Rafi with Music Composers – Part 1
This article is written by Mr. Anmol Singh.
Rafi Saab has worked with the maximum number of music composers from different era. Most Music Composers came from diverse backgrounds and cultures, which were unique in their own respect. Every one brought a treasury of melody, which directly inherited the surroundings and environment in which they were brought up. Most of the music composers had an excellent knowledge of Raags and their application in different situations based on the film’s story line. Many could compose a song based on multiple Raags. Here are a few listed gems that contributed to Rafi Saab’s success. It’s an attempt to understand the depth of Rafi Saab’s work.
Note to Readers: The writer is not an expert in Classical Music. The information on Raags of many songs is not known. Perhaps many Raags mentioned for the songs mentioned below may not be correct. It is a request to all the readers to provide correct information in case of any misrepresentation of information mentioned in the following articles in any form.
Rafi with Naushad
Naushad Ali was instrumental in the movement of classical music from various Garaanas to the masses. Naushad is the man who explored the true worth of Rafi’s voice. Prior to the Baiju Bawra, Naushad used Rafi initially to sing in chorus. Rafi Saab had a desire to sing with the legendary singer K L Saigal. Naushad full fills his dream in the film ‘Shah Jahan’, where Rafi sings a duet with K L Saigal, “Mera Sapnon Ki Rani”. But it was “O Duniya Ke Rakhwale” based on Raag Darbari, “Mann Tadpat Hari Darshan” based on Raag Malcoz and later “Mabhubann Mein Radhika” based on Raag Hameer brought the best of Rafi. For the song “Madhudann Mein Radhika” Dilip Kumar undergoes training for playing sitar for six months prior to the shooting of the song sequence. (Courtesy Naushad’s Interview in Zee TV).
Naushad Saab originally hails from Lucknow the City of Nawabs. No music composer apart from Naushad could have composed the scores for Mere Mehboob, Palki and Pakeeza, which portray the culture of the Nawabs the best. Gulam Mohammed originally scored music of Pakeeza. Naushad later completed the scores of Pakeeza after his death. Rafi Saab provides a masterpiece performance for songs like “Mere Mehboob Tujhe Meri” based on Raag Jhinjhoti, “Aye Husna Zara Jaag”, “Yaad Mein Teri Jaag Jaag” based on Raag Bhairavi / Darbari Kanada, “Dil-e-Betaab Ko Sine” based on Raag Kalyan, “Kal Raat Zindage Se”, “Chalo Dil Dar Chalo”, etc.
Apart from Ghazals, Naushad Saab has contributed in folk music of Uttar Pradesh also. Rafi sings the Bhojpuri classic “Nain Ladgai Hai To Mannwa Maa” from Ganga Jamuna. Dilip Kumar provides a super performance. In the all time classic ‘Mother India’, Naushad Saab again uses folk music for composition of most of the songs. Rafi Saab provides great performances in the form of duets with Shamshad Begum and Lata, “O Ghadi Wale”, “Dukh Bhare Din Bite” based on Raag Megh Malhar, “Matwale Jiya Dole Piya” and a fun solo “Na Mein Bhagwan Hoon”. Coming to devotional songs Rafi Saab contributes in ‘Amar’, “Insaaf Ka Mandir Hai” a master piece of all times based on Raag Bhairavi. In Mugal-E-Azam Naushad chooses Rafi for “Zindabad Aye Mohabatt” for a very high pitch operation.
Rafi Saab’s capability of operating at very high pitch effortlessly has benefited many music composers; where they enjoyed the liberty to exploit Rafi Saab’s potential to any extend to achieve the best results. Full marks to Naushad to bring Rafi Saab to such a level. It is believed that Rafi Saab had to rehearse the song “O Duniya Ke Rakhawale” for almost 28 days, where during rehearsal his throat started bleeding. But the initial pain, which Rafi Saab went through, indeed made him the ‘King of Melody’ there after. Apart from Rafi Saab Naushad was instrumental in shaping Mukesh to his original style of singing via songs “Tu Kahe Agar” & “Gaae Ja Geet Milan Ke”.
Some ever lasting solos delivery by Rafi Saab for Naushad include “Suhani Raat Dhal Chuki” based on Raag Pahadi, “Meri Kahani Bhulane Wale” based on Raag Tilang, “Aaj Purani Raahon Se”, “Aaj Ki Raat Mere” based on Raag Pahadi, “O Door Ke Musafir Hum ko ”, “Maan Mera Ahsaan”, “Ye Zindagi ke Mele”, “Koyi Saagar Dil Ko” based on Janasamohini / Kalavati, “Tere Kuche Mein Armano”, “Mohobbat Ki Raahon Mein Chal Na”, “Nasib Dar Pe Tere Aazamaane”, “Mere Pairon Mein Ghungroo”, “Zindagi Aaj Mere Naam Se” based on Raag Jaijaivanti. The duets with Lata “Do Sitaroon Ka Milan” from ‘Kohinoor’ based on Raag Pahadi and “Dil Todne Wale” from ‘Son of India’ are just superb. Two catchy duets with Lata & Shamshad Begum from ‘Baiju Bawra’ can be heard till date “Door Koi Gaaye Dhun” based on Raag Desh & “Tu Ganga Ki Mouj Mein” based on Raag Bhairavi. Another duet with Lata “Dilruba Maine Tere Pyar” from ‘Dil Diya Dard Liya’ is remarkable, although the film was a flop but the songs were big hit. There is another classical duet song with Lata from the same film equally remarkable, “Sawan Aye Ya Ne Aye” based on Raag Sarang.
A duet with Talat and separately sung with Mahendra Kapoor, “Kaise Haseen Aaj Baharon ki Raat” from the film ‘Aadmi’ is also mind blowing. The duet audio version with Mahendra Kapoor is unreleased officially. But it is indeed great to see the Guru and Chela (Student) singing together effortlessly. Mahendra Kapoor considered Rafi Saab as his Guru when he was a teenager. All songs from the film ‘Leader’ are just mind blowing & too good, whether patriotic “Apni Azaadi Ko Ham Hargiz”, fun song “Mujeh Duniyawalon” or romantic numbers “Hamin Se Mohobbat”, “Ek Shehenshah Ne” based on Raag Lalit, “Tere Husn Ki Kya” based on Raag Kalyan. The last two songs are again remarkable duets with Lata. “Hamse Tho Aachi Teri Payal” another super duet with Lata from ‘Ganwaar’.
Rafi Saab had sung songs for two film ‘Love & God’ & ‘Dharam Kanta’ under Naushad which were released later after Rafi Saab’s death.
Rafi with S D Burman
It is said, that wine matures with time. The same can be said for S D Burman’s (Dada) compositions also. As he grew old by age his compositions became younger & matured with time. Dada originally hails from the Royal family of Tripura. Dada sacrificed his entire wealth and Royal status just for the love of music. His sacrifice did not go in vain; in fact he was destined to rule masses perhaps not as the King of Tripura, but ‘The King of Music’.
It is believed that Dev Anand and Dada are made for each other. Dev Anand once mentioned in his interview that mountains facsinate him the most. Perhaps there is no composer, who understands the music of mountains and hills better than Dada Burman. Most Dev Anand songs sequences are picturized on Mountains and Hills. Dev has been a thorough Kishore Kumar supporter right from the begining of his career. Dada is the man instrumental in shaping Kishore. But when it comes to masterpiece performances Dada over rules Dev and chooses none other then Rafi Saab. Whether it is a song based on Bengali folk music “Saathi Na Koi Manzil” from ‘Bambai ka Babu’ or a haunting duet with Lata “Dil Pukare Aa Re Aa Re” from ‘Jewel Thief’, shot in the hills of North East or an ever lasting Ghazal from ‘Kala Pani’, “Hum Bekhudi Mein” it is just Rafi Saab’s voice that will he do the true justice to Dada’s work.
If we talk of bitter realities of life expressed through songs “Ye Mahalon Ye Taqton”, “Dekhi Zamane Ki Yaari”, “Jinhe Naaz Hai Hind Par” again Rafi does the true justice to Guru Dutt’s body language. Guru Dutt does an excellent job on screen.
For Dada’s classical composition for the song “Nache Mann Moraa, Magan Tig Da Dhigi Dhigi” again there is Rafi who provides a master performance. The song is picturized on an ugly character played by the legendary Ashok Kumar (Dada Munni). Practically it is difficult to compose a song for such a character. But when two geniuses like Dada Burman and Rafi Saab come together, they create magic and completely super seed the ugly image with their super performance. Composing a song of such a variety indeed speaks of Dada’s true caliper as a composer. No wonder Dada was the most versatile music composer of all times. From the same film there is another masterpiece composition based on Raag Kaafi / Pilu, sung by Rafi Saab for Dada Munni, “Tere Bin Sune Nayan Hamare”. It’s duet with Lata.
For Romantic solos songs Dada chooses Rafi to render “Khoya Khoya Chand”, “Tere Mere Sapne” based on Raag Gara, “Kya Se Kya Ho Gayaa”, “Dil Ka Bhanvar”, “Tu Kahaan Ye Bataa”, “Apni Tho Har Aah Ik Toofaan Hai”, etc. Dada was not a Ghazal specialist like Madan Mohan, but the ones composed by him are no less, apart from the one from Kaala Pani there are, “Ase To Naa Dhekho” based on Raag Gara, “Dil Dhal Jaaye Hai”, “Kahin Bekhayaal Ho Ke”, etc.
The duets along with Lata, Asha & Geeta Dutt which Rafi Saab sung under Dada are truly sensational, “Chand Saa Mukhda”, “Hum Aapki Aakhon Mein”, “Rim Jhim Ke Tarane”, “Gun Guna Rahe Hai Bhavar”, “Baagon Mein Bahaar”, “Palkon Ke Peeche Se Kya”, “Tere Ghar Ke Samne”, etc. In the song “Dekho Rutha Na Karo”, Dada uses Rafi at a very high pitch in the antara compared to Lata.
Dada along with Majrooh Sultanpuri holds the credit in composition of some of the catchiest duets of all times i.e. songs involving couples in joy full mood. “Aaja Panchi Akela Hai”, “Acha Jee Mein Haari”, “Diwana Mastaana Huga Dil”, “Dekho Ji Mera Haal”, “Kali Ke Roop Mein” are duets sung by Rafi Saab along with Asha are few examples. This strategy followed by Dada turned out to be instrumental in shaping Kishore Kumar. The duets, which Dada has composed for Kishore, are one of the best of all times.
After the success of Aradhana, Dada indeed used Kishore Kumar more than any other singer. Though critics did accused Dada of being partial towards Kishore. But that’s not the truth. Dada indeed used Rafi Saab after 1969 for many unforgettable compositions in the form of Solos and duets. To start with there is a patriotic number from ‘Prem Pujari’, “Taqat Watan Ki Hum Se” Dada chooses Rafi along with Manna Dey. The solo songs consist of “Mera Mann Tera Pyasaa” & “Mehebooba Teri Tasaveer” and duets with Lata, “Teri Bindiya Re” where Rafi sings for Amitabh, “Voh Kya Hai” from ‘Auraag’, “Yeh Dil Deewana Hai” where Rafi sings for Dharmendra. The last song, which Rafi Saab sang for the Prince of Tripura, was “Sa Ra Ga Ma” which is a fun duet with Kishore from ‘Chupke Chupke’. Few days after the recording the Prince went into comma forever and left us in Oct 1975.
November 22nd, 2006 at 1:28 pm
Burman will forever be remembered for that mesmerising Mohammad Rafi number lipsed by Dev Anand in Guide —- ‘tere mere sapnay ab eik hi rang hain / wo jahan bhi le jaayen rahen / hum sang hain’. And if you have had occasion to listen to another Rafi number, ‘hum bekhudi mein tum ko pukaare chale gaye’, you might as well recall that Burman had simply transplanted the music from his earlier Bengali song, ‘ghoom bhulechhi nijhum nishithe jege thaki / ar amari moto jaage neerhe duti pakhi.
for more on Dada Burman go to
http://www.ndtvblogs.com/views/viewcomments.asp?gl_guid=&q_blogid=6101&blogname=palashbiswas
November 22nd, 2006 at 11:53 am
As a tribute to my favourite singer, I am posting the typewritten version of
a special Jaimala program presented by the Shehanshah-e-Mausiqui, Naushad
Sahab, in the memory of Mohammed Rafi.
[Jaimala was a popular Vividh Bharati program for “Fauji Bhai”s and the
Vishesh Jaimala used to be presented by a famous (usually film) personality.]
Although Rafi Sahab sang under the baton of almost all music directors of the
Hindi film industry, his association with Naushad was special. Naushad was
instrumental in grooming this highly talented singer, although he modestly says
that he “merely showed Rafi the right direction”.
Here’s the special Jaimala program which I have translated into English from
the original Urdu version. The beauty of Naushad’s refined Urdu is certainly
lost in the translation, but I hope you will enjoy reading what the legendary
music director has to say regarding Mohammed Rafi, the singer and the person.
Portions which cud not be translated properly have been left in the original
language. All errors in translation are mine.
The songs played in the program are included in “[….]”.
May Rafi Sahab’s soul rest in peace.
Sami Mohammed (A MOHAMMED RAFI fan)
***** Yaad-e-Rafi (Naushad’s Jaimala) *****
Fauji bhaion ko Naushad ka salaam!
[Unfortunately, the initial statements made by Naushad in the program got
erased from my cassette by mistake. Naushad recollects the moment when Rafi
Sahab had first approached him with a letter of recommendation from someone]
It was recommended that this young man, who possesses a beautiful voice, be
given a chance to sing. I heard the young man sing a song or two and was
highly impressed. I told him that one day he would become a great singer and
asked him to keep in touch. During the initial stages, I let the young man be
a part of a chorus, and I think one such chorus “Hindustan ke hum hain,
Hindustan humara….” might still be embedded in your memories. Later, in the
film Dillagi, I had the opportunity to use his voice exclusively in a solo. As
if it were predestined, this song became immensely popular throughout the
country. This was my first song (solo) with him. With this song, Rafi Sahab
not only carved a niche for himself, but also added a new dimension to my music.
[Tere kooche me armaanon ki duniya leke aaya hun
Tujhi par jaan dene ki tammanna leke aaya hun ]
After that, Rafi Sabab never looked back. He earned respect and his popularity
touched the sky. The magic of his voice enthralled the whole world. His
popularity, respect and wealth all increased tremendously, YET he ALWAYS
remained modest. Like a fruit-bearing tree, the more he fructified, the more
he bent in front of the world. His heart was filled with fear of God and the
love for truth. Generosity and altruism were part of his system. God and truth
were the only sources of inspiration for him. And he always used to say
“Tum yahan jaisa karoge waisa bharoge, ye duniya ek mandir hai”:
[Insaaf ka mandir hai ye, Bhagwan ka ghar hai…..]
Here’s an anecdote which aptly desribes his altruistic nature. My
relationship with him had grown from a professional to an informal one. Once
he had to go to a foreign country for a live performance. He came up to me
to seek advice: “Main bahar se koi aisi cheez lana chata hun jo GHareebon ke
kaam aae”. I suggested that he bring a dialysis machine and donate it to a
hospital for the benefit of poor kidney patients who could not afford the
medical costs. He liked the idea, but the foreign trip did not materialize due
to some reason. However, this incident left a permanent mark of his altruistic
nature on my heart. I cannot describe how great a person Rafi Sahab was. These
are the small things which make a man immortal. For instance, people may forget
Shahjehan, but his legacy of love, the Taj Mahal will be remembered forever.
Log Shahjehan ko bhool sakte hain, lekin uski mohabbat ki nishani, Taj Mahal
ki soorat me quayamat tak zinda rahegi:
[Ek shahenshah ne banwaake hasin Taj Mahal
Saari Duniya ko mohabbat ki nishani di hai
Iske saae me sada pyaar ke charche honge
Quatm jo ho na sakegi woh kahani di hai…]
Rafi Sahab adored Indian music (Bharateey Sangeet). He used to like singing
semi-classical songs in his live programs. He always tried to make an attempt
to propagate Indian music in foreign countries. For instance, whenever he sang
“Madhuban me radhika nache…”, he ALWAYS used to mention that it is based on
Raag Hamir. Similarly, Raag Darbari would be mentioned before singing “O
duniya ke rakhwaale…”. In this manner, irrespective of whether the people
understood the lyrics or not, they always appreciated Indian music. The
following bhajan of his, which is based on Raag Malkaus, was admired throughout
the world:
[Hari Om….
Man tarapat Hari darshan ko aaj
Man tarapat Hari darshan ko aaj…]
Fauji Bhaio, it is your duty to safeguard the security of our country. In a
similar fashion, it is the duty of us sangeetkars, to safeguard our
traditional music and art. Not only that, it is also our duty to entertain you
and raise your morale in times of crisis. In 1962, when our country was
attacked by the enemy, a request was made in the presence of Pandit Jawaharlal
Nehru, that a song be composed in order to boost the morale of our soldiers.
So, Shakeel Badayuni Sahab penned down the lyrics, I composed the tune, and
Rafi Sahab poured his heart out into this song in such a manner that whoever
heard it was filled with patriotic fervour! Later, this song was included
in the film, Leader:
[Apni aazaadi ko hum hargiz miTa sakte nahin
Sar kaTa sakte hain lekin, sar jhuka sakte nahin
Apni aazaadi ko hum hargiz miTa sakte nahin…..]
Once, while Rafi Sahab and I were discussing a song, we were informed that
Mukesh had breathed his last in America. Rafi Sahab was stunned. The only
words which he uttered were: “Hai kitna achha gayak, kitna achha insaan, kitna
pyaara saathi chala gaya” ! Some child switched on the radio at that time, and
can you guess the song which was on then ?:
[Chale aaj tum jahaan se, hui zindagi paraaee
Tumhe mil gaya THikaana, hume maut bhi na aaee
O door ke musafir, humko bhi saath lele re
Humko bhi saath lele, hum reh gae akele……]
Rafi Sahab had gone through a lot of trouble and had made countless sacrifices
on his way to the top. But, alas! He had attained a position at which death
itself envied him and wanted to make him it’s own:
Mushkilen sangeet ki woh muskurakar jhelta
Tairta raagon ki lehron me, suron se khelta
BaRke Ganga jal se bhi pakeezah tar aakar thi
Uski har tarkeeb mausiqui ka ek shahkaar thi
Gayaki me uski beshak ek niraali shaan thi
Saaf pani ki tarah behti hui har taan thi
Dekhkar ye kaamyaabi muskura uTHi ajal (ajal = death)
PaRgae sab raag pheeke, ho gaya funkaar shal (shal = silent, still)
Gir paRa chashm-e-falak se sitara TooT kar
Ek naqsha ranj-o-GHam ka khinch gaya pesh-e-nazar
Bujh gaee phir shamma mehfil me andhera ho gaya
Zindagi ka taar TooTa aur taraana so gaya !!!
One day we received the shocking news of Rafi Sahab’s demise. The sad news
spread like wild fire throughout the country. Songs turned into a dirge.
The angels wept in the sky and tears were shed in the form of raindrops over his
namaaz-e-janaza (funeral prayer). His funeral procession started amid heavy
rain and thunder. People gathered on the top of buildings, trees and in windows
to catch a last glimpse of their favourite singer. The procession reached the
Juhu graveyard. Many famous film personalities were trying their best to
control the crowd which had gathered to pay it’s last respects to the voice
which had warmed their hearts for decades. A voice which had become a part of
their lives. Millions of eyes were watching one single glowing face; eyes which
belonged not to any religion, caste or creed. And perhaps, that glowing face was
saying this:
[Main TooTi hui ek nayya hun, mujhe chahe jidhar le jaao
Ji chaahe dubodo maujon me, ya saahil par le jaao
Main TooTi hui ek nayya hun, mujhe chahe jidhar le jaao..]
Finally, the mortal body was interred in the same dust from which it was
initially made. Log keh rahe the ek achha gayak chala gaya; ek achha insaan
chala gaya. Koi keh raha tha ek achha dost chala gaya, aur main quabrastan
(graveyard) ke ek hisse me sonch raha tha:
Kehta hai koi dil gaya, dilbar chala gaya
Saahil pukarta hai, samundar chala gaya
Lekin jo baat sach hai, woh kehta nahin koi
Duniya se mausiqui ka paembar chala gaya !!! (paembar = messenger)
Dust had returned to dust, and all that we were left with were sweet memories.
Har dil me bhaRakta hua woh saaz hai baaqui
Woh jism nahin hai magar aawaaz hai baaqui !!
[Ohoho, ho ho ho
Aaj puraani raahon se, koi mujhe aawaaz na de
Aaj puraani raahon se, koi mujhe aawaaz na de
Dard me doobe geet na de, GHam ka sisakta saaz na de
Dard me doobe geet na de, GHam ka sisakta saaz na de]
Swargeeya gayak Mohammed Rafi ki yaad me, aaj ka vishesh Jaimala prastut kar
rahe the, film jagat ke suprassidh sangeetkaar, Naushad.
Sami Mohammed (A MOHAMMED RAFI fan)
October 30th, 2006 at 9:32 am
Naushad was a music genius! He was a raag expert and as any one who was into raagas could mould himself into any genre just like Rafisaab. Listen to a Naushad composition with Lata in a western touch-well beyond what she did with RD- the Western Touch Guru! Naushad has even done better with Rafisaab in “Ganwaar”!
http://www.youtube.com/watch?v=nVLGvnAbFUw&mode=related&search=
October 20th, 2006 at 12:35 pm
Dear friends n music lovers,
the articles by Anmol and its interactions by the learned Mohan Flora and others have done full justice to our ALL TIME GENIOUS N MAESTRO RAFI SAHAB WHO HAS MADE OUR LIFE HAPPY, HEAVENLY AND DIVINE.
JAI RAFI SAHAB JAI HIND.
P.Narayanan
October 19th, 2006 at 12:43 pm
Dear All Rafian brethens,
I would like to thank this excellent website and the very informative articles n comments of Anmol, Mohan Flora, Mehtab, Venkat, Unknwn, sagar and others from the bottom of my heart.
Perhaps there is no other website of any other artistes which can be so qualitatively popular like Rafi Sahab’s.
I along with other music lovers salute OUR MUSICAL GENIOUS MAESTRO RAFI SAHAB for making our heart sing with the serene and divine melody of music.
P.Narayanan
October 19th, 2006 at 12:09 pm
The above was an excerpt of an interview of Devanand by Shekhar Hattangadi in Little India,com
October 19th, 2006 at 12:02 pm
DevanYour skills as a man-manager are well known. You got the best work out of a short-tempered eccentric like composer Sachin Dev Burman.
His greatest compositions were created in the most informal sittings — Dada Burman playing around on the harmonium for hours, and I huddled next to him, rejecting one tune, and egging him on before approving another. It was a great feeling. But he had to be handled carefully. We once recorded a ghazal by an Urdu poet — which Dada composed and got Mohammed Rafi to sing. After the recording, Goldie and I thought it fell short of the mark. Baat bani nahi jo banne chaahiye thi. But we didn’t dare tell Dada right away. That night, I called him and asked how he felt about it. Bahut achha hua Dev, he said. I said, Dada usme kuch zarasi baat reh gayi hai, but I can’t explain what exactly is missing. He said, Nahi, nahi, bahut achha hua hai, and banged the phone down. I sensed he was mildly irritated, but also knew I’d succeeded in sowing a doubt in his mind. And the very next morning, he called to say he was coming over that evening. He came, played the harmonium for a little while and hummed the first notes of a new tune. And I said, that’s it. We summoned lyricist Shailendra who wrote the mukhda, and right there was born the famous Guide song: Din dhal jaaye, raat na jaaye.
Rafi sang that one. But what made you select Kishore Kumar as your screen voice?
Kishore Kumar got his break as a playback singer for me in Ziddi, which his brother Ashok Kumar produced. And his voice suited mine. I particularly liked its resonance. But there was always this discussion over whom to choose — Rafi or Kishore — till we finally arrived at a rule of thumb: Rafi got the ghazals, and Kishore got the geetsand on SD Burman and the Guide songs etc!
October 19th, 2006 at 11:37 am
from hologramblogspot
When you have Lata, who needs Asha? Naushad is also famous for being in the triad of Naushad (music), Shakeel Badayuni (lyrics) and Rafi (singer), who together have given us many unforgettable songs.
Tribute to Naushad
One of the greatest composers in Hindi film music just passed away. Naushad Ali was just phenomenal, and as with most of his contemporaries, his songs still have a wide following. Naushad had a special touch. Most of his songs were based on Hindustani classical music; he could compose songs in Hindustani raags without losing their essence so that it appealed to the listener who had no classical background. It is no easy job this. And IMHO, this is what distinguished him from, say, a Madan Mohan or a Shankar-Jaikishan. An equally important contribution of Naushad to film music was the way he handled Mohammad Rafi by tempering his voice, giving us the Rafi who is so irresistable today, and (to a lesser extent) helping Lata Mangeshkar with her Urdu diction, so that she sounds totally authentic. Some might argue that Naushad under-utilized Asha Bhosale, but for hardcore Lata fans like me, that is irrelevant
I could go on about Naushad’s music, but rather than that, I will pick 10 songs composed by Naushad that are among my favourites, and showcase Naushad’s capabilities. Not an easy task at all, considering that huge number of his songs were hits. Bear in mind this is not a top 10, just a set of 10 that I like most, in alphabetical order! (The columns are read as song, film, singer(s), raag)
1) Bekas pe karam kijiye sarkar-e-madina, Mughal-e-Azam, Lata Mangeshkar, Kedara
A wonderful tune that beautifully captures the feeling of Anarkali being imprisoned. Lata’s voice is apt here.
2) Ek shahenshah ne banvake haseen Taj Mahal, Leader, Lata/Rafi, Lalit
The tune in this song brilliantly complements the poetic beauty of the Taj. If at all a tune can describe poetry by itself, this has to be it.
3) Guzren hain aaj ishq mein, Dil Diya Dard Liya, Mohd. Rafi, Darvari Kanada
This one ranks in my top three Naushad songs (and top ten of all time). The song is deceptively difficult to sing, mastering all the nuances takes quite some effort. I wonder if anyone other than Rafi could have done justice to this song.
4) Insaaf ka mandir hai yeh, Amar, Mohd. Rafi, Bhairavi
Another Rafi special (as most in this list are). A brilliant example of a Naushad composition, a tune that can appeal to the layman, yet Bhairavi through and through.
5) Madhuban mein radhika nache re, Kohinoor, Mohd. Rafi, Hamir
One of Naushad’s most dificult compositions to sing. Yet Rafi manages this effortlessly, and the rest, as they say, is history. Notice how the lyrics mimic the beats of a tabla (or dhol). The best part is, of course, the sitar rendition at the end of the song.
6) Man tarpat hari darshan, Baiju Bawara, Mohd. Rafi, Malkauns
This is the movie that made Rafi a hit among masses. This song gives a clue why.
7) O duniya ke rakhwale, Baiju Bawara, Mohd. Rafi, Darvari Kanada
One of the more obvious compositions in Darvari Kanada, Rafi’s entire range was called into play while rendering this song. He goes into a very high pitch at the end of each mukhda, and even higher at the end, making you wonder how he does it.
8) Saawan aaye ya na aaye, Dil Diya Dard Liya, Rafi/Asha, Saarang
Naushad made good use of the contrast between voices of Rafi and Asha in this song. Together they create magic.
9) Yaad mein teri jaag jaag ke hum, Mere Mehboob, Lata/Rafi, Darvari Kanada
Words cannot do justice to the feeling this song gives you. So none are given, just listen to it and you will know.
10) Zindaabaad zindaabad aye mohabbat zindaabaad, Mughal-e-Azam, Mohd. Rafi, Kirvani
One amazing song, as it required Rafi to stretch his vocal cords even more than he did for O duniya ke rakhwale. He starts off at a very high pitch, maintains it, and then goes even higher, so much so that even his voice begins to crack. Naushad probably used his full repertoire of musical tricks in composing this song. Sheer genius.
The sheer beatuty of all these songs comes not only from Naushad’s wonderful compositions, but also in the excellence of the singers, who make them seem ridiculously easy to sing. There are many other songs that deserve mention, but I’ll stick to this list for now.
posted by Sailesh Ganesh at 4:12 PM 4 comments
October 19th, 2006 at 9:35 am
http://www.sdburman.net/website/Feature_of_the_month/Features/MannaDeySD.htm
This an article by Manna Dey on why S D Burman considered Rafi Saab as the most versatile singer of all times.
Some of the comments by Manna Dey
It was during that sitting’ when the conversation went for a while, did I first notice that Manna Dey had a love hate relationship with SD. Of course more love than hate as in his music room, one still finds SD’s photograph amongst his near ones. If this was an example of “the love” part then let us see what the other part was like.
After rehearsing the song for days to SD’s satisfaction, there was often a thunder. “Now that you know the song well, guide Rafi to sing the number. I would like him to record it. I already told him that you would contact him!! “.
“Furthermore, did you not time and again say that Rafi as of today happens to be the complete singer in the history of Hindi films ? In such a case where did SD go wrong ? How many times did he replace you with Kishore, Talat or Mukesh ? Even uncle KC Dey did the same with you !!
Years later I chanced to ask the ace Bangladeshi composer Robin Ghosh in one of those coffee chats “Who do you think is the greatest Hindi playback singer”.
“Undoubtedly Rafi” was the answer. “What about Manna Dey” I pressed hard.
“Manna Dey is the perfect singer. A model singer. But we are talking about films and in this media Rafi is the most versatile, he has no match, not even Kishore”. That probably settles the incomparable SDB’s score with the quintessential Manna Dey.
October 19th, 2006 at 9:21 am
http://ia.rediff.com/movies/2003/aug/12dinesh.htm
The unforgettable Nutan-Dev Anand chemistry