Rafi’s Lean Phase – Beginning and End
This article is written by Mr. Anmol Singh.
Introduction
For a singer like Rafi the so-called a lean phase can never happen but certainly it can be created. This was exactly what happened with Rafi Saab in 1970s where the entire media machinery including the film fare award nomination criteria appear to be working against him. We need to analyze where exactly things went wrong.
Last Phase of the Golden Era
1969 perhaps sees the success of Aradhana and Kishore Kumar for which R D Burman (Pancham) needs to be credited. It’s a known fact, initially Rafi was finalized for all the songs for Aradhana by Dada Burman. As Dada faces health problems during the production of ‘Aradhana’ after recording two duets for Rafi Saab, Pancham takes over the responsibility. Since Rafi Saab had been for Haj Pilgrimage Pancham takes the opportunity to train Kishore for rest of the songs. The success of ‘Aradhana’ establishes Kishore as full-fledged singer. Kishore gets awarded for “Roop Tera Mastanaâ€. Perhaps the media claims that the rise of Kishore was the end of Rafi. It was not so. Dada Burman did use Kishore after the success of ‘Aradhna’ more but did not avoid Rafi Saab completely. But Pancham was not same as Dada. He did try to promote Kishore at the cost Rafi Saab. The most classic example is the song “Tum Bin Jaanu Kaahan†from ‘Pyar Ka Mausam’. Rafi sings both the romantic and the sad version of the song for Shashi Kapoor, where as Kishore Kumar sings only the sad version for Bharat Bhushan. Prior to this Kishore never gave play back for Bharat Bhushan. It was mostly Rafi Saab. But the most surprising part is why the sad version of “Tum Bin Jaavun Kahan†sung by Rafi Saab was suppressed. Why did the filmmaker allow this to happen? Why the media talks only about the sad version sung by Kishore, why it doesn’t consider the sad version sung by Rafi Saab at all. There are questions to be answered. Rafi Saab indeed delivered many mind-blowing gems in 1969.
In 1970 Dada Burman uses Rafi Saab for films like “Taalash†and “Isk Per Zor Nahi†mainly for duets with Lata. Rafi Saab has delivered many great numbers in 1970. To name a few – Haye Re Haye, Dhal Gaya Din Hogayi Sham, Hamse Tho Aachi Teri Payal, Rang Rang Ke Phool Khile, Gulabi Ankhen , Ponch Kar Ashq, Jhilmil Sitaron Ka, Khush Rahe Tu Sada, Khilona Jaan Kar, Kaan Mein Jhumka Chaal Mein, Khuda Bhi Aasmaan Se, Yeh Mausam Bhiga Bhiga Hai, Mere Mituwa Mere Geet Re, Yeh Duniya Yeh Mehfil, Sukh Ke Sab Sathi, Tumse Kahoon Ek Baat, Yunhi Tum Mujh Se Baat, etc
Best Male Playback Singer – 1970
Mohammed Rafi – Khilona Jankar (Khilona)
Mukesh – Sabse Bada Nadan (Pehchan) Won
Mukesh – Bas Yehi Apradh (Pehchan)
Considering the number of hits delivered by Rafi Saab, there is no way the award could go to anyone else.
The Beginning of the Lean Phase
In 1971 also Rafi Saab delivers many hits but no nomination appears. From this point onwards Rafi Saab’s songs start disappearing from film fare nomination listing. Neither in 1971 nor in 1972 film fare nominations not a single Rafi song appears. But the fact remains Rafi Saab sang many superb some in 1971. To name a few – Mujeh Teri Mohobbat Ka, Aap Aaye Bhaar Ayee, Kitna Pyara Waada, Goriya Kahan Tera Des, Chalo Dildar Chalo, Dil Use Do Jo Jaan Dede, Rut Hai Milan Ki, Jab Bhi Yeh Dil Udaas, Kuch Keheta Hai Yeh Sawan, Mein Ek Raaja Hooni, Nafrat Ki Duniya, Yeh Jo Chilman Hai, Etanaa To Yaad Hai Mujhe, Yeh Raat Hai Pyaasi Pyaasi, Thoda Ruk Jaayegi Tho, etc.
Best Male Playback Singer – 1971
Kishore Kumar – Zindagi Ek Safar Hai Suhana (Andaz)
Kishore Kumar – Yeh Jo Mohabbat Hai (Kati Patang)
Manna Dey – Eh Bhai Zara (Mera Naam Joker) Won
The songs Yeh Jo Chilman Hai & Etanaa To Yaad Hai Mujhe are filmed on Rajesh Khanna. Apart from this the song Nafrat Ki Duniya from ‘Hathi Mere Saathi’ is also picturized on Rajesh Khanna. All these songs were beyond the capability of any singer to deliver. Therefore Rafi Saab gives play back for Rajesh Khanna through a master performance.
As we move in 1972 comparatively where Rafi Saab does deliver few hits compared to 1971. Na Tu Zameen Ke Liye, Nazar Aati Nahin Manzil, Patta Patta Buta Buta, Pyar Ka Sama Kam Hai Jahan, Voh Kya Hai..Ek Mandir Hai, Yeh Zulf Kaisi Hai, Bade Bewafa Hein Yeh Husn. Etc. But no nomination.
Best Male Playback Singer – 1972
Kishore Kumar – Chingari Koi Bhadke (Amar Prem)
Mukesh – Jai Bolo Be-Imaan Ki (Be-Imaan) Won
Mukesh – Ek Pyar Ka Nagma (Shor)
In 1972 Pancham uses Bhupinder along with Lata for the song ‘Beeti Na Bitaayee Raina‘ from ‘Parichay’. This is a classical based song for which Rafi Saab is the best suited. If not Rafi then Manna Dey could be the next in line. If Pancham can use Manna Dey to playback for Dharmendra in ‘Seeta Aur Geeta’ and Amitabh in ‘Sholay’ then why not for Sanjeev Kumar. Though Pancham had the ability to compose classical based songs but miss used both Manna Dey and Rafi Saab in the early 70s. He repeats the same thing later in the song ‘Naam Gum Jaye Gaa’. This time Bhupindar gives playback for Jitendra. Of course no intension to criticize Bhupindra here, he sang the numbers exceptionally well as per his standards. But by using Rafi Saab for these songs and one can imagine the outcome.
In 1973 again Rafi Saab delivered many mind-blowing numbers. To name a few – Aaj Mausam Bada, Badi Door Se Aayen Hein, Churaliya Hai Tumne Jo Dil Ko, Deewane Hein Deewane Ko, Dil Ka Suna Saaz, Tum Jo Mil Gaye Ho, Mein Tumse Milne Aayi, Meri Hasaraton Ki Duniya, Teri Bindiya Re, Yaadon Ki Barat Nikhali, Etc.
Best Male Playback Singer – 1973
Kishore Kumar – Mere Dil Mein Aaj (Daag)
Manna Dey – Yari Hai Imaan Mera (Zanjeer)
Mohammed Rafi – Hum Ko Jaan Se Pyaari Hai (Naina)
Narendra Chanchal – Beshak Mandir Masjid (Bobby) Won
Shailendra Singh – Main Shayar To Nahin (Bobby)
After delivering so many hits in 1973 the song nominated for Rafi Saab composed by Shanker Jaikishen is nowhere near compared to the hits, which were delivered by Rafi. Dada Burman gets awarded for the film “Abhimaanâ€, which is remembered the song “Teri Bindya Re†is till date.
The fact remains that Rafi Saab was finalized to deliver all the songs for ‘Bobby’ to playback for Rishi Kapoor, but things changed at the last moment so Shaliendra Singh gave playback for all the songs including the duets with Lata. (Courtesy: Program on Doordarshan).
In 1974 also there are few hits compared to 1973. Aa Batadenge Tujeh Kaise, Apni Aankhon Mein Basakar, Ek Daal Par Toota Bole, Teri Galiyon Mein, Nazar Aati Nahin Manzil, Resham Ki Dori, Wada Karle Saajna, Koi Phool Na Khilta, Saj Rahi Gali Meri, Aa Raat Jaati Hai, etc.
Best Male Playback Singer – 1974
Kishore Kumar – Gaadi Bola Rahi Hai (Dost)
Kishore Kumar – Mera Jeevan Kora Kaagaz(Kora Kaagaz)
Mahendra Kapoor – Aur Nahin Bus (Roti Kapda Aur Makaan) Won
Mohammed Rafi – Accha Hi Hua Dil Toot (Maa, Bahen Aur Biwi)
Mukesh – Main Na Bhooloonga (Roti Kapda Aur Makaan)
In 1974 nomination for Rafi Saab was again a repetition of 1973. The song nominated for Rafi Saab composed by Shaarda is nowhere near compared to the above-mentioned songs sung by Rafi Saab.
This clearly indicates that Rafi Saab’s caliber was being under rated in the early 70s. In fact Dada Burman wanted to use Rafi for all the songs of “Sagina†to play back for Dilip Kumar. But surprisingly Kishore gave play back for Dilip Kumar. One should compliment Dada Burman that despite his falling health he tried to do full justice to Rafi Saab during the 70s.
As we enter 1975 the year where we see the sad dismiss of Madan Mohan. But before that he delivers two gems for Rafi Saab, ‘Mausam’ and ‘Laila Majnu’. Madan Mohan refused to give music if any singer other than Rafi Saab was used in ‘Laila Majnu, hats off to his confidence. The same year also saw the end of Dada Burman as well.
Again coming back to Pancham he uses Rafi Saab in “Aandhi†along with Amit Kumar for a qawaali, “Salaam Keejeeye†where Rafi Saab provides the classical touch. For the rest of duets with Lata, which are again classical based songs, he uses Kishore. Lata sings the classical part where as Kishore sings it straight, the songs appear to be very one sided. Again no intention to criticize Kishore here. Possibly by using Rafi or Manna Dey the classical jugalbandi (co-ordination) between two singers could have been perfect.
The Comeback
Finally the release of “Laila Majnu†in 1976 turns out to be instrumental in Rafi Saab’s come back in a new way. Rafi Saab delivers mind-blowing solos and duets with Lata. From there Rafi is the main voice for Rishi Kapoor. This is where the so-called lean phase of Rafi Saab finally comes to a finish.
Another most important factor that influenced the comeback of Rafi was the LP’s use of Kishore in the early to mid 70s. LP gave Kishore one of their best works during this phase, which literally out performed Pancham’s entire work with Kishore in the 70s. LP gave Kishore a totally different direction without completely avoiding Rafi Saab through the songs – Accha to hum chalte hai, Jawani o diwani tu zindabad, Khizaan ke phool, Mere diwanepan ki bhi dawa nahin, Sachaai chhup nahin sakti, Yeh jeevan hai, Dil ki baatein, Mere dil mein aaj kya hai, Haal kya hai dilon ka, Aap ke anurodh pe, Daakiya daak laaya, Na hansna mere gham pe, Chal dariya mein doob jaaye, Gadi bula rahi hai, Ruk jaana nahin, Mile kahin do ajnabi, Maine kuchh khoya hai, Yeh mausam aaya hai, etc. LP made Kishore sing Qawwalis, Ghazals and Semi classical songs for which even his mentor Dada Burman was reluctant to give. Dada always chose Rafi was such numbers. The result of this LP went far ahead of Pancham. Many Pancham loyalists switched over to LP. Once LP were on top, they brought back Rafi Saab.
Now analyzing the period between 1969 to 1976, which is considered as a Kishore era and a lean phase of Rafi Saab, is actually neither of the two. If we go by the statistics then Mukesh has won maximum awards 1970, 1972, 1976 in this period plus one National Award for the song “Kai Baar Yun Bhi Dekha Hai†for the film ‘Rajni Gandha’ in 1974. Kishore got awarded in 1969 & 1975. Rafi Saab got nominated just 4 times but provided several hits during this phase. So the question is, was Mukesh a better singer than Kishore & Rafi Saab during this phase. In fact Pancham’s patronage to Kishore at the cost of ignoring Rafi Saab acted as an advantage to Mukesh and his loyalists. Indeed Kishore sang the best songs of his career during this phase but some one else waked away with the rewards. So where did Pancham go wrong? Possibly he should have adopted his father’s strategy to use both Rafi Saab and Kishore effectively; things could have been totally different. Dada Burman knew which singer should be used where; no wonder he was one of the greatest composers of all times.
After the set back from LP, Pancham makes another comeback through the unforgettable score of ‘Hum Kissi Se Kam Nahi’ this time using Rafi Saab. There after the late 70s saw a complete dominance of Rafi Saab. Pancham along with Rafi Saab brought back the old charm of late 60s through the songs – Hai Agar Dushman, Dushman, Pal Do Pal Ka, Kya Hua Tere Wada, Chand Mera Dil Chandni Ho, Yeh Ladka Hai Ye, Pyar Hai Ek Nishaan Kadmon Ka, Maine Puchha Chand Se Ke, Mileh Jo Kadi Kadi, Yaa Ali…Naam Abdul Hai Mera, Yamma Yamma, Jaanu Meri Jaan, Pucho Na Yaar Kya Huaa, Ab Raat Ho Gayi Jawan, Ham Jab Ek Saath Hein, Paise Bin Kaise Ham, Bade Bade Logon Ke Yaar, Mohobbat Mein Aji Kya, Phool Sahara Mein Tho, Haiya Haiya Bolo Bolo Kuch, Ik Shok Haseena Se, Kaun Kisiko Band Saka, Mujeh Doston Tum Gale Se, Seedhi Raaste Chalogi Tho, etc. Statistics revel that Pancham used Rafi Saab the maximum between 1977 to 1980 than any other singer.
Industry forgets Rafi
The industry remembers Mukesh but forgets Rafi immediately. Mukesh passed away in 1976 but gets awarded for “Kabhi Kabhiâ€. Apart from this nominations for songs sung by Mukesh appear in 1977 and 1978 listing as well. Once Rafi passed away in 1980 his 3 nominations “Mere Dost Kissaâ€, “Dard-e-Dil†& “Maine Puchha Chand Se†are overruled by one duet sung by Kishore / Lata “Hazar Raahenâ€. This indeed is a great insult to Rafi Saab. It is a well-known fact that maximum songs appearing in the Binaca Geet Mala of the year 1980 were sung by Rafi Saab. Songs sung by Rafi Saab before his death got released later between 1981 to 1986, but there is no single nomination from 1981 onwards. Indeed the film industry has been very unfair to Rafi Saab towards the end. Certainly it does not deserve another Rafi.
Pearl,
Please grow up. I know Manna Dey he no doubt is a quality person and a singer but over period I have came across his statements that he did had a respect for Rafi Sahab but his ending statement would always be that ” YET HE DIDN’T HAD A COMPLETE CLASSICAL TRAINING , RAFI SAHAB WAS BEST “…. This proves that he didn’t recieved good response in his Musical Career which he was expecting.
Manna Dey had a fix frame of image when it came to songs, just like Talat Mehmood .. no variations in voice or songs like we see in Rafi Sahab.
Coming back , Anmol Sir just guided to a write-up KISHORE vs KISHORE …
I still can’t believe that such talented people can do such filthy politics.
I had and have great respect for LP but the way they used KK against RD was not professional.. instead I feel the songs which they gave to KK deserved RAFI SAHAB’S voice ????
This again proves LP’s unprofessional and lack of music sense. In the other way round Madan Mohan did maintained his rapport with Rafi Sahab inspite he had a soft corner for the ” NIGHT TINGLING LATA “….
RDB was pure thief in copyin ISLAMIC / ARABIC tunes .. I sometime feel that whatever classy tunes he created are not owned by him but pre-made tunes by Dada Burman.
Because if we look back in 90s the music in PARINDA was an ordinary one which had many copy songs !!! The classy tunes which he made had Rafi Sahab in them and too I believe that Dada Burman may have forced him to take Rafi Sahab, because in 70s RDB totally turned back on Rafi Sahab.
Coming back to 1975 Gulzar teamed up with RDB for Andhi, Gulzar pertains a healthy knowledge in Classical Singing but its surprising that he let KK sing straight notes with Lata !!!!! again a feel of politics against Rafi Sahab.
If we try to check the root of this cause this will take us back to 1966-67 where Lata had a drift with Rafi Sahab, now with this link Lata almoast ended C.RAMCHANDRA’S ( ANNA ) career as he also had drift with her…
So in this case even if Lata teamed up with Rafi Sahab in Abhimaan , again KK had songs in that film which was not at all required.
So it won’t be wrong if we say that the mastermind was Lata from back stage to promote KK by using RDB / LP / etc… If we check with Madan Mohan Sahab she treated him as his real brother so she never messed with him and so did she with Naushaad Sahab ….
Hi Pearl,
Thanks for your post. We are discussing the hypocrisy and policties which happen in the 70s and we don’t see any thing wrong in that. Plus we are discussing with proper evidence and historical facts.
Whether Rafi would be sad to see all this from heaven, but certaining Pancham would be dishearted to see his achievements with singers like Rafi being suppressed and distorted of official websites.
It seems very evident that R D Burman and Rajesh Khanna were instrumental in the latter part of Rafi saab’s career yet some of their best hits were by Rafi Saab. The mind boggles how songs such as Zingadi Ek Safar, Mere Sapno Ki Rani, O Mere Dil Ke Chain would have sounded..
Well Friends n Music lovers,
Yes Legends like Rafi Sahab never had any lean phase as he was the performer par excellent personaliity. If anyone try to create such phase then they are wrong.
We live today n enjoy the pleasures of old film hits especially of Rafi Sahab.
Agreed that some of the yesteryear actors have faded from memories but Rafi Sahab is and always will be LOVED REMEMBERED ADMIRED IMITATED.
BUT THERE CAN BE NO RAFI SAHAB AND THE INDUSTRY DOESNT MERIT OR DESERVE ANOTHER SAINT LIKE RAFI SAHAB.
Good database Mr. Anmol singh, but don’t we have anything to write and read other
than these comparisons ? I mean why do we need to mention that Rafi is great ?
Everybody knows, we don’t need any more statistics to prove it.
More over, why kishore and RDB ? I knew you would mention these two names
May be you dislike them because you think “they are the reasons behind Rafi’s lean phase”
whereas Rafi’s lean phase never came. Rafi was a great singer, a legend. but that doesn’t
mean other singers shouldn’t get any award. No doubt SDB was a great musician but that
doesn’t mean Ravindra Jain shouldn’t have been nominated and if he was then we will think
“SDB’s lean phase was created”, why this type of thinking ? India has produced so many
great musicians and singers so ofcourse there would be some overlaps.
you really hate kishore and RDB, that is another proof of their greatness.
hahahahaha ! God is great. Kishore and RDB were great and will be great, you try
a lot to diminish their image but nothing sort of that will happen to great musicians/singers.
This just shows your feeling against them who tried with singers other than rafi,
you think they shouldn’t. And if they did and got success you would humiliate them
just like some people humiliated Salil Chaudhury, who never was a fan of Rafi and
Kishore. ( at least he didn’t record that much with them )
Mr. Chote Thakur,
you even did insult Manna Dey ? this is crazy man. He was not only a great singer but
also a good human being, had so much dedication for music like Yesudas.
Rafi won’t forgive you, he is seeing everything from the heaven. Grow up man !!!
Anyway it seems, some people don’t have anything to write other these yucky and
worthless stuffs but yes I liked your database, a very good one. Congrats for that.
Dear Rafians,
It really won’t be fair to say that their was a Leaning phase in Rafi Sahab’s musical journey …. Because if we consider the so called bad patch in his career one must not forget that he delivered some fantastic songs to name a few I would like to bring the song ” TU HI WOH HASEEN HAIN ” from the Film Khwab , MD was Ravindra Jain Sahab….Film came in 1980, song recording took place in July 1979.
Madan Mohan did used Rafi Sahab in this 70 Decade so did S.D.
Quality songs did came in this phase but the count was not too high … Now at certain period the wave changed .. Thanks to RDB for bringing Light music ( copied music ) with KK …. But where was the sweetness in his MUSIC which propelled in TEESRI MANZIL ??????
Getting Over Shadow by someone of par excellence is something which made afraid to these MD’S in this ERA.. Whereas if we check the last decade we can see work by Naushaad Sahab , Anil Da , Chitragupt , C. Ramchandra ( Anna) .. who only focused on MUSIC and not on fame or money … Rafi Sahab falled in the same category so it was pretty hard for these new comers to digest a TALENT Named RAFI SAHAB.
Lobby creation is just to counter attack the BEST VOICE because they too knew that The Master Voice was invincible.
I would like to correct Manna Dey, no doubt he is a great singer has a hold on classical singing, but when he makes a comment ” I RESPECT RAFI SAHAB, Inspite lack of classical knowledge he remains the BEST “.
If Manna Dey thinks that he is the only one who had complete classical training then why was he not preferred by MDs then ??? I guess he too started his career with Rafi Sahab somewhere in 1943 /44 ????
Manna Dey should stop making such comments because it again reflects his hunger to strive hard than RAFI SAHAB but he is blunt enough to accept the fact that RAFI SAAB was BEST ???
Manna Dey confirmed that ” Laga Chunri Mein Daag ” cannot come true without his voice ???? Well then Manna Dey should listen to Rafi Sahab once more …
I am not criticizing Manna Dey but the DIPLOMATIC COMMENTS which he makes specially abt Rafi Sahab will not be accepted…
In other words we can ” n” number of SACHIN TENDULKAR but people like Sir Don Bradman is born once in a century !!!
Few years ago HMV released a Cassette named Shraddhanjali Singer was LATA … Now at that time I was not a FAN of Rafi Sahab, so I just got that cassette and she has sung this song ” TERE MERE SAPNE ” and ” DIN DHAL JAAYEIN “….
Now, people trust me when I heard these songs by RAFI SAHAB, Lata’s voice sounded like a TORN TRUMPET to me !!!!!
So if a amateur person like me can make the difference, Lata is clever enough to judge where she stands in front of Rafi Sahab.
So Lobby creation started coming up….
Dear Rafians,
It really won’t be fair to say that their was a Leaning phase in Rafi Sahab’s musical journey …. Because if we consider the so called bad patch in his career one must not forget that he delivered some fantastic songs to name a few I would like to bring the song ” TU HI WOH HASEEN HAIN ” from the Film Khwab , MD was Ravindra Jain Sahab….Film came in 1980, song recording took place in July 1979.
Madan Mohan did used Rafi Sahab in this 70 Decade so did S.D.
Quality songs did came in this phase but the count was not too high … Now at certain period the wave changed .. Thanks to RDB for bringing Light music ( copied music ) with KK …. But where was the sweetness in his MUSIC which propelled in TEESRI MANZIL ??????
Getting Over Shadow by someone of par excellence is something which made afraid to these MD’S in this ERA.. Whereas if we check the last decade we can see work by Naushaad Sahab , Anil Da , Chitragupt , C. Ramchandra ( Anna) .. who only focused on MUSIC and not on fame or money … Rafi Sahab falled in the same category so it was pretty hard for these new comers to digest a TALENT Named RAFI SAHAB.
Lobby creation is just to counter attack the BEST VOICE because they too knew that The Master Voice was invincible.
I would like to correct Manna Dey, no doubt he is a great singer has a hold on classical singing, but when he makes a comment ” I RESPECT RAFI SAHAB, Inspite lack of classical knowledge he remains the BEST “.
If Manna Dey thinks that he is the only one who had complete classical training then why was he not preferred by MDs then ??? I guess he too started his career with Rafi Sahab somewhere in 1943 /44 ????
Manna Dey should stop making such comments because it again reflects his hunger to strive hard than RAFI SAHAB but he is blunt enough to accept the fact that RAFI SAAB was BEST ???
Manna Dey confirmed that ” Laga Chunri Mein Daag ” cannot come true without his voice ???? Well then Manna Dey should listen to Rafi Sahab once more …
I am not criticizing Manna Dey but the DIPLOMATIC COMMENTS which he makes specially abt Rafi Sahab will not be accepted…
In other words we can ” n” number of SACHIN TENDULKAR but people like Sir Don Bradman is born once in a century !!!
Few years ago HMV released a Cassette named Shraddhanjali Singer was LATA … Now at that time I was not a FAN of Rafi Sahab, so I just got that cassette and she has sung this song ” TERE MERE SAPNE ” and ” DIN DHAL JAAYEIN “….
Now, people trust me when I heard these songs by RAFI SAHAB, Lata’s voice sounded like a TORN TRUMPET to me !!!!!
So if a amateur person like me can make the difference, Lata is clever enough to judge where she stands in front of Rafi Sahab.
So Lobby creation started coming up….
Did the hindi film industry deserve a person like Mohd Rafi?
queries Anmol Singh. Did the Indian govt. treat Mohd Rafi
honourably, a Banladeshi journa asks. That Mohd Rafi was shabbily
treated is well known and clear. Why? B’cause he did not belong to
any lobby. He was available to any music director. He did not hanker
after money or awards, like few other singers – did. He did’nt flaunt his
friendship with PMs like Nehru, Indira,Shastri and misuse it. Rafi lived
a commoners life and was a simpleton. Such simple and honest persons face great problems in their lives . Like Jesus Christ did. The selfish and
cowardly people SEIZE opportunity and behave ruthlessly on Saints and Prophets – historyhas shown us this.
Mohd Rafi suffered in the industry after 1972 where certain lobbies formed
a syndicate and tried to prove the end of the era of Rafi. But millions of
Rafi fans proved that Rafi is the BEST and brought him back to the top
once again from 1977 onwards. Rafi fought his way back with the support
of LP, Madan Mohan and other composers. In the same era, RD Burman,
Dev Anand all reverted to Rafi especially when RDB s films were bombing
at the hustings due to copied western tunes and dishing out familiar stuff
along with his wife Asha Bhonsle.
About awards, I will SAY that filmfare was notorious for giving
awards to substandard stuff. In the olden days, a form used to accompany
Filmfare. The lobbies bought the filmfare in bulk and filled it themselves
with the names of their chosen favourites. This way many genuine
luminaries lost prestigeous awards since the voting was done on the
entries received.
Mohd Rafi s biggest award is the one that is etched permanently
in the peoples HEART. Rafi saab s songs are as popular today as
it was in the olden golden days. As a Journo said to me, Rafi is
the No. ONE singer from one to ten on a scale of one hundred. All
others come behind him. The next thing he said is : Rafi saab surely
deserves the Bharat Ratna Award.
http://www.cinemasangeet.com/cinema/articles/?a=229
In the above article it made me wonder why Manna Dey has given such a bolt statement against Mukesh.
On missing the opportunity to become Raj Kapoor’s voice:
“Yes I do believe that the identity as the voice of a particular star is very important in film music.
Personally I don’t believe Mukesh’s voice suited ideally for Raj Kapoor. Wouldn’t Kishore have been a better choice for the fun-songs like ‘Mera joota hai jaapani’? But Rajji himself said-‘Mukesh is my voice.’ Why he said that I don’t know. But they had some common interests which brought them together. I couldn’t come up with such compromises to further my career.”
On Mukesh:
“I never liked his singing. It was amateur singing. Many a times he sounded ‘Besuraa’!
After some investigation few more observations have been made.
Most award nomination and winning was influenced by film makers or personalities. The same
is applicable to music as well.
Between 1970 to 1974 Manoj Kumar and Raj Kapoor both as actors & film makers where most
influencial. Both are thorough Mukesh loyalists.
1970 – Best Male Singer – Mukesh Actor / Filmmaker – Manoj Kumar / Sohanlal Kanwar
1971 – Best Male Singer – Manna Dey Actor / Filmmaker – Raj Kapoor
1972 – Best Male Singer – Mukesh Actor / Filmmaker – Manoj Kumar / Sohanlal Kanwar
1973 – Best Male Singer – N Chanchal Actor / Filmmaker – N Chanchal / Raj Kapoor
1974 – Best Male Singer – M Kapoor Actor / Filmmaker – Manoj Kumar
Even Rafi loyalists were also not spared after his death in 1980
Best Lyrics 1980
Anand Bakshi – Shisha Ho Ya Dil Ho (Aasha)
Anand Bakshi – Om Shanti Om (Karz)
Anand Bakshi – Darde Dil (Karz)
Anand Bakshi – Salamat Rahe (Dostana)
Gulzar – Hazar Rahen Mudke Dekhi (Thodi Si Bewaffai) (Won)
4 nominations of Anand Bakshi are over ruled by 1 single nomination of Gulzar “Hazar Rahen”.
Best Male Playback Singer 1980
Kishore Kumar – Om Shanti Om (Karz)
Kishore Kumar – Hazar Rahen Mudke Dekhi (Thodi Si Bewaffai) (Won)
Mohammed Rafi – Darde Dil (Karz)
Mohammed Rafi – Maine Puchha Chandse (Abdulla)
Mohammed Rafi – Mre Dost Kissa (Dostana)
3 nominations of Rafi are overruled by one song of Kishore “Hazar Rahen” which is a duet with Lata.
Except for the above 2 awards the film “Thodi Si Bewafai” has not won any other category award. If I recall the film “Thodi Si Bewafai” did average business compared to the other musical block busters of in 1980 Qurbani, Dostana, Karz, Abdulla, Aasha, Insaaf Ka Tarazu, Ram Balram, etc.
It is natural for Rafi’s fans to get disheartened when his popularity seemed to go down. Don’t worry because even gods are criticized, even God is denied by some.
Rafi sang terrific songs and more tougher a song the better he sang. I have felt that the quality and life he has given to many many of his songs is not possible by ordinary mortal beings. He had the power of gods. To try to sing those songs one gets drowned in emotions. But if you are deluged by emotions the control is lost you can not give life and quality shown in Rafi’s songs. To sing like Rafi you must have the capability to stand in water but not get wet by it. To be deep in the emotions of song but not touched by it.
To tell you frankly I have not read the full artical for I can not bother for medals and praise from others when I think of Rafi. I don’t care if not a soul in the world praises him. Sun does not need praise from mortals. And there is one thing I do not agree with the writer. The 1973’s song “Hamko to jaan se pyaari” is one of most beautiful songs that exists. You can feel the joy Rafi felt at the beautiful eyes. Just listen to the song and it would reverberate in your heart for ages – or you have never seen beautiful eyes. Other songs nominated that year don’t even deserve to be listed along with this song.
CERTAINLY THIS FILM INDUSTRY DOES NOT DESERVE MOHAMMED RAFI FOR ONE MORE TIME.
Comment by Ramchandra Shrestha
Dear Friends and fellows,
The published papers at that time created so much wrong ideas abot Rafi Saab. The groups who don’t like Rafi Saab created such situation along with the magazines and papers and so called teen kanster music lovers. This is true and 200% and more than this. So, everyone who grew up under the shadow of this wrong information designated the filmfare awards, nominations, mammoth myth talkies and everything whatever they can do against Rafi Saab. This is rally a heartache for a good music lovers and Rafians too. Those khaike paan banaraswala music lovers are everywhere around the recording theaters, magazines, music shops and etc.
So, I think that we should generate a true and sharp logical articles in the papes for a long long time and give it continuity to mark the true history.
Therfore, me, being a Rafi Saab’s greatest fan, wish you all the best for your analyzation and bring out the true things and mark over the teenkanster music lovers to change their mind.
Jai Rafi Saab
and kind regards to all Rafians.
kind regards,
Ram
great write-up, thanks Anmol-ji. You are very right Rafi-Sahab delivered more hits with fewer songs during the early part of the 70s
Thanks for the write-up Mr. Haldar.
I have heard from many sources including close friends that in 1971 Rafi saab took a 8 month break from singing because a maulvi in Haj told him that singing was not allowed in Islam. The story goes that after the pilgrimage he went and stayed in England for a while. This was the turning point, because Aradhana did not really change anything for Rafi, he was still the number one male singer, however in this 8 month period, when he was out of town, Kishore got a lot of songs because there was no Rafi there.
Dear Sir,
I sincerely feel that nothing went wrong and Rafi Saab was the greatest of all singers and also for a life time ahead. It was only that our listeners wanted a change as usual, be it politics or music! As for me, I am also a singer and make sure that I sing Rafi songs whenever I get an opportunity. I have just returned to Chennai after performing in the “Tribute to OP Nayar” program, organised by the Indu Productions at Bangalore, where I sang a good five great numbers of Rafi Saab. Pukaarta Chala Hu Main (Mere Sanam), Ik Pardesi mere dil legaya (Phagun), Bahut Sukriya(Ek Musafir Ek Haseena), Subhaanalla (Kashmir Ki Kali), Sun Sun Sun Sun Zaalima (Aar Paar) with a concluding event with a medlee of songs like Deewana Hua Badal (Kashmir Ki Kali), Mehn Pyaarka Raahi Hun (Ek Musafir Ek Haseena), Yuh to hamne Laak Haseen Deke Hai (Title Song), etc. I make all honest and sincere attempts to make the current and upcoming generations undertand and appreciate the sterling qualities of
this great legend both in singing and also as an unforgettable human being. Needless to mention Rafi Saab had the unbelievable combination of voice, modulating skills, range, lilt, expression and above all that magical vibration which made anyone drown in the ocean of melodious music.
Thanks and with warm regards
KS Ramachandran
I fully agree with some of the Rafians that Rafi was very much there even during the 1970 to 76 phase before Laila Majnu of late Madan Mohan and AAA of LP again brought Rafi to the top again. Rafi sang some wonderful songs during this period like Teri Bindiyare from Abhimaan, Main Ek Raja Hoon from Uphaar, Tere Naino Ke Me from Anuraag, Ek Mahal Ho Sapno Ka – Title song, Duniya Me Paise Bina from Phandebaaz, Mehabooba & Yeh Dil Diwana Hain from IPJN, Deewane Hain Deewano Ko Na from Zanjeer, that lovely solo from Ek Baar Muskurado – Zamane Ki Aankhon Ne, Tum Jo Mil Gaye Ho & Yeh Mana Meri Jaan from Hanste Zakhm, etc. Perhaps, such challenges brought the best out of him. If we can recall the mid sixties spat between Rafi and Lata after which they stopped singing with each other for nearly three years, we got some wonderful duets of Rafi and Suman Kalyanpur. Who can forget Tuzhe Dekha from Chotosi Mulaqat, Woh Jab Yaad Aaye from Parasmani, Baad Muddat from Jahanara, Tumne Pukara Aur Hum Chale Aaye from Raajkumar, Aise To Na Dekho from Bheegi Raat not to forget hugely popular hits like Na Na Karte from JJPK, Tumse O Hasina from Farz, Aajkal Tere Mere Pyaar Ke Charche from Brahmachari, etc. He also teamed with Sharada and gave hit songs without which perhaps the singer Sharada will never be remembered. Jaane Chaman from Gumnaam, Jab Bhi Ye Dil Udaas from Seema, etc. Let us also not forget the beautiful duet with which Rafi – Lata came together again – Tum Bin Sajan Barse Nayan from Gaban. RAFI SAAB, AAP JAISE BADA KALAKAR KE BAARE HUM KYA KAHE? We would just like to get completly immersed in your songs.
Dear myk, I can only speculate. Please note that Talash and IPZN had Rajendra Kumar and Dharmendra, both staunch loyalists of Rafi. In Aradhana’s case, Rajesh Khanna hadn’t still become a superstar and Shakti Samanta (of China Town, Kashmir ki Kali & An Evening in Paris fame) knew no one other than Rafi. So it is not surprising that Rafi got to to sing a couple of songs in each of those films. Jewel Thief was different; Dev always favoured Kishore and with RD backing him, things became even easier. For films like Caravan, RD had to bow to the wishes of the producer Naseer Hussain who, unlike Shakti Samanta, never forgot the singer who always laid golden eggs for him (since Tumsa Nahin Dekha). However, most producers and actors would follow RD and Kishore’s trail after Aradhana; such was the impact made by Aradhana and those twin blasts: Amar Prem and Kati Patang. And Rafi, in the prime of his career, didn’t quite know what had struck him! If you recall, in 1971 he was at the peak of his career and what did the film industry do to him? Forgot him and let his voice rust! That is how they treated this genial giant, someone who had launched the careers of so many actors, music directors and producers.
It’s all in the stars, I guess. Rajendra Kumar, Shammi Kapoor, Naushad and OP are all in a steep decline in the early 70’s. Jaikishan, the only man who might have still stuck to Rafi, dies. There are only a few loyalists left: Naseer Hussain and Manmohan Desai among the producers, Dharmendra among the actors, and Madanmohan and LP among the MDs. Hats off to Madanmohan for giving Rafi those two gems in the 70’s: Yeh Duniya Yeh Mehfil and Tum Jo Mil Gaye Ho. Interestingly enough, I read in an RD blog site that the latter song was actually composed by the loRD on MM’s behalf. At the rate at which misinformation is being spread, I won’t be surprised if his fans claim that it was their loRD who created Man Tarpat Hari Darshan Ko Aaj!
DEAR ANMOLJI
THANK YOU VERY MUCH FOR THIS ANALYTICAL ARTICLE -” RAFI’S LEAN PHASE ” . IT IS THIS PHASE OF RAFI SAHAB WHCH ALWAYS HURTS ME OR RATHER ALL RAFI FANS .
HOW NICELY, ELABORATELY & STATISTICALLY YOU HAVE DESCRIBED THE SUBJECT-MATTER !
I HAVE REALLY LIKED IT.
YOU HAVE VERY RIGHTLY QUOTED -” CERTAINLY IT( OUR FILM INDUSTRY) DOES NOT DESERVE ANOTHER RAFI ” !
THANKS & BEST REGARDS/A.T.M. SALIM
Refering to many of Dev Anand’s interview it can be observed that he had a special liking for KK and considered him an extra-ordinary singer. Comparitivily he consider Rafi as trained singer, off course he never spoke any thing adverse about Rafi.
Whether Dev understood Rafi or not but SDB certainly knew his worth. No wonder one can see so many hits delivered by Rafi under the Navketan banner. When Jaidev was choosen for ‘Hum Dono’ it was again Rafi all the way.
The song ‘Mera Mann Tera Pyasa’ was personally recorded by SDB. The following is the story.
http://inhome.rediff.com/movies/2000/oct/31burman.htm
Thanks for the explanation, it makes more sense now.
Rafi played an integral part in RD’s rise as a top-notch MD. Before HRHK there was Gambler and Prem Pujari, both by SDB, with Dada tuning the best song of the former film with Rafi, and in the latter there was just a duet with Manna (not sure if it was filmed on Dev). After Gambler there is no Rafi for Dev until Manpasand (1980) and Rajesh Roshan.
Jewel Thief’s best song is “Dil Pukare”, some say the best romatic duet SDB ever created.
Mr. Haldar, can you please answer the following questions if you don’t mind. Was RDB the reason why we just see three Rafi songs in SDB/Dev films after Guide (and before TMS), (i.e Jewel Thief, Prem Pujari and Gambler) ?. RD assisted his father before, and once he started getting more of his own films, he still helped out, and took over because of his father’s health problems.
If that is the case then it is interesting that it was the very same RD who had infuence on Rafi being used less in SDB soundtracks for Dev from JT onwards and in general in the 70’s, while he used Rafi quite a bit in the late sixties to early seventies to help make a name for himself. If we are only talking about Navketan, why only one song in a non-Navketan Gambler, or had the RD influence already started prevailing by then ?
Because after Jewel Thief there is Non-Dev films like Aradhana, Talaash and IPZN in which Rafi has two songs in all the films, most probably SDB’s choice (with RD still assisting him).
I don’t think Dev appreciated the fact that Rafi gave him so many hits.
The reason behind RD’s growing clout post-1966 was the runaway success of Teesri Manzil’s music. Dev wanted SD and RD to share the credits for Jewel Thief, SD would have none of it (he in fact asked Dev to give the assignment to RD), but that was the time when Chhote Nawab started charting his own independent plans. Dev finally switched to RD in HRHK and Kishore started occupying the centre stage of RD’s music. With Dada gone, there was no need for Dev to call Rafi back to the recording studio. Add to this the bonhomie between Dev Anand and the Ganguly family (remember that Ashok Kumar gave Dev his first break) and everything becomes clear.
Mr. Haldar is correct, during the 70-75 phase of SDB’s career, his health was not that great and it was RDB who was handling most of his albums.
We will never know the exact contribution of RD to these SD scores (unless you ask musicians or assistants who worked with them), but RD did have influence over them, and I am sure if SD was in total control we would have seen more of Rafi.
Rajiv Vijayakar mentioned in an article for Screen:
“Technically, Rafi’s last song for Dev Anand came as late as the popular ‘Logon ka dil …’ (Manpasand) in 1980, but Rafi was almost on par with Kishore Kumar as a Navketan pillar (all the way till the qawwali ‘Iss mulaqaat ka bas mazaa lijiye …’ in the 1976 Jaaneman) and as Dev’s voice both in his own films and outside. The grapevine has it that Rafi lost the Navketan banner only when S.D.Burman’s son R.D.Burman stepped in to help out in Jewel Thief.”
This is interesting because was not RD a part of SD’s team from before, so why would Jewel Thief make a difference ?.
In that five year period SDB’s style of music had also changed, and Rafi could have been an integral part of his repetoire, however with RD there, it was always going to be Kishore who got the nod instead of Rafi. Yet Rafi did shine when he was called upon. Gambler’s cream was “Mera Man Tera Pyaasa”, Anuraag had “Tere Nainon Ke Mein Deep” with Lata that was a huge hit, again the best song of the film, Abhimaan’s best duet was “Teri Bindiya Re”, Us Paar had a delighful solo “Aye Mere Man”. Even after Aradhana, SD had Talaash and IPZN with Rafi which were great.
It’s a shame RD didn’t make that much use of Rafi as well, however it is his repetoire that suffered and not Rafi’s. Also, after 76, RD had begun using Rafi once again for big productions such as ‘Shaan’, ‘The Burning Train’ etc. and he was composing for him quite a bit again, remember the three gems in ‘Phandebaaz’ (1978). If Rafi had lived, they would have had probably combined for more gems and RD would not have had to suffer through the dry period in which he went through.
Thanks for the anecdote as well Mr. Haldar on the Bengali concert in 1980. Rafi was indeed King, there is absolutely no singer in his class, its like comparing Candles (Others) to the Sun (Rafi). Yes, RD had slowly shifted loyalties towards Rafi, however still composing for Kishore in the process during that 76-80 phase.
Rafi has been the most versatile playback singer ever. Whether it was a bhajan (Maati ke putle … Sheru; Jaan sake to jaan … Ustad); classical (Akhiyan sang akhiyan laagi …Bada aadmi; Radhike tune bansuri bajayi … Beti bete); Qawwalis (Meri tasveer lekar kya karoge … Kala Samandar; Ye ishq ishq hai … Barsaat ki raat)……..the list goes on infinitely!! … he used to get himself totally involved in the song and go a step further in visualising the actor and then rendering the song. I may add here that on many occasions the actor himself had not been able to as convincingly portray the lyrical content of the song as much as Rafi’s rendition. Truly what a genius! We all must be fortunate in being from this generation to listen to this mellifluous voice which has enthralled us. My favourites out of my repertoire are: Tasveer banata hun teri khoone jigar se (Diwana); Parwardigar-e-alam tera hi hai sahara (Hatimtai); Lagta nahin hai dil mera ujde dayaar me (Lal qilla); Janebahar-e-husn tera bemisaal hai (Pyar kiya to darna kya); Naseeb dar pe tere aazmane aaya hun (Deedar); Yeh hasrat thi ke is duniya me bas do kaam kar jaate (Nausherwan-e-adil); Ye duniya patang nit badle ye rang (Patang). I can go on and on. My thoughts on Rafi are ineffable. May his tribe increase.
Balan V.Iyer (balaniyer@hotmail.com)
Let me also add that Pamashree award of those days was a bigger than of todays Dada Saheb award or Bharat Ratna.
Please all of you note that Rafi Saheb was never down, he had many hit songs between 1970 and 1980, awards doesn’t matter.
I have read everything above. My observation in the light of facts and figures. I have my admiration and immense respect for Rafi, Kishore, Mukesh, Tallat, Hemant Kumar, Manna Dey all these singers. I believe songs sung by every said singer is a gem in its place. I love their songs What I think is that:
A. Rafi saheb was an all rounder. I have not come across an all rounder like Rafi. I think there has never been and will never be an all rounder like him let alone surpass his level, untill this world is in existance.
B. If Rafi was given opportunity to sing songs sung by each one of the above singers and more. I am sure he would have created a gem which would have unique sparkle of its own. I do not mean this at all that all the above respectfull singer’s rendition is flawed in any way. I mean Rafi Saheb was capable to render a specific song in a way that would make it wonderfully different and unique.
Finaly, may all these singers rest in peace in heavens. Surely they are adored by everybody. My heart weeps when I listen to their songs and face the fact that I will never hear more from them ever.
If you have 7 pillars, instead of 5, you must include Roshan, at the cost of Ravi perhaps, given the large following LP enjoys among RAFIans. Roshan’s “Man re tu kahe na dheer dhare” has been adjudged the number 1 Hindi film song by a select group of music personalities in a recent Rediff poll. Also, he gave Rafi some wonderful songs such as Zindagi bhar nahin bhoolegi yeh barsat ki raat and Jo wad kiya woh nibhana parega. In my opinion, the best qawaali ever in Hindi films, was also scored by him (though adapted from Ustad Fateh Ali Khan’s composition with permission) and sung so well by Manna and Rafi: Yeh ishq ishq yeh ishq ishq… Listen to that song and hear Rafi’s sufi strains; it’s an out-of-this world experience.
Friends,
While all you, Rafi fans, have given expression to the ultimate superiority of Rafi Saab, I need to specially mention Loverafi’s spirited post. Hats off to Loverafi. He said that much after people forget Dev, Dilip, Shammi, Rajendra, etc., they would still remember Rafi Saab.
Actually, this pheneomenon is already in evidence. After 27 years of his passing away and after 37 years of the end of his peak career, Rafi Saab is remembered day in and day out. This is a rare and unique honor to the great genius, not enjoyed by any other singer.
Let me substantiate. What do I mean by ‘remembered day in and day out’? The right measures are the following:
1. Newspaper refernces 2. Google entries 3. No. of candidates singing Rafi Saab’s songs during the umpteen competitions on TV channels 4. The no. of songs of Rafi Saab aired on the good old Vividh Bharati even today (Rafi Saab’s songs on VB on any given day will be over 60%!) 5. The no. of Rafi songs on TV channels.
In this aspect, he scores way above his predecessors like Saigal and also way above his contemporaries (even those currently living) such as KK, Mukesh, Lata and Asha.
Why is he being remebered in the above fashion even after so many years? After all, nobody nor any strong agency is promoting him! It is the sheer greatness of his life’s work that is refusing to fade away! After all, nobody has so many hundreds of great gems of songs to his/her credit.
Coming to his lean period after 1970, let me tell you, friends, that I have no regret on account of this. The period after 1970 in HFM is a declining period and is no comparision to the pre-70 HFM. Indeed, I am glad that Rafi Saab did not dominate in such a declining period! That mediocre period was rightly dominated by not-so-great singers and MDs such as you know who.
But, I am sure about one thing. The twin vamps of HFM were the primary forces who always tried to sabotage Rafi Saab. The fact that they never succeeded had only made them more and more vicious in their attempts! I am at a loss as to how God has given such a lot of musical talent to such bad human beings as these sisters.
Venkat
Kalyani, I’ll have to check the records but I do think Rafi had a song in Yeh Gulishtan Hamara. After Talash, Rafi sang two numbers in IPZN, Yeh dil diwana hai and Mehbooba Teri Tasveer. If you listen to the latter carefully, you’ll find that it has shades of Teri Bindiya Re, which Rafi sang with Lata in Abhiman. As I maintain to this day, the entire male score of Abhiman should have gone to Rafi. The music was done in Rabindra sangeet style (like Parineeta) and Rafi would have done full justice to those songs. Just before his death, SD used Rafi for a solo in Uspar: Ae meri man mai hun pavan.
At the time of Mili, SD was suffering from major health problems and I read somewhere that RD was calling the shots. The final recording was done by RD, so is there any surprise that his Guru sang the song? SD rarely made a mistake in his selection of singers and I don’t buy the theory that he bowed to political pressures; he was too strong for that. I think in the 1972-75 period, RD was managing most of SD’s arrangements. And don’t be under any illusions that RD suddenly started giving Rafi songs on his own. It was pressure from the big-banner producers and the ascendant star of LP that made him do so.
The RD-Kishore combo was a rage in Bengal much before they captured Hindi film music. In fact, most of Kishore’s hit Hindi songs were composed by RD in Bengali; one prime example is Tum Bin Jawoon Kahan. That bonding always remained strong. Another singer who used to regularly sing RD’s Bengali songs was Asha. Interestingly, RD’s assistants, Basu-Manohari composed four Bengali hits for Rafi in 1978. If you recall, the day before he died, Basu and Manohari were in Rafi’s villa rehearsing him for another Bengali album.
If Rafi had not died prematurely, my guess is that the RD-Rafi combo would have flourished like it did in the late 60s. Did anyone even know that RD could compose a qawali before he created those two gems with Rafi: Hai agar dushman and Pal do pal ka saath hamara.
rd burman is sick………..i never liked him his voice,and even that kishore k voice …his voice sounds like rubbing,banging plates……………………………………………………rafi sahab is the best…
Rafi Sahab tusi greatest ho. well said by Gurumurthy sir . Very elated to note the comments of all Rafians Harvinder, Halder, Mohan Flora, Husseinsheikh and others.
You all have echoed my sentiments and thanks Anmol for highlighting the musical politics and dynamics of post Aradhana to Sholay.
Of course all music lovers and Rafians as our own Guruji Rafi Sahab is not bothered about such petty things as we listen to the GOLDEN GREATS OF JANAB RAFI SAHAB WITH ALL THE MUSICAL STALWARTS THE 7 MAJOR PILLARS NAUSHAD,S.D.BURMAN,SHANKER JAIKISHEN,O.P.NAYYAR,MADAN MOHAN, LAKSMIKANT PYARELAL AND RAVI. THEY ARE LIKE SAPTA SWARAS TO THE MAGICAL IMMORTAL RAFI SAHAB.
Many fans will point out others like Chitragupt,Hansraj Behl,Usha Khanna and many others but they didnot become famous like the major MDs. Ofcourse Kalyanji Anandji with whom Rafi Sahab had many hits never had any favourites as they are the only MD who have effectively used all playback singers. As for R.D.Burman inspite of his best talent he never exposed wildly with the range of our icon Rafi Sahab and as the writer points out paid heavy price by losing to Bhappi and others after 1980.
A reputed musical group in India pointed out that Sr Burmanda used Rafi Sahabs vocals for almost 90 films out of 120 films upto Aradhana but after 1969 he did not favour Rafi Sahab in the few films where music was given. Notable amongst were Sharmelee,Mili,Naya zamana, Tere mere sapne, Yeh Gulistan hamara,Jugnu ( this was surprise as Dharam was the hero) which I recollect. This remained a big Enigma to me . Can anyone clarify?.
Also if R.D.Burman would have used Rafi Sahab like in Naser Hussains films then Sholay, Seeta aur Geetha and many others would have Rafi Sir. He realised this folly and corrected from 76 but it was a shade late as Rafi Sahab passed away in 1980.
Yes Hussein bhai I liked Rafi Sabs version of Tum bhin javun kahaan.
Thks
Mahendra Kapoor could raise his voice to any level without wavering his voice, Mannadey was super in Classical songs, Mukesh in soulful songs, Talat in gazhals, Kishore in comic songs, Hemant had his own singing style, but who combined all these qualities of all these singers and also had super melodious voice, perfect diction and capacity to change the singing style to suit the actor, well, it was our Rafi Saab. He was great whether it was Bhajan (Aana Hai To Aa Rahame Kuch Der Nahin Hai – Naya Duar), Patriotic song (Apni Aazadi Ko Hum Hargiz – Leader), Romantic song (Chehare Se Apne Aajto – Palki), Chedchad song (Mast Baharon ka Me Aashiq – Farz), Classical (Saanz Ho Tum Aawaz Hun Me – Title song), Soulful numbers (Yaad na Jaye – Dil Ek Mandir), etc. Rafisaab, Tusi Great Ho.
Well, I miss some great Rafi-Dev Songs in the songs listed by Rafians. Tu Kahan & Sunle Tu Dilki Sada from TGKS, Ek But Banaoonga & Cheda Mera Dilne from Asli Naqli, Kya Se Kya Hogaya from Guide, Title song, Bin Dekhe Aur Bin Pehachane & Teri Zhulfonse from JPKHH, Deewana Mastana from Bambai Ka Babu, Teenakanasthar from Love Marriage, etc. We were lucky that we grew up listening to Rafi’s songs, we enjoyed, we dreamt, we romanticised with Rafi songs. No further argument is necessary regarding Rafisaab’s greatness if you consider the fact that he also playback sang for another great singer, Kishore Kumar in Ragini, Mana Mora Bawra. Rafisaab, we are ever greatful to you that you gave us so many wonderful songs to hum. It is heartening that even after 27 years, there are so many people like me who are great Rafi fans.
As some of you have already pointed out, Rafi was above awards. He himself didn’t care about publicity; for him the only thing that mattered was the song. Why worry about whether RD fanatics recognize him or not? They don’t even appreciate that wonderful song, Tum ne mujhe dekha, Rafi sang for their loRD. Asha is on a mission to promote herself, RD and Kishore; wish her every success. Even Raju Bharatan, the eminent film journalist, after praising Rafi profusely in his articles, would subtly point out that he was second to Lata. They are entitled to their opinions; as long as they don’t impose those opinions on us, the RAFIans, I don’t care. It’s been 58 years since “Suhani raat dhal chuki”; does anyone remember the actor who sang it on screen? After another 50 years when people wouldn’t know who Dilip Kumar or Dev Anand was, they would be still listening to Rafi’s songs. Watch this clip of Rafi performing live; focus on the last 6 seconds and you’ll see what is it that separated him from the rest of the pack:
http://www.youtube.com/watch?v=jGbkj2c8saw
Rafi saheb who SURAJ hai jisko to grahan to lag sakta hai magar uski roshni ko koyi chupa nahi sakta hai. So many later singers copied imitated every other singer including Kishore Kumar, Mukesh etc., but nobody dared to copy or imitate Rafi Saheb because every singer knows they can never reproduce the jadoo Rafi saheb had in his voice.
Are mere bhaiyon, Rafi Saheb ki taareef jitni karo kam hai, unke jaise na koi aaya hai aur na kabhi aayega.
Re. Tum bin Jaoon Kahan – the version sung by Rafi Saheb was better than of Kishore Kumar. It was just they wanted to promote KK, but frankly Rafi Saheb’s version was better.
Hussein Sheikh, Burundi, Central Africa. hussssssein@yahoo.com
Was amused by reading so many comments and responses on the above article. It only goes on to once again affirm that the love for Rafi in the hearts of his billions of fans is always fresh. Like in one of the responses above, almost all his songs deserve a special award. His purposeful diction and clarity of expressing each word and/or phrase is unparallelled. Rafi gave an added dimension to the lyrics, which most singers could not have even imagined. In the song Zindagi bhar gam judaai ka hamein, at a particulr stanza “ho mubarak tujhko khushiyan, aur hamein tanhaiyaan” the extra emphasis that Rafi gave to the word tanhanyihaan is just one of his many examples of exemplifying the thoughts of the lyricist.
Dear Loverafi,
We as fans know that Rafi Saab was much above an award. We are trying to analyze what really went wrong between 71 to 76 in Rafi Saab’s career. Plus we are also trying to high light the hypocratic attitude of the film industry towards Rafi Saab.
For example in the following web site which talks about Pancham’s feats in his career has the most important feat “Kya Hua Tera Wada” missing. This is distortion of history which calls for legal action.
http://www.panchammagic.org/did-you-know.html
We have written to this site for the above correction.
Mr. Anmol
there was no such award which could fulfil anyone of the song sung by Rafi sahab among his 26000 songs whether it is Padma shree, Padma bhooshan and so filmfare. He was verstatile King of melody. Every of his song deserves Award in itself. Could you imagine Music directors like shankar jaikishan in Sharat, O. P . nayyar in raagini and laala sattar in Pyaar diwana who made rafi sahab to sing for kishore kumar. I heard from O.P. Nayyar that “I used rafi sahab to make aasha bhosle singing career”. Manna dey said that “9 lata mangeshkar could not replace one Mohammad Rafi”. hE gave his best to every actor,music directors, lyricist it is shameful that people dosent accept it and dont remember him.
LOG MERE KHWABON KO CHURAAKE DHAALENGE AFASAANO MEIN
MERE HI DIL……WAQT MERE GEETON KA KHAZANA DHOONDEGA.
rAFI SAHAB WAS ANGEL.
Perhaps there is a reason behind that. SDB initially asked KK to sing the song “Chal Re Sajni” from Bambai Ka Babu, but KK refused to sing the song since it was not picturized on Dev Anand. The following article gives detailed explanation.
http://www.singermukesh.com/articles_files/raju2.htm
One doesn’t know whether that could be a cause of avoiding use of KK on Dev after that. Similarly Lata also did not sing for SDB for quiet some time.
For your information, from the late 50s (around the time of Kala Bazaar) to the mid 60’s (just before Guide), SD had not used KK on Dev for any song. His main and only weapon during that phase was Rafi.
Adding to the ongoing discussion on Dev Anand and SDB. SDB has been one of my favouriate composers. The most fascinating aspect about SDB has been the most effective use of various singers on Dev Anand and the song doesn’t appear unacceptable to the situation. SDB knew the weakness and strong factors of each and every singer.
During the 50s and 60s apart from Rafi , SDB has used KK and Hemant Kumar equally well on Dev Anand. He has even used Talat M on Dev Anand for 1 & 2 songs in Taxi Driver.
Some of KK numbers – Dukhi Mann Mere, Manaa Janaab Ne Pukara Nahi, Chod Do Anchal, Jiwan Ke Safar Mein Rahi, Hum Hai Rahi Pyar Ke, Anakhon Ne Kya Di, Gaata Rahe Mera Dil, Asma Ke Neeche, Shokhiaon Mein Ghola Jaae, etc.
Some Hemant K numbers – Chup Hai Dharti, Na Hum Tumhe Jaane, Ye Raat Ye Chandni, Hai Apna Dil To Awaraa, etc.
He repeated the same magic in Abhimaan using Rafi , KK and Manhar for Amitabh. None of the songs appear unusual.
That was the greatness of SDB which Pancham did not inheritate in the early 70s.
Mr. Harvinder, thank you for posting some of the other gems Rafi crooned for Dev Anand. I would also add “Kahin bekhayal hokar yunhi chhoo liya kisine” from Teen Devian to the same list. I read in some report that RD composed that song for SD; I didn’t know whether to laugh or cry. Nowadays journalists would write whatever they please. However hard he tried, there was no way RD could have composed that song. It could have been Jaidev but by that time, if I remember correctly, Jaidev had stopped assisting Burman da.
There are also other gems like “Tu kahan ye bata” (TGKS) and “Akela hoon main” (BERK). As far as trendy songs go, SJ composed a Rafi-Lata duet with a fantastic tempo way back in 58: “Dheere dheere chal chand gagan mein” (LM).
I’ve attended several Rafi concerts but to my surprise he hardly sang any SD songs. The last one that I attended a few months before his death, he sang all the songs from Sargam, several from Amar Akbar Antony, but not one song composed by SD or OP. With Jaikishan gone in 1971, I guess Rafi had to lean heavily on LP; OP and Naushad were history by then. Whenever I listen to “Din dhal jaye” from Guide, I wonder how people say that Kishore was the best playback singer for Dev Anand. In fact, just as Phoolon ke rang se and Yeh dil na hota bechara gave Dev a new dimension, so did “Khoya khoya chand”, “Main zindagi ka saath nibhata chala gaya” and “Tere mere sapne ab ek rang hai”.
Good facts stated by Mr Haldar. Could I add a few more of Dev Anand – Rafi songs :
Apni to har aah ik toofan hai – Kala Bazaar
Aise to Naan Dekho – Teen Devian
Tere Ghar ke Saamne ik ghar banayyon ga
Kal ki daulat aaj ki khushian – Asli Naqli
Tujhe jeevan ki dor se baandh liya hai
Dev Anand sahib always was trendy, hence leaned towards Kishore da to be diffrent from the rest – not neccesarily melodious.
Dear P Haldar,
Possibly if you have gone through the following article wriiten by well known journalist Rajiv Vijaykar.
http://www.yoodleeyoo.com/web/kishore-vs-kishore.html
I personally believe the LP – KK combination is totally different from the SD – KK or RD – KK or KA – KK. The above article explains better.
I forgot to add RD’s name in the list of trensetters.
The Bombay film industry has produced great music directors and singers. But only a handful of them can be considered to be trendsetters. In my opinion, they are S. D. Burman, Shankar Jaikishan, Rafi, Lata, Asha and Kishore. You could add O. P. Nayyar and Mukesh to that list, too; I guess A. R. Rahman is also a trendsetter but I don’t listen to current music much, so shoudn’t be commenting on it.
Rafi has set so many trends that it is difficult to identify all of them. Asha and OP set the trend for bar and cabaret songs way back in the 50’s (Howrah Bridge). Under RD’s music direction, Rafi and Asha delivered “Aaja aaja main hoon pyar tera”, which became the signature rock ‘n roll tune of the 60’s. Asha then went on to deliver “Dum maro dum” for RD in 1969, but the biggest storm was yet to follow. That came in the form of Kishore in Amar Prem and Kati Patang. Listen to “Yeh jo mohabbat hai” and you’d know why I maintain, barring SD, there was no other music director even close to RD when it came to Kishore. I can mention a dozen other films where RD excelled using Kishore but I don’t think that’s necessary. To say that LP was better than RD for Kishore is pure blasphemy; in fact, the best two LP songs for Kishore were sung before Aradhana: Mere mehboob qayamat hogi and Fiza ke phool. Does anyone in his right senses believe that LP could have dislodged the mighty Rafi with Kishore? Give me a break. Much as I love LP for their undying bhakti for Rafi, there is no way I can rate them higher than RD, especially when it comes to Kishore.
Much has been written about how Madan Mohan resurrected Rafi’s career with Laila Majnu. The truth is that Rafi came back with RD’s “Hum Kisise Kum Naheen”. And there was that hit qawali “Parda hai parda hai” scored by LP. I was fortunate to attend a concert at Calcutta’s Netaji Indoor Stadium (capacity: 12,000) in February 1980, featuring RD, Asha, Kishore and Rafi. RD, Asha and Kishore performed together for over 3 hours; great performance! And then came the final attraction; a predominantly Bengali crowd erupted in joy when that man, the king of playback, set his foot on stage. It was clear to everyone that the momentum belonged to HIM, and that the 80’s would witness a battle royale between the two best playback singers of all time, with RD being increasingly forced to switch his allegiance to the other side. Yes, LP and KA would also follow suit, but that’s what they can do; they can produce chartbusters but they cannot change the sound of music. If they could, then they would have stuck to Rafi in the first place. SD could have easily stuck to Rafi given how much he admired him, but it is not clear whether he was calling the shots. For your information, most of the well-known post-Aradhana SD films (e.g., Talash, Gambler) were recorded or signed before Aradhana’s release. The only song of note that Dada Burman produced for Rafi was the duet “Teri Bindiya re” in Abhimaan. Only god knows what happened to SD: letting Kishore sing “Badi sooni sooni re”! As for Dev Anand, the ingrate, the less said the better; how can anyone forget someone who has delivered the following songs:
Hum bekhudi mein tumko pukare chale gaye
Khoya khoya chand khula aasman
Dil ka bhanwar kare pukar
Saathi na koi manzil
Main zindagi ka saath nibhata chala gaya
Abhi na jao chhor kar
Kabhi khud pe kabhi halat pe
Tere mere sapne ab ek rang hai
Din dhale jai hai raat na aai
Mera man tera pyaasa
Dev should listen to these songs every night before going to sleep, grateful in the knowledge that someone else created that debonair image on his behalf.
Good analysis, Anmol.
Rafi’s dominance in the later part of 1970’s can be judged by the fact that
after the Laila Majnu songs in 1976, the Binaca Geet Mala(which was the
gauge of popularity then hosted by Ameen Sayani) had Rafi songs at
very top three as the following:
1977 Dharamveer and Amar Akbar Anthony
1978 Apnapan and Hum Kisise Kum Nahin
1979 Suhaag and SARGAM
Lata was also there and also Hemlata(for Ankhiyon Ke Jharoke se in 1978)
No song from the RDB/KK combo featured in the annual yearly round
ups even though there were RDB/Rafi songs.
A clipping from a news item says it all!
“And now look at 1979-80! Just when Rafi had made a complete comeback, he’s gone! Laxmikant-Pyarelal gave him all seven songs in Sargam (four solos, three duets with Lata) and walked away with the best music award, all seven being top of the pops. They gave him four out of six in Suhaag (the other two being Asha’s) and they have been raging through the Binaca Geet Mala. They gave him five out of six (the other being Lata) in Aasha and did well enough.
Another indication of his sure return is the fact that Dev Anand who did not go in for Rafi ever since Gambler (1969) — in which, too, he had just one ghazal — returned to him after 10 years in the latest Man Pasand though in just one song, under the baton of Rajesh Roshan, with Tina Munim. The weekly Binaca Geet Malas in 1980 have clearly shown so far that Rafi is dominating, sometimes with as many as 10 songs as compared to Kishore’s two (on May 28) out of a total of 16 toppers!
As Lata Mangeshkar said after his death: “The void that was created by Saigal’s death had been filled by Rafi Saab. He sang with me for 33 years. He was an exceptional singer.â€