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 22nd, 2007 at 9:16 pm
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 ….
March 22nd, 2007 at 10:48 am
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.
March 22nd, 2007 at 5:24 am
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..
March 21st, 2007 at 6:02 pm
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.
March 21st, 2007 at 12:49 pm
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.
March 19th, 2007 at 8:32 pm
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….
March 19th, 2007 at 8:28 pm
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….
March 16th, 2007 at 5:40 pm
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.
March 16th, 2007 at 3:01 pm
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’!
March 16th, 2007 at 2:24 pm
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.
March 16th, 2007 at 2:13 am
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.
March 14th, 2007 at 10:41 pm
CERTAINLY THIS FILM INDUSTRY DOES NOT DESERVE MOHAMMED RAFI FOR ONE MORE TIME.
March 14th, 2007 at 6:39 pm
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
March 14th, 2007 at 9:04 am
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
March 14th, 2007 at 8:03 am
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.
March 13th, 2007 at 3:40 pm
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
March 13th, 2007 at 10:35 am
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.
March 13th, 2007 at 8:31 am
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!
March 12th, 2007 at 7:11 pm
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
March 12th, 2007 at 10:04 am
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
March 12th, 2007 at 7:46 am
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.
March 12th, 2007 at 4:35 am
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.
March 12th, 2007 at 1:00 am
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.
March 11th, 2007 at 10:09 pm
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)
March 11th, 2007 at 3:11 pm
Let me also add that Pamashree award of those days was a bigger than of todays Dada Saheb award or Bharat Ratna.