Rafi – Lata Misunderstanding
This article is written by Mr. H.V.Guru Murthy.
Mohammed Rafi and Lata Mangeshkar have perhaps sung the maximum number of duets as compared to any other Singers, which was even admitted by Lata in her SHRADDANJALI. Those days, the MDs used to get the complete Royalty for any record sold. In the mid sixties, these two great Singers had a rift due to which they did not sing together for about three years. Officially it was given that Lata wanted a higher Royalty for the Singers, and thought that with Rafiâ€™s backing, as he was the most popular singer during that period, it could be achieved. But Rafiâ€™s contention was that once the song is recorded and money paid to the Singer, the Singer does not have any further business to claim Royalty. Well, there can be arguments against both the stands, but both stuck to their principled stand. In fact, Lata in her SHRADDANJALI has admitted to this fact, though she appreciated the stand taken by Rafi. I personally thought both were right in their stands, though the perspective with which they viewed the particular issue was different.
Lata Mangeshkar and Mohd Rafi
The three years hiatus resulted in Lata singing more duets with Mukesh and Mahendra. But the real gainers were Asha Bhonsle and Suman Kalyanpur who got the opportunity to sing maximum duets with Rafi. Of course, Rafi â€“ Asha duets were always there thanks to O P Nayyar. In fact, in the Rafi duets during this period, no body felt the absence of Lata.
Asha Bhonsle and Mohd Rafi
Rafi and Asha had â€œKaise Samazhaunâ€ and â€œHo Ek Baar Aata Haiâ€ both from SURAJ, â€œRaat Ke Humsafarâ€ from AN EVENING IN PARIS, â€œAe Chaand Zara Chupzaâ€ and â€œTanme Agni Manme Chubanâ€ both from LAAT SAAB, title song of CHOTISI MULAQAT, â€œSawan Aayeâ€ from DIL DIYA DARD LIYA, â€œKabhi Tera Damanâ€ from NEEND HAMARI KHWAB TUMHARI, â€œNa Yeh Zamin Thiâ€ from SAGAAI, â€œGori Chalona Hans Ki Chaalâ€ from BETI BETE, all duet songs of TEESRI MANZIL, â€œYeh Parda Hatadoâ€ and the medley of parody songs from EK PHOOL DO MALI, title song of APNA BANAKE DHEKHO, title song of PYAAR MOHABBAT, â€œJidhar Jo Main Dekhoonâ€, â€œKisiki Mohabbat Meâ€ from KAISE KAHOON, â€œSadiyon Puraniâ€ from SHAHNAI, â€œPanchi Re O Panchiâ€ from HARE KAANCH KI CHUDIYAN, â€œHathon Me Haathâ€ and â€œHam Bhi Agar Bache Hoteâ€ from DOOR KI AWAAZ, â€œTum Ishq Ki Mehafil Hoâ€ and â€œPyaar Ki Raah Bahar Ki Manzilâ€ both from SAANZ AUR AWAAZ, title song of SAANZ AUR SAVERA, â€œNeel Gagan Par Udate Badalâ€ and â€œAa Daance Kareâ€ from KHAANDAN, â€œDilruba Dilse Tumâ€ from RAAJ KUMAR, â€œDekho Abtoâ€ from JAANWAR, â€œBhari Mehafil Me Chedaâ€ qawali from PALKI, â€œEk Chameli Ke Manve Taleâ€ in CHA CHA CHA, â€œDayya Re Dayyaâ€ from LEADER, â€œAapko Pyaar Chupane Ki Buri Aadat Haiâ€ and â€œTere Paas Aake Mera Waqt Guzar Jaata Haiâ€ from NEELA AKASH, â€œIn Baharon Me Akele Na Phiroâ€ from MAMTA. PYAAR KA SAGAR had Rafi-Asha duet â€œMuzhe Pyaar Ki Zindagi Denewaleâ€, BAHU BEGUM had a duet of Asha – Rafi â€œHum Intezar Karengeâ€. Well, the list is endless.
Suman Kalyanpur, Hasrat Jaipuri, Mohd Rafti and Jaikishan on Harmonium
But personally I feel Suman Kalyanpur was the maximum beneficiary and could give plenty of hits with Rafi during this period. Suman, though was a good Singer, was always in the shadow of Lata. Here was her chance and she grabbed with both hands. The Rafi â€“ Suman duets included â€œBaad Muddatâ€ from JAHANARA, â€œTuzhe Dekhaâ€ from CHOTTISI MULAQAT, â€œNa Na Karteâ€ from JAB JAB PHOOL KHILE, â€œWoh Jab Yaad Aayeâ€ from PARASMANI, â€œAaj Kal Tere Mere Pyaar Ke Charcheâ€ from BRAHMACHARI, â€œItna Hai Tumse Pyaar Muzheâ€ from SURAJ, â€œTumse O Hasinaâ€ from FARZ, â€œTuzhe Pyaar Karte Hainâ€ and â€œKehdo Kehdo Jahan Se Kehdoâ€ both from APRIL FOOL, title song and â€œMeri Zindagi Tere Pyaar Meâ€ from JEE CHAHTA HAI, â€œAise To Na Dekhoâ€ from BHEEGI RAAT, title song of DILNE PHIR YAAD KIYA, â€œDile Betaab Ko Seene se Lagana Hogaâ€ from PALKI, â€œMaine Ae Zaane Wafa Tumseâ€ from BEDAAG, â€œTumne Pukara Aur Hum Chale Aayeâ€ from RAAJKUMAR, â€œAja Huna Aaye Balamaâ€ from SAANZ AUR SAVERA, title song of DIL EK MANDIR, â€œPhir Aane Laga Yaad Wahi Pyaar Ka Alamâ€, â€œOye Tu Raat Khadi Thiâ€ in HIMALAY KI GOD ME, â€œRaat Suhani Jaag Rahi Haiâ€ from JIGRI DOST, etc. Perhaps some of the songs in the above lists might have been recorded before or after the rift, but majority of the above songs during the period were due to the Rafi â€“ Lata rift.
In fact, Suman also got some good solos during this period like â€œMere Sanga Gaa Gungunaâ€ a classical song from JAANWAR, â€œParadesiyon Se Naâ€ from JAB JAB PHOOL KHILE, â€œDil Jo Na Keh Sakaâ€ from BHEEGI RAAT, â€œNanhi Si Kali Meri Laadliâ€ from DIL EK MANDIR, â€œMere Mehaboob Na Zaâ€, etc.
Even Sharada got a chance to sing with Rafi though only in SJ movies like â€œJaane Chamanâ€ in GUMNAAM, Shamshaad Begum in â€œMuzhko Apne Gale Lagaloâ€ in HUMRAAHI and Aarti Mukherjee in DO DIL â€“ â€œKara Mora Kazara Churaya Tooneâ€. But surprise of surprises, Music Directors completely forgot Geetha Dutt, with whom Rafi had given so many wonderful duets especially under OPN and SDB.
Perhaps, it was a blessing in disguise that in the absence of Lata, Suman got a chance she so richly deserved and also the number of Asha â€“ Rafi duets increased. The rift ended only when SJ and I read some where Nargis, compromised between the two Icons and they sang together in GABAN that wonderful duet â€œTum Bin Sajan Barse Nayanâ€ and the Lata â€“ Rafi duets continued there after to thrill us for the next nearly one and a half decades.