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 Mastana”. 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 “Abhimaan”, 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 Kabhi”. 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 Kissa”, “Dard-e-Dil” & “Maine Puchha Chand Se” are overruled by one duet sung by Kishore / Lata “Hazar Raahen”. 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.
March 11th, 2007 at 2:59 pm
Please all of you note that Rafi Saheb was never down, he had many hit songs between 1970 and 1980, awards doesn’t matter.
March 11th, 2007 at 4:56 am
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.
March 10th, 2007 at 9:49 pm
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.
March 10th, 2007 at 9:24 pm
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
March 10th, 2007 at 7:04 pm
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.
March 10th, 2007 at 12:18 pm
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…
March 10th, 2007 at 11:50 am
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
March 10th, 2007 at 9:42 am
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.
March 10th, 2007 at 9:24 am
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.
March 10th, 2007 at 3:19 am
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
March 10th, 2007 at 3:01 am
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.
March 10th, 2007 at 1:30 am
Are mere bhaiyon, Rafi Saheb ki taareef jitni karo kam hai, unke jaise na koi aaya hai aur na kabhi aayega.
March 10th, 2007 at 1:23 am
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
March 9th, 2007 at 5:48 pm
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.
March 9th, 2007 at 4:14 pm
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.
March 9th, 2007 at 3:13 pm
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.
March 9th, 2007 at 1:56 pm
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.
March 9th, 2007 at 1:00 pm
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.
March 9th, 2007 at 12:06 pm
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.
March 9th, 2007 at 7:51 am
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”.
March 9th, 2007 at 7:08 am
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.
March 8th, 2007 at 1:26 pm
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.
March 8th, 2007 at 11:38 am
I forgot to add RD’s name in the list of trensetters.
March 8th, 2007 at 11:33 am
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.
March 8th, 2007 at 8:54 am
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.”