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.

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