir Hussain movie HUM KISISE KUM NAHIN also had a similar song where Asha commences with Ye Ladka Hai Allah to be followed by Rafi in the third Antara Bholi Ho Tum Kya Jano.
We again see the same effect in the DOLI duet Sajana Saath Nibhana where Asha is followed by Rafi in the second antara Kisane Saath Nibhaya. The BARSAAT KI RAAT duet has Lata followed by Rafi in the last para Rootanewali. PROFESSOR had Aawaz Deke of Lata and Rafi, where MR enters in the end stanza Mai Sason Ke Har Taar. In the Sharada hit number of PYAAR MOHABBAT Sun Sun Sunore Balam, Rafi sings few lines in the end in his own inimitable way. BADALTE RISHTEY had Rafi coming in the third stanza Rishtey Kabhi Toote Kahan of Na Jaane Kaise with KK and Suman. Similarly Rafi enters in the third stanza of Kya Mausam Hai after Lata and KK with Yeh Mastiya. SAWAN KI GHATA had Rafi – Asha duet Hoton Pe Hasin where Rafi enters late with Tumne Jo Muzhe Pehchanliya. Lata was followed by Rafi in Dil Dhoondanewale with Ae Dilke Sahare. Even AAA had Rafi coming in the end with Dilme Dilbar Tu Rahta Hai in the song sung by KK, Mukesh, Lata and Rafi.
Mohd Rafi
RAMPUR KA LAKSHAMAN had KK and Lata singing Pyaar Ka Samay where again Rafi enters late – Tu Bhi for Shatrughan Sinha. JAB JAB PHOOL KHILE had Suman Kayanpur singing Na Na Karte to be followed by Rafi Humko Hai Pata Jo in the antara. MAN KI AANKHEN had Lata singing Chala Bhi Aa followed by Rafi in the last antara Meri Lagan Ko. In HUMJOLI Lata’s Tik Tik Tik Mera Dil Dole had Rafi coming up in the antara Kuch Nishani. There was one more song, a Rafi – Asha duet from the early sixties, Jidhar Jo Main Dekhoon, Asha commences the song and Rafi just sings Mariya…in-between and in the end, Deewane Ko Hardam Teri Juftaju Hai. The song is so beautiful. Dil Dhoondanewale was another Lata – Rafi duet where Rafi enters late with Ae Dilke Sahare.
Even SARGAM had two such songs both Lata – Rafi duets. Parbat Ke Us Paar, where Rafi enters in the first Antara Aa Chal Gaa Mai Saath Hun Tere and Dafliwale where Rafi enters in the second stanza Teri Dum Dumse. In Bahu Begum duet with Asha, Hum Intezar Karenge Rafi enters late with his usual majesty Woh Khush Nasseb Hai Jisko. Has anyone heard the classical Kuhu Kuhu Bole Koyaliya of Lata and Rafi for MD Adinarayana Rao’s SWARNA SUNDARI. Rafi enters in the antara with a Taan and further sings Jaise Naaz Koi Ho Rasavanti. The PARWANA combo song picturised on Navin Nischol and Amitabh, Yun Na Sharma by KK had MR entering with Are Hasnewalon. Well, the list is endless.
One can go on counting endlessly such songs where Rafiji came late in to the song, sang and conquered.
Dear binu sir,n muthy ji,,,,ur comments are about 1 n half year old,,,
Binu sir`s word about Raju bhartan,ref 23,,”he is an out and out rafi supporter””,,,,,,I feel person like Raju bhartan are no one`s supporter,,,other than hell,,,,by his words he appears to quite irritating and egoistic,,,,recently I read an article written by him in filmfare mag,,,in praise of Mahindra Kapoor ji,,,on later`s death,,,,,but in fact the he praised,,,reader get annoyed of kapoor and started abusing kapoor,,a,as he titled the article saying,,,the man who kept Rafi on his toes,,,”””rediculus n how stupid raju bhatan is,,,Kapoor who had lied at Rafi saahb feet with reverence uncountable times from his childhood as rafi saab was his guru,,as kapoorji admitted with proud on Bividbharti,,,,this man (raju)tributing Mahindra Kapoor with such words!!!!
`coz of this article inspite of Sad loss of kapoorji`s mortal body,,,people abused him,,,,,,this kind of person who creates hatred,,and there many like him who tri to split the harmony among fan camps!!!! here is the link http://www.rediff.com/movies/2008/oct/01kapoor.htm
Mr. H.V.Guru Murthy ji thanx to provide link of ur wonderful article,,,,late entry of Rafi saab is quite heroic,,,,who can forget Rafi sab`s sajaunga loot bhi,,,are hasne waalo etc,as count goes endless,,,,what an impact he delivers even entering too late or even with few words,,,,Rafi sahab is simply peerless,,,,the way u tried to explore greatness of this man with such a discriptive yet precise way is quite amazing!!!!
P.s… the picture of Rafi sahab choosen by u above with Rafi sahab in tilted finger and smiling face is quite astounding,,,but hazy can u provide me any link of this picture with clear vision,,,,however I`m greatful to u through ur contribution about discovering Rafi sahab…..
Not only the songs in which Rafi saab entering in the last the other way to say that the same songs sung by rafi saab and lataji separately,such songs rafi saabs songs became super hits.for example title song of film “mere mehaoob” music by Naushad,tum muje yoon from film pagla kahika,teri ankohn ke siva from film chirag,ehsaan tera ho ga mujpar from film junglee.
Ahamed Kutty,Kerala
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Gurumurthy Ji:
It is not known why raju bharatan wrote this; but one sure reason
was to create controversy and increase the sale of the illustrated
weekly : whose circulation had peaked during sardar khushwant
singhs tenure. Secondly, raju was close to many lobbies in the
film industry – and he was only reporting the views of one lobby
which did not care for rafi saab.
Please do not forget that 98 percent m.d.s were with rafi and in the
period raju has written some very good articles about rafi.
In one article : he said that : rafi finished a recording in the first
take but asha bhosle was not getting it right and the recording
went on for long hours. the m.d. was the blue -eyed boy of asha then
the incomparable – o.p. nayyar.
Mr.raju bharatan also has written many contradictory articles but
he is an out and out rafi supporter.
With lata he jelled well but after his book on lata they became bitter
foes. May be he wrote that she has sung 6000 songs : which is the
truth.. Her name was removed from the Guiness book of records when
this fact was proved.
In short , rafi saab is a lotus : in this murky pond of filmdon and for
ever people will be discussing : whether he was a better human being
or the greatest singer the world has produced.
binu nair.
I still remember the article written by Mr. Raju Bharatan in the early seventies when KK was peaking. Mr. Bharatan wrote that during discussions with Music Director Anil Biswas, Mr. Biswas opined that KK is better than Rafi and Rafi is not a good singer, which Mr. Bharatan agreed in a way. Next few months there were spate of letters from Readers criticising both Mr. Bharatan and Mr. Biswas and vividly describing the talents, capabilities and contribution of Rafiji. In fact, the Editors had to decalre after few months that further correspondence on the subject closed. Mr. Raju Bharatan incidentally wrote one more article if I remeber properly after Rafiji’s demise applauding the contribution of Rafiji to Indian film music as well as admitting that perhaps he was not mature enough while writing the earlier article during early seventies about Rafiji.
ref post 19
aamir mallik rahi jee,
now coming back to the likes & deslikes of anil biswas, he was loving talat mahmood jee very very much. In one of the saregama programme compered by sonu nigam long back I have seen anil biswas brought a laminated photo of talat jee & was kssing it so many times. during that time talat jee was bed ridden . anil biswas was praying the almighty for the cure of talat jee.
even salil chowdhury was trying to avoid rafi sahab & was every time prefering mukesh jee. but look finally he had to yeild before the gifted talent of Rafi sahab & had to knock at his door for the two songs in madhumati & one in maaya.
once upon a time jagjit singh was also commenting on rafi sahab. but finally he also understood what an ocean is.
Finally I can tell you sir, people standing at the river bank cant measure the depth of the ocean. This is my view please.
ref post 19
aamir malik rahi jee,
yes ‘ ab meri baari aayi ‘ lip sync given by amjad khan . it was the punch line .
To justify this line I can say that I heard amjad khan was the first person to arrive at site immediatly after getting the news of the demise of rafi sahab.
Sunil dutt jee, Dharmendra jee, sanjeev kumar jee were the persons who never changed their stand , views. love, respect & affections for rafi sahab when others used Rafi sahab as a threshold in their path of success. To our astonishment Rafi sahab never regreted over this issue. He is a ‘mahatma’ I can say.
Of course the world is a mixture of all sorts. This does not make any difference to the great ‘elephant’. As we know the elephant remains as elephant whether it is living or left.
i remember one more song from the film Samraat, in which Amjad Khan sings the last lines to end the song. “ab meri bari ayee, jigar thaan lo” which offcourse was the punch line.
also could anybody research about the Music Director Anil Biswas, because i have read that he was not that fond of Our Rafi Saheb & also did not consider him a singer
Yes Ramaswamy sir,
You are absolutely right that is one of the reasons todays singers emulate this great impact of Rafi saab but ofcourse do not succeed as there is only one Sun on this planet.
Simillarly Rafi saab is the solitary Sun in this universe who gives light to others
Dear Ramaswamyji,
I fully agree with you, Rafi’s voice touches your heart and anything which touches our heart stays there forever. Rafiji, Aapto Gayakon Ke Badshah Ho.
Dear Guruji,
I totally agree with the article and also the comments offered by Shri Ramakrishna. Whether it is first entry, middle entry or late entry only Rafi saab’s voice captures our heart and soul. In the song, Yaadon ki Bharat, hear the difference when Rafi saab sings “Badlena Apnaye” and also “Apne Angan Nache Gayenge, Chanda Sitare”. Can anybody else give such finishing
touches to the song. Why RD used Rafi saab’s voice and not kk in the end?
When RD uses kk, the music & the song block the ear, but when he uses Rafi saab, his voice totally dominates the music and hits the soul. Pl. reply.
I would like to add one more song ” patta patta, buta buta, haal hamara jaaney hai”. Rafi comes late in the song but very easily steels the thunder from Lataji… although the song has a very beautiful and melodious start given by evergreen Lata Ji.
This only shows the Rafi was without doubt a naturally talented singer which is never seen in todays world. He stole limelight from kishore’s song “woh muqaddar ka sikander, janeyman kahlayega” the last clip when character of Amitabh dies.
Great article indeed! Two more lovely duets that come to mind where Rafi Sahab enters right at the end – Diwana Mastana Hua Dil (with Asha ji) and Tumhen Paa Ke Humne Jahan Paa Liya (again with Asha ji). Again, in both the duets Rafi Sahab comes in and adds that something extra which eventually makes the songs better and worth listening many a times.
Dear b.venkatadri ,
i will never be upset if they remmber KK boz i beleave that KK was a great actor I like him as an actor not as a singer,I saw his most flims and i liked that,offousre KK will be not compare with Dilip Kummar or Mr Bachchan as actor but I like his flim more than great Dilip Kummar and many others(as I think)
Good article, but rafi’s chemistry with ashaji was great & better than lata.
shashank_72@rediffmail.com
Unknow Saab,
You would have been upset even if they remembered that! Just joking!
Venkat
also i am so upset with KK fans boz they forgot KK 78 birth day only there are 23 msg on KK birthday!!!!!!and they forgot there KK country was 60 on 15 Aug!!!!!!!!!!!
thanks to Mohd rafi fans they remmber Mohd Rafi country on 15aug
jest listen to flim KRAANTI song “Mera Chana†only few lines singed by our Mohd Rafi……………………and many more….when Manoj Kummar used Mohd Rafi there was a hit song…when Rajesh Khanna used Mohd Rafi there was a hit song……..when Mr bachchan used mohd rafi there was a hit songs when mr bachchan was at top,that is a history ………………..
My aplogies, I forgot to mention the name of the Unnes Bees duet, it is “Naraazgi Yeh Aap Ki”.
In my view the BEST late entry song of Rafi saab is “Kya Mausam Hai” from Doosra Aadmi composed by Rajesh Roshan. The music builds up the entry so nicely, the violins play on a high note and Rafi saab comes in entering like a storm, takes it to a higher level and then brings it back down himself. He changes this whole song and gives it such a different dimension.
Another beautiful RR duet is from Unnes Bees, here it is Rafi with Suman. A fantastic song full of melody, the way Rafi enters in the second stanza singing for Rakesh Roshan is just out of this world.
Rafi saab was KING !!!
I appreciate and thank murthy sahab, for the article and having such a treasure of information about Rafi sahab. please go on sharing it among the rafians.Every song you mentioned in the article is super duper hit and in all the songs rafi sahab ended with are all high pithched songs which I believe would have not been possible without rafi sahab and his magical punch on the heart and brains of the listners.
Majeed Khan
9892361112
thanks to giveing same subject again ,i think if we go to compare Mohd Rafi with any other singer it so easy as said by Lata ji(If someone ask me who is u r fav singer it will most easy Q in the world because he is only one Mohd Rafi)
fantastic article mr gurumurty sir. rafi sahab’s late entry as for me is due to the following reasons.
1. the song would not have been a complete one without it.
2. its only rafi sahab can give the song an end with a punch in the mind’s of the listeners that he is a must.
3. Who else can have such divine melody?
4. Music directors were probably got the intuition that the song is going to be hit if rafi sahab gives the finishing.
5. Probably it would have been the sub conious crave of the music directors & all the musicians for rafi sahab’s august presence at the microphone
6. and finally , look all the songs are super duper hits.
7. its our rafi sahab who does all this magic.
once again i thank you gurumurty garu for your nice article. it clearly shows what our ‘ Pheeko’ sahab is…..
Looking at the late entry capability of Rafi Saab, it appears that he was a fearless soul. No wonder he would enter in between and leave an increditable ‘CHAAP’ stamp for ever.
Rafi the great.
Mr.Gurumurthy,
Good observations on Rafi Saab entering the duets in the later Antaras and stealing the thunder.
But, I wish to mention another facet of this later entry! I do not know how many are aware, but in some duet songs, Rafi Saab is brought in just after the starting mukhda’s first 4 or 5 words are over!
For example, most of us know this divine Rafi-Lata duet from Film:Nausherwani-e- Adil (MD:C.Ramachandra)—“Bhool Jaaye Sare Gham, Doob Jaaye Pyaar Mein, Baj Rahi Hai Dhun Yahi Raat Ke Sitar Ne”. In this duet, Lata starts the song and sings by herself the words, “Bhhol Jaaye Sare Gham, Doob Jaaye Pyaar Mein”. Only then, Rafi Saab joins her voice with “Baj Rahi Hai Dhun Yahi Raat Ke Sitar Ne”.
There are a few other Rafi duets of this nature. It is said the reason for this is that some MDs wanted Lata to start first in her own Shruti and Rafi Saab to start later and fall in line with that particular Shruti. These MDs were afraid, the other way around, the female singer may not be able to cope up with Rafi Saab!Clearly to cover up the deficiencies, if any, of the female singer!
Mind you, this was true only in those duets where the later entry was after a few words in the starting Mukhda itself. Not when the later entry was in the later Antaras.
Venkat
Good article,sir.Among the other late entry songs that come to mind are the RDB numbers “mile jo khadi khadi” from Kasme Wade with KK, “raqassa mera naam” from The Great Gambler with Asha and, of course, the memorable “aaj hua mera dil matwala” with lata from RDB’s first film. Rafisaab excelled in all. There are two OPN songs I remember where Rafisaab does not sing any lines. In one he just sings musically.ta…ra..ra..ra rumpumpum..m..m ! throughout the song(film Musaphirkhana 1955 with Shamshad Begum) and in the other from Mere Sanam he just echos Haanjeeeeeee Baabaaaaaa in between while Asha sings the full song “Hanji hanji baba mere sanam se mera milne ka waada! But it were these renderings by Rafisaab that gave the songs repeated hearings and uplifted the ordinary to the extrordinary!