Probably yes Rafisahab did not receive the honour that he should have got. Even Bharat Ratna would have fallen short to honor this singing legend. But I am sure that as long as we have Rafi fans like us the light of the songs of this genious will be lit forever.

Probabaly the real talent of Rafisahab was fully exploited by the sangeet samrats SHANKAR - JAIKISHAN who were the first duo to commercialise Hindi music in the real sense which was further taken ahead by LAXMIKANT - PYARELAL.

LAXMIKANTJI (I am a great fan of this MD.) did most of the composing and PYARELALJI did most of the arranging, they created unforgettable numbers. Rafisahab is the most melodious singer of the Indian film industry and the bench mark he has set is the highest.

I am really thankful to both of you and I wish we share more information thru mails.

I am a great fan of Rafisahab and I am very glad to know that there are many more around like me. I would like to be in the loop with all of you so that we can share our views and likings about this great maestro.

Probably yes Rafisahab did not receive the honour that he should have got. Even Bharat Ratna would have fallen short to honor this singing legend. But I am sure that as long as we have Rafi fans like us the light of the songs of this genious will be lit forever.

Probabaly the real talent of Rafisahab was fully exploited by the sangeet samrats SHANKAR - JAIKISHAN who were the first duo to commercialise Hindi music in the real sense which was further taken ahead by LAXMIKANT - PYARELAL.

LAXMIKANTJI (I am a great fan of this MD.) did most of the composing and PYARELALJI did most of the arranging, they created unforgettable numbers. Rafisahab is the most melodious singer of the Indian film industry and the bench mark he has set is the highest.

I am really thankful to all of you and I wish we share more information by exchanging mails.

One of the most famous bhajans to be used in a Hindi movie is the evergreen bhajan Man Tadpat from the movie Baiju Bawra that was released in 1953. The music was set to tune by maestro Naushad Ali. All the songs in this film were based on Classical ragas. Man Tadpat was sung by the immortal Mohammed Rafi. Initially, the Urdu-speaking Mohammed Rafi had problems pronouncing some Sanskrit words of this bhajan. So the music director, Naushad had to invite Sanskrit pundits from Varanasi to train Mohammed Rafi so that he could pronounce the Sanskrit lyrics of the bhajan correctly. The pundits had to work very hard to improve Mohammed Rafi’s diction. But after a great deal of effort, the pundits finally did succeed in improving Rafi’s pronunciation to the desired extent. After several rehearsals, Naushad gave them his final approval to record this bhajan. This bhajan is popular even today. This bhajan has been sung in most of the temples all over the world. We have heard this bhajan thousands of times, and we still want to listen to it over and over again. This does not surprise me when I consider all the effort that went into the rehearsals of this great bhajan before it was recorded. I do not think there is any another composition in Hindi films based on Raga Malkauns that is better than Man Tadpat. This is just my view

LP was very well aware that Mohammed Rafi’s is the only one voice that suits the requirements of polyphonic beats and he is the only singer capable of making the song stylish. Yes, the same Mohammed Rafi, who decades back sang with Sarangi and harmonium as accompaniments, now to hum with polyphonic beats. Dard-e-Dil was their first venture; the only Rafi song in the whole film, but the most stylish song ever rendered in Hindi film music (ridiculously turned down by the Filmfare Award authorities). Every word is pronounced by Rafi Sahab as if those are measured and then letting out of his mouth, each word is pronounced in style (e.g., please listen to “Aap Ko Dhoondoonga Kaise Raste Kho Jayenge”). He gives adequate room for the drums and cymbal beats to be heard and adjusts the singing accordingly. For Om Shanti Om, LP did use neither cymbals nor polyphonic beats but only triple drums.

Afterwards came “John Jani Janardhan” – this time frequent use of crash-cymbals with drums. Amitabh Bachan on screen and Rafi’s voice. Why? Of course, the stylishness: that’s it. A beautiful tune, beautiful orchestration, and the most elegant singing style, the result is a stylish foot tapping number. For all other songs in the same film only triple drums were used. In Rang Jamake Jayenge, although it sounds like polyphonic beats, it seems that those are not produced by drum cymbals.

After the demise of Rafi, LP gave Kishore Kumar chance to hum with polyphonic beats, e.g. Sanam Teri Kasam. Among the present day singers, Sonu Nigam’s voice is best suited for polyphonic beats (Pardes).

Later on Bappi Lahri, in Disco Dancer, by excessive and improper use destroyed the beauty of PB.

P.S. I just felt, but poignantly, that had Rafi Sahab been alive, A.R. Rahman and Himesh Reshammiya would have composed a few numbers with the most adaptable Mohammed Rafi.

Very well said but there is one mistake in your write up :

” Rafi Sahab was as good as Lata, if not better.”

Sir, the statement instead should be as follows :

” LATA - NIGHT TINGLING , tried to sing like RAFI SAHAB , but FAILED for ever ”

RAFI SAHAB was never GOOD in singing in comparison with others, but others tried to come near him in singing.

Rest is fine thanks

Sagar