The Rafi Mystique
This article is written by Ms. Sajdah. Source: Mr. Binu Nair and Pradeep.S.Kumar.
During the years of the Rafi – Lata embargo, the bigger composers like Shankar Jaikishan preferred to drop her from the duets and use a similar sounding voice like Suman Kalyanpur’s rather than replace Rafi sahab with another male singer – which is a testimony to the commercial standing of his voice. Movies are all about making money, and it wasn’t good business sense to slight the sweetest female voice in the industry, and yet that’s what happened – for Rafi sahab’s songs were a bigger draw than Lata Mangeshkar.
It is generally agreed that the singing embargo by the two legends was an unfortunate chapter in the history of Hindi movie music. Mahendra Kapoor emerged as a winner during this time, Lata loyalists like composer Chitragupt arranged to have him sing all the duets with Lata – that in happier times would have had Rafi sahab as the first and only choice. Many a lovely duet like “Aye Mere Pyar Bataâ€, “Aaja Re Mere Pyar Ke Raahiâ€, “Tumne Hansi Hi Hansi Meinâ€, “Zara Sambhaliye†fell to Mahendra Kapoor’s share. Chitragupt should have known that it wasn’t possible to recreate the magic of a Rafi / Lata duet. Today, if the songs are remembered at all, it’s for the delicate tunes rather than for some inspired singing.
Rafi sahab wasn’t just any singer – when he sings what you experience is that powerful feeling called roohani sukoon. At that moment in time, neither the words, or even the tune matters, you surrender yourself to being swept away by the beauty of that all persuasive voice – it’s as if you don’t exist. You willingly let it happen. Not many singers in the world can claim to have that kind of power over listeners.
No matter how tricky and devious the composition was, Rafi sahab made sure that it wasn’t so when he sang it. In addition he had that special ability to make everyone in the audience feel that he’s singing for them – to them.
No wonder his songs are so easy to hear. The deception is part of the charm of his voice.
Even in today’s advanced times when recording techniques can sharpen a blunt ‘sur’ and vice-versa, not many singers have been able to grasp this concept as much as they should have.
Composers loved to work with him for he was always unfailingly polite and very hard working. Naushad especially found this combination unbeatable, which explains their long and beautiful association that produced a parade of unforgettable melodies, each one bettering the best. And it would have been perfect, had it been Rafi sahab rendering the title song of Sohni Mahiwal. The song should have been his. Rightfully his. This is one of those rare occasions when not all of Naushad’s eloquent talk sounds convincing enough.
Let’s not forget that wide range of vocal colour in his voice – something that must be heard to be believed. A serene composition like “Naqaab Rukh Se Hatayein†and a dynamic “Kisko Pyar Karoon†– he was at ease singing both.
He was a stylist, no matter what genre he sang he gave it his best, and his best was always perfect. In “Husnwale Tera Jawaab Nahinâ€, there’s the line, “Tere Honton Pe Woh Khamoshi Hai†– listen to how he enunciates the word ‘khamoshi’. Even someone who isn’t quite familiar with the language would get the meaning.
The timeless popularity of his songs owe a lot not just to the grandeur of his voice but to his persona too. To sound like him is the ultimate compliment. The present tense suits Rafi sahab – he lives through his songs, let no one say any different.
There never was a more considerate, warm and generous human being than him. In an industry ruled by PR, Rafi sahab needed none – his voice did that job for him.
Although Rafi sahab was blessed with perfect pitch, he liked to abuse it when he thought the song required it. As in the many ‘sharabi’ numbers that came his way. A case in point – the much inebriated Dev in “Sawan Ke Mahine Mein†or the completely sloshed Johny Walker in “Jangal Mein Mor Nachaâ€. The slightly off-key notes have a right to be there as much as the other notes. There’s a name for that – art.
It isn’t easy to talk about someone who’s given so much of himself to the world. Just as the rich cannot be expected to know the meaning of hunger, similarly it takes a lifechanging crisis to really appreciate Rafi sahab and his music.
Rafi sahab could assimilate any style that a music composer demanded of him – this was a decided advantage except when he had to sing duets; some of the female co-singers couldn’t keep up with him.
It’s hard to imagine how a “Kaan Mein Jhumka†or a “Main Jat Yamla†would sound if there wasn’t a Rafi to lend his voice. There would be none of that infectious charm – that’s for certain.
“O Duniya Ke Rakhwale†set the trend for composers who vied with each other to compose songs for Rafi sahab in ever higher register – sample some of them, “Muhobbat Zinda Rehti Hainâ€, “Subah Na Aayiâ€, “Jiska Saathi Hain Bhagwanâ€, “Gham Uthane Ke Liyeâ€, “Dil Joh Na Keh Sakaâ€, and yet you won’t notice the slightest vocal strain. You wouldn’t for his voice possessed such an understated power and beauty that’s simply unbelievable.
We might spend all our lives listening to him, and still be assured of a certain sense of spontaneity and discovery.
He redefined the very meaning of romance. Listen to “Aap Aaye Toh Ujala Sa Hua Mehfil Meinâ€, “Tera Bhi Kisi Pe Dil Aayeâ€, “Shokhiyan Nazar Mein Hain†– and you’ll know what I mean.
Well, Rafi saab was a class apart. No doubts! And I fully agree with Irfan saab that after Rafi saab and Kishore Da, Mohd Aziz, who sounded so vibrant (in fact magica!)l was the best. For me post Rafi-Kishore era, Mohd Aziz had been the most all-round, versatile, and gifted singer – and I am including everyone who joined the singing bandwagon post 1980 era – to date.
Aziz had the range and that something-special in his voice. But, I feel he didn’t get his due – perhaps he joined the industry when the music was not at its best. I am really surprised he is not given any songs nowadays. I imagine some of today’s hits in his voice, and I feel itchy as to why he is not asked to sing all these numbers.
Music Directors, for God sake, bring back Aziz saab, Wadekar ji, Amit Kumar, and Nitin Mukesh.
Jai Hind!
Vikky
The true voice of rafi sahab’s is the inspiration of joy & love
when Rafi sahab sang a most sorrow song , we feel so joy. with his only voice
quality.
Mohammed Rafi is one of the most magnificent singers that India have ever produced
Ms Sajdah Sahiba,
The best article read by me so far and in touched an emotional chord. Kindly write more such articles and also can we all request u to publish these in the print media where many music lovers can read n gain immense knowledge.
What a wonderful tribute exquisitely written about Mohd Rafi – Ms. Sajdah!
I have often wondered what it was like for famous hindi film lyricists (Sahir, Shailendra, Majrooh, Shakeel, Rajah Mehdi Ali Khan, Kaifi Azmi, Hasrat Jaipuri, Indivar and several others) and composers (Naushad, Roshan, Shankar Jaikishan, SD Burman, OP Nayyar. Madan Mohan etc.) to take their masterpiece songs to Mohd Rafi and have him sing it back to them and start practice sessions before the recordings. Obviously, there is no doubt in my mind that they were all mind-blown away when they heard the master recite back their poetry and tune. If Rafi required extra time to practice and fine-tune their work, they obliged very willingly fully knowing that in return they would receive the best rendition of their creation. Since very few individuals (currently living and residing in the neighbourhoods of Mumbai and elsewhere) who were involved as musicians, recordists or assistants are willing to open up and discuss those heady days, we the fans will never know the minute details that racked the brains of Naushad, Roshan, Madan Mohan and other famous music directors.
Just to take this subject matter a bit further, a couple of years ago Kerala Film Music fans were stunned to hear the sudden passing away of ace music director Raveendran due to cancer. MD Raveendran ruled Malayalam Film Music world from 1979 onwards until 2005. A combination of Naushad, OPN, Roshan, Madan Mohan, Illaiyaraja and others all rolled into one – he composed some absolutely everlasting songs for legendary singer Yesudas. Raveendran’s compositions were nearly all raaga based and had extremely complex structures. His penchant was to test the skills of the vocalist to the extreme –and see if the singer could handle the scales, the gamakas, the swaras and all the other intricacies of the tune. As he acquired more film assignments, Raveendran fully utilized Yesudas’s magnificent bass voice and gave him some very difficult tunes, daring that the singer would be unable to reach the scales. Till the last song they recorded together, both the MD and singer tried to outdo each other – and both of them came out very even in their friendly tussles, and ultimately the music lovers were the winners fully enthralled with several delightful compositions. Commenting at the sad demise of his close colleague and friend, Dr. Yesudas commented, “Whenever we recorded our best songs together, Ravi would come to the singer’s booth and tell him – brother, I have created this tune for you only; the musicians are ready, the recordists are ready. You may take this song and fly away like a bird. Soar as high as you want and come back to earthâ€. Yesudas always obliged and sang some of his best songs for Raveendran.
The primary reason for Rafi Saab’s songs being immortal and still fresh as if it were just recorded yesterday is the full dedication, practice-till-perfect behavior that he imparted to every assignment that he undertook. I would assume that the MDs, lyricists, musicians and everyone involved in those recordings of yesteryears were fully willing to let the bird soar as high as he wanted….fly freely with abandonment…and then softly land back on mother earth.
Thanks Haldarji
Although this issue is irrevelant but since you have mentioned i would mention I do not consider sonu’s voice to be that much close to Rafisaab,Given his range I think Mohd Aziz was the best clone if you consider totality.This is one reason why he has maybe more than 200+ songs for LP only.,Considering Voice resemblance Anwar was the nearest to Rafisaab.Even if you hear sonu’s songs in the early part of his career,specially his first song ‘Agar aasman tak mere haath jaate’ from Meherbaan he seems to copy Mohd Aziz.The problem was that Aziz used to get nasal at high pitch whereas for sonu you have songs in which he has sung in such hoarse voice ‘Hum tujh ko utha kar le jayege’ -Jab pyar kisi se hota hai’.plus hsis voice seems feminine at times Have you heard his title song for the serial Man mein hai vishwas that is coming on Sony TV’.He has just throated it.Well that is just my personal opinion.Its nothing against Sonu.
ref post 8:
Irfan bhai, thanks for sharing the links. I’m sure you know who Tendulkar was named after, so his taste for good music is not surprising.
I’ve seen Bheja Fry but I can’t remember the actor’s name. He really acted well in the film and sang a few Rafi numbers to impress the producers. I agree with his views on the Rafi-Asha masti. This is my personal bias, but I consider that pair to be one of the very best in terms of duets. I’m not going to say anything more on this topic because there are some knowledgeable people on this forum who don’t even consider Asha to be a great singer.
Anyway, I just loved the picture with Geeta and Rafi; there was so much chemistry between the two of them in the 50s and early 60s: Udhar tum haseen, Hum apke aankhon mein, Jaane kahan mera jigar gaya ji, Aankhon hi aankhon mein…. Geeta’s voice had Lata’s sweetness and Asha’s oomph. I can understand why OP started ignoring her in the 60s, but for the life of me, I don’t understand why SD didn’t use her more in that period. There’s this lilting duet from Manzil (probably 1960), “Chupke se mile pyase pyase kuchh hum kuchh tum”, but after that, SD started easing her out of the recording room. Granted that she was self-destructing herself with alcohol, but she still had so much left in her even in the 70s (listen to her Avishkar and Anubhav songs).
Given the buzz around Sonu Nigam nowadays, I recently attended a concert of his. He sang six or seven numbers but half the time he was talking while singing. The other thing I’ve noticed in the new singers is their tendency to alternate between singing and pointing the microphone towards the audience. So the audience is expected to sing half the time! Last time I heard Rafi live, he sang 17 songs, without hardly ever speaking. Last year, when I heard Manna Dey at a concert — he was 84 then — he sang for more than three hours and that too some of the best classical songs in films. And I saw this Sonu Nigam chap trying to mimic “Hari Om, man tadpat” in a video. If you want to sing such songs, you should try to sing them properly with due respect. I don’t know how people can compare Sonu with Rafi.
Again, thanks for sharing the links.
Greetings all rafians
check this out
http://www.mid-day.com/smd/play/2007/july//161507.htm
If you are not a fan of Sachin tendulkar by now, this one ought to make you for sure
http://www.mid-day.com/virtual_gallery/gallery_slideshow.asp?GalleryID=26&ID=216&CurrentPage=9
DEAR MS SAJDAH
THANK YOU VERY MUCH FOR YOUR FANTASTIC ARTICLE ON OUR BELOVED RAFI SAHAB !
YOU HAVE HIGHLIGHTED SOME RARE PATRIOTIC SONGS WHICH WERE TOTALLY UNKNOWN TO ME TILL DATE .
THANKS ONCE AGAIN FOR THIS INFORMATION !
BEST REGARDS/A.T.M. SALIM
Excellent article!
Ms.sajdah is a well informed rafi lover and i love her writings…She
used to write for shama magazine in urdu before , I suppose..
Sajdaj ji well done… please keep it up .. and I request is to be in
touch with the nascent rafi foundation of Mumbai and Sargam magazine
which is the voice of rafi lovers – around the world.
binu nair… binus2000@hotmail.com the rafi foundation.
Excellent
Wah Sajdah,Wah!
Aesthetically-packed recounting of a fecund life, if accounted romantically, by means of one’s aesthetic wits “astheticizes†the aesthetic sensors of the readers’ aesthetic system. The author valuably evaluates the values of a valuable life through value-rich description.
Cheers!
A simply brilliant article!