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Din Dhal Jaaye … Haaye .. Raat Na Jaaye

This article is written by Mr. Shrirang Nawathe, Muscat. 00968 92 89 90 89

Mohd Rafi and Dev AnandWhile viewing the song, DIN DHAL JAAYE HAAYE… RAAT NA JAA.YE. TU TO NA AAYE TERI..YAAD SATAAYE … from the 1965 film GUIDE, one can easily be filled up by number of thoughts. Even after listening the song NON STOP 3 horus, I still have desire for ONCE MORE…. The beauty of the song lies in the fact of “Dedicated Team Work”. Every member of the team had contributed the best and therefore the product has come out with the tag of Excellent Quality. The quality which lasts for the decades and centuries.

What is the beauty of the song? Beautiful things cannot be expressed in words or for that matter the dictionary of the words is not enough to express the simplest forms of beauty of nature. It just has to be experienced. However, I think of some inherent factors which made the song a Quality Product. Beauty of the song is its melody,voice, music, lyrics, besides direction, presentation and performance by the Legendary Artists.

Dev Anand and Mohd Rafi
Mohd Rafi and Dev Anand

Coming down to the song, one can observe that, Rafi Sahab had done full justice to the given situation and to create the moods as expressed by Dev Anand in the film. It is clear that, Rafi Sahab got himself involved to such an extent that, we hardly are able to distinguish whether the song is sung by Dev Anand Sb or Rafi Sahab. What an understanding of the situation and matching of the voice by Rafi Sahab..just unparallel.

The extra melodious low voice was maintained by Rafi Sahab. Throughout the song which produces great impact on our minds whenever we listen the song. Even to-day, the voice of Rafi Sahab creates such vibrations in our nerve cells that, after more than 40 years of recording of the song, we get moved by the theme and situation and tears just roll down on our cheeks unknowingly and we get convinced with Dev Anand’s situation.

Here, equal credit goes to two stalwarts namely, Shailendra and SD Burman. The mysteries of the life were revealed in the simplest words by great Shailendra and this was his extraordinary quality.

SD Burman too did not leave any stone unturned. He created such a melodious, meaningful, lovely music to give due justice to the song situation. A typical SDB style reflected and is quite visible to a music lover, when one listens Flute is used so effectively that, it altogether keeps you going with the song in the same moods. Similarly, use of Saxophone was also a masterpiece. SDB denied signing new contracts when he was busy with the music composition of GUIDE just to give full justice to the job in hand. This shows the total dedication of a music director. Therefore, it is quite obvious that, music created with such dedication has to leave an everlasting impact on music lovers’ minds.


In this song, the helplessness of Dev Anand was exactly expressed by Shailendra right from the beginning. It is evident when we listen the first line of the song i.e. DIN DHAL JAAYE HAI RAAAT NA JAAYE. In fact, we can not ignore the classic efforts put by Vijay Anand directing this song. The helplessness is reflected at every moment of the song. Not only that, but also it gets worsened gradually as the song advances towards completion.

For instance, the almost empty bottle and glass are shown in the hands of Dev Anand & he was shown sitting on the floor whereas his colleague is shown sitting on a chair. Similarly, the door of Wahida Rehmaan’s room was shown locked in the beginning to express her helplessness. These are classic indications and reveals the talents of the director.

Rafi Sahab was all time great and this was proved once again when he had sung this beautiful tragedy song. Rafi Sahab had sung many tragedy songs for that matter, but, this song has a speciality that, the justice to the job was done by every member of the team to produce the everlasting effects.

Therefore, listening DIN DHAL JAAYE..HAI RAAT NA JAAYE.. ultimately leaves only and only feeling of ONCE MORE… in our minds…

Hats off to SD Burman, Shailendra, Rafi Sahab, Dev Anand, Waheeda Rehman & last but not the least, VIJAY ANAND who GUIDED the team in such a way that, GUIDE achieved a status of a mile stone in the Hindi Film World, winning 7 film fare awards in the year 1967.

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117 Blog Comments to “Din Dhal Jaaye … Haaye .. Raat Na Jaaye”

  1. Manish Kumar says:

    i was about to ask questions about aradhana but shakti samanta already cleared matters and i’m sure manohari singh is tired of that topic. here’s the straight story:

    1. sdb composed all the tunes for aradhana (source manohari singh & bhupinder).

    2. only rafi was to give male playback since the movie didn’t star dev anand. after recording two songs, rafi went out on world tour and asked sdb to record the remaining songs in kishore’s voice (source: shakti samanta, vivid bharati).

    3. sdb himself rehearsed the songs with kishore. afterwards, either sdb or rdb (don’t know who but doesn’t matter) recorded the songs with kishore who then finally got the recognition he deserved.

    i will also not ask about the story BEHIND tum bin jaoon kahan. manohari singh indicated that nasir hussain wanted only the rafi version whereas pancham wanted both the rafi version AND the kishore version. it was such a big deal to rd that he threatened to leave the project. definitely not a coincidence. two popular singers render almost the same song in two different versions in a big movie. think about it. no one is so naive not to realize that comparisons will arise. that’s what pancham wanted. pancham had only respect & warm regards for rafi but he was just trying to do what any good friend would do: promote his friend kishore’s singing career. it is commendable.

    later i will come up with questions i do want to ask manohari singh.

  2. A S MURTY says:

    this debate on sj, rafi sahab, raj kapoor, and others is becoming more and more absorbing and interesting. i am amazed to find so many very knowledgeable around who make such valuable contribution. i feel we are too small a fry to eve post a comment when compared to the likes of myk, maruti raoji, raju kortiji, p haldarji and many more. i particularly liked the reference to ‘hotel gaylord’ in mumbai’s churchgate area and the story related to jaikishan and the ‘reserved for jaikishen’. thanks raju kortiji for the fantastic information. keep writing folks and never let these columns go empty. no other website on any personality from bollywood would generate such intense and factful stories as are reported here. thanks to each one of you.

  3. Maruti Rao says:

    Dear Kortiji,

    excellent info on sj. rafisaab has always maintained in his usual humble way that he was not a great singer and that whatever the mds have asked him to do he had done.the very first song which rafisaab sang for sj was from barsat (mein zindagi me hardam rota hi raha hoon.) rafisaab’s voice depicts the pain of the lover and the way he expresses it. it was shailendra’s song . the llyrics itself is pain personified and sj and rafisaab made it more and more expressive. i have tears in my eyes when i hear this song .there will never be a team of sj rafisaab shailendra and hasrat , never

  4. Raju Korti says:

    you are right mr haldar. shankar was indeed a punjabi, but he prided himself on being an andhrite, the reason i wrote he was a telugu. you are also right that jai was 39 when he passed away in 1971. my apologies. because of a neuropathic finger, i am prone to keying in mistakes. but thanks for the encouragement. it is great we share all this information and enjoy nostalgia.
    mr myk, you are also right there. jai was indeeed a good singer. there was something touchy about his voice like nayyar’s and madan mohan’s. they were not professionally trained but understood the sur and, its nuances and the emotion in the words well.
    i have no clue about jai wanting to start a music school, but i can endorse this anecdote about the rafi-mubarak begum duet from hamrahi. the unsaid story here is rafi himself went out of the way to persuade jai to retain the mubarak begum part not because he wasn’t against lata as his co-singer but since mubarak begum deserved to be encouraged.
    when jai left, most of sj’s assignments did go to rdb who was showing a completely different kind of promise, the trend setter that he was. and to rdb’s credit he started really well. remember, it wasn’t kishore but rafi whose “pallu pakad kar rdb chalne laga tha”. rdb knew only too well that rafi was his only prop, having seen the maestro perform since his childhood.
    as for sj, both were tremendously fond of rafi. shankar once told me that rafi’s grasp of the song was amazing and he would give it expression the way only he could. no one else could even dream of doing that. “in fact after he had sung the song, we realised we had composed such a great tune,” shankar said.
    both once also confided that they had a tough time making mukesh sing in tune, but did it for friend raj kapoor who gave them their first break in 1948. this is not to belittle mukesh but to share what the duo honestly felt. that’s why you can see that in most raj kapoor movies they would ensure at least one rafi song that went on someone else since raj had decided that mukesh was his voice. for the record, raj himself had unabashed admiration for rafi.
    i have frequented the gaylord hotel in mumbai’s churchgate, the place where jai would brainstormed most of the time. dressed in white pant and white shirt, jai would enter the hotel like a prince and leave like one. when anyone asked him for money, he would just put hands in his pockets, take out whatever amount of money his hands laid on and gave. he never counted notes. such was his magnanimity. the owner of the hotel treated him like a demigod. i remember, he was completely crestfallen when jai died. since that day, the table on which jai would always sit, remains vacant, no matter whatever the rush. if you walk into that hotel, you will still find the table “RESERVED FOR JAIKISHEN”.

  5. binus2000 says:

    myk :

    good stuff indeed with lots of info on the period post jais departure.
    the s.j. team would surely have come up with some new tunes
    like the ones of andaz, prince,bramachari and others.
    but , pls note that s & J were working seperately, their fees were high
    and composers of the time were ready to work for half the price
    which s & J commanded.

    Qualitatively too new sounds and styles were emerging and rdb
    had shown his class in h.k.h.ram few years back may be in 69…

    sdb had this to say of his prodical son : he is good but he copies a
    lot…….from other sources.

    by the way i am writing these lines to say that i have an appointment
    with our grand old man manohri singh and rafi lovers may send in
    queries related to the “golden olden musical days” if any which will
    be reflected by yours truly in these spaces…

    good day….

    binu nair… the rafi foundation…

  6. Manish Kumar says:

    I wish Vishwas Nerurkar would make his book details better known. I didn’t even know he had a Rafi Geet Kosh. I wish he had a web site where he lists all his books and we can order them. When will the second edition come out? Within about a year I will order all of VN’s books, hfgk, and other books. Learn to read Hindi too 🙂

  7. myk says:

    I mentioned in my previous post about SJ having around 30+ films on hand around the time Jai passed away. This info is from an old Screen article that was published soon after Jai’s demise which mentioned SJ then had a combined 30+ odd productions at various stages of production.

    Around 1970, S-J were still the one of the biggest names in the music circles, the other two being L-P and K-A. RD’s breakthrough into the big league that year was through the “The Train” (and Rafi’s ahead of its time and trendy “Gulabi Aankhen”), and then later Kati Patang. He further went up the ladder with Amar Prem, Caravan and HRHK the following year. The trio of LP, RD, KA then went on to dominate film music for the next decade or so. Ofcourse the Grand Old Man SDB was always there giving good competition to the trinity, with his great albums. Then you had Rajesh Roshan zooming in around the mid-seventies to provide a challenge to this trinity as well. Among all of these composers were MM, Usha Khanna, Ravindra Jain and many more who produced excellent and quality music.

    Had Jai lived, where would S-J have been among all this ?. I am sure they would have pulled more magic out of their hat and lead the way.

  8. myk says:

    Jaikishan, the handsome and genius composer passed away at a very young age. Manohari Singh called him a real ‘raaja’ of a man, it was through Sebastian that he met Jai and Jai made him a permanent member of the S-J camp. I’m sure Manohari must have been really excited palying in that grand and magical S-J orchestra before he moved on to another excellent orchestra, that of Pancham. One day I would like to visit Gaylord’s and see the place Jaikishan used to visit a lot.

    S-J had a combined 30+ films on hand around the time Jai passed away and a good number of them went to RDB. It was only fitting that these films be passed on to RD, from one trend-setting duo to another trend-setting composer. I have read that Jaikishan wanted to build a music school, Mr. Korti, can you please confirm if this is true.

    I am not sure if anyone here has heard Jaikishan singing (maybe Mr. Korti and Mr. Haldar have). I have a rare clip which I obtained a few years back in which Ameen Sayani presented Jaikishan singing a ghazal. What is interesting is that the tune of this ghazal is similar to L-P’s “Gore Gore Chand Se Mukh Pe” sung by Mukesh from Anita. Maybe the tune is from a common source and both Laxmikant and Jai were inspired from there. What I’m wondering is, maybe Jai was thinking of converting this ghazal into a future film song but never got the opportunity to do so. I can bet that it would have been sung by the Badshah Rafi-saab. I have the clip of Jai’s singing as well as the whole Ameen Sayani tribute to S-J, I will upload it for whoever is interested. There is an interview of Pallavi Jaikishan as well in the program, you should see the way she gushes about Rafi-saab, when remembering the recording she attended for Jai’s “Mujhko apne gale laga lo”, Rafi with Mubarak Begum from Humrahi.

    The story behind that song is that Mubarak Begum was told that her voice was to be used only as a “filler”, and Lata would dub over her portions later on. Jai waited till the last minute for Lata to show up but she never did. So the female portion of the song was kept in the voice of Mubarak Begum.

  9. Raju Korti says:

    mr rao
    thanks. i have met mr vishwas nerurkar, who has written the rafi geetkosh and also a geetkosh on op nayyar. he is a great fan of nayyarsaab. by the way i also know mr vishwas chatterji who have compiled a complete geetkosh (glossary of songs) of hindi songs from 1940s till date. i can be contacted on 9819319157, 9833371357 and 9321939345 between 3 noon and 10pm.
    one thing i want to make clear. i am great fan of all the mds of those times, including second and third line composers like c arjun, ramlal, iqbal qureshi, lala asad sattar, sapan jagmohan, sn tripathi, jamal sen, usha khanna, sardar malik and many more.

  10. P. Haldar says:

    mr. korti, your posts on sj are excellent. Please keep posting more anecdotes about the duo. We know so little about them compared to rd and his contemporaries. Just a couple of corrections: shankar was a punjabi, but he grew up in andhra pradesh. And, if I remember correctly, Jai was around 39 when he passed away in 1971, the biggest blow to hfm till then and the second biggest blow overall.

  11. myk says:

    Dear Rao-ji,

    Thanks for your kind words, I have Mr. Nerurkar’s book as well, Thanks also for the offer.

    The book is an excellent tribute to S-J, very detailed, with a complete filmography on their works as well as rare pictures and great articles. It’s an excellent collectors item and a must-have for any S-J fan. Mr. Nerurkar’s books have all been great.

    Rao-ji, would you by any chance be able to get me Mr. Nerurkar’s book on RD Burman ?. I am based in Toronto, and I received the S-J book via mail from a friend. If possible, please let me know if the book is available, and what the price is, I heard Mr. Nerurkar was going to come out with a second edition. I would really like to have the second updated edition of this book.

  12. Maruti Rao says:

    Dear Shri MYK and Shri Raju Korti,

    The information written by you both on SJ is excellent. I am also very very die hard fan of SJ and Rafi (of course of Shailendra and Hasrat ).

    I have a book on SJ- (Saat Suro ke rang-English and Hindi) by Mr.Vishwas Nerurkar. I do not know whether you have read it or not. This is an bio graphy of SJ . It contains rarest pictures of them . It also has a deep information about their working styles etc.

    I am based in Mumbai . Please let me know if any one of you would like to read it .

    There is also new book on SJ recently come up. I will let you know shortly.
    My cell no is 9987558607


    Maruti Rao

  13. Raju Korti says:

    dear myk and all
    from 1956 to 1965 when op nayyar arrived like a collossus to steal a commercial and melodious march over all his great contemporaries with his unique blende of rhythm and melody, sj were the most affected. yet, sj continued to do great work. op told that he had the greatest regards for shankar-jaikishen. “koi bhi parakh le aise aise heere moti diye hain”, he said of the duo, though his highest respects were reserved for sajjad hussain and c ramchandra.
    actually, the film industry got its first composer duo in husnlal bhagatram and sj admitted at that point of time that hb inspired them. that was all.
    sj revolutionalised melody in the sense they made it look so easy that anyone could sing those tunes without having to strain their vocal chords. though jaikishen and shankar were poles apart by nature, they complemented each other to perfection. such was their togetherness that even films where the score was composed by either of the two, the credit went to both of them equally. there was no rancour here. for instance, the songs from amrapali were all classical based and composed by shankar himself. unfortunately jai, a great and magnanimous human being, got into binge drinking for personal reasons. so much that he met an untimely death at just 34. forget his compositions, he was as good looking as any other hero on screen. remember raj kapoor’s shree 420 where jai acts a small part as nadira’s drunkard husband. he even acted a hero in begunah, suprisingly opting for mukesh’s voice in the songs “ae pyaase dil bejubaan” and “kisi nargisi nazar ko dil denge hum.”
    after jai’s death, shankar was only a pale shadow of himself. the rhythm was gone and eventually, shankar also died a disillussioned man. as i have said in one of my earlier posts, the film industry is cruel and crassly commercial. it is a testimony to the greatness of the duo that today we have any number of composer duos who all swear by sj but churn out trash.

  14. Shekhar says:

    It is frequently quoted that SDB told Kishore that no one could have sang the three solos of Guide better than Rafi. What is the SOURCE of this information? How do I know this isn’t a false anecdote on the Internet? If someone could provide me a primary source (other than the song which makes it very believable) – I would be grateful. Thanks.

    This statement has been stated too many times to be uncited as it is.

  15. myk says:

    Dear Korti-ji,

    S-J were indeed the greatest composers, they were the perfect mix of class and mass. I have read that Jaikishan taught Kalyanji studio balancing and mixing, K-A, L-P and Pancham were all big fans of the duo as were countless others, they were a school of composing. If Rafi revolutionized playback singing, then the same can be said of S-J when it comes to music. Their variety is mindboggling, the amount of genres they have covered is amazing, they were truly the best of the best. Had Jai not passed away so early, I think we would have seen them shine in the 70’s as well.

    It would be great to meet with you and other Rafi fans on this forum. Please do take up the idea of writing a book, I think you would do a fantastic job, and it would be a treat for all us Rafi fans.

  16. Raju Korti says:

    dear myk
    thanks a ton. yes, i am indeed lucky to have met rafisaab and to be present at some of his recordings. but please do not feel deprived. i think you are as lucky as all of us fans. we are all privileged to have been born in the same century as the maestro. rafisaab is like a whiff of fresh, perfumed breeze that brings relief and serenity to us. his voice is the best thing to have happened to all of us. isn’t it wonderful that we are all here, don’t know most of us by faces and yet the rafi chord connects us? that’s what rafi magic is all about — to bring diverse people drawn from different ethnicities, cultures, religions and castes under one religion that is as lofty as it can get — the rafi religion.
    yes, i have also had the privilege to meet the great duo of shankar jaikishen. they are, according to me, the best composers of all times. of course there were sdb, naushad, c ramchandra, naushad, op, mm, and a host of second and third line composers. but why i would rate sj highly is because of their consistency and their ability to make simple, yet hummable and intense tunes. they were truly the composers of masses, but they never became frivolous. both complemented each other like they were made for each other in heavens. while jai was flamboyant and light, shankar, the south indian was more intense and classically inclined. if shankar had mukesh singing dost dost na raha for him, jai had rafi going on rajendra kumar with the soft romantic yeh mera prem patra padhkar. some day i will list — as much as i can remember — the songs each composed — though they went under the names of both. i have a goold black and white pic of rafisaab snuggled between the duo.
    with a lot of fear and apprehension, i concede to write a book, but before i venture into this risky exercise, for which i may not be really cut out, i need to meet you all rafi lovers.
    god knows whether that book will happen or not, but i will always revel in the nostalgia that somebody afforded me the honour of writing about a person whose heights few people can reach in the history of mankind.

  17. myk says:

    Dear Korti-ji

    You are so lucky to have met Rafi-saab as well as witnessed his live recordings. Not many people have had the fortune of doing so, and it must have been the experience of a lifetime. Add to that the number of people you have interviewed in the industry about Rafi-saab, I really hope you continue to share your experiences with us.

    The AEIP recording must have been a thrill ride, seeing Rafi record that song. I assume you also had the chance to interact with Shankar and Jaikishan ?. How was it like meeting them, they were genius MD’s, its sad that Jai left this world so early. There is a picture I saw of Rafi-saab along with Jaikishan, Shakti Samantha and Sharmila Tagore from that same recording.

    My father is the biggest and greatest Rafi fan that I know, and I am happy that I have come to know an interact with other big and great Rafi fans out there on this forum such as yourself, Haldar-ji, XXX-ji, Manish-ji, Binu-ji, HV Guru Murthy-ji and various other Rafi fans (my apologies if I haven’t taken other names, you all are also big and great Rafi fans). I myself am a huge fan of the legend, and I am thrilled to interact with everyone here on a regular basis. I hope we can all continue to share our thoughts, experiences etc. of ‘saatwan sur’.

    I also think you should come out with a book on Rafi-saab, as the information that you have cannot be found just anywhere.

  18. A S MURTY says:

    raju korti ji, thanks for your post 82. it was by itself very informative and made absorbing reading. i totally agree with you that the persona of rafi sahab can never be encompassed in one book, however large it may be. he was too big to fit into any defined frames. i also agree that most people do not know much about rafi sahab, for the simple reason that rafi sahab was publicity-shy and spoke little to most people. but even then, each new book on rafi sahab is a gift to all of us and you have known him closer than many of us. while we only know of his songs and a few bits of stories here and there about his persona, you have had a much deeper insight into his life. it is with these inputs that we have requested you to take the up this challenging task and we are sure to find newer anecdotes, newer insights and a far more revealing picture than we have had access to all these years. yes you may feel that you may not have done justice after resting your pen on rafi sahab, but that little ‘effort’ on your part will be more than satisfying to us all to know ‘your rafi’ as well. please begin in right earnest and believe me when i say that all of us would love to possess the book.

  19. Raju Korti says:

    to all the rafi admirers out there
    i am overwhelmed and touched by the affection and faith you all have expressed in me on the issue of writing rafi’s biography. in one of my threads i have already expressed my feelings on the gigantic magnitude of this task. i doubt if anyone is really equipped to write about him. that’s because it is virtually impossible to encapsulate the legend in words. i know i can write a 10,000 page book on him and yet i may be left with the nagging feeling that i haven’t done justice to the man and his achievements. that is my only fear. i do not want to live with this sickening feeling that i could not be fair to someone who brought such unrequited joy to millions across the world — me being one just small fry. i would rather prefer that this great forum is kept going with an unending stream of anecdotes, stories, song narrations and just about everything that connects with the mighty rafisaab.
    i do not claim to be a know-all on rafi. yes, i have first-hand access to a whole of of information and privy to many conversations and incidents concerning rafi. i have had the privilege to meet many music directors, lyricists, instrumentalists, actors and big-time dignitories who spoke so glowingly about him all the time. but i still feel handicapped that i am perhaps yet to know a lot about him.
    one reason was rafisaab was a man of very few words, very reticent. shy and self-effacing, his humility was amazing. i cannot ever forget those days when i met him. if i write about all that we exchanged, it wouldn’t even run into 50 pages. but his gentleman demeanour, impeccable, polished manners brought to fore an unfathomable spectrum of dimensions to his personality. he wasn’t educated, but he is easily the most dignified and cultured person i have met in life. and believe me, in my profession, i have met thousands of national and international legends.
    my most endearing memory of him was when he personally walked down the steps to greet me, hands folded in a warm namaste and face that sported an innocent and cherubic smile. not much was exchanged in that meeting, but i can never forget that throughout the meeting his head was always bowed in complete humility. later, i came to know from the more veterans that he was always like that, no matter whom he met. while his singing prowess is non pareil, what most people always marvelled at was his humility. it was mind boggling. to call him a farishta is an understatement. there was nothing put on about him. with him everything was so simple. even singing, which was child’s play for him.
    i have had the good fortune of witnessing (and hearing) some of his recordings. believe me, i haven’t got out of that stupor yet. i will tell a detailed story of these experiences some time, but i will tell you all for a fact that he was so expressive during his recordings that even established heroes took cue. sunil dutt once acknowleged to me that there could never be any dispute as to who was the real hero of the film. rafisaab was both the crowned and uncrowned king. it was quite ironic. here was a man who was simplicity personified to the point that he never looked people in the eye. and there were any number of big shots who were in complete awe of him. afterall, one becomes a legend by virtue of his persona and abilities, isn’t it?
    rafisaab’s legendary exploits are stuff folklores are made of. i still remember one recording from an evening in paris where rafi walked into the recording room with silent steps, just smiling at people. he hardly spoke. once in front of the mike, he was a different man altogether. he directly went into an octave with o janeman kinaro (aasman se aaya farishta). he made quite a picture with his serene smile, hands held up to match the octave. recording done, he simply wished everyone and went off, leaving the air wafting with the perfume of his ‘attar’ and the melody of his notes. memories are many, and all so close to my heart. seeing your idol in flesh and blood is an experinece one can only feel from within.
    i will try to share my rafi with your’s. let’s get drenched in the downpour called rafi.
    ps: please apologise for any keying in errors, if any.

  20. P. Haldar says:

    ref post 77:

    anmol ji, thanks for your kind words. I second your suggestion that mr. korti should write a book on the farishta. He has so much to share. As for me, I am a passionate rafi lover who loves to share his views. But I don’t have the inside knowledge that’s important for writing a book. If mr. korti writes a book, I’d like to be the first person to buy it.

  21. A S MURTY says:

    further to posts 78 and 79, let me also add that other good rafi-lovers who have the best of ‘articles on rafi sahab’, ‘photographs of rafi sahab and his family’ etc. can also contribute for the book. others who have good anecdotes (veriafiable ones) can also chip in. there are quite a few books in the market already, but another one will only add to the glory and perhaps such a book can be translated later into urdu and hindi too, since these two languages command the highest readership among lovers of rafi sahab’s music and songs.

  22. Mr. Murtyji,

    Refer Post No. 78. I am ready to do any thing for Rafiji who has done so much for us with his wonderful songs.

  23. A S MURTY says:

    ref post 77 by anmolsinghji, i second his proposal for a book in english by the likes of raju kortiji, p haldarji and would also request other knowledgeable persons like h v gurumurthyji, s venkatadriji and some more of the better informed rafi-lovers to create such a unique biography on rafi sahab. perhaps there can be a sort of a “writers’ guild” within the die-hard fans of rafi sahab. such a book would sell like hot cakes i am sure. it would go a long way in showing our dedication to the memory of rafi sahab and will be a big feather in our caps.

  24. Anmol Singh says:

    Dear Raju Korti & P Haldar,

    Seeing your Knowledge and understanding of the Farishta through your writings, I am of the option that both of you should jointly pen down Rafi Sahab’s biography in English.

    Possibly it would be a great feat for all the Rafi Fans, once we see the biography of this great personality all the leading stores world wide. His great qualities as a person need to be highlighted.

  25. suraj says:

    correction – not aradhana duets but aradhana *solos*! sorry i mistyped.

  26. suraj says:

    on the subject of raju bharatan’s knowledge & dada burman. raju bharatan says rdb took over when sdb got sick. amit kumar says he was there when dada burman was having kishore sing the song. i think other *primary* sources also say that dada was recording the two aradhana duets with kishore. due to this inconsistency of primary sources, i don’t know who to believe. any ideas? of course pancham played instruments in his father’s compositions – but the harmonica in mere sapano ki rani points to pancham. more importantly, the picturisation of mere sapno ki rani implies the song should have been romantic (hero courting sharmilee and singing to her). yet to me, despite the lyrics, it was rendered less of a *romantic* song but more of a *fun* song, just like koi haseena jab root jati hai (which i thought again should have been a romantic song but turned out to be a “fun” song). that’s my subjective analysis. both these measures point to pancham and raju being correct. so what do you guys think? maybe amit was very young and didn’t remember too well.

  27. myk says:

    Dear. Mr. Korti,

    Excellent write-up, Thanks a lot. The Chandan Ka Palna composition “Tumhein Dekha Hai Maine” is indeed excellent, one of Pancham’s best songs ever. When I first heard the song I didn’t know Pancham was the composer, and I was surprised and delighted at the same time to find out it was RDB who composed this song. It’s a song in the ghazal genre along with a classical flavour and Rafi’s rendition is out of this world, so soft and soulful at the same time. The composition has a touchy feeling as well, right from the intro music and notes, all the way throughout. It’s great to know that this gem was Pancham’s prized composition, and what a song it is. There is another beautiful duet from the same film “Zulfon Ko Aap”, Rafi with Asha, it is a great melody.

    Mr. Korti, What were Pancham’s feelings when Rafi won the Filmfare and National Award for “Kya hua tera vaada” (HKKN) ?. I am sure he must have felt on top of the world that he created a song for “Saatwan Sur” that received such great recognition. It was sad that HKKN didn’t win the best music award for 1977. As much as I love AAA’s music, the music of HKKN was better, it was an embarrassment of musical riches, one of those out of the world Pancham albums. I mentioned this in another thread, that it seems everytime Pancham and Rafi came together, the result was melody and innovative compositions.


    Dear Manish,

    I know that Mr. Haldar listed the reasons/factors why SDB didn’t use Rafi as much in the 70’s, and I know we discussed it as well, but the reason why I also asked Mr. Korti is because I wanted to find out if there was anything else behind SDB not using Rafi as much in the 70’s. What Mr. Korti mentioned is what has been discussed earlier, that SDB was not in the best of health during that time. All the reasons and comments by Mr. Korti, Mr. Haldar, yourself, and others, make sense as to why we didn’t see much of SDB and Rafi in the 70’s aside from choice songs.

    I also appreciate, and like, the variety that you mentioned, and SDB-KK did produce gems in the 70’s, but it never matched up to what SDB-Rafi produced overall. Even in the 70’s, “mera man tera pyaasa” and “teri bindiya re” were the best songs of their respective films, among the other KK songs in those films, and they yet again proved without a doubt that Rafi was the greatest of them all.

    When you have been exposed to the “best”, its natural that other things will pale in comparison lol. Kishore-SDB was a great pair, but Rafi-SDB was in a league of their own, and Imagine some of those songs from Sharmilee, TMS, Mili, Arjun Pandit etc. going to Rafi, he would have done wonders with them. Kishore did an excellent job but Rafi would have turned those songs into all-time classics. It’s alright though, even though SDB-Rafi didn’t work as much in the 70’s as earlier, they still are one of the greatest combo’s in film history and we have many songs from them to cherish forever. They didn’t need to work as much in the 70’s for their combo to be gold, the gold was already established previously. In the 70’s, we gained gems from Kishore-SDB which is also a great thing.

  28. Raju Korti says:

    thanks mr halder
    if there was one response i was really looking forward to, it was your’s. i hope to sit one day with you and share my long, long experiences and anecdotes with you. sometimes i feel so helpless. rafi is an ocean. there is no end to the avenues and vistas that he opens for you whenever you write something about him. i am completely bogged down by this nagging feeling that i may not be able to last a lifetime writing about this man who has swamped the lives of all of us with such depth of emotion. a myriad of ideas and millions of shades of sentiments overwhelm me when i think about rafi — which is almost round the clock. one day i hope to write an epic about him — a completely different perspective about this man who was so simple, so unassuming, so god-fearing, so affable, so innocent and so benign. vocabulary falls short. if i can do that that in my next hundred births, i will have done my duty on this mortal earth. and i am not being too sentimental nor am i going overboard. i think i must stop here. let me not demean the dictionary and thesaurus to decsribe someone who is as wanted and necessary as the ectoplasm in the atmosphere.

  29. P. Haldar says:

    mr. korti, what a wonderful post! You are one lucky person. I just loved your portrayal of dada’s tooti-footi hindi (was it something like “tum kya korta hai?”) and the mountain-mohammad analogy. If anyone wants to listen to the benazir song mr. korti has mentioned, here’s the link:

  30. binus2000 says:

    rony ji… post 59..

    rafi ji had the most “melodious” voice ever in singing; but he rarely
    talked much as he sincerely believed that his voice when speaking
    was non-melodious.

    since he was god gifted, he could sing any song to perfection – in any
    “sur” – like a knife cuts the butter, very effortlous – ly.

    binu nair….. the rafi foundation…

  31. Raju Korti says:

    dear myk
    to answer your queries, i will have to repeat some of my observations from the earlier post. but still, i must elaborate without being too subjective. your pertinent question why dada didn’t use rafi much after the 70s has a simple answer. in the seventies, dada was bogged down with an indifferent health. in any case, there were not many films that he composed. i wouldn’t like to reel out statistics, but you see rafi has been used in choice songs. most of the assignments dada had were being done by rdb by proxy. but not too much should be read into this since pancham and his mother meera burman had already been doing that since the fifties. some day, i shall list most of the songs that have dada’s name on the record, but the tunes were actually conceived by his son and his wife. and surprise of surprises, some of the extremely romantic and melodius rafi numbers (tere ghar ke saamne, kala bazar etc) were pancham’s brainchild. i have seen and heard pancham completely mesmerised and groping for words when talking about this chandan ka palna song. it’s a song which is out of this world for its amazing rendition. pancham gushed on this song, prising that it was his prize composition.
    in your post, you say you know pancham used rafi quite a lot even in seventies. what does that signify? that he was against rafi? i will tell you, pancham was the victim of his own doings. in an attempt to become maverick, he started throwing musical norms to wind. the result was some outrageous piece of work. but when in his senses, he did great work too. if you analyse pancham’s career, you will see it punctuated by some really masterpiece performances. the trend that he introduced was exploited by other composers to the extent that he was beaten at his own game. and as for rafi, as i said earlier, he had cut down on his assignments for various reasons. it was a period when he was at his personal (not musical) ebb. it was left to his mentor naushad to bring back rafi into the pristine glory that was pre-eminently his.
    now coming to whims, even dada had his own. take kala bazar for instance. he employed manna dey (saanjh dhali) going on the stylish dev who was singing the intensely romantic khoya khoya chand in the same movie. now it was not as if manna was singing any better than rafi or rafi any less than manna. talat (kinare kinare, house number 44 etc) and hemant (house number 44, jaal etc) also entered dada’s recording rooms by this yardstick. mind you, i am not trying to run down talat and hemant, who were good in their own right. as for kishore, i have already said the burmans thought of him as their protege. rafi was the only one who came on pure merit and not on any whim or instinct.
    referring to the comparisons lendl-macenroe and bradman-sobers, i admit they sound quite attractive, but i do not know for sure whether the burmans really felt this way or it was some journalist trying to spice up his copy. but i have seen pancham misty-eyed when rafi suddenly passed away, leaving the music industry orphaned. and that was the time, pancham was not close to asha the way they became before the former’s death.
    in anutshell, dada and pancham had too much of respect for rafi to rubbish him. i hope i have made myself clearer. but one point: let’s not condemn raju bharatan roundly. i admit some of his recent articles and observations have been unseemly, but he is a knowledgeable person. i know of many articles wherein he has praised rafi sky high. at this juncture, we must ignore him saying “sathiya gaya hai.” can you believe that lata was apprehensive of talking to me simply because my name too started with raju? she said one raju has done enough damage by “writing all rubbish about her in the biography bharatan wrote. that, i believe is what is collateral damage.

  32. Manish Kumar says:


    you already know my thoughts on rafi in the 70s so i’ll be relatively brief. as p haldar suggested – sdb didn’t need his ace in the 70s like he did in the 60s with the likes of sj or roshan. second, early 70s was the kishore wave and all his songs (even his lesser ones) were selling like hot cakes. third, variety – to me personally this is important in music. fourth, as you told me a while ago, sdb could have seen this as his chance to give kishore a break. sdb himself saw kishore struggle for 23 years and not get his due – finally! so why NOT go for kishore? aces were easier to score in the 70s anyway.

    you and i are errr biased rafi fans (sorry can’t help it lol). of course we think rafi versions of 70s songs would have been the best by far. in any case, the sdb-kk pair was very successful in 70s and even if that costs the sdb-rafi 70s period – i’m fine with it and more than satisfied! 🙂

  33. rony says:



  34. myk says:

    Would like to add, when I mentioned “market and producer pressures”, I did not mean pressure from the market to not take Rafi. Rafi was always a market force no matter what the period, his songs always sold big and were always popular. What I was referring to in my statement was what Mr. Korti had mentioned which was, “suprisingly, rdb, who i consider as an erratic master, was led on by his whimsical instincts and the market players”.

  35. myk says:

    Dear Mr. Korti,

    I forgot to add, did Pancham have any personal favourites that he composed for Rafi, any songs that were close to his heart ?. How about any specific incidents related to the creation of certain songs.

  36. myk says:

    Dear. Mr. Korti,

    Thanks a lot for your detailed analysis, it was an excellent read. Can you please comment on:


    a) Why did Dada Burman move away from Rafi in the 70’s when Rafi was his first serve and he thought he was the greatest ?. Kishore became popular, and Dada didn’t have anything against him, but was there any reason to use Rafi less during that time ?. Could Dada’s ill health and others taking over his films have anything to do with Rafi’s non-presence in his recording rooms ?. Usually others would mean RDB, but he never had anything against Rafi and used him much more than Dada in the 70’s, so when I say others I don’t mean Pancham unless he was in charge and as you pointed out market and producer pressures etc. were involved here just like in Pancham’s own films. When Dada was healthy, he preferred more of Kishore to Rafi during that time, why is that ?.

    Mr. Haldar mentioned an interesting point about how SD used to drop singers based on the situation. Early on he used Suraiya, Geeta, Lata and when he had a bad patch with Lata, Asha became his main singer, when Lata and him made up, he dropped Asha. On the male side, he earlier used Talat, Kishore and Hemant, dropped them all in favour of Rafi, then after Aradhana Kishore became his main singer.

    b) I read one of your posts where you mentioned what Pancham had to say about Rafi saab on the VB radio show and the song from Chandan Ka Palna. I have been looking for many anecdotes about where Pancham talks about Rafi but they are very hard to find. Can you please write more about what Pancham had to say about Rafi ?, including at the time of Rafi’s passing away and just in general.

    I read on Wikipedia that Rafi’s death stuns RDB, as it does the entire nation:

    Contrary to popular belief that Pancham wasn’t really affected by Rafi’s death, I am sure he was affected. Can you please comment on this aspect as well ?.

    I have read about how Pancham compared Rafi and Kishore to Lendl (Rafi) and McEnroe (Kishore), is this true ?. This is similar to how he compared Lata (Bradman) and Asha (Sobers). In my view Lendl was a much better and more talented player than McEnroe, so that sums it up.

    It is great to know that Pancham was dreamy-eyed and in complete awe of Rafi-saab. The media and Raju Bharatan give a totally different impression.


    Both Dada’s and Pancham’s best songs and landmark albums came through Rafi. They may have had a personal relationship with Kishore, but their relationship with Rafi must have also been personal and was excellent as well. It is a fact, that whatever they both composed for Rafi, no other singer could render.

  37. binus2000 says:

    raju korti ji…. good one and much needed for the record. post 63..

    to add a point, when i was in kerala, ahmed bhai rafi’s friend told
    me : no, r.d.b. was never against rafi.
    r.d.b. himself went to rafi’s house to cajole him to start singing or
    to sing for him. this statement reinforces rajus above lines.

    binu nair.

  38. Raju Korti says:

    dear myk
    a lot has been written about rdb-rafi relationships in the threads on this site. but i am afraid most are speculative, hearsay and concocted. without being prejudicial to all those who have been contributing their info here, i may say that mr p halder has been quite there. to explain the chord between the two would need reams of paper, but i will cut the long story short.
    at the outset, i must make it clear that it is a complete myth that rdb had no regards for rafi. yes, both dada and rdb were musically inclined towards kishore. dada for one never hid the fact that he regarded kishore as his ‘manasputra’. but he always acknowledged rafi as a genius without peer. he once told me that he composed great tunes for kishore and he sang them well too, but rafi was up, up there where no one could touch him. he would even chide kishore saying he could never become a rafi. “howsoever i liked kishore, rafi always took my breath away with his phenomenal range and exceptional brilliance,” he conceded. saying thus, he even proceeded to hum the rafi classic from benazir “dil mein ek jaane tamanna ne jagah paayi hai”. and when he hummed a few lines, it became crystal clear how rafi gave the words a majestic expression. for me, it was a heady experience and dada was unabashed when he gushed how his tooti-footi hindi could be grasped with such amazing ease by the maestro.
    pancham grew up under dada’s shadow. he had been seeing rafi’s vocal dominance over the decades and was in complete awe of the singer. at this juncture, i must point out that that if rdb cared two hoots for rafi, why did the legend sing so many songs for him — and even till the end? true, in the wake of aradhana wave and rafi being told by some people that singing was against the tenets of islam, our hero took a backseat, but by no means he was out. remember, rdb was using rafi’s services even in his so called lean period. if the scales tilted in kishore’s favour, the fault lay not with the likes of rajesh khanna. for all their considered supremacy, most music directors (with the honourable exception of op nayyar) succumbed to either their whims or pressures from actors/producers of their time. a legend like naushad quietly replaced talat for mahendra kapoor, a master like shanker (of sj) had the audacity to chose sharda because he had a “soft spot for her”. c ramchandra carried his talat obsession to the extent he aped him in azad (kitna hansi hai mausam). the tail (or tale) is endless.
    rdb too succumbed to the new wave pressure, and for some time, a convenient impression was sought to be created that rafi was no longer currency. some wannabe mds and jealous singers joined in spreading this canards. for all his lung power, rafi was poor at one thing. he never sold himself and hardly marketed himself. ironically, it was just as well. afterall, mountain should never go to mohammad (pun unintended). this was one mohammad who was a mountain himself.
    suprisingly, rdb, who i consider as an erratic master, was led on by his whimsical instincts and the market players. it is another story that he had to lean on rafi whenever he was at a dead end. in the quicksands of film industry, values don’t count much. a rafi as an exception only proves the rule.
    i know for sure rdb looked dreamy-eyed when rafi was near him. “he is a good composer, provided he is controlled,” is what dada said of rdb. and that probably summed it up. i can cite many rafi songs which have been credited to dada on record, but are actually rdb’s creations.
    the point i am trying to make is we as discerning listeners shouldunderstand who says what about whom and in what context. especially in an industry where hypocrites abound. rafi held sway on such a fickle profession for over four decades. that should settle all the issues once and for all. rafi was the engine, others were rakes.
    please do not believe that rdb hadn’t much respect for rafi. read all the equations in the contexts of individual whims, market forces and personal compulsions.

    ps: i referred to nayyar as an honourable exception. we all know he chose mahendra kapoor for songs that should have had rafi’s ownership. but true to his candid and forthright nature, nayyar admitted that he erred in having mahendra kapoor in his recording room. i remember his comment which was typically straight like him: “they (shankar-jaikishen) blundered by using sharda, but what different did i do using mahendra kapoor?”
    i hope you get my point

  39. myk says:

    Mr. Raju Korti,

    Can you please elaborate more on the RDB-Rafi relationship and any inside details you may have about their association, in the RD-Rafi thread. I am very curious to know.

    I read that you had the chance to meet Burman Dada, what an experience that must have been. Did you get a chance to meet Pancham ?.

  40. binus2000 says:

    tales of wasted talents abound and jaidev ji was a sure victim
    just like many artistes of the era who are “marketing failures”.

    why blame somebody for this as i remember dev sahebs’s words:
    he said, every one has his takdeer (luck), some succeed some
    others do not…

    quite true…. and significant to this context.

    binu nair.

  41. xxx says:

    haldar ji, “chal ri sajni” was one of the best vidayi songs and one of the best of mukesh as well.infact sd burman is the name which is associated with a one of the best of every great singer from yesteryears..

    1. sd wd one of the best of rafi ji:: wd one of the best of manna:: wd one of the best of mukesh::

    4.alhough talat rendered beautiful songs under baton of many but this one wd sd is stupendous in terms of class & mass appeal::

    5. kishore’s one of the best with dada::

    6.lata’s best with dada::

    7.asha’s one of the best wd dada::

    8.geeta’s best with dada::

    9.shamshaad begum’s one of the best and most popular is also with sd::

    10 and ofcourse hemant kumar’s breakthrough song::


  42. P. Haldar says:

    ref post 53:

    xxx, as expected, you are right on spot. But why didn’t you mention the other song with the chorus in the background? One of the best bidaai songs.

  43. Raju Korti says:

    i do not want to enter into this harangue, but i would like to share one small, but very significant aspect about the dada-jaidev conundrum. sdb once told me that he was very appreciative of jaidev and nothing pleased him more than to see his one-time protege break the shackles and go solo in hum dono. in fact, he even went to the extent saying kabhi khud pe kabhi haalat pe rona aaya was the kind of composition he would have loved to score himself. all this talk about dada running down jaidev is rubbish and a figment of someone’s fertile (?) imagination.

  44. xxx says:

    the maestro who left the movies like “madhumati” & “phir wahi dil laya hoon” for the sake of others, emotionally blackmailed dev to through out jaidev!!!….. ironic!!!

    i dn know abt odrs but to my surprise iyer ji associated piloo with rdb,although in 60s his first classical gem with lata came under same thaat as that of plioo(kaafi thaat), i think we should associate some more prestigious names with this sweet raaga like naushad ji or roshan sahab, i dnt think that piloo was rdb’s fav raaga.

    by the way here is roshan-rafi gem in piloo…

  45. P. Haldar says:

    Mr. Iyer, I don’t want to needlessly drag this controversy any further, but let me make a few points. If you read your post (no. 15) carefully, you have cast s. d. burman as a villain and shailendra as a co-conspirator in the plot. I don’t doubt the veracity of your interview with Jaidev. But you yourself have said that Jaidev didn’t identify the songs, not even the fact that the songs were the ones in guide, yet you are quick to make a leap of faith based on two ragas: bilawal and gara. You mention pahadi as Ravi’s personal domain and gara as Jaidev’s. I’m sure you are aware of several hit compositions of dada’s in pahadi, including in Guide. Did Ravi compose Gaata rahe and Dil Pukare? Pahadi has been used by so many md’s that there is no point in mentioning them. But here’s a list: khayyam, sd, naushad, sj, op, lp, roshan, shiv-hari… No one has a monopoly on ragas, though I’d admit some of them excel at some. The truly great ones, like naushad, sj and sd, can use almost all the ragas effectively.

    Hum Dono came out in 1961 and Guide came out in 1965. In between Jaidev composed the score for at least two films independently: Kinare Kinare (directed by Chetan Anand) and Mujhe Jeene Do. And dada worked on several films in that period, including baat ek raat ki, bandini, tgks, msta, and possibly teen deviyan. After hum dono, it was tere ghar ke samne for navketan. And if what Jaidev has told you is indeed true, you could consider teen deviyan. There are two rafi solos there, and one of them is in “gara”. Given the plot, you could have gone down that trail, but you didn’t. Because you wanted to snatch dada’s jewel from him, the one and only guide, whose popularity will only increase with time. If you want to play Sherlock Holmes, try to do a better job next time.

    From your post, it appears that Jaidev couldn’t work for anyone but Dev. Weren’t there other producers around? How did Ravi and Chitragupta get so many films? Did dada call every producer and tell them not to use Jaidev? Here’s a man who never lobbied for a Filmfare award and you have the audacity to come to this site and tarnish his image!

    And I am not sure what you meant by “jaidev a punjabi was a disciple of Ustad Ali Akbar Khan”. Do you know what the ustad’s ethnicity is? He is a bengali whose father was the pre-eminent Ustad Allaudin Khan, under whom sd took talim. And junior burman learnt to play the sarod under Ustad Ali Akbar Khan. The burmans shared a much stronger relationship with the Khans than you’d care to know about.

  46. xxx says:

    ref to p 43::

    manish kumar ji,

    dada once in 1972 open heartdly admired the work of madan mohan ji for his movie dastak. he equates his work to the stalwarts like ravishankar & vilayat khan, i think dada was only maestro who appreciated madanji during pre 75, all others appreciated him post 75(including naushadji)..

    here is link, he gave his views on madan mohan, naushad & his son rahul in last four questions..

  47. xxx says:

    haldar ji,

    the magical duet from the same movie is this one::
    long live rafi sahab

    sargam of this song is pure melody, asha also sung well but as usually rafi sahab definiately had edge over her in this song, juss listen to those lines by rafi sahab “jane kahan hoke bahar aayi”… great singer!! sheeer magic

  48. xxx says:

    haldar ji,

    you must be reffering to this one::

    Rafi ji’s gem

    and here is another magical rafi ji’s duet from the same movie::

    great rafiji duet

    haldar ji these songs will always be remember among the best of rafi sahab.

  49. k b iyer says:

    Mr. Haldar,,
    This will be my last posting on this subject. Whatever I have said is true, and enough reasons to beleive. I also respect, admire Dada burman and am a fan of his. Jaydev came to Navketan much before Dada had arrived. Dada and Dev shared a very close, professional and emotional relationship. JD was only employee of Navketan and Dev was his employer. Every employer expects his employee should be honest, and obedient. that is what JD proved. His boss asked him to leave Guide, he obeyed, His employer told him that whatever work he has done will be used, he didn’t protest, he was asked to assist Dada, and he accepted. Rememb er, JD was not dada’s choice as assistant, but forced by Navketan. Dev sab has confirmed in a interview to worldspace that there were major replacements in Guide. Other than JD, Chetan Anand, and Vyjayantimala were other replacements. remember JD was assistant to Dada only for Navketan. Bilawar is very common raga Dada doesn’t need JD I agree. But to compose correct melody at the right time is important and nobody knows who will strike. In 60’s every MD has a prefered favourite raga and when they composed song on that raga they excelled. SJ had Bhairavi, Roshan had Yaman, KA had Charukesi, Ravi had Pahadi, RDB had Piloo, and JD for Bhairavi If you make a list of 10 best hindi songs based on Bilawar minimum 5 will be of JD. When Jd told me that his two composition are used in Guide, and didn’t tell any other details. and when I heared Din dal jaye… I had doubt it could be of JD, because it was Bilawar. or may be Tere mere Sapne.. which was based on Gara, he had Kabhi kud pe.. (Hum Dono) on Gara, very successful composition. Dronacharya used all the tricks to stop Eklavya t0 protect Arjuna. Dada is also human, emotional , Music direction is a business also. Navketan is his regular good customer. No businessman will want to loose a good customer. It happens everywhere. You are offered a promotion, and a hard project work side by side, when you finish some tough work, and somebody else takes over from you, and accepts all the credit for your contribution also. Hum Dona was not a Navketan film Guide was the first film JD got from his employer, had he completed his carear would have been different. He died in 1986 Jan.06 like a begger. H e was bachelor and didn’t even had a house of his own anywhere in the world. his future was grounded before take off. After Guide he didn’t work with Navketan, and Dev also didn’t bother .

  50. Prakash Shah says:

    Srirangji u r absolutely right abt.Rafiji’s life time one of the best among best is din dhal jaaye… and who has god given heeart and mind and knowledge of understanding the meanings of the songs could/would have pass thro the same feeling at the time of listening the song.
    The Guide storyline was very very bold at the time of its release(1967) and thanks to viewers of that time for theire contribution to run Guide silverjubilee.As u mentioned it is team dedication that made a product like guide.
    But apart from all the team work only one and only one Vijay Anand (Goldie) can handle this timeless/spaceless subject.And if u analyse goldies than u find his directorial talent or musical sense to get out best from his artist,he was trend setter in his subject(He never repeat his subject)but others made many film after his film hit on silver screen .some of his directorial venture are Hum Dono(Love-war-sacrifice-MD-Jaidev),Johny mera naam(Md-KA,a hundreds follows then after on same subject like under world DON)Teesri manzil(MD-RDB-a thriller-suspense movie)Ter mere sapne,tere gar ke saamne,sharif badmaash,have light romantic,suspense,and off beat theme.and Jaan haazir hai a newcomer starrer with MD-Jai (KA asst.)which celebrate golden jubilee in Ganga jamuna cinema Tardeo – mumbai and Ram balram,Rajput(Md-LP)
    Considering the cinsideration only Goldie was master behind to get best from each atrist from all the depatrment of hindi cinema.

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