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Rafi with Music Composers – Part 4

This article is by Mr. Anmol Singh.

Rafi with Laxmikant Pyarelal (LP)

Apart from SJ, LP are the second most successful music composers. Perhaps may be again both are from different cultures. Laxmikant Kudalkar is from Mumbai, Maharashtra and Pyarelal Ramprasad Sharma from Northern India. Both initially have worked as musicians and assistants to Naushad and Kalyanji-Anandji and many other music composers. Since Laxmikant hails from Maharashtra, the lezim drumbeats from Maharashtra folk music have been used very effectively for many backgroung score and song compositions. Success was not easy for the duo, since they had no Godfathers to promote them. They both started with B grade films, which were never released. Their first break through came via film “Parasmani” and “Dosti” established them as full flagged music composers. The most unique aspect of these two films was that they had unknown actors for whom Rafi Saab gave A grade performance. The classics are “Wo Jab Yaad Aye” a duet with Lata based on Raag Kalyan / Yaman and “Chanhuga Mein Tujhe” based on Raag Pahadi, “Jaane Walon Zaara” based on Raag Pahadi, “Rahi Manva Dukh Ki Chinta”, “Mera To Jo Bhi Kadam”. The song ‘Chahunga mein tujhe‘ for which Rafi Saab and lyricist Majrooh won Filmfare awards was to be scrapped from the soundtrack. It was Rafi Saab who insisted that LP retain the song and what a momentous decision that was from Dosti where there was no looking back. LP’s association with Rafi Saab continued till his last day. During Rafi Saab’s lean years in the early 70s apart from Madan Mohan it was LP who stood by him. Both where instrumental in bringing Rafi Saab’s comeback in the mid 70s. Rafi Saab has sung maximum number of songs for LP.

For the jumping jack called Jitendra, Rafi Saab has given some mid blowing performances in the form of solos and duets with Lata and Asha under LP. To name a few solos – “Ek Banjara Gaaye”, “Aane Se Uske Aaye Bahaar”, “O Meri Mehebooba”, “Mast Baharon Kaa Mein”, “Mere Des Mein”, “Jane Ham Sadak Ke Logon Se” and duets “Aa Mere Hamjoli Aa”, “Aashavon Ke Sawan Mein”, “Tumse O Haseena”, etc. In the duet “Dhal Gaya Din Hogayi Sham” the badminton beats are very well coordinated with rhythm of the song. Rafi and Asha give a super performance. Rafi Saab sings with great enthusiasm, perhaps badminton is his favorite sport. Another duet with Asha “Tere Hathon Mein Peh Nake Chudiya” is also a classic from ‘Jaani Dushman’.

For the Bollywood He-Man called Dharmendra (Paaji), apart from other singers Rafi has made the maximum contribution in the 60s & 70s. The solos sung for the Dharmendra are – “Aaj Mausam Bada”, “Maa Tujeh Dundun Kahan”, “O Maajhi Chaal“, “Huyi Sham Unka Khayaal”, “Na Jaa Kahin Ab Na Jaa”, “Chalkaaye Jaam Aayi Yeh”, “Kya Miliye Aise Logon Se” and later in the early 80s “Kahaniyan Sunati Hai Pawan”. The song that defines Dharmendra the best is “Mein Jat Yamla”. Here Rafi Saab matches Dharmendra’s body language the perfectly than any other singer. There are some great duets sung by Rafi & Lata under LP for Dharmendra – “Saathiya Nahin Jaana”, “Badra.. Ke Aya Sawan Jhoom Ke”, “Aaja Teri Yaad Aayi”, “Jhilmil Sitaron Ka”, “Kuch Keheta Hai Yeh Sawan”, “Yeh Dil Tum Bin”, “Chanda Mama Se Pyaara” a duet with Usha Mangeshkar, etc. Paaji appeared very disturbed at Rafi Saab’s dismissal during the tribute given at the Mumbai Doordarshan in 1980.

For the super star of early seventies Rajesh Khanna, Rafi Saab has delivered some mind blowing performances under LP. This was during the Kishore Kumar dominated era, where Rafi could create such an impact through hit songs picturized on Rajesh Khanna – “Chup Gaye Saare Nazaare” based on Raag Tilang, “Yeh Reshmi Zulphen”, “Rang Rang Ke Phool Khile”, “Yeh Jo Chilman Hai”, “Etna To Yaad Hai Mujhe” based on Raag Tilang. But there is one song from the film ‘Haathi Mere Saathi’, “Nafrat Ki Duniya” where Rafi Saab puts great emotions into the mind-blowing lyrics provided by Anand Bakshi. This song is a tribute to animal cruelty and is considered as the signature tune by animal rights organizations and activists. Anand Bakshi has been awarded by the RSPCA for his excellent lyrics.

LP have been instrumental in some great compositions sung by Rafi Saab for none other then the Star of the Millennium, The Big B i.e. Amitabh Bachchan. Kishore Kumar perhaps is more suited for Big B, but Rafi Saab provides a different dimension. This can be seen from the song “John Johnny Janardhan” where he matches Big B’s personality perfectly. For the song “Mere Dost Kissa” Rafi gets a film fare nomination. Other songs include “Atrah Baras Ki Tu Hone”, “Teri Rabh Ne Banaadi Jodi”, “Mere Desh Premiyon”, “Aye Yaar Sun Yaari Teri”, “Patta Patta Buta Buta” and about all a devotional number based on Gujarati folk music “Kaal Ke Panje Se Maata Bachavo” can be heard through most of the Dandia festivals in Mumbai. Big B does an excellent job on screen.

Another star of the 1970s the handsome Rishi Kapoor, Rafi Saab provides his youth full voice through the songs (Duets & Solos) which were great hits – “Parbat Ke Is Paar”, “Dafli Wale Dafli Baja”, “Hum Tho Chale Pardes”, “Ramji Ki Nikli Sawaari ”, “Dard-e-dil Dard-e-jigar”. In the song “Koyal Boli Duniya Doli” the singing of the birds is perfectly co-ordinated. Rafi Saab sings along with his favorite actor Amitabh Bachchan in Naseeb for Rishi – “Chal Mere Bhai Tere Hath Jod”. It is believed that Rafi Saab was the most exited during the recording. Who can forget the unforgettable Qawaali from Amar Akbar Anothny “Pardah Hai Pardah” and the devotional song “Shirdi Wale Sai Baba”, both picturized on Rishi Kapoor. In the history of Indian Music there is only one song where the three icons of music Rafi-Kishore-Mukesh along with Lata have sung together – “Dekh Ke Tumko Dil”. Again Rafi sings for Rishi here. Full credit goes to LP for this unique creation.

For the multi dimensional Sanjeev Kumar again Rafi Saab provides some great numbers under LP – “Aaya Re Khilonewala”, “Khush Rahe Tu Sada”, “Shaadi Ke Liye Razamand Karli”, “Tere Naam Ka Diwana” and “O Firki Wali Tu Kal”. For the song “Khilona Jaan Kar” Rafi Saab sings for the mentally challenged character played by Sanjeev Kumar. Both get Film Fare nominations here.

In the mid 60s and early 70s LP have given some great numbers sung by Rafi Saab for many other actors. To name a few – “Nazar Na Lag Jaaye”, “Ba-Hosh-o-hawas Mein Diwana”, “Voh Hein Zara Khafa”, “Patthar Ke Sanam Tujeh”, “Saajan Saajan Pukaarun”, “Ham Tumhare Liye”, “Reshman Ki Dori“, “Mujeh Teri Mohobbat Ka”, “Aap Aaye Bhaar Ayee”, “Mein Ek Raaja Hoon” based on Raag Bhairagi Bhairav, “Na Tu Zameen Ke Liye”. Later in the mid and late 70s “Aadmi Musaphir Hai”, “Yeh Khidki Jo”, “Kaali Ghata Chayi”, “Chalo Re Doli”, “Tere Sang Jinaa Tere Sang Marnaa”, etc. SJ were compelled to change their music orchestra, due to LP’s remarkable compositions in the 60s.

LP have composed few marvelous Kishore-Rafi duets. To name a few – “Ek Rasta Do Rahi”, “Chal Shuru Ho Ja One”, “Hum Premi Prem Karna”, etc. Perhaps the most memorable is the song “Bane Chahe…Salamat Rahe Dostana” is a tribute to both Rafi-Kishore association with Bollywood. From the film ‘Badalte Rishte’ in the song “Na Jane Kaise Pal Mein” the duet sung with Kishore & Suman K, Rafi Saab makes a late entry and turns the song towards a positive node. Full credit goes to LP here.

The last song, which Rafi Saab sang for LP, was “Tu Kahin Aas Paas Hai Dost” for the film Aas Paas. The very same evening Rafi Saab leaves us forever. Since then and for many centuries to come Rafi will always be ‘Aas Paas’ – ‘Some Where Near Us’.

A tribute from Pyarelal

“What can I say about a man jo tareef se bahut hi oopar hai, and had countless golden qualities? I am only able to feel my deep regard for him, not to express it. Rafisaab aisi sargam thi jisse koi bhi raag ban saktaa tha. He could sing in any range or octave. If today’s composers are to flower, the Almighty should create nine Rafis more! Can we find even a single song of his that is badly rendered? Of course, he had a major role in our career, and yet I would single out one song to show his greatness as a human being – Kalyanji-Anandji’s ‘Sukh ke sab saathi…’ (Gopi). How much apnapan is there in the rendition of this bhajan though Rafisaab belonged to a different mazhab!”

A tribute from Shailendra Singh

“A matchless singer, he was an even greater human being. He would call me ‘Kaka’, and I had the privilege of singing so many hits with him in films like Chacha Bhatija, Suhaag, Parvarish, Dada, Humse Badhkar Kaun and others. There was a qawwali that we recorded in which I felt that I could simply not match the high note he was taking, but he coaxed me and I did it! Since my father was working for a film company, I had the privilege of attending his recordings from my school days.” “I remember the recording of “Hum premee prem karnaa jaane…” from Parvarish where he was amused that Laxmikant-Pyarelal had made me sing for his hero Shammi Kapoor and he sang for Vinod Khanna! He said, “They have made you sing for an old man and me for the young one!

Rafi with R D Burman(Pancham)

Apart from Dada Burman, R D Burman popularly known as Pancham has also been instrumental in promoting Kishore Kumar. Pancham is the son of lengendry composer Dada Burman. Pancham started his career as an assitant to Dada Burman. His first assignment as an independent music composer was for Mehmood’s, ‘Chote Nawaab’, with all songs sung by Rafi. In ‘Teesari Manzil’ all the songs sung by Rafi Saab for Shammi Kapoor were mind blowing. The rock-n-roll Rafi & Asha number “Aaja Aaja Mein Hun Pyaar Tera” is unforgettable. Both sing with tremendous versatility and Shammi Kapoor alongwith Asha Parekh do a marvelous job on screen. Other classics include another Rock-N-Roll with glass beats “O Hasina Zulfon Waali”, romantic solos “Diwana Mujhsa Nahi” & “Tum Mujhe Dekha” another duet with Asha “O Mere Sona Re Sona” and above all a fun song “Dekhiye Sahebon”. In fact this film played a vital role in launching Pancham as a full-fledged composer.

Pancham was the main composer for most films under the Nasir Hussian banner. Their association continued for almost two decades from ‘Teesari Manzil’ in 1966 to ‘Zabardust’ in 1985. Rafi Saab sang some ultimate numbers for Pancham consisting of both Solos or Duets. His duets with Asha, “Yeh Ladka Hai Ye Alaa”, “Pucho Na Yaar Kya Huva”,”Haiya Haiya Bolo Bolo Kuch“,”Ham Jab Ek Saath Hein“, “Dekhen Hazaaron Mehefilen” and “Churaliya Hai Tumne Jo” based on Raag Pilu are all just ultimate. Above all the famous Qawaali “Hai Agar Dushman, Dushman” based on Raag Kalavati between Rafi and Asha is also remarkable. The most unique aspect about this song is that it conveys a direct message to the world of music that Rafi Saab is ultimate, who can never fade with changing scenarios from different times. Again Pancham uses Rafi Saab’s voice for an in between narration instead of using Rishi Kapoor. But the song “Kya Hua Tera Wadaa” is the best song of the 1970s, where Rafi Saab manages a film fare and National award for a single song. No singer has won two different categories of awards for the same song till date. Rafi Saab indeed won many nomination in the 70s, got awarded only once but in an ultimate style. It can be best defined from the saying in Hindi, “Sau Sonar Ki, Ek Lohar Ki”.

Moving ahead some mind blowing Solos have been sung by Rafi Saab for Pancham, “Chand Mera Dil”, “Rut Hai Milan Ki”, “Gori Ke Haath Mein”, “Gulabi Ankhen Jo Tune”, “Chekush Nazare“,”Mujh Se Bhala Yeh Kaajal“, “Janam Diya Jinko Tumne“, “Ham Ko Bhulaavo Ya Na“, “Kaun Kisiko Band Saka”, “Maine Puchha Chand Se Ke”, “Pyar Hai Ek Nishaan”, “Wadiyan Mera Daaman”, “Ya Ali…Aate Jate Hue Mein Sab Khabar” and many more. Pancham did compose a patriotic number for Rafi Saab in the film ‘Balika Badhu’, “Apani Maavon Behnon Ko“.

Apart from the above-mentioned Qawwali there are two more where Pancham provides a classical touch, one is from ‘Aandhi’ along with Amit Kumar “Salaam Kijiye Aali Janaab” and the other one is from ‘The Burning Train’, “Pal Do Pal Ka” based on Raag Kedar. Once again Rafi – Asha steal the show. Pancham is at his best in this Qawwali. On screen the Jumping Jack and Neetu Singh do an excellent job.

With Kishore, Rafi Saab has sung some superb duets under RD. “Yaadon Ki Baraat”, “Jaanu Meri Jaan”, “Seedhi Raaste Chalogi Tho“, “Mileh Jo Kadi Kadi” based on Raag Bhairavi. There is one duet sung with Pancham also “Yaama Yaama”, one sung with Amit Kumar “Bade Bade Logon Ke Yaar”, one sung with Manna Dey “Ik Shok Haseena Se” and one with the bad man of Bollywood Danny Dengzongpa “Mujeh Doston Tum Gale Se”. It is believed Danny came to the Film Industry to become a singer initially.

Indeed Pancham has used Kishore more than Rafi Saab in the early 70s, which encouraged the media to write a lot of baised comments like “I recall Pancham, in his Santa Cruz music room, pointedly telling me that he never really cared for Rafi“. His westernized rythmic tunes were the turning point in the Bollywood music which brought Kishore into limelight to such an extend that most film makers favoured Kishore over Rafi in the early 70s. In the late 70s with the trend had changed towards Rafi Saab, Pancham used Rafi Saab for many excellent compositions. Below is the tribute which Pancham is given to Rafi Saab (Courtesy:Yahoo Groups – Pancham)

A tribute from Pancham

In one of Ameen Sayani’s programmes Panchamda recalled his association with Rafi Saab. He said that Rafi saab was a very simple man who never had any ill feeling towards others. He said “unke saath kabhi koi badmazgi nahin hoti thi” (I was quite surprised to hear the word badmazgi used by him as it is an Urdu word not usually used by people who are not very fluent with the language. But then VN’s book says that Pancham da did learn Urdu) Pancham da also said that when he was in the mood after singing, Rafi Saab used to say “ho jaaye” and then we used to go to Bhendi Baazaar and get jalebis and devour them. Remembering the song “Yamma Yamma” he said that I told Rafi saab that ek gaanaa hai aap ko mere saath gaanaa hai…aur ussmein aawaaz kuchh badal kar gaanaa padegaa. He said “Thiik hai ham gaaenge”.

A tribute from Amit Kumar

“He was a wonderful human being, and so were my experiences with him in the many songs we sang together, beginning with Aandhi’s `Salaam kijiye…’. I recall his dropping me all the way home after a recording that was very near his house because my car had broken down. He had once watched me backstage at a show at which both of us were performing. After I had belted out 12 songs at a stretch, he complimented me on my singing, but advised me to take breaks after every 3-4 songs in a very caring, fatherly way. My dad and I had the highest regards for each other and would talk on the ‘phone
frequently. He refused to take more than a token one rupee as payment for singing two songs in dad’s film ‘Chalti Ka Naam Zindagi’. In 1972, when the media was highlighting the rivalry between dad and him, we were in London for a show and he invited us over to his home there and served us an exotic home made meal. It was a great evening with both Rafisaab and dad also singing and recalling their days when my father would sing in the chorus of a Rafi song! Dad and Rafisaab were so similar in their simplicity and genuineness as human beings.”

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37 Blog Comments to “Rafi with Music Composers – Part 4”

  1. mohanflora says:

    R.D. got lost in the Bappi Lahiri-Laxmikant Pyrelal wave of the 80s. It was tragic and hearbreaking to note that in a recent interview Annu Mallik mentioned how RD hid on seeing Annu Mallik at the HMV office in Bombay. He did not want Annu (a complete new comer then) to know that he – RD – the big boss was at HMV’s office to ask for work… This is how true genius artists have been treated in Bollywood.

  2. mohanflora says:

    There’s a telltale Rafi number from a pre-Zanjeer Amitabh Bachchan starrer. “Koi aur duniya mein tumsa” from “Pyar Ki Kahani” not only sounds very similar to RD’s “Maine poocha chand se” in Abdullah, the two compositions are similarly worded and sung by the same singer Mohammed Rafi.

  3. kalyani says:

    Dear Rafians,
    We thank Anmol,Mohan Flora,Mehtab,Sagar,Nair,Venkat,Unknown,MYKand all dedicated fans for such incredibly lovely articles n inputs taking us to THE HEAVENLY MELODIOUSWORLD OF MUSIC WITH THE GREATEST RAFI SAHAB.


  4. mohanflora says:

    Play Dekho Kasam Se in the above link. Of course you can hear other songs as you like!

  5. unknow1 says:

    who is the greatest combo in bollywood?No one has the answer but Mohd Rafi is in one side it is sure as Mohd Rafi Naushand Ali,mohd Rafi SJ,Mohd Rafi Madan Mohan,mohd Rafi shammi Kapoor,mohd Rafi Lata ,Mohd Rafi Asha……………………………..

  6. kalyani says:



  7. Anmol Singh says:

    Dear Mohan,

    Since you have touched the topic of Astrology, there are many other aspects.

    Capricorns seek inspiration from Capricorns. Rafi Saab was inspired from K L Saigal. Mahendra Kapoor was inspired from Rafi.

    Apart from this Capricorns are very good at money matters, which makes them good businessmen. Dhiru Bhai Ambani & Ratan Tata are examples. Coming to Rafi Saab, he ensured that all his children are well set till he lived.

    Even countries do are distinguished via star sign. India is also a capricorn country. So the best thing India witnessed was to have K L Saigal, Naushad and Rafi in the last century. None of these artists could have prospered in any other country.

  8. mohanflora says:

    Dear Anmol,
    Laajawaab theory about Capricornians!

    Naushad looked for perfection and a loner (his each song is perfection personified) OP Nayyar was perfection and “beauty”(he lives alone even though he ha family)
    Mahendra Kapoor religious nature{therefore Religious songs in Mahabharat ,Ramayana and many other films and serials) KL Saigal perfection and good food and”drinK”(to make a drinking song look perfect he drank to perfection)

  9. Anmol Singh says:

    Few other Capricorns are

    – Naushad Ali
    – O P Nayyar
    – Mahendra Kapoor
    – K L Saigal

    There could be many more.

  10. mohanflora says:

    You have hit the nail on the head perhaps!

  11. Anmol Singh says:

    Dear Mohan,

    Looking from Astrological point of view Rafi is a perfect Capricorn, though I personally don’t believe in these things. I had read a book on star signs written by Linda Goodman.

    – Liking for Good food (which results in health problems later)
    – Perfection (many scientists come under this sign Newton, Lewis Pasture, etc)
    – Religious nature (many saints also come under this sign Jesus Christ, Guru Gobind Singh, Swami Vevakanand, etc.)
    – Like solitude (loners)
    – Caring for special things viz. awards, cars, etc.

  12. mohanflora says:

    One of my favorite Rafi/Lata duet. Just be patient and hear!

  13. mohanflora says:

    Rare song not on record! Many don’t know there were three versions and this was the anthem!

  14. mohanflora says:


    Pyarelal spins back down the years. He recalls: “Laxmiji and I became music directors after a long period of struggle. But we had known Rafi because we had been musicians for many years. In our early days, Rafi had given me Rs 500, which was a big amount those days. I told him I won’t return it and he just smiled. Till today, I have kept that money.”

    According to Pyarelal, Rafi laughed a lot. “He talked less and had a special style of nodding his head. He always looked down and talked, no matter whom he talked with. For him, everybody was the same, and he talked to everybody in the same tone,” he points out.

    Rafi had a special habit of keeping his car spotless clean. “He had a Fiat, and he would put together all these lights and bright-coloured objects. Even at home, he would insist on cleanliness. There was one room full of awards, and he took care of each award. Another thing he loved was good food. He’d have a lavish meal whenever he could,” he says.

    Pyarelal, however, points out that Rafi rarely went to parties. “He liked to stay in his own world, and concentrate on two things — namaz and riyaz. But he has come to my birthday party twice. They may be among the exceptions he made, but we were so close,” he adds.

    The conversation naturally shifts to Rafi’s approach towards singing. Says Pyarelal: “He was God-gifted. He used to do so much riyaz that everything looked so simple. Then, he would modulate his voice to suit each hero, whether it was Dilip Kumar, Bharat Bhushan or Shammi Kapoor.”

    Pyarelal says Rafi was a strict disciplinarian when it came to work. He elaborates: “He never cancelled any recording, even if he had a 102 degree temperature. In fact, he was the first singer to regularly go on foreign tours. He would go every year, first with his small orchestra, and later with a bigger group.”

    Was there anything that Rafi loved as much as singing? Pyarelal laughs: “Yes, he loved whistling. He would whistle regularly, either in the form of a tune or just loudly when he was happy.”

    For Pyarelal, the tales would never cease. But then, Laxmikant-Pyarelal and Rafi not only made some great music together, but shared a special bond too.

  15. mohanflora says:

    Jumping Jack Jeetendra and Rafisaab were as great a match as the Rafi-Shammi combine. Rafi also used more sound effects than Lata in such conditions. Watch and listen to this LP score!

  16. mohanflora says:

    A song which did not appear on record but did appear on the titles b’cos the producers/distributors felt only Rafi could fit the bill! RD Burman, as music director, had to make the change from the original singer, some Gadgil. Rafi was passing thru’ the busiest phase of his career when he passed away!
    Hear and watch the song not found on the original tape/record!

  17. mohanflora says:


    “Tu kahin aas paas hai dost” (You are some where around, my friend) –

    the last song sung by Mohammed Rafi music Laxmikant-Pyarelal sums up what millions of music lovers feel about the legendary playback singer even 26 years after his death.

    As the shocking news of Rafi Sahab’s demise was redeived. The sad news
    spread like wild fire throughout the country. Songs turned into a dirge.
    The angels wept in the sky and tears were shed in the form of raindrops over his
    namaaz-e-janaza (funeral prayer), His funeral procession started amid heavy
    rain and thunder, people gathered on the top of buildings, trees and in windows
    to catch a last glimpse of their favourite singer. The procession reached the
    Juhu graveyard many famous film personalities were trying their best to
    control the crowd which had gathered to pay it’s last respects to the voice
    which had warmed their hearts for decades.A voice which had become a part of their lives.

  18. Roger says:

    Ranjana K.M I love you! You are in Don Bosco. So be it. You are in chamrajpet. so be it.

  19. Roger says:

    Her black hair srteams down
    curling its way earth; falls abliss
    thick and black;undone afloat
    across her back sprayed
    veil like shall come in for.

    Fragile soft her skin of velvet touch
    fair and glowing;silvery moon gulping mare’s heart into it
    presents spellbound contrast to the hair touching it deeply

  20. unknow1 says:

    Dear Fans,
    we can put many more big names in Bollywood who said that they are because of Mohd Rafi.Shammi Kapoor,O P Nayar and many more. some we know.
    Mohd Rafi singed few songs for Raj Kapoor and Raj Kapoor said about Mohd Rafi The KING without crown.
    Offousre it is greatness of these people but it is true

  21. unknow1 says:

    Dear Venkat_Brahma,
    Some one said that about Hindi music, Music born in 1940’s was child in 1950’s was young in 1960’s became old in 1970’s and no more music after 1980.Why? because Mohd Rafi came in 1947 and he was new in 1950,mohd Rafi singed most songs in 60’s ans so on…………………….

    Dear mehtab.
    I don’t think that Mohd Rafi should get Bharat Ratna because some one like Lata has got it and none Indain also got it.Mohd Rafi is not only Bharat Ratna he is World Ratna.I think it is more than a award that Mohd Rafi has fans all our the world more than any singer in the world.
    some one like Naushand Ali said that Mohd Rafi was 50% of his music and Madan Mohan said that he should not be paid when Mohd Rafi sing for him,As i think what said by two great MD it is more than Bharat Ratna award

  22. venkat_brahma says:


    Forgive me. But, I do not recognise the Hindi Film Music after 1970!


  23. mohanflora says:

    Sorry, the last line above is :”Kya khabar thi aap bura manegi”

  24. mohanflora says:

    Hi Friends,
    Rafisaab has playbacked for KK in many other songs other than the three normally mentioned i.e Ragini, Shararat and Baghi Shehzada. I am at this very time watching a popular song I used to hear regularly on the radio in the sixties and I am pleased to say it is Rafisaab singing solo for KK!
    Film : Pyar Deewana
    Actors: Kishore Kumar wooing Mumtaz
    Playback for KK: Rafisaab singing”Apni Aadat Hai Sabko Salaam Karna,
    Husnwalon Se Haske Kalam Karna,
    Kya Khabar Thi Aap Bura Maan Gaye”

  25. mehtab says:

    Dear Mr. Anmol Singh ji & Mr. Mohan Flora ji, (MYK ji also)

    You are absolutely right that if RD Burman would have the preference about Rafi Sahib, he might be more super music composer of the Bollywood.
    At present, the articles of Mr. Anmol Singh ji are providing a constructive interaction to be done. This interaction ‘ll surely lead fans to the way of Rafi Sahib. This must be a continuous process, so that the next generations may also come to know more & more about Rafi Sahib and get enriched their brains about the realities of Rafi Sahib.
    Anmol Sir, your deep study about Mohammed Rafi, the great has a meaning. Everybody, who reads your distinctive views, very much get inspired. No doubt, Rafi Sahib was great, is great and would always be the greatest in the field of Hindi/Urdu Film Songs. None can never reach or access his heights. None can dive so deeply as Rafi Sahib dived. There is a need to establish a Music University in the name of the Great Mohd. Rafi, where the aspiring candidates may take an appropriate training of good Music and make it their carreer. Such University should have nominal fees (as Rafi sahib often would take only one rupee remuneration as only a token money from any newcomer music composer or producer/director), so that a layman may also easily get admission in it. We should jointly do efforts in this regard. We should also toil to get announced “Bharat Ratna for Rafi Sahib.” It is really a great news for me (as Mr. P. Narayanan of Banglore told me on phone) that Maharashtra Govt. has recommended the name of Rafi Sahib for the prestigious ‘Bharat Ratna’. Though, you all may be agree with me that Rafi Sahib is above all such awards, but still he deserved/deserves ‘Bharat Ratna’ and must be announced for his name. We should struggle for it. Here, at Chandigarh, we are trying ‘Punjab Ratan’ for Rafi Sahib, on the suggestion of Mr. Anmol Singh ji.
    –MEHTAB (Chandigarh) Mobile : +919815703226

  26. Anmol Singh says:


    The above link mentions about RD’s milestones. At appears that PANCHAM fans do not like to recognize Rafi Saab’s success with him.

    The following achievements have been highlighted for various singers.

    Both Lata and Bhupinder won a National award for the song ‘Beeti Na Bitaayee Raina’ from ‘Parichay’, and this song was composed in a hotel room in no time.


    Aarti Mukherjee won a National award for the song ‘Do Naina Ek Kahaani’ from ‘Masoom’.

    Gulzar (best lyricist), Asha Bhosle (best female singer) won National awards for the song ‘Mera Kuchh Samaan’ from Ijaazat.

    What is missing?

    For the song KYA HUWA TERA WADA from HUM KISI SE KUM NAHI where Rafi Saab has won NATIONAL & FILMFARE AWARD for the same song is not mentioned here. How come such a big achievement of Pancham be overlooked.

    Similar trends can be seen on other web sites as well

    The above link is an encyclopiedia of Pancham. Pancham’s success in ‘Hum Kissi Se Kum Nahi’ has been wildly acknowledged, but found missing in the Discography Category.

    Some of R D Burman’s most successful movie albums were:

    1942 – A Love Story (1994)
    Ijaazat (1987)
    Saagar (1985)
    Betaab (1983)
    Love Story (1981)
    Khushboo (1975)
    Aandhi (1975)
    Sholay (1975)
    Aap Ki Kasam (1974)
    Yaadon Ki Baarat (1973)
    Parichay (1972)
    Apna Desh (1972)
    Hare Krishna Hare Rama (1972)
    Caravan (1971)
    Amar Prem (1971)
    Buddha Mil Gaya (1971)
    Kati Patang (1970)
    Pyaar Ka Mausam (1969)
    Padosan (1968)
    Teesri Manzil (1966)

    This could possibly be an error.

    Possibly we should write to the webmasters of these sites get facts corrected.

  27. myk says:

    Yes Rafi was needed by RDB. There is a piece from Wikepedia:

    “Mohd. Rafi’s death stuns R.D. Burman, as it does the entire nation”


    Any comments on that particular piece ?.

    I think had Rafi lived through the 80’s RD would not have faced those bad times. Having Rafi there could have made a huge difference.

  28. myk says:

    Nice write-ups Anmol Singh, keep it up !.

    RDB & Rafi saab was a wonderful combination. Even though their output may not be as much as Rafi with SJ or LP, their songs together have lasting value and are of great quality.

    Agree with Anmol Singh, Pancham should have used Rafi in his classical compositions, they would have been much better. Listen to “Nagma Hamara” with Lata from ‘Bundalbaaz’, a beauty of a composition with classical flavour and that should show you what the two could have come up with had they worked more on classical-type songs. When it came to qawwali’s Rafi was Pancham’s first choice. He did miss out on great opportunities in using Rafi more.

    If you notice, from 61-72 Pancham worked alot with Rafi and in turn Rafi helped him reach the top. ‘The Train’ was RD’s beakthrough into the big league of composers and the score was noted for those 2 Rafi gems esp. “Gulaabi Aankhen…”. From 73-76 he called Rafi for choice songs (this was the period in which they did not work alot together) and then as Mohan Flora mentioned from 77 onwards he relied on Rafi more. Great way of putting it Mohan Flora, that RD’s songs with Rafi after 77 have a freshness not found with other singers, that was the Rafi magic.

    Just adding a few more beauties to the list:

    Saanson Mein Kabhi (with Asha) – Parchhaiyan
    Aye Jaan-e-Wafa – Chhalia
    Champa Khili Daar – Faisla (song released in 75 although the movie came out in 88).
    Kahe Ko Bulaya (with Lata) – Humshaqal

  29. Anmol Singh says:

    Lean years of Pancham – Downfall in the 80s

    Some highlights from the above article

    “RD, at one point, had overtaken the formidable team of LP. But he let himself be beaten back by vastly inferior talents in the 80s, while LP fought back like tigers. In retrospect, it can therefore be said that RD faltered at the crucial moment, LP didn’t. And this is an industry in which you are only as successful as your last film. A record of 23 flops took some living down. RD buckled under the pressure.”

    “All this cannot alter the fact that RD set a trend with Asha as he did with Kishore. NO OTHER COMPOSER WOULD HAVE DARED TO JETTISON RAFI THE WAY RD DID — EVEN DADA BURMAN WAS HESITANT IN MAKING A SWITCH HERE. But RD showed the way and others followed suit, courtesy Rajesh Khanna. Amitabh Bachchan, to beat Rajesh Khanna at his own game, had to take on his voice. Kishore thus became established as the Voice of Youth and it was RD who had set the course for this. RD’s hold on electronics, his insights into Western notation, gave him a rare edge. But, minus Kishore, RD found his keen edge blunted. There was a generation change due in our film music. RD failed to see this change coming in 1987 as he had one in 1971. The cross commercialism of the neo-film industry also undid him. When Bhappi Lahiri started quoting less at one point, RD should have stuck to his price. He caved in. And paid the price.”

    “RD’s mod image as a youth composer also became a bar to his inevitable growth as a composer. When ‘Shanarabharanam’ was to be remade in Hindi, the point about who should compose for the film was referred to me. I suggested the name of R.D. Burman and then rang to ask Pancham whether he was game. “I would love to do the theme, be sure I’ll surprise them with the purity of my classical score,” RD said.”


    “Yet his image was all wrong for the theme. There was no chance, I was told, of the distributors accepting the label, ‘Music R.D. Burman’, in a weighty remake of the scale of ‘Shankarabharanam’. The remake finally went to LP as ‘Sur Sangam’. The K. Vishwanath film flopped in the face of a thematic enough score by LP. What kind of a score would RD have created? The same kind as he would have evoked for Gulzar’s ‘Devdas’ vis-a-vs S.D. Burman. But the RD image just did not classically jell.”

    “It was this image that RD unsuccessfully fought in the later part of his career. As convener of the Sur-Singar Samsad Film Awards committee, i remember RD’s Lata classic from ‘Chandan Ka Palna’, O Ganga maiya paar laga de, coming up for live consideration. But it was finally rejected, not on its own merit, but on the grounds that Sur-Singar’s name would be in the mud if it presented a classical award to R.D. Burman.”

    “In the end, therefore, RD discovered that he was acceptable neither as a light composer nor as a serious one. Result: he got confussed about what to give. And once this confusion enters a composer’s mind, it is the end.”


  30. Anmol Singh says:

    Pancham highly under estimated himself

    If we refer to songs “Naam Gum Jayega” & “Biti Na Bitaye Renaa” are classical based duets sung by Lata/Bhupindra. Lata sings both the songs effortlessly. Bhupindra also sings the songs very well, perhaps excellent from his standards. Now if we replace Bhupindra with Rafi, the result could have been far superior & outstanding. On top of it, it could have provided Pancham more scope for experimenting his classical composition skills.

    Similarly there are two duets from ‘Aandhi’, “Es Mod Pe Jate Hai” & “Tere Bena Zindage” sung by Lata/KK. Again Lata is effortlessly. KK compared to Bhupindra is not that effective on the classical aspect. But still these two duets come under KK’s best works. Now again if KK is replaced with Rafi, Pancham again gets much wider scope for experimentation on the classical area.

    Plus another common aspect in all the above songs is the both Bhupindra and KK make a late entry. In late Rafi was far more effective compared to any other singer. Plus these songs appear one sided & project Lata’s ability more than Bhupindra & KK, because Lata is certainly superior on the classical aspect than the other two.

    Therefore this can be looked upon as missed oppurtunities by Pancham.

  31. mohanflora says:

    Rafi also sang the following, among others, for RD Burman in the early
    RAATON KA RAJA(1970) – all songs hits
    Door se tera diwana with Asha
    Aana to sajni din ko aana -solo
    Mere liye aati hai sham…Raaton ka Raja- solo
    Mohabbat se tumhe dekha with Lata
    and others
    PARCHHAIYAN(1970)the only full punjabi song by RDB
    Zara ankhiyaan la laiye- solo
    GARAM MASALA(1972) hit
    Mujhko bachale meri ma with Asha
    Tere athroo chun lawan main-solo hit
    DIL KA RAJA(1972)-hit songs film starring Raj Kumar
    Jao Jao samajhte kya ho-solo
    Sunder ho aisi- solo
    Rajeshwari Bhagyeshwari-solo
    Jinke pas haathi ghora-with Manna Dey
    DO PHOOL(1973)
    Armaan tha hamein jinka- hit duet with lata
    There were other hits too, like in Rampur ka Lakshman(1972), Benaam, Kahte Hain Mujhko Raja, Kasme Vaade etc. before RDB again began taking Rafi big time with scores in Hum Kisise Kum Nahin(1977) and Phandebaaz(four Rafi hits, 1978). If you follow the trend after 1977 you will note that RDB had started depending on Rafi more and his tendency towards Kishore Kumar was cooling off. Cases in point- big budget movies like The Burning Train, Shaan, Zamaane Ko Dikhana Hai, The Great Gambler etc. Just listen to all the songs I have listed above and you will find a freshness not found in scores of RDB with other singers.
    Chhote Nawab: first film of RDB Rafi sings wholesale for him, some songs are:
    ” Aaj hua mera dil matwala”,”matwali ankhon wali”, jeenewale muskurake jee”
    all duets with Lata(I have these songs), “Yatba..koi aane ko hai” with shamshad begum and two great solos “Ilaahi tu sun hamari dua” soulful and heart rendering like only he could sing and, of course, the famous “Aam Chum Taam Chum” where he sings with a lisp for the overgrown child Mehmood.
    Even earlier, before Teesri Manzil, RD had Rafi playback for Dharmendra in “Chandan Ka Palna” for the melodious “Tumhe Dekha”(solo) and the flirtatious duet with Asha “Zulfon ko aap yoon na sawaran karo”-songs which I enjoy to this day! And what about Rafi’s trendy and hot track(still!) from The Train where he croons for the then phenomenon Rajesh Khanna “Gulabi Ankhen…”

  32. unknow1 says:

    RD first super hit was ‘Teesari Manzil’ if I am not wrong and ‘Teesari Manzil’ is one of few films in which the singer(mohd Rafi)singed in all fsongs,In ‘Teesari Manzil’ there is no song without Mohd Rafi.

  33. unknow1 says:

    Sir Anmol Singh,
    thanks again for a great job.
    When I saw film Kranti I was a child but I liked Mohd Rafi voice when Mohd Rafi entry to the song at that time I don’t know who is singing.

  34. Anmol Singh says:

    Apart from ‘Badalte Rishte’ , Rafi Saab makes a late entry in another song from ‘Kranti’, ‘Chana Jor Garam’ a duet with KK, Lata & Nitin M. Rafi Saab sings for Dilip Kumar here.

  35. Nair says:

    Thank you Anmol. I thoroughly enjoyed reading this part.

  36. mohanflora says:

    Bravo Anmol,
    Another great write-up.
    Carry on!

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