Naushad the Perfectionist by Manna Dey
This article appeared in the Bengali daily Anandabazaar Patrika on May 13, 2006; translated from the original Bengali article by Mr. Pocha Haldar.
Whenever I get the time, I listen to Naushad’s songs sung by Mohammed Rafi. Over and over again. Everytime I get the same feeling. The joy of realising that this is what is perhaps called the perfect jugalbandi, something that cannot be surpassed.
In our country, the ideal male voice for touching your heart was Rafi. And Naushad could get the best out of Rafi. If I have to list all of their songs, even at this age, I will have to go on and on. Suhani raat dhal chuki; O duniya ke rakhwale; Man tarpat hari darshan; Madhuban mein radhika; O door ke musafir; Koi sagar dil ko bahalata nahi. So many songs, which ones should I talk about? If I leave out one, everyone will say why Manna Dey did not include that song.
I can go on talking about Rafi as a singer and as a human being. He is such a favourite of mine. And I am deeply indebted to Naushad for elevating Rafi to a different level. In my opinion, Khayyam and O. P. Nayyar are the two other directors who made excellent use of Rafi’s voice. But Naushad was ahead of everyone. Naushad gave some memorable tunes to Lata too, but I am totally enthralled by Naushad-Rafi.
I have also sung a few songs for Naushad. Compared to Rafi, it is much less. But even now people ask me to sing Chuneriya katri jaye re or Dukh bhare din bitare bhaiya from Mother India and Mere ghar ke samne palki chali gayi from Palki during my concerts. I receive requests to sing the bhajan Sangeet hai shakti ishwar ki many, many times. This bhajan was composed for the film Shabab 52 years ago. What a feeling to be singing a bhajan written by Shakeel Badayuni and composed by Naushad! Anyone who listens to these songs would know how deftly Naushad saab infused Hindustani classical music into his songs. Take Rafi’s Madhuban mein radhika for instance. Whenever you hear it, you think of Naushad saab. How easily he could touch people’s hearts with his raga-based music!
How good was Naushad saab as a music director? The whole world was thrilled by his music. What can I say? But I want to point out two things that really impressed me. First, he was a total perfectionist. Second, he was totally Indian. This Indianness made him different from everyone else. I remember two assistants that he had: Sebastian and Joe. But while arranging the music, Naushad would have at least twenty violins and three cellos, and the music arrangement would reach a different level. Apart from giving Rafi’s voice an extra dimension, I deeply respect Naushad for incorporating western musical instruments in his songs. But he never deviated from his Indianness and was never influenced by other musical traditions. He could easily use legendary classical singers like Amir Khan, Bade Ghulam Ali Khan and D. V. Paluskar as playback singers in his films.
Naushad saab’s rehearsal style was spontaneous. He would make changes while chatting without the singers being aware. There was no question of showing any displeasure. He could not stand even the smallest of defects. Before recording, he would rehearse a song at least five-six times. Sometimes even that was not enough.
I remember rehearsing for one song in Palki with Rafi and Asha. We had already rehearsed before the recording. Before the recording, we sang it once again and Naushad saab praised us profusely. We were in a good mood, thinking that the recording would be over soon. Then he told me gently, “Manna saab, the way you sang it here, why don’t you do it again?” I did. After twenty minutes, it was okayed. In a similar way, he asked Rafi and Asha to make changes. Then he asked his arrangers to make changes to how some musical instrument should be played. By the time the final version was recorded, we had done so many retakes!
That is Naushad Ali. Could not stand even the minutest defect. No changes in the tune. He would not give you any freedom to make changes to his tunes. The music arrangers would be at their feet all the time.
There was one exception. That was when he left much of the song to me. It was around 1985 when I was singing under his direction for a Bhojpuri film called Rajpati. After hearing me sing, he said, “You can speak Bhojpouri so well. Such good pronunciation! Why don’t you do the song yourself?”
Once some of my acquaintances from Kannada Radio wanted to interview Naushad saab and they asked me for my help. Naushad saab immediately agreed to my request. But the condition was that I would have to go to his house and have lunch with him. When I went, I found that lavish arrangements had been made; Muslims are famous for their hospitality. We chatted for a long time. With a smile on his face, he said, “Everyone asks me, who is a greater singer? Mohammed Rafi or Manna Dey?” I smiled and replied, “Why don’t you tell them Rafi is a much better singer? I say that myself. That’s what I believe in my mind.”
I am saying it again, our and everyone’s favourite Rafi, India’s best male voice of all time, could transcend to a different level because of the magic in Naushad’s tunes. I do not have the words to express my gratitude and respect to Naushad for that.
August 11th, 2006 at 4:17 pm
(I am a bit of perfectionist myself and just realised that there were some spelling errors in my earlier post. Can I ask the admin to delete the earlier post as I am posting it again)
I thought the self appointed crusaders have taken my advice I made a while back in the other thread which is now subsequently rightly closed by the admin.
I see that the self appointed crusaders are here too with statements that are not only incorrect but silly at best. More than often I choose not to respond to such an illogical dialogue as it is shear waste of time but having done most of my work and now listening to the songs of Rafisaab, I am taking some time out to reply to a few preposterous comments and I hope this time these self appointed messengers of KK either update their lack of knowledge about Rafisaab or leave this site with dignity so that we can use the space for a rational and factual discussions.
I was reading an interview of our beloved Mana Da, a Rafian to the core who all his life has devoted himself to praise Rafisaab with all his heart. Just like many other great artistes like Naushad Saab, Ravi, Mahendra Kapoor, Laxmikant Pyarelal, Lataji, Chitraguta, OP Nayar, Kishore Kumar and the pioneer of playback singing, Saigal Saab who predicted even before Rafisaab even sang his first recorded song about the greatness of Rafisaab. All these legends (and many more) have said on many occasions that about the unmatched greatness of Rafisaab as a playback singer.
It is not surprising that they should say so as they understand the art better than most of us. The unmatched greatness of Rafisaab is now considered as obvious as the directions of the rising and setting of the sun. Obviously there may be few who would disagree to the directions of the rising and setting of the sun. They surely can choose to but they would only end up in being described as ignorant or, duds or simply fools. The same applies to those who doubt and refuse to accept that Rafisaab is the benchmark of singing, the very best that we have ever seen.
What I see here is a breed of misguided people who sadly seem to represent Kishore Kumar when the fine singer and person himself admitted with grace about him being a Rafian.
“Whenever I get the time, I listen to Naushad’s songs sung by Mohammed Rafi. Over and over again. Every time I get the same feeling. The joy of realizing that this is what is perhaps called the perfect jugalbandi, something that cannot be surpassed. In our country, the ideal male voice for touching your heart was Rafi.” - the latest comment by Mana dey. Anyone who has being to a decent English school can understand the meaning of this.
“No artiste like you has come before and no one will ever come. Your voice is a mercy for this tension ridden world” - Naushad
“It was an honor for me that Rafisaab sang so many songs for me” - Naushad
“He was the only singer whose voice could be molded to meet any situation, mood or actor”- Naushad
His range was second to none and his ability to sing at any pitch was something only Lata bai could match - Naushad
These are just a few statements from the guru of music directors. One who has read enough or cared to read enough about Naushad knows that he held Rafi in the greatest position, position of the number 1 singer of all times. There is no room for any misinterpretation. Hence if anyone still chooses to deny the facts either can’t understand English or are just being mischievous for reasons best known to them. I think they consider it a stigma, a humiliation if Rafisaab is considered the best ever, a humiliation that is self imposed as they have taken the personal burden of crusading for their favorite singer, in this case KK.
I have met Mana da and he said that the media from time to time try to misinterpret his remarks. He said he believed it from day 1 that Rafi was better than him and he maintains it to date. When he was asked whether Rafisaab was the best ever, his answer was very simple , yes. Rafi fans must not believe anything else besides this if they read in any media that contradicts this view.
Lataji probably the only one that comes close to Rafisaab’s class says that he was the one that filled the empty space left by the passing of Saigal and that the space left by the passing off Rafisaab is still empty. Simple English, anyone that has a basic understanding can fathom the meaning of these statements.
At a Saigal concert in Lahore, the power failed and Rafi Sahab, then 17, was roped in to sing a couple of songs to keep the restive audience quiet. Not only he achieved in keeping them quiet but also delighting them as Saigal Sahab looked on amazed only to comment later that Rafi Sahab was destined to achieve lofty heights in singing and how true he was. Music director Shyam Sunder, who was in the audience, was so extremely impressed and later worked with Rafi Sahab on melodies that remain fresh to date.
Rafi Sahab infact got his first break in Hindi films in a Shyam Sunder film and his dream of working with Saigal was realised when Naushad gave him two lines to sing in the Saigal film, Shahjahan.
This marked the beginning of the greatest and purest journey of HFM, it marked the beginning of an unmatched tradition of singing that would become a benchmark for all singers forever.
Rafisaab was destined to be the greatest force in singing and with the passing of time this hard fact becomes larger in magnitude. More and more people are realising and making the most of the greatest voice of HFM and it is lovely to see youngsters getting to know more and listen to the master. His fan base keeps increasing by the minute. In an informal Chat with Hemant da’s son Jayanto, I was surprised when he said Rafi was the best. One would have thought he would say his father was the best. I have great admiration and respect for such open minded people.
Jayanto later went on record saying in an interview:
“Rafi saab could sing any song, Rafi saab … is like ….. (a pause) No 1 to 10″.
I could go on and on about the unmatched greatness of Rafisaab but then I would only be stating the obvious things that most are aware off anyway.
I believe ignorance is not bliss but a curse and mischief is a sign of weakness. If these crusaders even have one sensible bone in their body then I hope they can realize that they are the odd ones out who are looked upon with disgust or simply ignored. You have a choice to make here.
A request to all, do not use slur on this website and if you are not happy about what’s happening here then leave this site with peace and dignity rather then make a complete mockery of yourself and in the process insult the legend you seem to crusade for.
Kishore Kumar was a fine artiste and a fine person so do not bring any disregard and disrespect for him as he had enormous respect for Rafisaab whom he considered as an idol and a brother.
Please treat this as my last post for this discussion. Anyone here who wishes to know more about our beloved Rafi then please feel free to ask, i would be more than happy to assist.
August 11th, 2006 at 4:07 pm
I thought the self appointed crusaders have taken my advice I made a while back in the other thread which is now subsequently rightly closed by the admin.
I see that the self appointed crusaders are here too with statements that are not only incorrect but silly at best. More than often I choose not to respond to such an illogical dialogue as it is shear waste of time but having done most of my work and now listening to the songs of Rafisaab, I am taking some time out to reply to a few pre-poserous comments and I hope this time these self appointed messangers of KK either update their lack of knowledge about Rafisaab or leave this site with dignity so that we can use the space for a rational and factual discussions.
I was reading an interview of our beloved Mana Da, a Rafian to the core who all his life has devoted himself to praise Rafisaab with all his heart. Just like many other great artistes like Naushad Saab, Ravi, Mahendra Kapoor, Laxmikant Pyarelal, Lataji, Chitraguta, OP Nayar, Kishore Kumar and the pioneer of playback singing, Saigal Saab who predicted even before Rafisaab even sang his first recored song about the greatness of Rafisaab. All these legends (and many more) have said on many occassions that about the unmatched greayness of Rafisaab as a playback singer.
It is not surprsing that they should say so as they understand the art better than most of us. The unmatched greatness of Rafisaab is now considered as obvious as the directions of the rising and setting of the sun. Obviously there may be few who would disagree to the directions of the rising and seting of the sun. They surely can choose to but they would only end up in being described as ingorant or, duds or simply fools. The same applies to those who doubt and refuse to accept that Rafisaab is the benchmark of singing, the very best that we have haver seen.
What I see here is a breed of misguided people who sadly seem to represent Kishore Kumar when the fine singer and person himself admitted with grace about him being a Rafian.
“Whenever I get the time, I listen to Naushad’s songs sung by Mohammed Rafi. Over and over again. Everytime I get the same feeling. The joy of realising that this is what is perhaps called the perfect jugalbandi, something that cannot be surpassed.In our country, the ideal male voice for touching your heart was Rafi.” - the lastest comment by Mana dey. Anyone who has being to a decent english school can understand the meaning of this.
“No artiste like you has come before and no one will ever come. Your voice is a mercy for this tension ridden world” - Naushad
“It was an honor for me that Rafisaab sang so many songs for me” - Naushad
“He was the only singer whose voice could be moulded to meet any situation, mood or actor”- Naushad
His range was second to none and his ability to sing at any pitch was something only Lata bai could match - Naushad
These are just a few statements from the guru of music directors. One who has read enogh or cared to read enough about Naushad knows that he held Rafi in the greatest position, position of the number 1 siinger of all times. There is no room for any misinterpretation. Hence if anyone still chooses to deny the facts either cant understand english or are just being mischievous for reasons best known to them. I think they consider it a stigma, a humiliation if Rafisaab is considered the best ever, a humiliation that is self imposed as they have taken the personal burden of crusading for their favorite singer, in this case KK.
I have met Mana da and he said that the media from time to time try to misiterpret his remarks. He said he belived it from day 1 that Rafi was better than him and he maintains it to date. When he was asked whether Rafisaab was the best ever, his answer was very simple , yes. Rafi fans must not belive anything else besided this if they read in any media that contradicts this view.
Lataji probably the only one that comes close to Rafisaabs class says that he was the one that filled the empty space left by the passing of Saigal and that the space left by the passing off Rafisaab is still empty. Simple english, anyone that has a basic understanding can fathom the meaning of these statements.
At a Saigal concert in Lahore, the power failed and Rafi Sahab, then 17, was roped in to sing a couple of songs to keep the restive audience quiet. Not only he achieved in keeping them quiet but also delighting them as Saigal Sahab looked on amazed only to comment later that Rafi Sahab was destined to achieve lofty heights in singing and how true he was. Music director Shyam Sunder, who was in the audience, was so extremely impressed and later worked with Rafi Sahab on melodies that remain fresh to date.
Rafi Sahab infact got his first break in Hindi films in a Shyam Sunder film and his dream of working with Saigal was realised when Naushad gave him two lines to sing in the Saigal film, Shahjahan.
This marked the beginning of the greatest and purest journey of HFM, it marked the beginning of an unmatched tradition of singing that would become a benchmark for all singers forever.
Rafisaab was destined to be the greatest force in singing and with the passing of time this hard fact becomes larger in magnitude. More and more people are realising and making the most of the geatest voice of HFM and it is lovely to see youngsters getting to know more and listen to the master. His fan base keeps increasing by the minute. In an informal Chat with Hemant da’s son Jayanto, I was surprised when he said Rafi was the best. One would have thought he would say his father was the best. I have great admiration and respect for such open minded people.
Jayanto later went on record saying in an inteview:
“Rafi saab could sing any song, Rafi saab … is like ….. (a pause) No 1 to 10″.
I could go on and on about the unmatched greatness of Rafisaab but then i would only be stating the obvious things that most are aware off anyway.
I believe ignorance is not bliss but a curse and mischief is a sign of weakness. If these crusaders even have one sensible bone in their body then I hope they can realise that ther are the odd ones out who are looked upon with digust or simply ignored. You have a choice to make here.
A request to all, do not use slur on this website and if you are not happy about whats happening here then leave this site with peace and dignity rather then make a complete mockery of yourself and in the process insult the legend you seem to crusade for.
Kishore Kumar was a fine artiste and a fine person so do not bring any disregard and disrespect for him as he had enormous respect for Rafisaab whom he consdired as an idol and a brother.
July 30th, 2006 at 12:15 am
Dear Harvinder,
as u said that we should not compare two best Mohd Rafi and Manny Dey,As Manny Dey said that Mohd Rafi should not be compare with any one offourse it is greatness of manny dey as human.
after 26 years ago still we remmber Mohd Rafi because Mohd Rafi mean magic for music lover.
July 29th, 2006 at 10:40 pm
To all rafians and Manna Dey fans.
I do not know as to why make an issue of a passing remark made by Manna Dey. Of all the replies I find Mr Haldar’s observations most appropriate. I have read in diffrent magazines, heard Manna Dey live in interviews on TV and radio and have CD where Manna Dey pays richest possible tribute to Mohd Rafi. He always described Mohd Rafi as a genius and very rare and the best male playback singer of hindi cinema.
Closest to controversy was his remark that although Mohd Rafi was not as classicaly trained as me (word uneducated may also have slipped out of his mouth - which has been blown out of proportions and totaly out of context), even during classical singing duets, I always feared that Mohd Rafi will overtake me even in my expertise. Manna Dey admits with pride that at no stage did he feel defeated because he was only loosing to a genius. He called Rafi and Lata as something as God gifted which no amount of classical education or Riyas can bring.
Being from a humble background and a large family of Barber, it is not surprising that he did not have opportunity to go to expensive school or obtain much classical training. But he did get just the right education in music also to sing songs which are still a rage. I do not know how much academic education he had, but I have seen his Urdu handwriting and it is very good and uniform (I can not read Urdu, but his flow is smooth).
I request readers not to compare the two and appreciate Manna Dey’s tribute to Mohd Rafi. The “so called” remark could not have been Manna Dey’s intent.
July 29th, 2006 at 10:20 pm
Hi Tim,
Thanks. I share my pleasure with you, this time. The attitude displayed by you in your writeups seems to be that of a feminine individual. So assuming , I will refer to you as ’she’ , ‘her’ ETC. FINE.
By the way, you are becoming one of the serious contributers to these;as you term ‘forum.
Surprised about my love for Indian music ehy? Ha! Ha!
Alas! ain’t it? Aggasi has to leave the arena forever. Nadal is definitely a thorn in my flesh. Any way, looking forward to see you in Dallas for the U.S OPEN next month!
July 29th, 2006 at 12:43 am
In response to one of the previous comments:
In Bengali music, among the male singers, Hemant(a) and Manna are perhaps the most popular singers. Hemanta is a rage among Rabindra-sangeet lovers, too. Kishore’s songs are also very popular but most of his major Bengali hits were before Aradhana and tuned by RD. In fact, songs like Tum bin jawoon kahan and Yeh sham mastani had Bengali versions that used to come out during Durga Puja. After Aradhana, Kishore didn’t use to sing in Bengali that often; RD, sometimes with Asha, would often sing the original in Bengali and have Kishore/Asha sing it in Hindi.
In 1983, three years after Rafi’s death, Kishore had come to Calcutta for a concert. He started with a Rabindra-sangeet and then, in memory of his departed friend, sang Man re tu kahe na dheer dhare (the song that has been ranked #1 in a recent Outlook poll). In an interview that was published in the Illustrated Weekly, Kishore, a self-avowed Rafi fan, had said that he used to listen to Rafi’s songs during his spare time. Rafi was the singer’s singer, the ustadon ki ustad.
July 28th, 2006 at 10:44 pm
By “inconsistent statements elsewhere”, I meant Manna Dey’s statement that Kishore Kumar is the best (a KK fan fetched a hyperlink in the neighboring forum).
July 28th, 2006 at 10:33 pm
Hi Roger!
Nice serve. In fact, my comments also were just limited to the word “uneducated” and, akin to yours, it was my bias towards Rafi. A version, of a skeptic (and a wannabe satirist), nothing else…and did not mean anything more (once again my apologies!). The moment we break from the semantical part and take Manna Dey as a singer, obviously, we find a second rank holder of a class of a relatively good strength (there is another [KK]andidate fighting for this position in a neighboring forum; in fact for the first rank, if not second).
Well, I liked your play in the other court in this forum (5-0). Never knew about your love for Indian music. Hopefully, there will be more forthcoming.
July 28th, 2006 at 10:10 pm
Tim’s July 27th writeup (seeing Manna purely as a playback singer-his classical ability);I hold it as an amazing one. I can guess what it takes out of an individual to assimilate thoughts in such correct sequence.
July 28th, 2006 at 9:57 pm
If any of my statements(inconsistant) appears to be offending Manna’s image,I beg pardon. P.Haldar, Mohanflora,Tim,Admin and a few others have made appropriate remarks to tame those seemingly ‘wild’ comments.
July 28th, 2006 at 9:48 pm
Amaad sees an opaque structure in my July 25th writeup.
And why not? It lacks a proper beggining,the body is a mixture of hot&sweet,the ending;well,it is like the way I ended the french open final against Nadal this year. One of the most stupid writeups I can come across.
Tim has made a phenomenol comeback(considering his/her July 25th writeup). Manna dey is one of the top singers. I wanted to pay my tribute by some good words. Tim July 27th writeup has done my need-full.
My holding the topic of ‘uneducated’ is being viewed as ‘biased’ towards Rafi. I assure all Manna fans tunning in to this page that I haven’t meant any thing untoward towards Manna.
July 28th, 2006 at 7:38 am
Heres a link to Some Manna Dey Songs
http://www.ganguly.de/mannadey/index.html
July 28th, 2006 at 1:33 am
dear Friends,
I don’t know about Bengali music if any one know please tell me who was better in Bengali music Manny dey or KK as I know both are Bengalis.
I think we should to compare Mohd Rafi with any singer as Manny Dey said.
July 27th, 2006 at 11:49 pm
I agree with one of the previous comments that Manna’s Bengali songs are great. If you get the chance, listen to Aami je jolsaghorey from the film Antony Firingi; it has shades of Rafi’s Mere mehboob tujhe, and it is difficult to decide which one is better.
Another thing to note is that there was a strong Bengali presence in Hindi film music from the 40s to the 70s: Pankaj Mallick, Raichand Boral, Anil Biswas, S. D. Burman, Salil Choudhury, R. D. Burman, Manna De, Hemant Kumar, Geeta Dutt, and Kishore Kumar. If you consider Anil Biswas, Salil and the two Burmans, apart from SD, no one had a particular liking for Rafi. Most of the others opted for Talat or Mukesh and in RD’s case, it was Kishore. Manna, despite being a Bengali, didn’t get much patronage either, except occasionally from the Burmans; his main patrons were Shankar and Roshan.
Among the Bengali filmmakers, Bimalda (Sujata, Bandini, Madhumati) definitely preferred Talat and Mukesh, and sometimes Manna. Hrishida followed the same trend, though in his Asli Naqli, Rafi delivered such beautiful numbers. Just think of Abhimaan; the entire score (the male part) could have been given to Rafi. In Hrishida’s Mili, SD, who hardly ever made a mistake in selecting his singers, gave Badi sooni sooni hai to Kishore; well sung but Rafi would have converted that to another eternal gem like Hum bekhudi mein pukare chale gaye. After Aradhana, Shakti Samanta turned away from Rafi, forgetting that it was Rafi who delivered hit after hit, from China Town to Kashmir ki Kali to An Evening in Paris. Among the Bengali filmmakers, S.K. Mukherji of Filmistan was Rafi’s strongest supporter; I read in an interfiew that Mukherji had wanted Rafi to direct music for one of his films, but Rafi declined.
RD started tuning with Rafi again after Hum Kisise Kum Naheen, and it’s anybody’s guess what would have happened in the 80’s if Rafi were alive. LP gave the entire score to Rafi in Sargam, and RD was beeing pressured to give more and more songs to Rafi (Shaan, Abdullah, Burning Train, etc.). My own guess is that he would start dominating the 80s like he did in the 60s.
July 27th, 2006 at 11:02 pm
I beleive Manna Dey indicated Rafi’s education on music(training on classical music), not general education, by refering Rafi as uneducated singer.
July 27th, 2006 at 7:15 pm
God-father. Yes, Unknown is correct; Manna Dey never had one. Mukesh…well, was Raj Kapoor god-fatherly for Mukesh? Regarding Kishore Kumar, it holds true.
Manna Dey, despite his caliber and background, could not get a face for which his voice suits. Mukesh had Manoj Kumar’s face (obviously, after Raj Kapoor), Kishore Kumar had Rajesh Khanna and Amitabh Bachan, and Rafi’s voice suited for quite many heroes. “Faceless” songs were very rare in Hindi movies, but common in regional languages; Manna Dey flared in Bengali. Right? Had Mukesh’s voice not suited Raj Kapoor, there might not have been a playback singer called Mukesh (my apologies, if I am wrong). Had RD Burman not there Kishore Kumar might have lead a retired life in Khandwa. But they were all there; so there is no point in the “had there been” talk. What I am trying to say is that with all the God-fathers (to quote Unknown) around for others and having no face to do lip movement for his songs, Manna Dey made his presence felt and stood above many others…(not Rafi, certainly).
July 27th, 2006 at 6:19 pm
i agree with tim, mohan, unknown and others that it is just greatness of manaday that has been paying his utmost tributes to the legend throughout his life. to difficult to understand what Roger Federer actually want to explain???
July 27th, 2006 at 11:55 am
Dear Tom,
Manny Day is great singer not only in classical base songs but the problem was with manny Day has no God father like Mukesh and KK had, don’t forget 1950’s and 1960’s there was everwhere Mohd Rafi.
Manny Day is only singer who can be compared with Mohd Rafi in classical base songs,there is no other singer who can be compared with Mohd Rafi in any style.
As i think if there is other singer after Mohd Rafi I think he is Manny Day.