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Mohd Rafi: The Last word in ‘Acting in Singing’

By J.K. Bhagchandani

Mohd Rafi

Two eternal lovers meet at dawn in a secluded place. These moments of love, of passion are stolen, yet sweet; short yet rich. The lovers are apprehensive yet ecstatic; they are silent yet communicative, conveying the inner most feelings; they are restless, yet tranquil. The atmosphere has elements of charming sensuality. The song ‘Meri duniya mein tum aayee….’  (Heer Ranjha) conveys this wonderful set-up through its lyrics, its composition and most importantly through the way Rafi and Lata have rendered, almost like whispering in each others’ ears.

Or more simply, listen to the song ‘Deewana hua baadal… ye dekh ke dil jhooma.. (Kashmir Ki Kali). How Rafi saab enacts the word ‘jhooma’. The element of ‘being happy’ has so effectively integrated in rendering by Rafi saab that it instantly sets up the mood of the song.

All this is what we can say as the phenomenon of ‘Acting in Singing’ at its best. This phenomenon is so fascinating that in-spite of so widely written about and discussed, there is still so much to be talked about.

Let us dwell briefly into history.

Film songs essentially are situation-driven; they compliment and supplement the film’s theme, take forward the film’s story line. Hence this aspect of ‘Acting in Singing’ assumes a very significant ingredient in making of a film song.

Right since the inception of Indian cinema, songs have been an integral part of almost all films. During its days of infancy when technology too was primitive, the songs as conceived by music directors and lyricists were finally enacted on the sets only. The actor (who essentially had to be a singer also) would sing (final take) his or her songs on the sets. The musicians would also play their part on the sets hiding behind trees or other objects.

But soon the scenario changed. The making of the songs reached at the rightful place: the recording studio. With this the concept of playback singing came into being. Initially mostly same actors who acted in the films gave playback of their songs. In this context the contribution of K.L. Saigal in Hindi film songs remains quite phenomenal.

The separation of performers on screen and playback singers was the most significant development of film music. It was no longer necessary that actors on sets need to be good singers and singers in recording studio to be good actors. These two contributors of song enactors were now being performed by different set of artists. But since the song picturization in the film required merging of these two diverse inputs, it was very important that actors enacting the song had some idea of music/ singing and singers understood some basics of the acting, the actor’s style and mannerism, so that the final impact of the song in the film has facets of realism, pleasure and is heart-touching.

It is in this perspective that Rafi saab stands the tallest among all great playback singers. His advent into film industry was at a time when the concept of playback singing was at the age of adolescence. He almost single-handedly gave the terminology ‘playback singing’ a new direction, a new meaning, converted it into such a fine art that even today 32 years after his demise, we still get awe-struck by his matchlessness. It will not be an exaggeration to say that but for his vocals, many actors’ career would not have gone the distance that it actually did. In his blog, Amitabh Bachchan on the 32nd death anniversary of Rafi saab wrote, “I am reminded today of the death anniversary of Mohammed Rafi Saheb and to reminisce on his association. What can one possibly say on one that possessed perfection. His voice gave voice to many, to build their character and position.” What a fitting tribute by the star of the millennium to the singer of the millennium! Rafi saab not only integrated actor’s style and mannerisms to augment their screen image and stature but also gave a distinct persona to their disposition through his songs.

He also incorporated many innovations to create the mood of the song. He poured so much feeling in the song and acted each word of the lyrics that it enhanced its meaning. Actually Rafi saab did more than half of the actor’s job through his singing and the actor simply had to follow the in-built mannerism, tone and mood of the song and provide the lip and body movements accordingly. He, through his rendering, helped to construct the on-screen character of the actor as conceived by the producer and director. Be it a washerman of UP (Ganga Jamuna), a Lucknow nawab (Mere Huzoor), a suave urbanite (Night in London, An Evening in Paris and many more), a disconsolate poet (Pyasa), a simpleton priest-like soul (Gopi), a freedom fighter (Shaheed)…… etc. etc.; and integrated such characterization with actor-specific components.

It is almost a miracle that such a shy and simple soul (that Rafi was) who would generally talk in whispers, mostly keep his eyes on the earth while speaking would suddenly become a boisterous Shammi Kapoor, a debonair Dev Anand, a masculine Dharmendra, a intellectual philosopher Guru Dutt, a tragedy-struck Dilip Kumar, a comic Johny Walker, a joyous Joy Mukherjee or a romantic Rajinder Kumar in the recording studio behind the mike.

Listening to ‘Aankhon hi aankhon mein ishara ho gaya…’ (CID) will give anyone the feel of the typical Dev Anand ‘head-shake’ so effectively built within the song. On the other hand this in-built head-shake in the word ‘karr…’ in the song ‘Dil ke jhrokhe mein tujhko bithaa kar…(Brahmachari)’ is more intricate to suit the actor Shammi Kapoor. For movie ‘Pyasa’: he converted himself to Guru-Dutt to render ‘Ye mehalon ye takhton ye taajon ki duniya…’ and ‘Ye kooche ye galiya…’ and changed himself to Johny Walker mould to render ‘Sar jo tera chakraye…’. He wore the Dilip Kumar mannerism to sing ‘Toote hue khwabon mein…’ and slipped into Johny Walker style to deliver ‘Jangal mein mor nacha kisi ne na dekha…. in the same movie (Madhumati). Songs Dil kahe ruk ja re ruk ja yahin pe kahin…. (Man Ki Aankhen) and ‘Badra chhaye…’ (Aaya sawan jhoom ke) have Dharmendra written all over. And you will find jumping Jeetendra spread in the song ‘Mast baharon ka main aashiq…’ (Farz) and ‘Paaon chhoo lene do phoolon ko inayat hogi……” (Taj Mahal) has Shah Jahan/ Pradeep Kumar royalty personified.

Apart from amalgamating actor-specific ingredients, emotions, mood and situation (of the song), Rafi saab’s renderings also ensured that Music composer’s signature in the composition remained the high point of the song. Two similar situation songs composed by different music directors will have different flavours of Rafi’s voice. For example: Din dhal jaye hai…. and ‘Koi sagar dil ko behalata nahin…. both having similar situations with different set of actors and music directors … one can feel the S.D. Burman- Dev Anand touch in first song and Naushad-Dilip Kumar touch in the other song. It is amazing to note the extent of detailing that is incorporated by Rafi saab. He actually entered into the song layer by layer reaching its very core and in the process reaching and touching listeners’ soul.

Going further into the point of Rafi saab enacting every word of the song in a way to convey the nuance of the song; get that heavenly romantic feeling in the way Rafi saab has delivered the words ‘hasin shaam’ in the song ‘Ek hasin shaam ko dil mera kho gaya…’ The entire mood, the situation of the song is packed into the rendering of just these two words. In contrast, same word ‘shaam’ in the song ‘Hui shaam unka khyal aa gaya…’ is sung so differently. The song depicts a specific depressing moment of loneliness of the character, it has a kind of feel of ‘pause’ (or in Hindi ‘theharaav’) so effectively brought out by Rafi saab’s rendering.

‘Teri zulfen pareshan…..’ (Preet na Jaane Reet) has Rafi saab infusing the word ‘pareshan’ with romance and ‘sweet sedition’ but same word (Pareshan) in the song ‘Dil Dhal jaaye…’ (Guide) in the lines ‘…tum mujhse main dil se pareshan…’ is laden with pathos, with sadness and melancholy making us feel its depth.

Or feel the romantic fervor in the tranquil surroundings in the song ‘Ye kahmoshiyan, ye tanhaiyaan…..’ (Ye raaste hain pyaar ke). The word ‘Khamosh’ in the other song ‘Khamosh zindagi ko awaz de rahe do…’ (Teri Talash mein) has contrasting listening experience filled with glum, sadness and loneliness.

Song ‘Abhi na jao chhod kar….’ (Hum Dono) has Rafi saab’s rendering every word honey-dipped and oozing with romance. In the first stanza, the line ‘….. Hawa zara mehak to le…’ is flowing like a fragranced air and line ‘…… nazar zara behak to le….’ is dripping with exhilarating ‘nasha’.

‘Maayoos to hoon wade se tere….’ (Barsaat Ki Raat) has the disenchantment feature inherently built in the way Rafi has thrown the word ‘Maayoos’

Movie ‘Kalpna’ had a Manna Dey- Rafi gem (Tu hai mera prem devta….). The song starts with Manna Dey’s perfect and brilliant rendering in the opening lines. It is only when rafi saab sings his portion ‘… man ki pyaas bujhane ayee.. antarghat tak pyasi hoon main….’ one realizes that there could be something beyond ‘perfect and brilliant rendering’. The way he has sung-acted (or enacted) the words ‘pyasi hoon main…’ soaked in ‘thirst’ or ‘pyaas’ that it instantly connects with your soul.

Even in seemingly similar situations of songs Rafi saab brought out some subtle variation to go precisely with specifics of the song situation. ‘Mujhe duniya walo sharabi na samjho…’ (Leader) and ‘Maine pee sharab tumne kya piya…’ (Naya Rasta) have ‘broadly’ similar concept.. but still there is difference. The first song is more of a party song with a ‘satire’ element sprinkled in it, but the second is more of a ‘loner’s song’, it has kernels of ‘derision’ or ‘contempt’ (and ‘hate’) factor for society (or for some specific wrong doers) in-built into it. How effectively Rafi saab has done justice to both analogous but ‘little different’ songs is simply amazing.

More minutely, consider the song mentioned at the beginning of this write-up (Meri duniya mein tum aayee….) viz-a-viz other similar song ‘Tumse kahoon ek baat paron se…’ (Dastak). Almost similar songs… but in Dastak song one can feel the additional element of rain (Hai bheega sa jism tumhara…) in the song. There is something unexplainable magic that Rafi saab has done in the Dastak song to instill that ‘wet’ feeling.

One can actually go on and on in discovering such fine attributes in innumerable songs of Rafi saab to make them a thing of magnificence, to make it the most authentic actor-specific, on-screen character-specific, situation-specific, music director-specific creation, to make anyone feel the soul of the song, to make anyone imagine-enact the scene of the song.

It can also be said that it was his mastery over ‘Acting in Singing’ that made him a versatile singer in real sense, adapt in almost all possible genres of playback singing. Be it a sugar coated romantic number, a soulful sad song, a ghazal, a qawali, a powerful patriotic song, a devotion-filled bhajan, a detailed classical number and so on, Rafi excelled in all.

The benchmarks created by him remain untouched, unachievable by any artist.

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74 Blog Comments to “Mohd Rafi: The Last word in ‘Acting in Singing’”

  1. Anonymous says:

    a beautiful post sir . Lokking forward to nore such posts .

  2. Indrajeet says:

    J.K. Bhagchandani sir. it feels nice to see an article which has lot to do with the art of enacting of Rafi sahab to evolve the mood ,feelings and emotions of the actor lip-synch a song.I believe that this art is the main key to judge a playback singer.The play back singers need to utilize his/her voice modulation ability,diction,pronunciation and singing style to reveal the mood of the actor while singing a song.You have mentioned no. of Rafi songs analysing inimitable pronunciations of Rafi sahab. In “Din dhal jaye haye” the special ‘Haye’ dictates the listeners how tired is the hero of his loneliness.In the song ‘ankhon hi ankhon mein eshara ho gaya” Rafi’s ‘ishara ho gaya’ in antara tells us how deeply a person gets enamoured with his beloved.One of my favourite is Mujhe dard dil ka pata na tha — Rafi sahab could have done more than 100% justice to it’s lyric. In “Karvaan guzar gaya” Rafi sahab cried every tears that the lyricist shed.The list of songs are endless and I’m very much up of it to discuss Rafi’s song with you about the “enacting” of Rafi sahab.One question I couldn’t help asking you about the two versions of the song – “Sawan ke mahine main ik aag si seene main”,which one do you believe is enacted more natural- the sad one or the happy one?

  3. Manas Mukhopadhyay says:

    Bhagchandaniji what a fantastic writing. I also think alike you about Rafi sahab, the greatest singer of all time, but I can not express my feelings in your way. Many many thanks and once again I say jay Rafi sahab.

  4. Amitabh Kishore says:

    Bhagchandani ji has give the comprehensive personna of singing talent Md. Rafi. One naturally visualizes the picture just by listening to the modulation of Rafi’s voice. His voice encomasses our feeling like dream in wonderland.
    Hats off to Md. Rafi.

  5. J.K. Bhagchandani says:

    Kamini ji (post 69):

    Thanks for your wonderful comments. Your observation “Hindi music and singing starts from K.L Saigal and then to stalwarts like Talat Mahmood, GM durrani, Hemant Kumar, Mukesh, Manna Dey and a miracle called Mohd Rafi who surpassed all these legends” aptly sums up the singing giant Rafi saab.

    One point I would like to add:
    “Tum bin jaoon kahaan….” as all of know is a song sung separately by Rafi saab and Kishore da. And Kishore fans are very fond of quoting this song to prove their singer’s fantasized superiority over Rafi saab. For this song R.D. Burman first got the Rafi’s version recorded and then handed over that tape to Kishore to practice the song the way Rafi saab had sung. So even R.D. Burman knew that Rafi saab can only ‘fully understand’ the intricacies’ of the song and set a benchmark.

    So your point “….all the hard work and good work was already done and dusted by… Rafi saab” is proven once again.

    By the way, Kamini Kaushal ji… just a loud thinking… are that famous legendary actress?

    J.K. Bhagchandani

  6. kamini says:

    Let us focus on Mohd Rafi, do not give any importance to this bleeding heart called Kishorefan.

    Hindi music and singing starts from KL saigal and then to stalwarts like Talat Mahmood, GM Durrani, Hemant Kumar Mukesh, Mana Dey and a miracle called Mohd Rafi who surpassed all these legends.

    Kishore Kumar came at a time when all the hard work and good work was already done and dusted by these legends. Same for the son of SD Burman, that no do gooder who used to copy and paste from western tunes.

    So lets move on and not focus on things that happened after the film was over.

    Thank you
    Kamini Kaushal

  7. Mohammed Irfan says:

    What a well researched article Bhagchandani saahab.One more song that comes to my mind immediately is from the film Jadoo-Ek jhoot hai jiska duniya ne rakha hai mohabbat naam. In the second antara Rafi saab sings a line ‘jaise koyee jalta deep bhujhe bas ek hawa ke jhoke se’ and believe me I used to here this song while travelling and could feel rafi’s saab expression of the dying out of a lamp due to a breeze of can view this song on Youtube – as C.R DEKA jee has reminded us.That teasing ‘dil jalaaaooo na’ in one the anatara…..if it wouldn’t have been Rafisaab this expression wouldn’t have been in that song.

    Sunil Kumar ji (post 39,41,44)- Your concern is a valid one and truly speaking , we need to do more to make sure that not only Rafisaab but all the other singers get due recognition in today’s age so that our future generation can know about everyone.I have stopped listening to the various FM channels because not only their RJ’s have limited knowledge but they present any crap song from the sister’s camp (which also had RDB and KK) as the numero uno number and it shoudn’t be ‘Hit tha Hit Hai’ but add an ‘S’ in front of the ‘Hit’.

    With due regards to KK and RDB they were genius in their own right but the way the media is presenting them it seems as if they were the creators of playback singing and music.

    Santosh (post 45)- Rightly said sir.And I still remember that Hema ji said that to attempt singing Rafisaab’s song is courageous itself.

    Umesh (Post 56)- Cannot stop myself from laughing after reading your comments.Very True.

  8. Binu Nair says:

    Post 66…. we dont have to show our labels or degrees of love towards our Legends To You Please Note.

  9. Kishorefan says:

    A great surprise and a rare phenomenon, people like binu nair, rafi fan etc. praising kishore, This is not a dream ??? I appreciate that. Post 62 of binu nair and post 64 of rafi fan 1 are balanced ones and I feel happy for that. In fact, I too have some of my favourite rafi numbers which I like, but am clearly averse to any overhype as my numerous posts for many years convey that.

  10. Binu Nair says:

    A Big Scale Rajesh Khanna show was held last saturday 3rd at the 2800 seater Mumbais prided Shanmukhananda Hall.

    Here is where Rafi saaheb used to ‘unwind his magic wind’ and bring audiences under his spell.

    The songs selections were great . About 10 Rafi songs including Nafrat ki duniya , Yun hi tum mujhse baat karte ho, Kaahe ko bulaya and many others by Srikant Narayan and Amay Date.

    A elephantine show with 70 industry seniour musicians and ten singers. Such shows are rarely held in the country. Kudos to Sanjay Mahale for organising the great show.

    At the same venue we had last year on Dec 24 a massive housefull Mohd Rafi Saheb show.

  11. Rafifan1 says:

    Post 62, Binu Nair good post , this should be a good message
    to kishore fans, better sense prevailing that rafi fans indeed admire kishore.

    Post 53 Kishore fan – the facts are true, I have also read them. Yes, lata is a great singer, among the lady singers. and Kishore too was great, no denial. Rafi was of course special.

    Post 55

    Raj, ghantasala was disinguished legend to telugu film industry as rafi was to hindi, as such no issues on that. True, remembering them long after their demise is a great achievement.

  12. salimk says:

    post 58 and 62, this is the true spirit of sensible, matured, informed and genuine music lovers.
    Well done!!

  13. Binu Nair says:

    True_kishore_fan……Post no.58

    what you have stated is ‘just perfect’. let me tell you that a big majority of music lovers think like you.

    i am personally a mohd rafi fan. but can we put away songs of our legends from K L SAIGAl era ONWARDS. Many of the songs touches our soul and that makes them IMMORTAL.

    only a minuscule minority distorts facts, talk ill of other singers and show their chauvinist mentality. i n every state there are huge groups of mohd rafi fans including west bengal. but some elements would wish to show kishore kumar as their own great singer and belittle mohd rafi at various forums due to various reasons.
    let me tell you that Kishore kumar or a rd burman were great men and would have frowned upon people who degenerated mohd rafi or any of our music legends.

    i know of an incident when rdb and asha bhonsle attended a massive rafi saaheb show in calcutta – just to see how rafi saab Pulled the Audiences under his spell.

    On another occassion rdb thought rafi saaheb will not be able to take t he high pitch of the song : Yama Yama, Yama Yama… the recording. And, when he did it – rdb just fell to rafi saahebs feet in admiration.

    This is feelings right from the heart.

    At another instance RDB was at the singers home pleading to come for his recordings.

    I myself admire Kishore kumar and go in to a trance when i hear my favourite kishore kumar number.

    But, sorry to say that few KK fans are restless and feel suffocated due to some great singing of our legends.
    In one letter weeks back mohd rafi was personally abused in the KK site. There are very few write-ups or visits to that site is another story.

    I hope better sense will prevail and we will keep our great songs alive irrespective of who has sung it.

    Frustration must Not find a place when we listen or hear good music.

  14. sunil kumar says:

    to kishore fans , this was just to point out how a channel is behaving if it is neutral like other channels FM Gold channel of Vividh Bharti no one objects . I am sure and as i write this to you this channel has removed my comments and even changed its format so that no one can post any comments now onwards on its FB wall . what was the need to do this so much such drastic action by this channel on its FB proves it all . Usually it is liked that more and more people write on your FB wall but they have closed and removed this option. They are frightened that they may get hundreds of such protest therefore better to remove this option.It proves our point that the media has been used either by paying or by some other means.why kishore needs all this thing to do is why so much desperation to surge ahead using all means even than he cannot because he lacked qualities of Rafi saheb. Just remember one thing ” RANG LE AAYENGE , ROOP LE AAYENGE , KAGAZ KE PHOOL KHUSHBHU KAHAN SE LAAYENGE “. RAFI SAHB KI KHUSHBU UNKA BADDAPAN ( Humility, greatness , Humbleness ). Unki aawaz, unki gayaki kahan se laaoge. False popularity is not going to take you anywhere by paying channels you cannot become great singer You can buy channels but you cannot buy love and affection of the people . otherwise every rich person would have become great artist . if you want to buy anything just enter into the heart of the people by loving them and by your humbleness. By not abusing great artist like rafi shaeb. If you are real fans of kishore just just look at what he said for Rafi Saheb. Do you think kishore would have abused.his senior artist . don not support a wrong thing. we are not against kishore but against unethical attitude of that channel which is just promoting one composer and one singer. Kya RDB aur KK ke haal itne bure hain ki is tarh ke propaganda ki unko jarroorat hai. Agar aisa hai toh aap ko aise kai channels ki zaroorat padegi ek se ap ka kaam nahin chalegi. Rafi shaeb ko aajtak kisi channel ki aur composer ki zaroorat nahin padi balki channels ko unki zaroorat hai.

  15. balbir singh aujla says:

    rafi is like a mounteverest no one can reach to his heights he is on top even after 32 years of his death .whenever we tune radio about 60% of the songs are sung by great rafi saheb only salute to the great master may god grant peace to his soul.

  16. DR sohail abbas says:

    hi to all and salaam,
    i m new to this site.frankly a great write up by j.k.bhagchandani.lets get it straight rafi sahab was a man possesed.his singing is an ocean of which every bit is an experience,a new journey,a dream and a leap to superlative passion.right from guru dutt,pradeep kumar,rajendra kumar,dilip kumar to amitabh bachhan he remained true to their nuances onscreen.its really next to impossible to even sing ostensibly differently for d same actor under different situtions and mds.recently i came across an interview in which he even stammers(may be he had a stammerring problem) but in front of d mic he could do anythng possible with his vocal cords.long live d voice of god.amen!!!

  17. true_kishore_fan says:

    I consider my self a fan of kishore but i have great admiration and respect for Mohammed Rafi and I acknowledge that he was also admired and looked upon by Kishore da for whom Mohammed Rafi has sung a few memorable songs. Mohammed Rafi was destined to sing for kishore as only a person as big a heart and great a voice like Mohammed Rafi could do justice to a very rare and unique personality called Kishore Kumar Gangulty.
    I also acknowledge that Mohammed Rafi selected the singer of the millineum and was 10th in the popular Indians of all time let alone the most popular and admired singer of all times.

    It is sad and sometimes foolish that comparisons are made between these 2 legends by people who do not understand and enjoy the beauty of the contribution left behind by these 2 legends. So who is most popular? who cares seriously.
    Mohammed Rafi songs i have been listening for all these years in several radio channels and music videos and on tv, so are songs of Kishore da, Lata ji, Asha ji and Mukesh.
    Mohammed Rafi is a household name much before Kishore Kumar was and now Kishore too is a household name and so are many new singers like Sonu Nigam.

    It is pathetic and gross to see how people who claim to be fans of Kishore Kumar through their sick approach and views about Mohammed Rafi have made sensible fans of Kishore Kumar leave the website of the legend.

    These so called kishore fans must be ashamed of themselves and must use their resources in celebrating the life of of not Kishore da but also of other great legends, specially Mohamed Rafi was was man of true character, kindness and overall beauty.

    I am sorry to say but some so called Rafi fans have no clue and indulge in mud slinging of kishore da.

    Both these gems have left us and to fight who is more popular is foolish. i have no shame to accepted what my idol kishore da accepted and that is Mohammed Rafi is the best and the greatest singer of HFM and i also like to say that I am a great fan of kishore da and i enjoy all his songs without worrying who is better or more popular than him.

  18. andrea correa says:

    Marne ke baad research karna ‘jaroori’ is liye hai ke “dil” kitna Kaala hai – ye shaayad maloom ho saktha hai.

    Bharat ratna kaise liya jaata hai, black money kaise chupaya jaata hai, royalty kaise le sakte hai blackmail karke, logon ko industry ke bahar kaise kar sakte hai, jo legends gujar gaye – unke baare me galat likhna etc etc etc.

    bahut kuch maloom kar sakhte hai. hona chaahiye galle ka aur dil ka.

    You are right kishore fan at post number 53…..

  19. umesh says:

    post 53, you are living in wonderland, this story is BS, if anything they must examine her dark heart. Her voice she sounded good a long time back.
    Yes kishore is also great bur Rafi is the benchmark, the only genuine great singer for all seasons and all trends.

    Now go back from where you came from. The voice of Rafi is the pinnacle of all beauty and all greatness….chapter closed.

  20. Raj says:

    Mr Bhagchandani

    Fine, if the comment is removed then no issues, this was not clarified earlier. We do not speak lies for your information. Good luck.

    Kishore fan – let it continue.

    P Kumar – Some politics are always there. Lata got bharat ratna, one thing sure, ghantasala ji certainly deserves that award for his gifted talent, anyhow remembering ghantasala ji greatly after some nearly 38 years of his passing away itself is great, that is a achievement. Though I am not an exclusive fan of this singer, in my view no other singer has such kind of achievement.

  21. P Kumar says:

    Bhagchandani ji and others

    I appreciate your concern for the legendary rafi. It is true that sometimes genuine recognition for great artists slips away. I am from Andhra pradesh and admirer of rafi ji’s songs which are evergreen in hindi film industry. However, no one can change the influence on peoples hearts where in the songs are truly recorded. I can also share similar concern for another similar and great singer from our andhra. just see this link and you can understand : Though the feelings expressed therein are somewhat in a wrong way, yet it brings about the greatness which the singer has achieved : similar concern for rafi ji as well.

  22. Kishorefan says:

    Raj – correct, lata and kishore have their own greatness.

    I heard that some french scientists have requested for research on lata mangeshkar’s throat after her death (I have read this in a website, I do not know how far this is true). But this gives a interesting point. You will recall that such incident happened only for one great singer of south (as mentioned in kishore forum) i.e. doctors wanted to conduct research on the voice of ghantasala ji of south after he passed away, but were not allowed to do so for obvious reasons.

    Why I stated this is because there was a similar goof ups going on lata mangeshkar also earlier ? Now its kishore kumar, but none can change facts about their greatness.

  23. J.K. Bhagchandani says:


    Original post 2246 has been removed after protests. The post presently showing at that number was at a later number. After removal of original 2246 post, the numbers have gone heywire… so there is no question of spreading lies. This attribute (of spreading lies) is associated with biased Kishore fans like you.

    -J.K. Bhagchandani

  24. Raj says:

    post 38, Bhagchandani – nothing offensive in post 2246 in Stop spreading lies.

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