Rafi Sahab, the greatest singer ever!
This article is written by Raghav
Mohd Rafi was a great singer, unparalleled, and there can never be another Rafi. I have been a great fan of Rafi and I have always loved to enjoy his songs, analyze them and appreciate them all the more.
Rafi had 4 unique qualities:
- Quality of voice
- Voice differentiation
- Ability of expression
- Mastery of late entry
which are unique to Rafi and Rafi alone.
Tonal quality of voice and timber was so smooth, free flowing, and of perfectly circular, uniform cross section without any burrs, rough edges or splashes, or out of shape even for a brief moment & the quality of Rafi’s voice can only be felt, cant ever be described in words, I will however try to visualize the perfection of his voice in physical, tangible terms, imagine a tubular pipe of a uniform cross section and tremendous resilience, perfect shape and it’s flexibility enables it to be stretched (high octaves) without thinning the wall thickness, it can be compressed without affecting the shape (low octave), and can be bent and manipulated at any angle in any dimension without disturbing the shape or cross section (alaaps, murkis, and taans) imagine such a material! I doubt whether material science has progressed enough to produce such material! But Rafi had a voice that symbolized the material!
To see the voice quality in action!
listen to:
O duniya ke rakhwale: from Baiju bawra.
Rafi starts normally with “mehal udaas aur galiyan sooni” and jumps up “dil kya ujada duniya ujadi”. Advances rapidly to “hum jeevan kaise gujarein” peaks at “mandir girta phir ban jaata” and slides down smoothly to “dil ko kaun samhaley”.
The vocal pyrotechnics are superbly smooth and effortless, even Nadia Comenci couldn’t be better!
Jaane Bahar Husn tera: from Pyar kiya to darna kya.
Rafi starts the antara at base level , “hai ye teri mast adayein ye baaq pan” repeats the sentence at double the height, climbs up to “kiranon ko bhi na chhoone doonga tera badan” and descends smoothly and rapidly with “tujhse nazar milaye yeh kiski majaal hai”. Beautiful gliding which no para-glider champion can ever replicate!
Rafi perhaps was the only singer with this rare capability of smooth ascent and descent with such a short runway, his voice was the equivalent technology of V-TOL (vertical take-off & landing) and S-ToL of modern day high-tech Harrier jets!
Rafi was at his peak in the period 1955 to 1965. This decade also was the golden period of Hindi film music. Rafi showcased his unique ability of voice differentiation; he used to modify and distinguish his voice to suit different heroes without compromising his voice quality. Hearing a song in Binaca Geet mala, much before the release of the film, we could recognize who the song is pasteurized on!
One could clearly identify the hero, Dilip Kumar, Devanand, Shammi Kapoor, Rajendra Kumar, or Dharmendra. Lata too used to sing differently for Nutan and Meena Kumari, Asha used to distinguish between Asha Parekh and Helen, but Rafi’s versatility and broad range was far superior in all respects.
Rafi even had a different style for MD,s. Rafi’s voice had subtle difference for Naushad, O.P.Nayyar, S.J, and Madan Mohan, SD Burman.
Rafi had this talent to capture the mood of the song, express the very essence of lyrics as well as the overall theme and reflected the situation as pasteurized on screen!
To understand this unique talent recall in your mind:
Too kahan, yeh bataa, is nasheeli raat mein from Tere ghar ke saamne.
Sheer desperation of a physically tired lover seeking to locate his beloved, depicted so beautifully!
Mein nigahein tere chehre se hataoon kaise from Aap ki parchaaiyan.
Sheer helplessness of a love struck hero!
Nache man mora from meri soorat teri aankhen
Sheer ecstasy of an artist on seeing the converging clouds, dying to dance euphorically!
Baazi kisi ne pyaar ki jeeti ya haar di from Nazraana.
A philosophical shrug of shoulders, a humble, graceful acceptance of the ironies of fate!
Bahut sahi gamen duniya magar udaas na ho from Aaj aur Kal
A gentle, consoling, optimistic solace with assured promise of a better tomorrow!
Is rang badaltee duniya mein from Raajkumar
A persuasive advise of a deeply concerned well wisher!
Tere mere sapne from Guide
A reassuring promise of assurance to a grief sticken friend!
There are many more such examples.
Another great quality of Rafi was his superb late entry which was as enthralling as GR Vishwanath’s late cuts in his prime!
Rafi used to enter the song halfway through, very coolly, very surreptitiously and suddenly capture the center-stage, which used to get the other singer/s clean bowled! Examples:
Awaaz deke humein tum bulao from Professor.
Rafi enters in later half, Lata is left behind trying hard to catch up!
Par thehar woh jo wahan in mujhe gale se lagao from Nayi umar ki nayi fasal
A stern interjection, a strong rejoinder that has Asha reeling!
Bahut sahi from Aaj aur kal
A melodious, cool, interjection so reassuring, so comforting that leaves nagging Asha stuck!
There are many more such songs where Rafi making a late entry, captures the centrestage so effortlessly! There a few, not so well known songs in which Rafi has excelled superbly, to name a few:
- Raaz-e dil unse chhupaya na gaya: Apna bana ke dekho
- Zara sun haseena ye nazneen: Kaun apna Kaun paraya
- Ankhiyan sang ankhiya lage aaj: Bada Bhai
- Zara saamne to aa voh chhalie: Janam janam ke phere
- Yehi hai tamanna: Aapki parchhaiyan
- Apni to har aaah: Kala Bazar
These are some of rare songs.
Rafi sahab was great and is great, he will live in our hearts forever and ever.
- Raghav
July 16th, 2001 at 3:37 am
One song that I know where Rafi comes in late is “Hum intezar karenge” from bahu begum where Asha stars the song but is beaten big time by rafi when he starts “Yeh intezar bhi ek imtihaan hota hai… ” and of course “O mere Sona re sona re” from Teesri manzil, Rafi comes in late and captures the center stage. The song “Chura liya hai tumne jo dil ko” he comes in late and sings it so well.
Song which I just love the start of Rafi is “Saathi na koi manzil” from bombai ka babu. I just love the way Rafi hums in the start, one has to keep the volume of the song real high to hear him fully, he is just too sweet.
I also like the song “Mujhko apne gale laga lo” from humrahi where Rafi is with Mubarak begum. Rafi sings the second paragraph and is unbeatable. I love Rafi’s “Mein yeh sochkar uske darr se utha tha” from Haqueekat.
I am sure there never will be a singer better than him. And when one says that one could identify the actor from the style of Rafi’s singing, he is 100% right. Unlike today’s singers who could sing for anybody or nobody, it would hardly make any difference. Why? Is it that those were the days of Good music?
- Vikram
July 17th, 2001 at 3:38 am
Extremely well written Mr. Raghav!!! You have very beautifully captured the feelings of all Rafians!!! I cannot agree more that he always outsmarted co-singers with his late entry. “Awaaz Deke” is a standing testimony to this fact!! Also holds good is that fact that he maintains his superiority even if he starts the song; example “Woh Jab Yaad Aaye” from Parasmani!!! A late entry by Lata is hardly noticed, with Rafi leading the way in the song!!!
Few more songs that we can add to prove Rafi’s superior expressions:
Abhi Na Jao Chodkar (Hum Dono):
Sheer desperation by the hero begging his lover not to leave. I have not come across any expression (written/sung/composed) that could ever beat this one!!! Absolutely amazing!!!
Deewana Hua Badal (Kashmir Ki Kali):
Absolute ecstasy of a lover who wants to tell the world about his new found happiness!!! As S.P.Balasubramaniam puts it “Can anybody ever say ‘ma’ (yeh dekh ke dil jhoomaa) like that????” NEVER!!
Kabhi Khud Pe (Hum Dono):
The expression of sheer sorrow and misery of a man who has lost it! The ease with which Rafi trascends the highs and lows in this song is simply unmatched!!! The alaaps and brighas are simply out-of-the-world!!!
The above songs are the ones that have affected me the most. I may have listened to each of these songs atleast 2000 times, but they do not cease to leave bewildered every time I hear Rafi’s voice!!!!
- Jay
July 18th, 2001 at 3:39 am
Excellent post - both by Raghav and Jayendran Jayaraman!
I never thought in terms of “late entry” but whenever I heard this song, “Dekh qasam se, qasam se kahatay hain tum se haan, tum bhee jalogay…” I always thought to myself … Rafi sahib comes in towards the end of the song and dominates it right away with “kyaa lagayee tum ne yah qasam qasam se..” I didn’t know that the technical term for this was “late entry” - thanks for educating me.
Incidentally, everyone talks about O duniyaa ke rakhwaalay as Rafi sahib’s best. Only last night I was playing this song from Shabaab “Yehi armaan le kar aaj apne ghar se hum niklay…” In this song Rafi sahib goes upto taar saptak dha in “meri ujaDi huee mohabbat (this is where he hits it) kee hansee mil kar uDaao tum..” I think in this song he goes even half a note above the original version of O Duniyaa ke rakhwale.. At least that’s what my harmonium tells me. I think this song has not gotten its “due” respect.
- Rajinder Bhatia
July 19th, 2001 at 3:39 am
Bhatia Sahib,
First, on dekho kasam se dekho kasam you have simply reflected my emotions. Rafi Sahib’s Kya Lageye tumne yeh kasam kasam yeh towards the end is mesmeric and steals the show.
Recently I watched Chambal Ki Kasam. Actually I got that cassette to watch Simite Hue Yeh Ghadiyan Phir Se Na Simat Jayee. This is one of my all time Rafi/Lata favorites of 70’s. How beautifully both of them have rendered it? Though Lata’s lines are more, yet Rafi Sahib’s overlapping lines create magic. There was yet another song, which I hadn’t heard in Rafi’s voice pasteurized on Shatrugan Sinha in the same movie, a good song with Sahir’s lyrics and Khayaam’s music. It came as a bonus. I am gonna play it again. Chambal Ki Kasam was released in Dec, 1979. All I must say is that Simite Huve Yeh Ghadiyan is a terrific song rendition /music/lyrical qualitity are at its best. I can’t find any other song of 1979, which is as intense as Simite Huve Yeh Ghadiyan. I have observed that whenever Rafi and Lata sang together the result was sheer magic. Both of them used to put in something extra in the song. In my opinion Rafi must have always thought of Lata as real competition and vice-versa. That probably explains that they were always extra careful while singing together as though they had a point to prove to each other. Let me provide a list of few Rafi/Lata duets in the decade of seventies which stormed the popularity charts, had the mass as well as the class appeal :
1. Yeh Dil Diwana Hae (1970)
2. Yun hi tum mujh se baat karte hoon,ya koi pyar ka irada hae (1970)
3. Hai Re hai Neend Nahin Aaye (no 1 song of 1970 in terms of popluarity)
4. Mere Duniya Mein Tum Aaye kya kya (1970)
5. Yeh Dil Tum bhin kahin Lagta Nahin (1968)
6. Saatheiya Nahin Jana ki jee na lagee (1969)
7. Kitna Pyara Wada hai in Matwale Ankho Mein (1971)
8. Jhil Mil Sitaron Ka (1971)
9. Gorre ke haath mein (1971)
10. Rut Hae Milan Ki Saath mere aa re (1971)
11. Itna to yaad hae mujhe (1971)
12. Dol Sajna Dol Janne (1971)
13. Mein Tum Se Milne Aaye Mandir Janee ke Bahane (1971)
14. Tere Nainon Ki mein deep (1972)
15. Patta Patta Buta Buta (1972)
16. Tere Bindiya Re (1973)
17. Tum Jo Mil Gayee Ho (1973)
18. Wada Karle Sajna (1974)
19. Ek Dhal Par Toota Bole (1974)
20. Ek Mahel Ho Sapno Ka (1975)
21. Yeh Reshme Pazeb ke Jhankar (1976)
22. Ki Aaja Tere Yaad Aayee (1976)
23. Aadmi Musaphir Hae (1978)
24. Mujhe Chu Rahe hai Teri garam sanse (1978-79)
25. Baho mein tere maste ki (1979)
26. Dafli wale (1979)
27. Koyal bole (1979)
28. Simite Huva Yeh Ghadiyan (1979)
29. Koyal Kyon Gayee (1972)
30. Yeh Gotte Dar Lenghan(1981)
31. Ashao ke Sayee(1980)
And many many more.
- Naveen
July 20th, 2001 at 3:39 am
I completely agree with you Vikram. In the song “O mere sona re sona re..” the only stanza I always recollect is the Rafi one “O fir humse na ulajhna..” and the song. “Main yeh soch kar..” is song ke baare mein kya kahoon, no words to describe it; its my favourite; he has sung it in such a way that the first time you hear it and you are stunned the song is so short and yet so moving.
- Manish
February 18th, 2006 at 12:05 pm
Agreed with all about Rafi’s late entry mastery. Add to the list the following: Ruksasa mera naam from The Great Gambler, Poocho na yaar kya hua from Zamane Ko Dikhana Hai, and the mother of all late entry songs where he has both Kishore Kumar and the female singer running for cover- yeh duniya ke badaltey rishtey from Badaltey Rishtey. Remember the Amitabh starrer Muqadar ka Sikandar? Isn’t it Rafi’s one line title song you remember while leaving the theatre rather than Kishore’s full song.That is the mastery Rafi commanded on all other singers then and now, too, 25 years later.
February 21st, 2006 at 8:13 am
Add to the above list the late entry song that beats the mother of late entry songs as mentioned above - Remember the song,” Kya mausam hai,
eh diwane dil, chal kahin door nikal jaayen,”started and sung so well by
Kishore and Lata- so you think?-until Rafi comes up with,”yeh mastiyaan
yeh bahaar phir ho chala bekarar.” and you go wow! wah-wah.Aur kya
kahen, bhai?
April 9th, 2006 at 11:07 am
Great article. I am just sad I dont know how to reply properly, though, since I want to show my appreciation like many other.
June 13th, 2006 at 6:22 pm
In a concert at Royal Elbert Hall, London Rafi Saab givens a totally new dimension to the song ‘O Duniya Ke Rakhwalle’. In the song there is a line ‘Mahal Udaas Or Galinya Suni’ is sang in several times different styles. It speaks Rafi Saab’s voice control is just great.
November 21st, 2007 at 9:06 pm
rafi sahab’s voice was divine. We can just recall the song “Leader- Ek shahenshah ne”. Just close the eyes and experience the song. No need to have a look at Taj mahel, you can just feel the greatness of Taj Mahel” There are many almost all the songs, even from the last one from “Aas Pass”, one can feel Rafi Sahab as an actor on the screen, or one who is acting is the same actor and singer. “Jangal me mor nacha”, for Johny Walker”. Just matchless. One for Dilip sahab, ” Tute hue khabo me”, and there are many more. The matchless singer, what else anyone can say.