Rafi Naushad Era, The Initial Years
This article is written by Mr. Nitish Sinha
Rafi Naushad combination is the best thing that happened in the world of Hindi film Music.Rafi as the best playback singer ever and Naushad as the the best ever Music Director(sorry, if someone has objection in accepting him as best MD), and the combination of both resulting some of the best ever songs of HFM. This combination started their magic in 1944 with the song HINDUSTAN KE HUM HAI for the film Pahle Aap and climax was with the song JIS RAAT KE KHWAB AAYE in 1980 for the ever incomplete film Habba khatoon.
It is ironical to note that the magic of Naushad saab came to an end after the departure of Rafi Saab. It does not means that Naushad saab’s ability to compose marvellous songs came to an end after 1980 but actually nobody was there to sing his composition in the perfect way as Rafi Saab usually does.
THE TORTUROUS SONG
During his struggle period someone introduce Rafi saab to the father of Naushad Ali. Impressed by his singing, Naushad’s father sent Rafi to his son with a letter mentioning that he is a meritorious boy. Naushad saab did not turn down the request and allow him singing a chorus type song with Durrani, Shyam kumar, Allauddin, motiram etc for the film Pehle Aap(1944).
The song “hindostan ke hum hai hindostan humara, hindu muslim dono ki ankhoN ka tara“vwas to be picturised on Soldiers. As there was lacking technical facilities those days, it was decided that sound of the boots of the soldiers will be created originally.
Therefore all the singers was made to wear heavy army boots in their foot and they are asked to sing the song as well as to tap their foot as soldiers at the same time! Rafi Saab was only 19 years old at that time and his leg was badly damaged.
The song was recorded and Rafi Saab got Fifty rupees as his first earning. But this was just the begining of the journey! Rafi saab recorded two more songs for this film.
MOST HAPPY MOMENTS FOR RAFI SAAB
Rafi, Mukesh, Kishore, Lata all were great admirer of Sehgal and all of them have a dream of singing with him. However only Rafi Saab get this golden opportunity. Rafi always asked Naushad to allow him to sing a song with Sehgal. This dream of singing with Sehgal came into reality at the time of recording of the song “Ruhi ruhi ruhi mere sapno ki rani” (Lyric by Majrooh Sultanpuri) for the film SHAHJEHAN(1946) when two line of the song is sung by him. It is interesting to note that these two lines was picturised on Rafi Himself! Naushad always mentioned that he never sees Rafi saab so much happy as he was at the time of recording of this song with Sehgal.
“BEGINING OF ACTUAL PLAYBACK.”
Playback singing is just not about singing like ghazal. Actually ADAYAGI=TO MOULD YOUR VOICE ACCORDING TO THE MOOD OF THE SONG AND ALSO ACCORDING TO THE STYLE OF THE CHARACTER ON WHICH THE SONG IS TO BE PICTURISED- is most important part of it.
Sehgal saab was a master of it but he was not a playback singer as most of the song sung by him was picturised on himself. Therefore it was not tough for him to catch the mood of the artist. Actually Rafi saab invented it, mixing the song with Adayagi… and the song was TERA KHILAUNA TOOTA BALAK TERA KHILAUNA TOOTA (Anmol Ghadi, 1946 , Mehboob Production, Naushad ,Tanvir Naqvi).
After using many a times Rafi Saab’s voice as a chorus Naushad saab came to the conclusion that his voice need something more than it. TERA KHILAUNA TOOTA…… was first solo sung by him for Naushad Ali. This song was not picturised on the hero of the film but on a Toy-seller but one can find all the characteristic of a toy seller in the Voice of Rafi Saab. This was the actual begining of the PLAYBACK SINGING!
YE ZINDGI KE MELE
from Mela(1948) was another milestone…. Rafi saab was already a established singer in 1948 but Naushad Ali did not yet switch over completely to Rafi Saab. Actually there were 12 songs in this film (sung by Rafi, Shamshad, Zohrabai and Mukesh) and only one song was sung by Rafi.
But this one song was enough for him to show his range, his height, his aalap, his taan. This song was something different from Naushad’s earlier compositions and it seems that he composed this song just to test and taste Rafi’s range!
And HE pass this test with distinction! Ye zindgi ke mele (lyric:Shakeel) along with Ek dil ke tukde hazar hue (Pyar ki jeet;1948;husnalal bhagatram;Qamar jalalabadi) grasp the entire nation with Rafimania in 1948 and then forever!
….1949….
In 1949 four films, Andaz, Chandani Raat, Dillagi and Dulari, were released in which music scored by Naushad sahab. In Dillagi, Rafi Saab sung two solo. Actually this was the first time when Naushad used his voice for the main lead.
The songs were Is dunia me ai dilwalo dil ka lagana khel nahi Ulfat karna khel hai lekin karke nibhana khel nahi and Tere kuche mein armano ki dunia leke aaya hoon Tujhi par jaan dene ki tamanna leke aya hoon, both songs were filmed on Shyam kumar. These two song have somethin special for myself. These are the songs which made me A Rafian forever.
In Chandani Raat Rafi sings at least three songs, again filmed on Shyam.
However in Andaz, Naushad uses rafi’s voice for just one song (yu to aapas me bigadte hai khafa hote hai/milne wale kabhi ulfat me juda hote hai) and this was a duet with Lata. This was the first duet of Rafi and Lata under Naushad Ali. Unique thing of this film was that mukesh’s voice was used for Dilip Kumar and Rafi playbacked for Raj Kapoor! In later year this arrangement was reversed, Mukesh became a regular playback for Raj Kapoor and Rafi for Dilip Kumar!
Mohd Rafi and Naushad
SUHANI RAAT DHAL CHUKI
This song is easily the first international hit from HFM. This song was became so much popular outside India that a number of myth became associated with this song.
It was believed to be the national song of a west indian country(trinidad n tobago/ surinaam) because of its immense poplarity untill recently. Even some of the journalists made a research to find the reality. Can one imagine any other song so much popular even outside India? Surely not.
This song was Rafi’s all time favourite. It was filmed on Suresh. There were some other popular songs in this film, sung by Rafi Saab with Lata: Raat rangili mast nazare …n mil mil ke gayenge.. but the popularity of Suhani Raat Dhal Chuki is unparellal. This tune was lifted by several MDs and used in almost all major South Indian languages, all attaining huge popularity.
BABUL
It is indeed first and last film in which Naushad used the voice of Talat Mehmood prominently. Actually after this film Naushad used the voice of Talat only on two occassions; for the duet KAISI HASEEN AAJ (AADMI) with Rafi Sahab and another for multisinger song RAHEGA JAHAN ME TERA NAAM (Rafi,Talat, manna,Balbir for the film Love and God). However for KAISI HASEEN, Talat’s voice was replaced by Mahendra kapoor in film version!
No doubt, Talat Saab was a great singer, but it is said that once Naushad saw him smoking in the studio and so he decided to cut of his relation with him.
However the major reason for not choosing him was clearly that Naushad sahab at last found a singer who can sing any type of song with full masterly: from ‘Tara ri tara ri yara ri‘ type to ‘man tadpat‘ to ‘na mai bhagwan hoon‘ to ‘mere mehboob‘ to ‘nain lad jayeehen‘ to ‘ye gotedaar lehanga!‘
Anyway there are 12 songs in this film, sung by Rafi, Talat, Shamshad and Lata. Rafi Saab’s voice is used in one song, NADIA ME UTHA HAI SHOR CHHAI HAI GHATA GHANGHOR (co sung by Talat, Shamshad and chorus). One of the reason for using the voice of Talat in this film was the Hero of this film Dilip Kumar was associated with his voice till some years.
The reason of using the voice of Rafi for that one song was that it was the stablished fact at that time that “every film must contain a song in the high pitch sung by MOHAMMED RAFI”. Naushad Sahab once told that every producer started directing their music directors to put a high pitch song in the voice of Rafi as a must!
DEEDAR(1951) & DEEWANA(1952)
And at last RAFI-DILIP-NAUSHAD magic got started which continued till 1968 venture AADMI. This was the first film in which Naushad saab uses the voice of Rafi saab for Dilip saab for all the songs and every song of this film was nothing else than than the best! Three immortal solos HUE HUM JINKE LIYE BARBAAD, NASEEB DAR PE TERE and MERI KAHANI BHULNEWALE, one duet with lata, DEKH LIYA MAINE and also the short one BACHPAN KE DIN BHULA NA DENA. G.M.Durrani, who was among the top singers in 1944, and a Naushad favourite, got the second fiddle with the only song, a duet with shamshad NAZAR PHERO NA HUMSE.
In DEEWANA, Rafi saab sung one song TASVEER BANATA HOON, picturised on chandrasekher, for whom Rafi saab sung a number of great songs.
THE QUEST FOR THE BEST
At this time, Rafi Saab was already the most sought after singer, however he was still not satisfied with his performance, as naushad saab said,- “Rafi those days used to feel concerned that, though singing extensively, he had not been able to create the same impact as Talat Mehmood or Mukesh. ‘Well, here’s your chance“, I said. ‘This Baiju Bawra theme offers you the kind of vocal challenge which, if you meet, you will find yourself made for life.‘ Of course in saying that, I could not know, at the time, that the film would become an all-time musical classic”. And he was certainly reffering the film BAIJU BAWRA, each song of which is a separate story in itself……..!
the movie GUNJ UTHI SHAYANAYI, TO london, whomsoever,
urs friend,arvind india, mumbai.
ref. no. 48. The movie name is Goonj uti Shenay, Lyrics by Bharat Vyas, Music by Vasant Deasi
wht is name of the movie of the song ‘ bikhar gaye bachpan ke sapne’? can any one help plz.
The mellifluous songs of 40’s, 50’s and 60’s are evergreen and continue to enthrall us even decades after they were created. Maestro’s like Naushad, C Ramchandra, S D Burman, O P Nayyar and Madan Mohan have become part of our everyday life. Listening to them on radio, fm or gramaphone records is such an inexplicable experience that it literally rejuvenates our tired minds and stressed out souls. Recently launched music troupe Musicolor is slowly turning out to be a name to reckon with. After three successful musical nites such as ‘ Immortal Gems of Mukesh’, ‘Evergreen Hits of Rajesh Khanna’ and ‘Hits of Dev Anand’ they staged, with the able support of Monarch Catalyst Pvt Ltd, a leading player of catalyst technology, their next grand event titled ‘Anmol Rattan’ and paid tribute to composers Naushad and Madan Mohan at Dinanath Mangeshkar Natyagriha. Music lovers were mesmerised with songs like Teri ankhon ke siva, Lag ja gale, Madhuban mein radhika, Bhaiya na dharo, Man tadpat hari darshan, Ankhiyan mila ke, Do sitaron ka, Teri husn ki kya tarif karun, Ae dil mujhe bata de, Ek haseen sham ko, Rang aur noor, Phir wahi sham. Singers Gaurav Bangia, Srikant Narayan, Vrushali Patil, Anand Bahal and the initiator of Musicolor Sarita Rajesh belted out a string of outstanding songs and won the audiences hearts. Though, the director of Monarch Catalyst K Shivasubramaniam couldn’t attend the occasion due to some unavoidable circumstances Dr G P Babu, General Manager R&D made his presence felt. Madan Mohan’s son Samir Kohli graced the occasion and thanked Musicolor for remembering his legendary father’s works. In his formal speech he mentioned that though Madan Mohan was a gifted music director but sadly he never got the recognition he deserved during his lifetime. He also added that he was proud to be the son of such a talented composer. The programme was hosted by the lively Prashant Rao, who had the audience in guffaws with his great sense of humour and hilarious repartees. Musicologist and founder of vintage music group Keep Alive, Manohar Iyer was also felicitated by Sarita and Rajesh. The event also marked the formal launch of Musicolor on a high note and the troupe promises to enthrall music fans with many more such mellifluous events in the future.
@Sanjana Raghuvanshi
naushad was greatest trend setter we have ever experienced in the hfm, his association with rafi was amazing and far more divine than others with lots of quality…
coming back to naushad, i think today peoples may put the shankar-jaikishan & sachin dev burman on their highest esteem and truly sj and sdb were most versatile and best too, but i think naushad let the others to move in his way, the singer whom he promoted later became 1st choice of everyone(heere ki parakh sirf johari ko hi hoti hai), actually he was the first who birngs the freshness to hfm with “suhani raat dhal chuki”..he never sailed with the trends and norms, for what he really bothered was always the quality music..
by the way op nayyar is credited to bring the tanga rhythms into the hfm but i think naushad brings this rhythm first with “dil mein chupake pyar ka toofaan le chale ” from aan(1952), pardon me if im wrong, here is the link to the song::
http://youtube.com/watch?v=tDFTkP-cRjg
I really liked your site and if you have any other material regarding any thing related to Rafi or Naushad kindly update me on my above mentioned site.
I really liked ur side and I appreciate ur hardwork and yur dedication towards gathering these important and precious information which is a source if inspiration to all the new comers in this industry as a professional and as an ametures.. God Bless U and Good Luck!
I welcome you to provide your comments on my article on Naushad and Rafi in http://stationhollywood.blogspot.com
It is an interesting argument on who was best composer. Please read my article on Jaidev, Khayyam and Rafi and provide your comments because they alos belonged to Naushad’s Gharana who composed less and composed quality music. Just for reference Roshan died in 1969, Madanmohan in 1975, Jaikishan in 1971. None of them contributed to any mediocre music composed during the mid 80s. But I respect Naushad with additional degree because he understood film sequences, lyrics of Shakeel Badayani, superlative range of Rafi and if you take away his songs from the films, the films lose their poetic value.
Souvik Chatterji
Ref post 42..Souvik Jee..
Thanks for the link. Actually I am going through all the articles/interviews related to rafi saab for I am working on a script on Rafi saab . This script is for a full length feature film on the legendary singer which may be on the floor sometime second half of 2008.I am also collecting such articles in my blog http://www.my.opera.com/rafisaab .
However my point is that rafi saab is choosen by almost all the music directors beacuse only he has the capability to sing all type of songs and not the vice-versa.
As an ardent fan of rafi saab and also the other old songs, I am following the hindi songs composed as early as since 1931 I also love to hear compositions of other MDs but still IMO, Naushad saab is the best composer. for maximum of his compositions is worth of listening which is not true in case of other MDs.even his compositions from late 80s from ‘awaj de kahan hai’ and ‘teri payal mere geet’ is great.. And he always believe in quality and not the quantity…Have a glimpse from my article “rafi naushad era partII which I am writing at present:
There was a saint called Rukka Baba who was popular among film personalities. He used to write on a rukka (chit, a piece of paper) some amount as is demanded by the visitors. It is said that the visitors always get that amount from either sources. Once Naushad saab visited his hut. Baba asked him what amount he want from him. Naushad saab answer him politely that he need not require money but just want his blessings. overwhelmed by his politeness, Baba told him that he is the first person who came here just for his blessings and not for money. However Baba wrote some amount in lakhs on rukka and give it to Naushad.
After the success of BAIJU BAWRA, naushaad saab flodded with the offer of films. But he believe always in quality and not on the quantity and so he declined maximum of the offers. Once in a leisure time he started calculating the amount he would get had he would not declined that all offers. The amount arrives so was just equal to the amount written on the rukka!
Hello Mr. Sinha,
if you have read any of my articles posted in http://stationhollywood.blogspot.com
you will find with respect to composers, I avoided the terminology as who is superior, because Shankar Jaikishan’s use of Accordian, Sexaphone cannot be compared with OP Nayyar’s use of Santoor, or Roshan’s use of sarengi or Ghulam Mohammad’s use of Dholak. With respect to Rafi, his superiority is unchallenged because he was the first choice for every composer in the golden age. OP Nayyar asked Rafi to sing all the songs for Raj Kapoor in the film Do Ustad, 1959, even knowing that his voice matches with Mukesh.
But I have tremendous regard for Naushad for best use of resources, his compositions for Rafi were melodious and had immense musical value. It is unfortunate the the film industry could not use Naushad’s talent in the 70s and 80s.
Souvik Chatterji.
Ref Post no 39..
souvik Bhai.. Ya it is true that every Music Directer has his own style and this is true for singers also. however there is certain things which make a Music director/singer greater than others . There are many qualities in the singing of Rafi saab which make him best ever singer , even if so much singers were his contemporary with distinct style like Talat Mehmood, Mukesh, Manna Dey and Hemant Kumar.
The Same thing is true for Naushad saab. he is the only Music director whose every film is worth of mentioning. And if we judge the quality according to the percentage of super hits and mega hits, Naushad saab is still at the top and no body is near him.
Ref Post no 38…
Anil Bhai.. Ya .I am writing the partII of Rafi -Naushad era if it is published………
Actually a lot of films is left for discussion……
The term best is a relative term, and it is difficult to judge a best composer because most of the composers during the golden age had their own style of creation. I have written about them before and also in my article in http://stationhollywood.blogspot.com
But I totally agree with the author, that Naushad, the versatile genius has probably utilised the potential of Mohammad Rafi, the best. He used Rafi’s classical skills to the fullest extent and each of the creation of Naushad and Rafi can be scanned and fresh article can be written on them. Another person is involved in the Naushad-Rafi combination, that is lyricist Shakeel Badayani who succeeded in writing bhajans, again bhojpuri lyrics in Ganga Jumna, again urdu lyrics in Mere Mehboob.
Souvik Chatterji.
Nitish bhai:
Can we expect a part 2 of the post…”Baiju bawra and after”…?
raf post 35
ya…….. ta ra de re na sung by lata along with these three songs was composed by naushad saab.actually the film was a fitting tribute by a md to his long time associate and assisstant md.
Ghulam mohd was also great ‘dholak player’ and we can hear his magic of dholak in many of naushad ‘s songs.
ref post 28…
Aseer bhai. you are right .in aaina (1977) the main lead was rajesh khanna. Actually no body has so much faith in the voice of rafi saab as naushad saab was .other music directors sometimes diverted to other singers for some time but naushad know for better that voice of rafi saab is perfectly suitable for any-any actor.
All songs of Pakeezah sung by Lata/Rafi were composed by Ghulam Mohammad. After Ghulam saab’s death Naushad completed the background score and added 3 more songs:
1. nazariya ki maari – Raj Kumari
2. mora saajan sautan ghar jaaye – Vaani Jayram
3. kaun gali gayo shyam – Parveen Sultana
ref. post no. 31 , dear Imtiyaz Ji . u r correct. In film Pakeezah the only traditional lyrical song “Nazariya Ne Mari” sung by Rajkumari composed by Naushad Sahed solely alongwith background music. All other songs were originally composed by Ghulam Mohmmed Saheb. After death of GM, naushad sahed took over charge. Anyway we can say the film was a joint efforts of both the composers.
Rafi saheb sung a total 149 songs for naushad saheb out of which 81 solos.
Reg. Post # 32, all songs of Pakeezah composed by Ghulam Mohd. Only background music given by Naushad Sahab.
Post No. 31. The original MD of Pakeezah was Ghulam Mohammed, but after his death the music was completed by Naushad. As for the song composition, we can take it as GM-Naushad composition.
Reg. post No. 30 of Mr. Biman, the song “Chalo Dildaar Chalo” of Pakeezah composed by Ghulam Mohd. and not by Naushad Sahab. Kindly correct me if I am wrong.
Respected Nitish Ji
Good Evening and thanks a lot for this well-effert article.
The Era of Rafi-Naushad-Shakeel Badayuni is the foundation and landmark Era of Hindi Film Music. The combinations is famous for the songs picturised on tragedy King Dilip Kumar Saheb. The following are the my favorite ones of Rafi-Naushad combinations:-
1. MERI KAHANI BHOLNE WALE TERA JAHA ABAD RAHE, HUE HUM
JINKE LIYE BARBAAD FROM FILM “DEEDAR”
2. DIL MEIN CHHUPA KE PYAR KA TOFAN , MAAN MERA EHSAAN
FROM FILM “AAN”.
3. MADHUBAN MEIN RADHIKA NACHEE FROM FILM “KAHINOOR”.
4. MERE PERON MAIN GHUNGROO BANDHADE FROM “SANGHARSH”
5. MUJHE DUNIYAWALOO SHARABI NA SAMJOO FROM “LEEDAR”
6. NAIN LAD JAIHEN FROM “GANGA JAMUNA”
7. AAJ KI RAAT MERE DIL KI SALAMI LELEE FROM “RAM AUR SHYAM”.
8. AAJ PURANI RAHOON SE KOI MUJHE AAWAZ NA DE FROM “AADMI”.
(ALL THE ABOVE SONGS ARE PICTURISED DILIP KUMAR)
9. O DUNIYA KE RAKHWALE FROM”BAIJU BAWRA”( BHARAT BHUSAN)
10. CHALO DILDAR CHALO BY RAFI-LATA FROM “PAKEEZAH”.(RAAJ KUMAR)
11. MAIN HOON GANWAR , TUMHARA NAAM KYA HAI FROM “GANWAAR”.
( RAJENDRA KUMAR TULI )
That “Suhani Din Bhi Dhal Suka and Raat Bhi”. Now we have keep alive these golden memories of Rafi Saheb. Namaskar to all Rafians. Keep up these good works. Have a nice day to all.
Biman Baruah, Sivasagar,Assam. e-mail: bimanbaruah@yahoo.co.in
Sunghursh also had another beautiful solo by Rafi “Ishq Diwana Husn Bhi Ghayal”. Mere Mehaboob apart from the title song had two more wonderful solos – “Ae Husn Jara” and “Tumse Izhahar Haal Kar Baite” apart from Rafi – Lata duet “Yaad Me Teri Jaag”. Kohinoor had solo “Hamise Mohabbat” and duets “Koi Pyaar Ki Dekhe”, “Do Sitaron Ka Zamin” and “Tan Rangaloji Aaj Man Rangalo”. Of course there was that classic solo of Mugha-E-Azam – “Zindabad Zindabad”. Even Baiju Bawra had another solo which did not become a big hit like “Bhagavan” and “Hari Om” and that was, “Insaan Bano” sung at a high pitch with beautiful, meaningful but simple lyrics. Perhaps Allah sent Rafi on earth to glorify Naushad’s Music.
nitish bhai,
Naushad-Rafi was so much inseperable that Naushad used Rafi sahab for Rajesh Khanna(!!!!!!!!!!!!!!!!!!!!) in 1980.
incredible, isnt it?????????????
ppost 18..shukriya parvej bhai for sharing your songs with so many . i think ‘naiyya meri chalti jaaye’ is a real magic..
post 22 azad bhai..i really amazed to find that magic of rafi saab does not see the man created boundries..his popularity really defies the boundries of nationality,religion and everything.please share more about rafi saab with us.
‘may the voice of rafi saab join us forever’
‘an invitation—‘
please visit my page on rafisaab my.opera.com/rafisaab.
i have also created a chat room for rafians to discuss our greatest legacy online. many a rafians already there. entries are through invitation. please send your email to join the chat room…my email is lohrester@gmail.com
ref post 17…thanks for corr ection.venkat jee.i had written the name of him according to my memory of the film i hav seen very earlier..so i may be wrong.
ref post 21..imtiaz bhai…lp has composed some of most beautiful songs for rafi saab…i would love to write fo these combination..
ref post 13..
ruhi je…you are really luckey having the chance to met such great stalwarts.ths golden triangle of rafi-naushad-shakeel is best thing ever happened in hfm.while discussing these legends ,not a single composition could be left out…
it would be great if you share that interviews with us..
I have always been enchanted with this marvelous combination of Naushad and Rafi Sahab. They have given innumerable melodious hit songs over three decades and each composition is one up over the previous one. The article by Mr. Nitish Sinha pertains to the initial years, but the glory of this duo continued until the late sixties. Apart from the classical and very superb solo songs that Rafi Sahab has sung for Naushad, there are also equal number of duets that Rafi Sahab has sung with Asha Bhosle and Lata Mangeshkar from the movies which had Naushad’s music. Even movies which were not very successful for e.g. Sangharsh had lovely compositions, both solo and duets for instance 1. mere pairon mein ghungroo bandhade and 2. jab dil se dil takrata hai mat poochiye kya ho jaata hai. Ram aur shyam had lovely duets like 1. baalam teri pyar ki thandi aag mein jalte jalte (with asha bhonsle) and 2. main hoon saaki tu hai sharabi sharabi, besides the lovely solo aaj ki raat mere dil ki salami lele and the chorus birthday song aayee hai baharen mite zulmo sitam. the songs from aadmi were all superb including the much acclaimed male duet kaisee haseen aaj baharon ki raat hai (with talat mahmood). Naushad and Rafi sahab were truely “made for each other” and their songs will live forever. asmurty2@rediffmail.com
Dear Nitish
Its well researched article. I just would like to contribute a bit to this. I was once listening to All India Radio Jaymala programe. Naushad was on air talking about music. He listened to Madan Mohan’s gem of a ghazal – Aap ki Nazaron ne Samjha pyar ke khabil mujhe. Naushad could not resist the melody – he asked his friend who is the composer? When it was revealed it was MM. He called up MM and said My whole music career sums up/= to this ghazal (Magnanimity).
In a nutshell no music director has ever brought the Krishna and Radha’s romance as vivid as Naushad, and the mastery over folk tunes were just astounding.
SP Balasubramaniam – the south indian singing sensation. perhaps one of the last few genuine singers was on TV. the compere asked him who is your favourite? when the singer insisted with a few names and Rafi as the great Rafi. he cut it down to say no not just great – simply the Greatest.
It is unfortunate that these doyens are not given the rightful memorial. I single out Naushad as he was so passionate of protecting and projecting the Hindustani classical, which fragrances out the beauty of of our soil. He laboured hard to have one institute/center in Bombay wherein to showcase and produce quality Indian music. Though the former Maharashtra CM Manohar Joshi tried to get a piece of land but this project has never seen the light of the day.
I request the UP ites to get together and create a museum of pictures, sound and light in Lucknow- I am sure it will become a source of inspiration and aspiration to many a generations to come. insha Allah
Thank you Mr. Nitish Sinha for the article and thank you for mention Surinam in it. Its true that the song Suhani raat dhal chukki was/is very populair in Suriname. In Suriname there are many people with the name Mohammed Rafi and Naushad-Ali. I have heard once a Turkish song with the melody of Suhani Raat. My nana did sing this song for my nanie.
Nitish Sir,
It’s really nice article. If possible, kindly highlight about LP too since this team also utilized Rafi Sahab’s skills very well and produced hundreds of Gems.
i don’t think there some one in world can writr everthing abount mohd Rafi and Naushad Ali Ji they should miss something boz each song is better than other song,when people speak about KK they will add RD name about Mukesh will add Raj kapoor but when people speak when the great music came the answer will be naushad and mohd Rafi.
when Rakesh roshan been asked why u don’t give us music as u gave in 1970’s he said give me Mohd rafi I will give u the same music.
when we speak about Bharat Ratna I think in Bollywood I think the first name should be Naushad ali after him Dilip Kummar Raj Kapoor SJ and Bchchan as I think boz they are really son India about mohd rafi he has a award of God after 27 years still at the top
nitish sinha ji nice article
thanx nitishji for sending naaya meri chalti jaa ye from my friend u became my friend
Nitish Ji,
Now that some corrigenda have been posted on “Tasweer Banata Hun Tere Khoon e Jigar Se” from Film:Deewana(1952), let me add my bit too. It was picturised on Suresh Kumar and not on Chandrasekhar! To my knowledge, there was no Chandrasekhar in that Film!
Open to correction.
Venkat
ref post no 10…gurumurty bhai,
in this article , i have discussed the films and songs by rafi saab -naushad saab of pre-baiju bawra era ie from 1944 to 1952 i.e.’the initial years of this combination.
. so i hav mentioned the songs only from -pehle aap, shahjehan,anmol ghadi,mela dulari, dillagi ,chandni rat, andaz,dastaan,babul,jadoo,deedar and deewana.
Nitish Sinha,
“Tere Kooche Mein Armaanon Ki Duniya Leke Aaya Hoon” from Film:Dillagi(1949) is, in my view, one of the top 5 solos of Rafi Saab! What a monster of a song! It literally stirs your soul, inside out! Especially the second repitition of each of the three Antaras.
I consider Rafi Saab a Godly being, simply because of such divine songs!
Venkat
Ref Mr Anmol Singh’s Post No 1.
The song by Rafi Saab is TASVEER BANATA HOON TERI KHOONE JIGAR SE,
Talat Mehmood;s song is TASVEER BANATA HOON, TASVEER NAHIN BANTI.
Very informative article Mr Nitesh Sinha.Naushad Sahab was unparalelled in his compositions based on different Hindustani Raags and Raaginis. He was a perfectionist to the core.
The team of Shakeel Badayuni, Naushad and Rafi crafted some of the finest melodies in the the annals of hfs. Rafi Lovers Circle had a special relationship with Naushad Sahab. Whenever he came to Kolkata during the last decade, we would have great sittings with him and the topic was Rafi Saheb. I have personally interviewed him, clippings of the CD were shown during our salute to a legend…….ALVIDA NAUSHAD, an audio visual tribute which we presented shortly after his demise.
Dear Anmol,
tasveer banata hoon teri khoone jagar se, sang by mohd rafi & tasveer banata hoon tasveer nahin banti, sang by talat.
There is another song of this great team “koyee sagar dil ko Behalata nahi”
and is just like the voice of mohamed rafi saab is flowing like a stream.
The sweet music and the sweet golden voice and we will get nice sleep
if we hear the music.Thank Almighty.You give us our mohamed rafi Saab.
DEAR ANMOLJI,
“TASEVEER BANATA HUN TASVEER NAHI BANTI” WAS SUNG BY TALAT WHERE AS “TASVEER BANATA HUN TERI KHOONE JIGAR SE” WAS SUNG BY RAFI.
OTHER POPULAR AND WONDERFUL SONGS OF RAFI – NAUSHAD WHICH ARE NOT LISTED IN THE ARTICLE AND COMMENTS ARE,
1. MOVIE PALKI – KAL RAAT ZINDAGI SE, CHEHARE SE APNE AAJ TO & DUET WITH SUMAN DILE BETAAB KO AND THE QAWALI BHARI MEHAFIL ME CHEDA AND TITLE SONG WITH MANNADEY .
2. MOVIE SAANZ AUR AAWAZ – TWO DUETS WITH ASHA – PYAAR KI RAAH & TUM HUSNA KI MEHAFIL HO AND SOLOS – TIITLE SONG & DIL KI MEHFIL SAZI HAI.
3. LEADER – SOLOS APNI AAZADI KO, MUZHE DUNIYAWALON AND DUETS EK SHAHANSHA NE, DAYYA RE DAYYA.
4. GANGA JAMUNA – NAIN LADA JAYIYE.
5. SHABAB – MAN KI BEEN MATWARI AANKHEN – DUET WITH LATA AND SOLO YEHI ARMAN LEKAR.
6. GANWAR – SOLOS TITLE SONG, PEEKAR SHARAB, MEHKA MEHKA AND DUETS WITH ASHA TERA CHIKANA ROOP HAI & HUMSE TO ACHI TERI.
7. AADMI – TITLE SONG.
WELL, THE LIST IS ENDLESS.
shukriya anmol bhai..
tasveer banata hoon teri khune jigar se/dekha hai tumhe maine mohabbat ki nazar se…..was sung by rafi saab and not by talat jee.
the song you are mentioning is the other song, which goes like this- tasveer banata hoon tasveer nahi banti/ek khwab sa dekha hai tabir nahi banti…sung by talat jee for the film baradari, composed by ‘nashad’ and not ‘naushad’.
nitish sinha,email-lohrester@gmail.com
dear rafisaab fans i need nayya meri chalti jaaye from my friend rafisaab-naushadsaab combination great song if any body have this song please send
mohamedparv@gmail.com
i would like to say thanx to mr nitish sinha for this great article
these two were the best.Nobody can be the music director naushad saab and no play back singer can take rafi saab’s place.very well written articles.keep up the good work.
can anybody tell me about a private album†Haj ka maheena aa gayaâ€sung by rafi saheb. and i was surprise to know that all song of this album were composed by own the legendery king mohd.rafi.
the combination of both the legends was godly. one was decorating the idols with beautiful ornaments and the other was putting life in it.
i bow my head to both ‘ stalwartz ‘
its because of them the world knows what is hindustani music, compostion & evergreen melody.
this combination remains as a ‘ pole star ‘ in the sky of play back singing.
na bhooto na bhavishyati……………………
Anybody need “Ruhi Ruhi Mere Sapnon ki Rani…” sung by Saigal and Rafi Saheb from the film “Shahjehan” can mail me. rafimagic@gmail.com
Rafi Saheb sang many unforgettable songs for Naushadji. It seems both were made for each other! Their songs even this day remain fresh.
Very nice article.
I want to add some more melodious numbers of this team. like;
Mujhe dunya walo sharabi na samjho & Tere husn ki kya tareef karoo – Film Leader
Aaj ki raat mere dil ki salami lele & Aai hain baharein mitay zulm-o-sitam – Film Ram Aur Shaam
Dilruba main ne tere pyar mein kya kya na kiya & Guzre hain aaj ishq mein hum us muqaam se – Film Dil Diya Dard Liya
Aaj purani rahon se, koi mujhe aawaaz na de &
Main tooti huwi ek nayya hoon – Film Aadmi
Aah Rafi Sahab, kya baat hai sir aap ki.
“Hum ko tumhaare ishq ne kya kya bana diya
Jab kuch na ban sakay to aap ka parwana bana diya”
Nitish Sinha Ji,
Well researched and well written, great information on Rafi Saab’s songs of late 40s. Perhaps the song “Tasveer Banaata Hoon” is sung by Talat, if I am not mistaken.
“Baiju Bawraa” was a turning point in Indian music, where Rafi’s high pitch operation got highlighted. There after it become a Rafi patient quality which gave tremendous scope of all music composers to create incredible scores in the next 2 decades.