Did R.D.Burman really preferred KK over Rafi?
This article is written by Mr.H.V.Guru Murthy.
A regular browser to web site mohdrafi.com, having gone through the letters of Rafi lovers would assume that R D Burman did not utilize Rafi properly, instead he preferred Kishore Kumar. Because of this reason, Rafi Fans are still upset with RDB even though he passed away a decade back.
Yes, it is true that RDB preferred KK over Rafi during early seventies. For that matter, which Music Director or Actor or Producer or Director will not have his preference. It was well known that Raj Kapoor always preferred Mukesh, Manoj Kumar preferred Mukesh or Mahendra Kapoor, B.R.Chopra films had Mahendra, MD Ravi also had plenty of songs with Mahendra so also O.P after he broke with Rafi. Similarly OP always had either Asha or Geetha Dutt and never Lata. Salil also used all other Singers. Director Subba Rao insisted on Mukesh for SAATHI even though the hero was Rajendra Kumar and MD Naushad, two Rafi Fans. Even Kalyanji Anandji had many films with Mahendra Kapoor, Mukesh and KK even though Rafi was instrumental in their raise through JAB JAB PHOOL KHILE, AAMNE SAAMNE, etc. LP, by all means Rafi Bhakts, used KK regularly in the early seventies even for Rafi heroes like Jeetendra, Dharmendra, etc. SJ also switched over to KK in movies like MAIN SUNDAR HOON, DIL DAULAT DUNIYA, KAL AAJ AUR KAL, etc. Of course, the music standard came down a notch or two in that period. But, well, it is their prerogative to have whomsoever they wanted though I am sure in heart of heart, why even openly, they would have admitted the superiority of Rafi over all other Singers. Similarly, RDB also used KK for almost all his movies in the early seventies as perhaps he had some special chemistry with him.
However, let us not forget that RDB used Rafi extensively during late sixties as his main playback singer right from the first movie. He gave hit music with Rafi in TEESRI MANZIL, NAQLI NAWAAB, CARAVAN, PYAAR KA MAUSAM, THE TRAIN, ABHILASHA, ADHIKAR, RATON KA RAAJA, etc. Later during late seventies he returned to Rafi and gave hits like SHAAN, HUM KISISE KUM NAHIN, ABDULLAH, ZAMANE KO DIKHANA HAI, etc. In between, he had Rafi in CHANDI SONA qawali with Mannadey (Ek Shok Hasina Se), YADON KI BAARAT (Title song and who can forget the duet with Asha Chura Liya Hai Tumne), DIL KA BAADSHAH (this Raj Kumar starrer had all songs by Rafi), THE GREAT GAMBLER (Raftasa Mera Naam), SHEHZADA (Solo Tere Attaroo and duet with Lata Kaahe Ko Bulaya), etc.
If a person cannot appreciate the greatness of Rafi, then it can be safely concluded that the person does not have a sense of music. Of course, RDB was a good MD though not a great MD like Naushad, Madan Mohan, OP Nayyar, SDB, etc. RD would have definitely known the great qualities of Rafi, the Singer. Just because he did not use Rafi extensively as one would expect, let us not degrade this MD who gave us some good songs in CHANDAN KA PALNA, PADOSAN, HARE RAMA HARE KRISHNA, MERE JEEVAN SAATHI, AJNABEE, AMAR PREM, SANAM TERI KASAM, BHOOT BANGLA, BAHARON KE SAPNE (Rafi solo Zamane Ne Maare), PARICHAY, KINAARA, APNA DESH, ZAHREELA INSAAN, RAMPUR KA LAKSHAMAN (Pyaar Ka Samay with Lata, KK and Rafi), 1942 – A LOVE STORY, KATI PATANG to certain extent, etc. though he gave some very mediocre music in films like DEEWAR, SHOLAY, KITAAB, ZAKHMEE, RAFOO CHAKKAR, NAMKEEN, DHARAM KARAM and BIWI O BIWI (so un-RK film like), etc. so many forgettable movies as for as music was concerned.
The irony of RDB was either he gave good music or petered out to a very mediocre music in so many films. I read some where that Shashi Kapoor called RD as National Anthem Music Director. In those days, theatres used to play National Anthem at the end of the movie and the Hall doors used to be shut till the completion of the Anthem. As soon as the Anthem used to commence, our in-disciplined people used to rush to the Hall Door and wait for the door opening. Similarly, whenever RDB songs commenced in most of the movies, people used to rush to toilet.
Still, it is not fair that we use harsh and sometimes, un-parliamentary language against any body if they differ with our views. We cannot forget the contribution of all these MDs, Heroes, Singers, Directors, etc. in making the Indian Film Music so rich.
June 13th, 2008 at 8:01 am
In Hindi film industry, imperfect hindi diction made a great impact on the career of so many talented personnel. For example, Yesudass, SPB, B.Sarojadevi, Padmini, Kamal Hassan, Rajnikanth, Gemini Ganeshan, Chiranjeevi, Venkatesh, Kanchana, Jayanti, etc. tried their hand in Hoindi Film Industry, but could not suceed to that extent as they were successful in the South Indian Films. They were all highly talented and had mass following in the South, but perhaps due to their diction and to certain extent their typical South Indian looks, they could not make that big a mark in Hindi. The only three Southern artistes who really succeeded in Hindi were Vyjayantimala, Jaya Pradha and Sridevi.
June 12th, 2008 at 4:55 pm
Mr.XXX:
I don’t have much of an idea why LP and RDB chose to stay away from Yesudas sir’s golden voice. I think it’s a complex issue and I agree fully with Mr.Myk that perhaps they didn’t feel the need to call upon Yesudas sir. It can’t be a matter of styles since Yesudas sir is good at almost everything and LP and RDB could compose them all (from heavy classical stuff to the light and breezy typical ’70s things). Perhaps Das sir’s less-than-perfect Hindi diction had something to do too. I have with me Das sir’s version of why he left HFM when he did but I feel it’s inappropriate to debate it here. Generally speaking it all comes down to (IMO) rapport and commercial viability. Certain people like to and feel comfortable to work with and associate themselves with certain others (as long as they are doing well, commercially).
June 12th, 2008 at 7:16 am
Mukesh was also there, and him along with Rafi and Kishore all being there, could have been another reason why Yesudas wasn’t really used by many composers in HFM.
The Burmans didn’t make good use of Mukesh as much as others, but RR and Mukesh would have been an interesting combo. I think they came together in around three songs, and Mukesh sadly passed away before RR could use him more.
June 12th, 2008 at 7:08 am
Mr. XXX,
Indeed “Cham cham barse ghata” shows Pancham’s influence on RR, you are spot on in mentioning this. From the twin-track effect, to the rhythm, the madal, tabla, and reso, as well as the variations in different instruments. RR also could play around with different instruments with the same finesse as Pancham. If one didn’t know that this song was composed by RR, one could guess that Pancham was behind this, however you can tell the difference, as RR had his own unique style, and both composers left their trademarks in their compositions.
I am not sure why LP and Pancham didn’t make use of Yesudas, but I think they felt they didn’t really need him to sing their songs, with Rafi there, and Kishore next. On the other hand, both composers made good use of SPB, another southern great.
RR used Yesudas in Swami and came out with excellent results, in “Kya karoon sajni” and “Aaj ki raat”.
June 10th, 2008 at 9:54 pm
mr. anil cherian
“rajnigandha” was release of 1974 having music of salil da, here is the link to the one of the song from this movie, just check out that how well salil could mix up the indian classical with western music, genious composer!!..
http://youtube.com/watch?v=PP4sllE7wBM
there are are many excellent songs from late 70s by rd,lp,rr and ravindra jain, try to listen these composers from late 70s::
by the way what is your take on this beautiful composition by rajesh roshan from jay-vijay::
http://youtube.com/watch?v=jTxj7gZGFPA
here is masterpeice composition by jaidev with yesu from aalap(1977)::
http://www.esnips.com/doc/938ff031-e104-4818-a07b-7cd202c234ef/Koi_Gata_Main_So_Jata–Yesudas
mr.myk and mr.cherian,
any guesses, why lp and rd maintained the distance from golden voice of yesu in late 70s and 80s?…
June 10th, 2008 at 9:33 pm
mr.myk,
thanks for the wonderful description of those two rafi duets. i agree with you that rr’s “chham chham barse ghata” is slightly better as rr maintained the indian touch ,what i liked in this song is the nice use of twin sound effect in the line “aaja re…”, notice that aaja re has the same notes involved, one at lower pitch and other at higher pitch, its beautiful!.
by the way this song shows the pancham’s influence in rr, what do you think? that twin sound effect plus the use of reso with rhythm.
June 10th, 2008 at 1:14 pm
Haldar Sir:
Listened to the links, nice songs. None of these tunes Salilda has used in Malayalam. What effect Rafisahab brought into the ‘Kabuliwala’ song (I’m hearing it for the first time)- different styles, accents and even voices for all those characters ( 7 or 8 of them). It’s a pity Salilda didn’t produce more such pieces with the ‘baadshah’…
June 10th, 2008 at 12:48 pm
Mr.XXX:
Actually, I haven’t heard much songs from the late ’70s. I believe this period doesn’t have much to offer by way of good music, with action-revenge films ruling the box-office. I also like Satyam Sivam Sundaram and Sargam plus ‘Dard-e-dil….’, ‘Mere dost qissa…’ (despite Rafisahab sounding a bit off-peak) and ‘Parda hai parda…’. Is ‘Rajnigandha’ a film of this period and is it composed by LP? Could you suggest some good songs from this period (’76-’80)?
June 9th, 2008 at 7:54 am
Mr. XXX,
How would you rate these two songs, “Dil sajan jalta hai” (Mukti), and “Cham cham barse ghata” (Priyatama) both sung by Asha. The first one is composed by RD, and the second by RR. Both songs use the multi-track feature, and both were released in 1977. I think the Priyatama song is slightly better, I feel it has better orchestration and melody. RD made good use of the multi-track feature, remember “katra katra” from Ijaazat, but in this case I feel RR beat RD at his own game.
What are your views ?.
June 9th, 2008 at 7:49 am
Mr. Cherian,
LP always had the upper hand commercially right from the time they took over from S-J. RD never broke through their reign, even though his music also sold a lot as well.
You asked for some Rafi-RR songs, here are some:
Dil Ki Kali Yuhin Sada - Inkaar (1977)
Tumse Nahin Pehchan - Ek Hi Raasta - (1977)
Teri Palkon Mein - Jay Vijay (1977)
Kya Mausam Hai - Doosra Aadmi - (1978)
Bahon Mein Teri Masti - Kaala Patthar (1979)
Mujhe Chhu Rahi Hain - Swayamvar (1980)
Aag Hai Lagi Hui - Swarg Narak (1978)
Logon Ka Dil - Man Pasand (1980)
Yaar Tere Sab Naach - Shakka (1981)
Naraazgi Yeh Aap Ki - Unees Bees (1980)
Please give your views on the RR-Rafi combo.
June 9th, 2008 at 7:41 am
I forgot to add, I feel those two songs are among the two best duets of 1980. There are others as well, including “Mohabbat rang laayegi” from Poonam composed by Anu Malik in which Rafi again gives us his magic. This is one of Anu Malik’s all time best creations, and again would make it to my list of the best 80’s duets. Then how about “Bheegi Bheegi vaadi mein” from Dil Hi Dil Mein by Mandhir-Jatin (Jatin of Jatin-Lalit with his elder brother before he teamed up with his younger bro), another beautiful duet, Rafi and Sulakshana Pandit. “Naraazgi yeh aap ki” from Unees Bees composed by RR, sung by Rafi and Suman is another masterpiece.
June 9th, 2008 at 7:36 am
Mr. XXX,
I feel “Mujhe chhu rahi hain” along with “pal do pal ka saath hamara” are the two best duets of 1980 and among the top ten duets and songs of the whole 80’s decade. These two songs were a sign for things to come with the RD-Rafi and RR-Rafi combo in the 80’s.
Also, notice how in “Mujhe chhu rahi hain” RR gives a peaceful and bliss feeling, and very creative orchestration as well.
June 9th, 2008 at 7:27 am
Mr. XXX,
Thanks a lot for your reply. Yes, I feel RD has the upper hand in classy music, but I feel RR also created classy music in the 70’s as well in albums such as Swami, Des Pardes, Doosra Aadmi and other films. RD had more of a chance to do classical themes, something which RR might have not got the chance to work with. I think RD had the upper hand when it came to classical songs, but RR definitely had talent in this genre too. Thanks for mentioning the Anwar interview, I wish Rafi-saab had sung these songs, but Anwar did a good job.
You mentioned two of my most favourite duets. It is hard for me to choose which one I like better, as I love both equally. Here is my take on both of them:
“Mohabbat mein aji kya” is in my view Pancham’s best duet of 1978 and one of his best late 70’s duets as well. It is Rafi who injects soul into this song, listen to how he sings “wada sanam lelo, tum ko hi kasam lelo”, he brings melody, and this was a fresh tune from Pancham. Lata is great too but Rafi makes the song very memorable. The flight of words, the voices, the lyrics are all excellent. In the period 1975-1980, Pancham showed his class as a composer, where he concentrated on melody, and soulful music along with his trademark style of music. This duet is an example of what kinds of songs he created during that time. There is some Dada Burman influence in this duet too, but it has the Pancham stamp all over. Notice the rhythm variations, the guitar, santoor, accordion, flute, and violins are all used very nicely. Notice the difference when Rafi starts off the third stanza with “chhodo sawal yeh, ab tum jawab do”, the punch he brings, which is much more than Lata when she starts the first and second stanza’s. If Pancham had given “Aap ki aankhon mein kuch” from Ghar to Rafi, it would have reached the class of the Phandebaaz duet, but unfortunately Kishore did not do enough justice to that song.
“Mujhe chhu rahi hain” is a Rafi song all the way. Lata gives excellent company to Rafi here, but Rafi-saab holds center-stage here. This is an example of the type of beautiful songs RR could create. I think this song ranks as one of RR’s top five duets of all time. It has such a beautiful melody, listening to Rafi-saab is pure bliss. RR was able to extract something extra from all of his singers, and this includes Rafi-saab as well. The orchestration is fantastic, the guitar has been used as an accompaniment to the main rhythm throughout the whole song, and the violins are a treat. The song brings out romance at its best and Gulzar’s lyrics also add another nice demension to the song. This is an example of what Rafi could do with Gulzar’s lyrics, and that is turn them into gold. I feel bad that RD wasted his lyrics with Kishore, only Lata was there to save them. The only true good Rafi-RD song with Gulzar is “jab ek kaza se guzro to” another gem of a song. Here RR made the perfect choice in giving this masterpiece from Swayamvar to Rafi. When Rafi sings “pata chal gaya hai manzil kahan hai” notice the sweetness and the melody, it feels like you’re in heaven, only Rafi can give such a feeling and no one else.
June 8th, 2008 at 11:57 pm
Post 776 haldar ji…
we respect salil da for his greatest contributions to hfm and regional and malayalam movies. at a function : dilip kumar the chief guest had commented : “if salil had not gone for his second marriage : then he would have been one of the greatest successful composers”.
now a film historian and a veteran tells me that salil da went to jail for about 2 years. he was bailed out by rajni patel ( a barrister, congress leader and amisha patels grandfather ) and dilip kumar. is this true?……
ego and anger truly will kill anyone - a thousand times….
binu nair…,.
June 8th, 2008 at 10:06 pm
mr.myk,
how would you compare these rafi-lata duets- “mujhe chhoo rahi hain” and “mohabbat mein aji kya” … first one by rr and next one by rd.
which one is yours fav???
June 8th, 2008 at 10:01 pm
mr. anil cherian,
if you are asking of commercial success than l-p were way ahead of others with four consecutive awards from late 70s. rd trembled commercially in 80s but l-p managed to be on top , unfortunately they shared the space with none other than bappi(commercially most successful md of 80s).. and as far as quality is concerned than satyam shivam sundaram, sargam and anurodh are my fav albums by l-p from late 70s.. mr.cherian, may i know your favs by l-p from late 70s??
June 8th, 2008 at 9:50 pm
rr’s actual contemporaries were rj,bappi etc, and among them rr was far more versatile… however i also like rj but rr was more versatile and slightly better.
June 8th, 2008 at 9:43 pm
mr.myk,
if we only consider the period of 1975-81 than rr is definitely a nice md, his music was fresh with nice orchestration, the greatness of the md should judge by the quality of his composition and by that token rr was great, his selection of kishore for most of his compositions was definitely influnced by the producer’s own decisions, however kishore did nice job with rr, kishore was lucky that he got rd for earlier half rr for later half of 70s, just look at the quality and freshness from kati-patang to aandhi and julie to do aur do paanch.
rr gave chance to anwar in janta hawaldar but this was actually the combined decision of rajesh khanna and mehmood as told by anwar himself in sangeet ke sitaro ki mehfil.
when compared to rdb than he is comparatively weaker in classy genre, i think instead of rr, rdb inherited two of the good features of roshan sahab,1.quawwali 2.delighting use of raag yaman ..
however i must say that he was the one of the best from 70s, listen to “hoto pe geet jaage” its totally a different kind of melody, or “main akela apni dhun mein magan” by kishore or duet “mujhe chhoo rahi hain” by rafi-lata…
regarding your question(b)– i think l-p and k-a established themselves much before pancham, rd came out with trendsetting score in 60s but l-p and k-a were definitely better than him in 60s, k-a’s association with mukesh and rafi was pure gold from that era.. rr’s entry is very late but rdb was very much active by that time, so we can include rr into rd’s contemporaries and i think only rr managed to challange rd in his genre, and remove hkkn than rr would beat him easily…
(d)i have no clue why he preferred kk so much but one thing we sholud appreciate that he hardly exposed any weakness of kk, infact as you mentioned that he exploited softer side of kishore..
and from later half of 70s i would like to rate rd-rafi combo over rr-rafi combo as they hardly left any genre untouched. to further illustrate here are few of the songs from late 70s by rd-rafi::
1.kahe ko bulaya
2.mohabbat mein aji kya
3.ye ladka haye alla
4.makhan chor nand kishore
5.pyar hai ek nishaan
6.nagma hamara
7.hai agar dusman
8.kya hua tera vaada
9.jab ek kaza se gujaro
10.pucho na yaar kya hua
11.hum jab ek saath hain
12.pal do pal ka saath
13.maine poocha chand se
14.janu meri jaan
15.kaun kisi ko baandh saka …
June 8th, 2008 at 8:41 pm
Mr.XXX, Mr.Myk:
Could you list out some Rafi-RR scores (duets and solos) with the year of release of the film. Thank you. And may I repeat my querry on RDB, did he rule in the period ‘76-’80 or did LP (finally) got a measure of him in this period? (I’m speaking more from a commercial angle than an artistic one).
June 8th, 2008 at 8:35 pm
Haldar Sir:
Thanks for the reply. I didn’t imply that Salilda and KK associated well. Actually I didn’t make myself clear enough. My question was why Salilda (one Bengali) preferred Mannada and Mukeshji to Rafisahab while RDB (and SDB?)-another bengali- preferred KK to Rafisahab?
Pleased to know that you follow Salilda tunes of Malayalam movies. I’m a great admirer of his Malayalam tunes ( I believe some of these tunes are original) and consider him a real genius. And I’m not the only one in my State who think the same way; as you said, he has a huge fan following (even now) and he started a trend which was followed by other noted MDs like Shyam. By the way have you noticed that his major weapon in Malayalam was K J Yesudas (a singer in the Rafi mould) and not Jayachandran (a singer resembling Talat or Mukesh more than Rafi).
Coming to Mannada’s voice, I consider it a cross between Rafisahab’s and KK’s. It is a rather smooth (though not as smooth as Rafisahab’s voice), a bit coarse (though not as much as KK’s, generally speaking) and lighter than both’s.
And you haven’t answered my other querry (why so little SDB-Rafi combos after ‘Guide’). Incase you don’t want to debate it here, could you mail me @ anilcherianca@yahoo.com?
I’ll comeback later after listening to all the links.
June 8th, 2008 at 1:53 pm
Mr.Myk:
Thanks for correcting me. Yes, Rafisahab synced well with the young brigade also and they extracted great things from him.
At the end of the day, these things (whether a particular MD preferred him or not) doesn’t really matter (to Rafisahab). He has such a huge number of memorable songs under his belt, sung as only he can. If RDB (or even SDB) didn’t really care to give him more, it’s their loss.. But it’s a pity that we people have been denied of some more treasures.. You know, with Rafisahab, one can’t have enough.
All:
I was listening to ‘mein shayar to nahin…’. It’s obvoius that this particular song was composed with Rafisahab in mind, with all those swift note-switches and the asymmetric yet smooth flow. Sure, the song gave a good opening to a budding singer, but just wish they gave the song to the one who would’ve sung it the way it was meant to be sung.
June 7th, 2008 at 9:34 am
Btw, Mr. XXX, for point c), do you think the RR-Rafi combo also had variety ?.
June 7th, 2008 at 9:33 am
Surprisingly, RR gave Anwar a break in Janta Hawaldar, when Rafi was alive in 1979. RR was known to give many singers a break, but imagine those songs in Rafi saab’s voice, they would have been amazing classics. Yesudas also sang for RR in Swami, those were nice songs as well.
June 7th, 2008 at 9:29 am
Mr. XXX,
I think Salil’s violins had their own class, he was definitely influenced by Mozart, Bach and western symphonies, but I would rate SJ’s violins better than Salil’s. SJ’s violins also had a Mozart touch to them, they were grand, classy and magical, they were the true pioneers when it comes to violins. Salil was a composer with a surprise element, not only were his tunes surprising, they would cover a span of notes, but his music was surprising as well. He definitely used his instruments well and was creative when it came to his arrangements. Talking of Mozart, I feel Rajesh Roshan also had that western symphony element when it came to his violins.
Mr. XXX, I have four questions for you, please give your answers for all of them:
a) Please tell me how you would rate RR compared to RDB ?. This is the same question you asked me a while back. Where do you think RR scored over RDB and vice-versa ?. The more I listen to RR, the more I feel he could have gone on to accomplish much more, he was a rare talent. I heard he had personal problems that affected his career. Anyhow, his body of work is still excellent.
b) Would you call RR a contemporary of RDB ?. The two did work in the same time frame. The major contemporaries of Pancham were LP and KA, and they were also in the same age group. RR was much younger than all of them, and Junior Roshan along with Bappi, Anu Malik etc. formed another generation of composers.
c) We talked about how Pancham was one of Rafi’s best composers from 77-80, and their combo had a lot of variety during that time. How would you rate the Rafi-RR combo from 77-80, and compare this combo to the Rafi-RD combo during that time ?. RR only got a solid five years to work with Rafi, not a lot of time, but still they came up with many gems, and RR was also one of Rafi’s best latter-day composers and definitely the young composer (of RR’s generation) with which he had the most fruitful association. They would have worked more in the 80’s, but Rafi saab unfortunately passed away.
d) RR composed many great solos and duets for Rafi-saab, but I have noticed that there are quite a few more duets for Rafi-saab as opposed to solo’s. This ofcourse doesn’t matter, a song is a song, and both duets and solo’s are ofcourse excellent. However I would like to know from you why he did this, and why did he give his other solo’s to KK ?.
From KK’s 160 songs for RR, there are around 50 odd solos and the rest duets, so in this case its a similar scenario. Not that this all matters, I’m just curious to know why the ratio is like this in both Rafi and KK cases under RR.
June 7th, 2008 at 8:24 am
ref post 761:
mr. cherian, I won’t call manna dey’s voice coarse. In fact, he had a very smooth and polished voice. Listen to this salil composition for manna in us ne kaha tha and tell me what you think:
http://youtube.com/watch?v=nJ0eQSK2RLA
See how he superimposes manna’s voice with the female voice and uses the chorus as background music. Absolutely brilliant!
Salil also did wonders with Talat’s silken voice; here’s a personal favourite of mine from chhaya:
http://youtube.com/watch?v=lA9NZ6br5no
But his main weapon was the nightingale. If you talk to her fans, then you will know where they place him. Contrary to your belief, salil hardly did anything outstanding with kishore. In fact, I don’t think kishore’s heavy, (sometimes) coarse voice suited his style of music. Other than his home state, salil has a large following in your state. Listen to p. susheela’s song in rasa leela; it came out around 1975, a year earlier than kishore’s “maujon ki doli chali re” (jeevan jyoti). Then listen to the same tune in the nightingale’s voice in a bengali song “kano kichhu kotha bolo na”, which was released in the 60s. Compare them and see who comes out on top and who sounds the worst.
Salil was a creative genius: a writer, a poet, a lyricist, a music director and an instrumentalist. If sir salil had anything bigger than his talent, it was his ego. In the rough and tumble music world, you sometimes have to swallow your pride and play to the gallery; in short, you need to be flexible.
It is not proper to discuss sir salil in this forum because he didn’t work that much with rafi saab. But he always held rafi saab in the highest regard. I have my theory on the maya incident, but I don’t want to spark off another controversy. For now, let’s listen to rafi’s song from kabuliwala, sung in pakhtooni style:
http://youtube.com/watch?v=bhiWEkZ6vIM