The Greatest
This article is by Subhadeepin mouthshut.com. Source provided by Mr. Mohan Flora.
I am having a strange feeling as I proceed to write this review. It’s like standing in front of a sea, experiencing greatness, magnificence. I consider myself to be a brave person by any standard, both physically & mentally, but could not muster up courage to select 20 top songs of Rafisaab. I mean, come on, how can you, when even 200 would not be sufficient? 20 best songs of each genre, each mood would have been much better. So, I decided to write about the legend.
Ever since I heard a cassette of Rafisaab when I was 10, it hasn’t been a question for me as to who is the greatest playback singer of all time. I have always thought about who might be no. 2. The topmost place has been forever booked, in my opinion. Range, subtlety, rendition, pronunciation, voice_ in every aspect Rafisaab is the numero uno. Born on December 24, 1924 In Amritsar, Rafisaab entered into Hindi playback singing in mid forties. His song “Tera Khilona Toota Balak†from Anmol Ghadi made people notice him. He struck a friendship with composer Naushad , which started a great combination of 2 maestros. In 1949, “Suhani raat dhal chuki†from Dulari became very popular. But the real journey started for him in 1952 through Baiju Bawra . “O duniya ke rakhwale†is probably the most celebrated song ever. Thereafter, Rafisaab went from strength to strength delivering priceless gems one after another. Apart from solos, he gave great duets also, initially with Noorjehan , then with , Geeta Dutt and Finally Lata Mangeshkar & Asha Bhonsle . In 1960’s Rafisaab ushered in a new era with Shammi Kapoor. He also virtually held up the careers of heroes like Biswajeet, Joy Mukherjee etc. with his songs. It’s needless to mention the numerous movies he has sung in. Be it classical songs for Dilip Kumar & Naushad , philosophical songs for Guru Dutt , evergreen romantics for Rajendra Kumar & Dharmendra , vigorous melodies for Shammi Kapoor or comic entertainers for Johnny Walker , Rafisaab did it all with equal élan and sounded exactly like the actor in context. None has come even close to him so far as giving expressions through singing is concerned. In the 1970’s the Kishore Kumar wave started, as did the downfall of the quality of Hindi film music. Rafisaab came back in a manner only he could in the late 70’s improvising his voice for songs those were not quite his class. On 31st July, 1980 on a rain-drenched day, Rafisaab breathed his last, leaving millions to mourn. People like me, who were not even born then, have become his lifelong admirers. Can there be any further proof of greatness? There have been several imitators of him but even if someone adds them up, it won’t reach the knee-level of Rafisaab.
Rafisaab was probably not as supremely trained classically as Manna Dey , but in the field of playback singing he was simply matchless. All his contemporaries like Manna, Mukesh & Kishore listed him as their favorite singer. Rafisaab is a milestone in playback singing, which is yet to be reached by anybody else. He was an equally great human being, often referred to as “Allah Ka Aadmi†for his simplicity, humility and benevolence. There are a number of instances when he decide to take only a token sum of money from producers or new music directors who were hard pressed for money. He truly worshipped his art and money was always the posteriority. It’s difficult for some even to gauge the greatness or rather, the combination of greatnesses of this man. Hats off to you, Rafisaab!!!!
Some songs I would suggest:
- Naushad: O duniya ke (Baiju Bawra), Mere Mehboob tujhe(Mere Mehboob)
- Shankar-Jaikishen: Ehsaan tera hoga (Junglee), Baharon phool barsao (Suraj)
- O.P. Nayyar : Kisi na kisise (Kashmir Ki Kali), Aanchal mein saja lena(PWDLH)
- S.D. Burman : Tere Mere Sapne(Guide), Sunle tu dil ki sada (Tere Ghar Ke Samne)
- Ravi: Chaudvin Ka Chand (Chaudvin Ka Chand), Door rehkar na karo (Amanaat)
- Chitragupt: Chal ud jaa re (Bhabi)
- Laxmikant-Pyarelal : Chahunga Main tujhe (Dosti), Woh jab yaad aaye( Parasmani)
- Madan Mohan : Rang aur noor ki baraat (Ghazal), Aap ke pehloo mein (Mera Saaya)
- Roshan : Zindagi bhar nahi (Barsaat Ki raat), Dil jo na keh sakaa (Bheegi Raat)
This list could have grown easily, but simply no use of it. It’s much better to explore Rafissab than to make a gist of it.
by subhadeepin mouthshut.com
ONLY A SENSELESS PERSON CAN COMPARE KISHORE WITH RAFI SAAB. WHAT ABOUT THE SOUTH INDIANS? WHY ALL PEOPLE SELECT RAFI TO COMPARE ANYONE? THATS BECAUSE RAFI IS THE ULTIMATE STANDARD. SOUTH INDIANS LOVE SP BALA AND MANY SAY THAT HE IS BETTER THAN RAFI AND MANY DONT EVEN CONSIDER KISHORE AS SINGER! BUT SP BALA SAID THAT HE WAS NOT EVEN HALF WAY CLOSE TO RAFI. ALL LOVE RAFI- THE TRUE SINGER- THE TRUE VOICE.
SIR,
DEC. 24 IS THE CELEBRATION DAY – THE BIRTHDAY OF THE LEGEND
MOHD.RAFI SAAB.
NEEDLESS TO SAY, FANS AND ADMIRERS OF THE LEGEND WILL BE
MARKING THIS DAY IN MANY UNIQUE WAYS.
WE IN MUMBAI WOULD LAUNCH THE ‘ MOHD.RAFI MUSIC ACADEMY”,
WHICH WOULD AMONG OTHER THINGS, BUILD A MOHD.RAFI MUSEUM
IN MUMBAI, THE KARMA BHOOMI OF THE LEGEND. THE ACADEMY
WOULD ALSO PROMOTE MUSIC TALENTS, HONOUR MUSICIANS OF
YORE WHO HAVE FALLEN ON BAD TIMES AND CELEBRATE EVERY
24TH OF EVERY MONTH AS “RAFI DAY” IN MANY PARTS OF THE
WORLD.
RAFIANS ARE FOUND IN LARGE NUMBERS IN EVERY NOOK AND CORNER
OF THE EARTH. I HAVE FOUND THEM TO BE KIND, HELPFUL AND
VERY NICE PEOPLE. THE “QUALITIES OF RAFI SAAB HAS BEEN
TRANSFERRED , UNKNOWINGLY AND UNCONSCIOUSLY TO RAFIANS
OF THE WORLD IT SEEMS TO ME.
ON JULY 31ST 2005 THIS WRITER FOUND SCORES OF FANS SPENDING
THE WHOLE DAY AT THE TOMB OF THEIR HERO AND INTERACTING AND
PRAYING FOR RAFI SAAB. RAFI SAABS FAN INCLUDED A BOY OF
SEVEN YEARS AND HIS BROTHER OF ELEVEN YEARS WHO KNEELED
AND PRAYED AT THE TOMB , MOVING ME NO ENDS.
THEIR FAVOURITE SONGS: A. DARDE DIL..DARDE JIGAR.. B.HAI DUNIYA
USIKE, ZAMANA USIKA, MOHABBAT ME JO HO GAYA – KISIKA.
YEH DIL KA NAATHA HAI DOSTON AUR JAB TAK SANGEET RAHEGA,
RAFI SAHAB KA NAAM RAHEGA.
RAFI SAHAB IS WITH US …WANT ANY PROOF.. JUST PUT ON A C.D.
SO SIMPLE, HE WILL SING FOR US;HE IS THERE WITH US.
CURRENTLY, I PRESUME THE GODS HAVE SENT RAFI SAAB TO SPREAD
HIS SONGS AND MESSAGES TO ANOTHER PLANET AS GOOD AND KIND
SOULS ARE IN SHORT SUPPLY THESE DAYS.
RAFIANS OF THE WORLD, COME ALONG AND SPREAD THE MELODY AND
PHILOSOPHY OF L E G E N D MOHD.RAFI. IT WILL BRING HAPPINESS
AND JOY TO THE PEOPLE OF THIS UNIVERSE.
A FEW LINES TO OUR RAFI SAAB:
THOU SHALL NOT RISE AGAIN,
THOU MUSIC WILL . . . .
ABOVE DE CACOPHONY OF SOUNDS.
RINGING MELODIES OF YORE,
BRINGING JOY AND HAPPINESS
TO HUMAN SOULS.
SONGS FOR EVERY MOOD,
ACROSS ALL BORDERS …
thy name is M U S I C ..,
THOU NAME – ” BHARAT RATNA” MOHD. RAFI.
from binu nair.
binus2000@hotmail.com
cell: 0091- 9833250 701
M U M B A I.
WELL, I HAVE READ ALL OF YOUR COMMENTS GUYS. I REALLY DONT WANNA WASTE MY TIME IN SOME KID LIKE DISCUSSION ABOUT WHO THE BEST SINGER IS OR NOT. I LISTEN TO KISHORE WHEN I WAS KID AS BEING A BANGALI BUT MY FAMILY WAS A DIE HARD RAFI FAN. WHEN I WAS MAY BE 4 OR 5 I HEARD A SONG “TUM BIN” BY RAFI ON A RADIO WHILE TRAVELLING WITH MY DAD AND MY DAD WAS ALSO SINGING WITH IT. THE VOICE REALLY TOUCHED ME. THEN ONE DAY MAY BE AT 5 OR 6 I FIRST HEARD A RAFI SONG “MANG KE SAATH TUMHARA” AND I WAS SO SO TOUCHED BY THE VOICE THAT I FORGOT KISHORE. KISHORE WAS GOOD, BUT RAFI IS NOT ONLY GOOD, HE WAS SOMETHING MORE.
Taken from a blogspot(Jitendra’s Blogsphere) discussion by the new or younger generation guys!
hindi music – going through a low?
Listening to Reason – Hoobastank. I am not much into english music, but this one touched me. The lyrics and the rendition.
Ok, I should write about something I am really into. The hindi music, that is.
The hindi music scene (specially the playback singing) is going through a not-so-great patch. There was a time when the country saw all the legendary singers at almost the same time. Rafi, Kishore, Mukesh, Manna Dey, Mahendra Kapoor among the males, and the indomitable Lata Mangeshkar and Asha Bhosle among the females. Compare that to the present era, and we dont really find many in that league. Early nineties belonged to Kumar Sanu, but he had nothing new to offer in terms of originality. Then came Udit Narayan, who had delivered his first big hit in QSQT in 1988, but had gone into some sort of a lull after that. He weaved his magic again in the 90s and is currently the numero uno in the field of playback singing.
I personally feel that Udit Narayan and Sonu Nigam have come close to reviving the Rafi era. Udit has an original voice, and he lends that golden touch to all his songs, so much so, that you feel like listening to them again and again without the song getting cloyingly sweet. He is truly the king of mush. Aamir Khan makes sure that Udit sings all his mushy songs. Sonu, on the other hand is more ‘inspired’ by Rafi. His low-scale songs are listener’s delight.
Together, these two are poised to carry forward the Rafi legacy.
This interview was done on January 08, 1995 by HQ Chowdhury at Manna Dey’s “Anandan†residence in Bombay.HQ Chowdhury is CEO of Plasma Plus, a private Application & Research Laboratory in Science & Technology. It is, indeed, interesting that despite being the Dhaka based physicist Mr Chowdhury takes keen interest in music, especially Bengali and Hindoostani music. Mr Chowdhury is considered an expert on the music of Sachin Devburman. He regularly writes on Sachin katrta’s music and runs a website on the maestro along with his two friends Maajid Maqbool of Pakistan and Ritu Chandra from India. Mr Chowdhury is presently writing a biography on Sachin Dev Burman in English and has recently been awarded with ‘Sachin Dev Burman Smriti Samman Award’ by Tripura Government for his lifelong contributions to preservation of Karta’s music.
In Conversation
Musical Musings
The Manna Dey – Sachin Dev Saga
HQ Chowdhury
Manna Dey is one of the few or perhaps only, living artists whose personal association with Sachin Dev Burman dates all the way back to Burman’s youth. A young SD trained under the Dey’s illustrious uncle, KC Dey. Their musical association too has been long and consistent. Starting from Mannada’s salad days as Burman’s assistant in Mashaal in the 40s right upto to Us Paar in the 70s, he was a regular in SD Burman’s music room. HQ Chowdhury meets the legendary Manna Dey to reminisce about his days with the maestro
“Manna what are you doing?”
“I am about to go out Sachin da.”
“Would you drop by for a few minutes.”
“Yes of course.”
This was the typical Sachin Dev Burman-Manna Dey conversation when SD would summon Manna Dey to visit him home.
“How do you like this tune?â€
“Hmmm it is okay”.
“Accha tui ahon za” (off you go in native Bangla).
In the evening there would be another such call from SD when Manna Dey almost retired for the day. “I had no choice but to go. After all it was Sachinda’s call â€.
“How do you like this tune?”
“Oh, this is beautiful”
A beaming Sachin Dev would then inevitably say, “Report tomorrow for the rehearsal.”
“But dada what happened to that tune in the morning?”
“That is out. You only said OK!”
That was verbatim, as Manna Dey had told me at his Anandan residence in Mumbai over a cup of tea back in 1995. “You know Humayun for every song situation, Sachinda had so many alternatives and how often he would pass his tunes only after I had okayed thoseâ€.
It was during that sitting’ when the conversation went for a while, did I first notice that Manna Dey had a love hate relationship with SD. Of course more love than hate as in his music room, one still finds SD’s photograph amongst his near ones. If this was an example of “the love” part then let us see what the other part was like.
After rehearsing the song for days to SD’s satisfaction, there was often a thunder. “Now that you know the song well, guide Rafi to sing the number. I would like him to record it. I already told him that you would contact him!! “.
Who on earth would take that!! Did I catch on that occasion Manna Dey’s weak moments!!
“I did not sing much for Sachin da. My favourite composer was Shanker Jaikeshan, and then RD Burman. Sachin da was a great composer but nothing compared to Shanker Jaikeshan, I mean Shanker not Jaikeshan who was often too busy to please the ladies — Shanker was a genius”.
There is every reason for Manna Dey to make such a sweeping statement. Shanker (Jaikeshan) gave Manna Dey time and again that opportunity (and freedom) to be the “lead” singer as in the Bharat Bhusan musical classic “Basant Bahar” or in the many Raj Kapoor movies.
“But Manna da, SD gave you such lingering numbers for example Tere naina talaash I snubbed in. “Sachin da made least contribution to that song. All he did was set the tune. He then handed it over to Pancham (RD Burman) for orchestrationâ€, giving an insinuation that it was he and RD who did the trick.
“But then for this particular number, he only had the confidence in you, not even Rafi despite the fact Rafi was the lead singer in the movie and also well trained in classical music; Pancham, as SD’s assistant, only orchestrated it the way he had wanted it. Manna Dey was silent not a word spoken. “And he chose you for Poocho na kaise in Meri Surat Teri Aakhen or Mere sab kuch mere geet re in Zindagi Zindagi, which are collector’s delights and amongst your favorites as well. Manna Dey was silent again. “Furthermore, did you not time and again say that Rafi as of today happens to be the complete singer in the history of Hindi films ? In such a case where did SD go wrong ? How many times did he replace you with Kishore, Talat or Mukesh ? Even uncle KC Dey did the same with you !!
“. Pin drop silence ……. and I switched the conversation to Sajjad Hussain and Anil Biswas.
To be fair to Manna Dey, for a singer of his calibre, he was never given the “deal” he deserved, in fact by any music director, not even Manna’s fancied Shanker Jaikeshan and RD Burman. Perhaps his voice was far too sophisticated and “over crafted†for the Indian film heroes. And again to be fair to SD, who was a hard core professional when it came to composing and choosing a singer, Manna did get a bounty from him but certainly not enough as Manna Dey had expected
If we take Upar gagan vishal in Mashal to be the starting point i.e. Manna Dey’s first super solo and tuned by SD (Manna until then had been struggling for seven years since his break in Ram Rajya in 1943 ) then there is virtually no border of music that Manna Dey did not touch under SD’s baton. Mituwa in Uspar was Upar gagan vishal’s pefect foil for one to sense the fathomless range of Manna’s voice. And between these two songs were 20 plus years. And what do we have on record ?
The soul searching Aan milo aan milo ( with Geeta) in Devdas, the comic beauty Hato kahe ko jhuti in Manzil (that established Manna as a singer par excellence in comedy songs apart from his “classy†ones), the heart breaking Na tel aur na bati in Ek Ke Baad Ek, the soul stirring Maat ro mata in Bandini, the wistful Aei kash chalte milte (with Asha) in Manzil, the Qawwali dash Kisne chilman se in Baat Ek Raat Ki, the satirical Andhi parjaa Andha raja in Tere Mere Sapne, the frolicsome Main tere pyar mein ( with Geeta) in Ziddi, the romantic refrain Soch ke yeh gagan (with Lata) in Jyoti. You name it, it is there.
Leave aside SD, SJ and RD who took Manna Dey to some admirable heights. But what about the other trend setters like Anil Biswas who had him once in a while, Naushad during blue moons, C. Ramchandra once or twice, Roshanlal once upon a while, Madan Mohan now and then, Salil Chowdhury sometimes, OP Nayyar — ever ? Yet if one had asked each one of them about Manna Dey’s capability none would disagree with his versatility!! These thinking composers could not care less for the thinking singer and his thinking listeners. What a pity!!
Years later I chanced to ask the ace Bangladeshi composer Robin Ghosh in one of those coffee chats “Who do you think is the greatest Hindi playback singerâ€.
“Undoubtedly Rafi” was the answer. “What about Manna Dey” I pressed hard.
“Manna Dey is the perfect singer. A model singer. But we are talking about films and in this media Rafi is the most versatile, he has no match, not even Kishore”. That probably settles the incomparable SDB’s score with the quintessential Manna Dey.
Dear Rafians,
I would like to bring one thing to notice, inspite of many good, classy songs some Actors were not able to cash credit on it for example ” DIL JO NA KEH SAKA ” … the mukhada and some notes are really in high pitch with a fragrance of broken love in it … just check out PRADEEP KUMAR ( DUMBO ) he just stands beneath a tree and has only done lip sync and got ample of tears in his eyes ???? He performed the song just like a IDIOT… so when we hear that song we really feel good but when we see and listen to the same song we really feel that how PATHETIC is Pardeep Kumar.
While on other wide take an example of JOY MUKHERJEE ..6 feet tall , oval face , fair complexion and side crease hair cut … he had a pleassant personality.. now whatever songs Rafi Sahab gave him he actually potrayed Joy’s personality in those songs so when Joy Performed those songs on screen he really gave his in and out so whenever we listen to any of Joy’s song we immediately say that Rafi Sahab has sung the song for Joy and Joy has equally justified the song… This didn’t happened with all actors.. now lets come to 1977 ” KYA HUA TERA WADA ” .. hero TAREQ while singing this song plays guitar when actually there is no Guitar required and in this he forgets the emotions of the song …. so again when we hear this song we don’t easily recollect TAREQ as an actor who performed this song…
So, Rafi Sahab really gave unmatched quality songs to everybody but very few actor justified them, now this really makes a difference…
We will see an example , KK is known for Rajesh Khanna … why ???just because he performed his voice on screen very well .. so when we say Shammi Kapoor we say the equation should only be with Rafi Sahab ??? This is just because Shammi Kapoor has justified the voice on screen with same efforts as Rafi Sahab did for Shammi Kapoor in music room …
Rang Aur Noor Ki Barat kise Pesh Karu. this song has been picturised on Sunil Dutt Sahab check out his thorat he has actually shown or made us feel the high pitch notes …. tats why the song really touches our heart…
In other words the effort which Rafi Sahab took to give a master voice to actors , some actors made it well to perform it on screen but some really failed to do so …
Sir Anmol,
sir agree with u that it is so difficult 2 get pure gold(it is only difficult)but singer like mohd rafi no way 2 get.sir u know about music not like me who don’t know anything about music but i know that great music start when mohd rafi came in music and end with mohd rafi in 1980’s
Dear Unknow1,
In today scenario apart from Rafi’s voice getting pure Gold is also difficult. Most jewellers claim the purity of Gold in carrods. But in the present time Gold sold any where is never 100 % pure in any form.
Sir Anmol Singh,
we can get gold but voice of Mohd Rafi never and never,Mohd Rafi singed for 252 music director jest only in around 35 years,I think no way a top singer in the world will do what did by mohd Rafi because top singer they look for top music director not like Mohd rafi,go for lata ji she singed for 165 music directors,
Dear Anmol Singhji
You have very correctly said about Rafi Sahab -“PARASMONI VOICE” !
WELL SAID .
Thanks & Regards / A.T.M. SALIM.
All the songs sung by Rafi Saab are indeed gems, whether a hit or a non hit song. His voice is like ‘Parasmani’, which turns any thing to Gold. Even sub standard music composers and film makers enjoyed success with him.
SEE a power-packed performance by Rafi-Aye Mohabbat-e-Zindabaad!
http://www.youtube.com/watch?v=Z5mhgcpbMMc&mode=related&search=
In the above link, SAVE the download and then hear. Direct OPEN may need some upgrade. I am trying this out for the first time. Please give me the feedback so that I can send rare songs,too-This link was successful on my computer though.
Even though Shammi Kapoor got the best of Rafi, Biswajeet and Joy Mukherji rode on the Rafi magic. Hear the song “Aaja re aa zara” and you know it was meant for Shammi even though it was Joy’s luck that he got to lip-sync it on the screen!
Fill in the number and click download after this link opens
http://www.uploading.com/files/C9V4MLUP/03___Track_3.mp3.html
Shammi Kapoor, the Rebel Star,and Rafi’s ” yahoo “on screen, turned 75 years old recently. Other than Shammi’s exuberance and dancing ability a large part of his appeal was also due to the extremely hummable and catchy songs (mainly composed by Shankar-Jaikishen and O.P. Nayyar) picturised on him. Songs like Suku Suku, Ae Gulbadan, Govinda Aalaa Re, Deewana Hua Badal, Tumne Pukara Aur Hum Chale Aaye, Tumse Achha Kaun Hai, O Mere Sona Re, Akele Akele Kahaan Jaa Rahe Ho, Aajkal Tere Mere Pyaar ke Charche, Badan pe Sitare and Hain Na Bolo Bolo are remebered and hummed even today. And special mention must be made of his ‘voice’ Mohd. Rafi, who always gave a Shammi Kapoor song that something extra! Their special tuning made it impossible to differentiate when Rafi stopped singing and when Shammi Kapoor began enacting the song. The two are one. Read an article on Shammi’s songs in
http://www.indiafm.com/features/2006/10/31/1766/index.html
also Lata ji refused to sing for O P Nayar when O P new in his first film,also there is SD and Mohd Rafi in the list of Lata who win the Bharat Ranta award!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!???????????
why Lataji got Bharat Ranta award and Mohd Rafi not?
because Lata ji Lata refused to sing for Shankar Jaikshen when they gave a break to Suman Kalyanpur!!!!!!!!!!!maybe Suman Kalyanpur is from Pakistan or some where else(http://www.india4world.com/indian-personality/Lata-Mangeshkar.shtml) and Mohd Rafi singed for O P N after two years when he back 2 Mohd Rafi same 2 RD when Rd back 2 Mohd rafi,only don’t forget that Mohd Rafi singed under KK music,maybe mohd rafi is not Indain!!!!!!!!!?
sir sagar u r right when u speak about Lata,
There were also rumours that when Shankar Jaikshen gave a break to Suman Kalyanpur, Lata refused to sing for them! and look Mohd Rafi when O P Nayyar back 2 Mohd Rafi after 2 yearsMohd rafi didn’t say that he will not sing for him also same 2 RD when he back 2 him he never said that u r useing KK and he will not sing for him,olso mohd Rafi singed under KK music,I think bharat ranta is so less for mohd Rafi because people like Lata had this award.
Mostly we human think that God can make any thing but why not make some one like Mohd Rafi there is only one answer as I think,the answer is I think Award from the God to Mohd Rafi that there will be no great singer after Mohd rafi.
dear Shubhadeepin and Mohan Flora,
very nice article which has echoed the sentiments of all music lovers n Rafians in particular.
Apart from what u have listed I feel if Rafi Sahab had sung only the following songs still I would have become his biggest fan like others.
My choice is
Suhani raat dhal chuki and Koi sagar dil ko behlata nahi Naushad
Teri ankhon ke siva duniya mein and Ek haseen sham ko dil mera…. Madan Mohan
Tujko pukare mera pyar and Ye vaadiyan ye fizaye bhula rahi hai…Ravi
Tukde hai mere dil ke and Aap ki haseen rukh pe aaj naya…O.P.Nayyar
Din Dhal Jaaye and Dil ka bhanwar kare pukaar….S.D.Burman
Yaad na jaaye and Main kahin kavi na ban javun …Shanker Jai Kishen
Mitwaa mere geeth and Pardesiyonse ankhiyan milana….KalyanjiAnandji
Khilona jaankar and Oh Aaaj Mausam beimaan hai…..LaksmikantPyarelal
Tum ne mujhe dekha and Tum bin javun kahaan…R.D.Burman
Tute hua khawabon mein and Sone ke dilwala….Salil Choudhary
Kahin ke massom si ladki and pyar ka bhandan janam ka bandan…Khayam
Man re tu kahe na dheer dhare and Mili na phool to kanto se ….Roshan
These were randomly selected just now but I am overawed and mesemerised by the sheer melody of this Greatest Musical Voice of RAFI SAHAB.
I dont know whether anyone has heard the song form Dil apna Preet Parayi picturised on Roopesh kumar who later donned villains role.The song as I remember was JAANE KAHAAN GAYI….. DIL MERA LE GAYI… which our maestro sings solo with very few lines but the IMPACT OF THIS IS SO MESEMRISING WHICH ONLY A BADSHAH OF MUSIC RAFI SIR CAN DO.
Any comments to all Rafians
P.Narayanan