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Chahoonga Main Tujhe Sanjh Savere…

By: H.A.K. Walijah

Mohd Rafi

Mohd Rafi

Many songs of Rafi Saab are ceaseless but some have achieved the status of immortality, means it can be heard million of times even though it does sound fresh and vibrant.  You may call it the miracle of the singer’s voice or the marvelous composition or the magical words embedded in the lyrics that suited the mood of the song.  Rafi saab had sung thousands of songs which are considered now as milestones in film singing profession.  Some have   achieved the status of evergreen and all time greats, in which some are solos and some are duets (sang with both male and female singers).  During the 50’s and 60’s Rafi saab ruled the Hindi film industry as the most sought-after playback singer, 70-80 percent of songs composed by the music directors during those years were sung by Rafi saab along with two major female singers  – Lata Mangeshkar and Asha Bhosle.  The songs had sung in maximum genres with colorful versatility which was the lion’s share of Rafi saab, no other singer even comes closer in that range. Mohammed Rafi’s songs ranged from traditional classical melodies to patriotic songs, artistic Ghazals, sad and romantic melodies, traditional qawwalis, ghazals and bhajans… like that you may go on counting various genres and what not? Rafi saab bagged 6 Filmfare Awards in his lifetime for his excellent and magnificent singing and had 22 nominations between 1960 -1980.

Dosti (1964)  a classic Hindi film was a story focused on the friendship between two boys, one blind (singer) and one crippled (Mouth Organ Player). While both boys realize that they are lonely in this world and they had no choice other than to help each other in order to survive in this cruel world. Thus the true bond of their friendship surfaces. While the blind boy is also looking for his sister (Baby Farida), his friendship with crippled boy gets stronger each passing day. Dosti fetched the Filmfare award for best picture; and almost all the songs in that movie were super duper hits.  There was a song Chahoonga main tujhe which bagged the Filmfare Best Male Playback Singer award to Rafi Saab.  Now I speculate that the Mukhda (opening line) of that song Chahoonga main tujhe sanjh savere has become the anthem of all Rafi lovers, they proudly pronounce that line Chahoonga main tujhe sanjh savere to express their immense love & passion towards Rafi Saab.

Listen to Chahunga Mein Tujeh

The Filmfare award in 1965 went to Dosti for five categories including three categories namely – music director, singer and lyricist gone to Dosti for the song Chahoonga main tujhe sanj savere –

Best singer – Mohammad  Rafi
Best music directors – Laxmikant Pyarelal
Best lyricist – Majrooh sultanpuri

Chahoonga main tujhe evokes lots of emotions to the listener. Touchy lyrics were penned by great Lyricist Majrooh Sultanpuri. Most importantly, this song was brilliantly rendered by Melody King Mohd. Rafi Saab and was composed by Laxmikant-Pyarelal.

The music is exceptional with Rafi Saab at his very best with as many as five great solos to his credit.  This movie gave a lot of boost to the careers of the Music directors – Laxmikant  & Pyarelal who did take a lot of credit for the brilliant music. The songs were the best part of movie depicting various shades of life (mood and emotions). I consider the five songs are the marvelous and precious gems in Hindi film music which will be heard many many years to come.

  • Chahoonga Main Tujhe Saanj Savere
  • Mera To Jo Bhi Kadam Hai
  • Jaane Walon Zara
  • Rahi Manwa Dukh Ki Chinta
  • Meri Dosti Mera Pyar

No wonder the film won all five best Filmfare awards of 1965. There couldn’t be a better lyrics – Majrooh Sultanpuri and better voice – Mohd. Rafi . What is best about Dosti is the music — just mesmerizing — even after forty five years since it was heard first time. Once one hear those songs can understand very well the mood of the each song that was sung in the best mood and superb emotions  applied  to the situation in the film. Rafi Saab had given his golden voice to many unknown actors, even in Dosti two boys played the part of friends were Sudhir Kumar and Sushil Kumar. All of the songs lip-synced by Sudhir Kumar (Mohan), the blind boy.  Even as a unique coincidence Dosti is the only  movie in Hindi Cinema which made a record for the biggest hit without heroine. The song – Chahoonga main tujhe sanjh savere was picturised on the blind boy played by Sudhir kumar as Mohan.  The emotions he portrays and the feeling of comradeship which it brings out are simply a work of pure class. It’s a story about friendship and in many ways dignity and self-respect. It is one of the best movies because of  the classic music by Laxmikant Pyarelal with the soaring voice of  Rafi  Saab make this movie a top classic hit. The strange fact about the movie was that, it was low-budget and no major actor was ready to act in the movie. It was expected to undergo a huge flop, but due to the soulful songs rendered by Rafi Saab and its brilliant acting and awesome story it went a major hit.

Mohd Rafi with Laxmikant Pyarelal and others

Mohd Rafi with Laxmikant Pyarelal and others

As there are many interesting anecdotes connected with this song Chahoonga main tujhe which have been well preserved & archived in as a precious memorabilia.

When both Laxmikant Pyarelal and Majrooh Sultanpuri sat together to compose the songs and the result was history. Rafi Saab song “Chahoonga main tujhe saanj savere“, and other songs  moved the hearts  of  the audience.  Rafi Saab was very much impressed with the compositions of Laxmikant Pyarelal that he had taken just one rupee for singing the song because it was the custom of a singer to take something in return for a professional song and the rest of the money he handed over to Pyarelal ji to share with Laxmikant ji. This one example shows the generosity of Rafi Saab.

In fact, all songs of Dosti were very melodious and were brilliantly composed by Laxmikant Pyarelal. In fact, the music was so good that Laxmikant Pyarelal won the  most coveted Filmfare Award for Best Music for 1965 against the stiff competition from the Film : Sangam composed by Shankar-Jaikishen and another Film :Woh Kaun Thi composed by Madan Mohan. All 3 films were nominated for the year 1964 for the Best Music and finally “Dosti” music edged out to win Filmfare award beating both Shankar-Jaikishen and Madan Mohan. It was a shocker to Shankar-Jaikishen. Laxmikant-Pyarelal won their first Filmfare award for Best Music and they deserved it.

The song Chahoonga main tujhe sanj savere tune was composed much earlier than any Parasmani song by the duo. Many of the films that they signed before Parasmani failed to be made and they were dejected with the hindi film industry. They could not find a situation in their early films to use the song properly.

The song was composed with Lata Mangeshkar in mind. They had such reverence for her that they wanted all their songs sung by Lata. During the musical sitting of Dosti, Laxmikant sang this song out for Rafi at the very tail end of their session before departing Rafi’s house  as a song they kept in their pocket as a reserve. Majrooh Sultanpuri and Pyarelal were present. They were very apprehensive when they drove to Rafi’s mansion early that day not knowing if the great singer would agree to sing for a low-budget movie and for such young, struggling music directors such as LP. As soon as they entered, Rafi put them at ease and was very cordial.  Having already been blown away by the Dosti numbers he had just heard, Mohd Rafi who was thrilled that he had three full solos that he agreed to sing for a small fee was completely bowled over by  Chahoonga  main tujhe. He took this song and superbly rendered it for LP and told them that this song would be a big hit in Dosti. LP replied that there was no situation in the movie for this song. They did not want to use it. Rafi insisted persistently (while making the song greater every time he rendered it) and said that he would sing all the songs for free  if Chahoonga main tujhe was included in the film.  LP returned back and had to make the writer, producer, director re-write the story to include Chahoonga  main tujhe as a primary song in the film.

R.D. Burman played all the mouth organ pieces for Dosti. For playing mouth organ in the interlude of the song “Jaanewalon Zara”, Laxmikant-Pyarelal invited R. D. Burman who did full justice to the song by playing very beautifully his most favorite instrument that is mouth organ. R.D.Burman also played mouth organ in few other songs of Dosti. R.D.Burman came to play only because of his friendship with Laxmikant Pyarelal.

The songs of Dosti were recorded including  Chahoonga  main Tujhe. LP concentrated on all their other numbers in Dosti and did not give any special care for this song. As we all know Rafi sang all these songs superbly, and Dosti is considered to be a landmark in Hindi Film music.

When Rafi Saab was told that he has to give playback to two young teen-aged boys, he was confused on how to match his rich voice to suite two young boys. With other heroes, he always knew how to modulate his voice to suit a particular hero say Dilip Kumar, Dev Anand or Shammi Kapoor so as to be in sync with their style. So Rafi had to work very hard before rehearsals of Dosti Songs so as to match his voice match those two young boys. As we all can see, Rafi succeeded in his efforts and whenever we listen to any of Dosti songs picturized on those two young boys, it fits them very well as if they are singing themselves.

The movie was released and took India by storm in 1964. It was not just Mumbai (Bombay), but all across the country the songs of Dosti swept and swayed the masses. All the way from East-to-West and North-to-South, people would stand by radios just to hear the songs of this film. During the same year, Raj Kapoor’s prestigious Sangam was released with music by Shankar Jaiksihan. People liked the Sangam songs, but the songs of Dosti overtook every other film. Rafi Saab’s prediction had come true. He moved even higher up in popularity and Laxmikant Pyarelal where catapulted to the forefront of popular Hindi film music and never looked back.

LP won Filmfare Best Music Director Award for Dosti in 1965. Mohd Rafi won the best singer award. The award was conveyed to them during the early morning hours on announcement day by music director C. Ramachandra (one of their gurus) who banged on their door and called out get up you donkeys. You have won !!!. They were bewildered! won which award and from whom ? When they were told, they could not believe their ears. Shankar Jaikishan was their favourite MD and they had won over SJ. They had really arrived in the music scene.  Laxmikant emulated Jaikishan in every way. He was in awe of Jaikishan for many years. He dressed like Jaikishan (flashy expensive shirts, tight pants, collar up all the time), talked like Jaikishan and wore his watch on his right wrist.

It is a coincidence that in the same year 1965, Rafi Saab was honored by the Government of India with the coveted Padmashri Award as well as National Film Award for the Best Male Playback Singer for this song “Chahooga main Tujhe“. I believe this great song will never be outdated even after forty five years it sounds fresh and melodious it is because of sheer magical voice of Rafi Saab and beautiful composition of LP and wonderful lyrics of Majrooh Saab.

Finally I would like to acknowledge my gratitude & thanks to writers and readers alike to borrow most of the anecdotes written above from the earlier write-ups appeared in this forum to suit the milieu of this article.

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79 Blog Comments to “Chahoonga Main Tujhe Sanjh Savere…”

  1. shammi says:

    I wasn’t even born when the film ‘Dosti’ was made but can remember vividly that this was the first film as a child that made me cry. The film and not to mention the beautiful songs was and still are unforgettable. This is a prime example about how much impact a beautifully sung song can have on an individual.

    Thank you for writing such a beautiful article that brought back lot’s of memories and once again highlights Mohd Rafisaheb’s versatility as an amazing singer because playback singing for so many heros and making his voice suit their voice effortlessly is one thing but to make his voice sound like some kids voice is another and to do it with so much conviction is truly unbelievable.

  2. Binu Nair says:

    My friend a musician also has confirmed the fact that he saw Rafi saaheb seeing a movie at the bandra talkies.

  3. Binu Nair says:

    Oh. shardool ji…

    for a moment i thought you were writing my memory with rafi raja.

    same thing happened to me – at shanmukhananda hall, year 1979. I was waiting at the venue for the god -ly concert at around 5.30 pm. the show was to begin at 7 and i was early – a bit thanks to my govt job.

    a fiat car was coming in – near the green room . I turned to see and saw rafi saaheb – literally watching me. our eyes did meet and then the car stopped with rafi saaheb leaving for the green room.

    the applause of the evening while belting : Oh duniya ke rakhwale, Mai jat yamla……….still rings in m y ears.

    a nice write up shardul ji. Keep and follow it up.

    thanks ..

    from the rafi foundation.

  4. Shardool Shahid says:

    I had earlier written an E – mail on this topic of “High & Low Pitch” Songs of “The Voice” but looks it has escaped the eyes of all contributors to this Forum.

    I gave as example the song Sur Bisur Gayi Aaj Apnay Gunan Ki from Sangeet Samrat Tansen which was tuned by music director S.N. Tripathi. It is a duet by two great singers Rafi Sahib and Manna Dey Babu. Listen to the second antara which is by the inimitable Rafi Sahib when he touches the abysmal depths of “Sur Samudra” and sings : Vidhana Kay Dow Touk Gayi Prairna Rooth …. and then comes out with Ankhiyun May Doobi Hain Palkein Nayan Ki in the upper notes as if a bolt from the Sky thundered into the Ocean, touched its bottom and came out flashing and reaching the zentih of Sur Sansar !

    I had also written in the same E – mail that there is no point in talking, comparing and matching the ethereal voice of Rafi Sahib with any other singer or gayak or whatever you call him or her. We will only be bringing out the futility of such a meaningless exercise. It also leaves a very bad taste in the mouth after reading such comparisons. What do people wish to prove by such improper writings ? That Rafi was par excellence on only high pitch songs ? He was unsuccessful in low pitched songs ?

    Some people have a habit of creating scene, causing irritation to true fans of Rafi Raaja by dragging names of some mortal singers(?) whose names I do not wish to even utter.

    And as far as low – pitched songs are concerned, there are many many such songs and if I am to write them all, it will require a big space and more time for people to read them.

    Hazaaron Rang Badlay Ga Zamana …. from Shereen Farhad music by S. Gopal

    Meri Kahani Bhoolnay Walay …. from Deedar music by Naushad

    Yeh Mahlon Yeh Takhton Yeh Taajon Ki Duniya …. Pyaasa music by S.D.Burman

    For God’s sake, do not mention any other person’s singing prowess, power, ability, range, verstality etc. etc. for all these unique qualities are already captured by The Voice —- Rafi Sahib.

    If at all anyone wishes to talk about others, let them have their own Forum and let them keep talking about their favourite persons there. Please do not disturb the sanctity, sacredness, serentiy and ethereal atmosphere prevailing here on this Forum all because of Rafi Raaja and his mad, passionate, ardent sincere and true lovers.

    I request all those persons who by their write – ups prick our delicate feelings for Rafi Raaja, to desist from writing such letters and by talking about others.

    This is a Temple of Love & Devotion dedicated to our IDOL Rafi Raaja and we all have a Spiritual bondage with our DEVTAA …. RAFI with whom our AATMA is intertwined and cannot be separated ever, never ever !

    I wish to write about a sudden, chance meeting with ….. please read on …..

    It was an incident which occured way back in the 60s when I was still a student in Bombay. I was hardly 18 years, fresh from College. I had gone to see a movie in Neptune Theatre in Bandra when to my dismay the movie had changed and there was Pathar Kay Sanam going on. I refused to see it so I hurried to Bandra Talkies further down the raod and there was Dil Ne Phir Yaad Kiya going on there. I was with my father and another family friend. We hurriedly took three tickets for balcony and I ran up the stairs. Our seat #s were C13, C14 & C15. We sat down as the picture had already started. All the songs in it were by Rafi Raaja except one which was based on a Qawwali Tune …. Hum Nay Pardah Uthaaya Tow Jao Jaogay by Manna Dey & Asha Bhonsle and a solo by Lata.

    I was completely drenched in the caressing waterfall of Rafi Raaja’s songs in the film, cascading from some magical, mystical fountain up above in the heavens and totally oblivious of the fact that I am in a theatre and should not show my emotions and my profound joy & ecstasy on those songs all tuned by Sonik & Omi.

    Come interval, and I got up to go into the cafetria for a coffee and when I turned ….. ! Oh my God ! Who was sitting there ? I could not believe my eyes, I was shocked, mesmerised, rooted to the ground ! It was my DEVTAA himself with his beaming, smiling and charming face with a cherubic smile on his lips, holding his right hand under his right cheek and gently lifting his chin with his right fore finger ! He was on B13, B14 and B15 pat at our back accompanied by his wife and daughter.

    And then when I stood there in my place blinking unbelievingly at him, he ever so gently lifted up his eyelashes and cast a tender glance at me as if the DEVTAA is showering his bounties on his PUJARI !

    That one moment for me was long lasting ….. extending to infinity ! That moment is so fresh & vivid in my memory that it appears as if it happened yesterday. I was in the second year of my Engineering and I used to sing in all my college functions and was nick named Shahid Rafi !

    In the movie, the hero gets beaten & tortured by the villain and while he is being thrashed, I could very clearly hear Rafi Raaja getting uneasy and uncomfortable and he was sighing ! I have heard it so clearly, and his sighs are still ringing in my ears ! I thought how tender – hearted and soft – hearted is my Rafi Raaja and how gentle and touching is his attitude !!!

    I came back so thrilled, touched and impressed by Rafi Sahib that I remained totally intoxicated by this sudden meeting with my IDOL for days & days !

    I can imagine how this gentle soul must have the touched the hearts of all those who had the opportunity of interacting with this Godly Soul !

    We the Fans of Rafi are ourselves the best example of this “Touched by Rafi” magic !

  5. Sukhendu Sekhar Roy says:

    Md. Rafi shall never appear. But his immortal songs shall reverberate into hearts of millions for all days to come. So long the human civilization remains, The golden voice of Rafi Sahab shall remain. Present day scientists should research as to how a voice like Rafiji mesmerizes thousands of millions hearts? Is it a miracle- an act of God or absolutely human based on temporal height? Kindly throw some light.

  6. Sudip says:

    Adding to LP-Rafi solo list

    Jaane hum sadak ke logon (Aasha)
    Mere deshpremiyon (Deshpremee)
    Jan jani janardan (Naseeb)
    Sari khushiyan hai (Suhana Safar)
    Gulabi gulabi aaknon se tu (Banphool)
    Kabhi agey kabhi peechey (Sadhu aur shaitan)
    Gorey hathon par na zulm karo (Pyar kiye ja)

  7. Sudip says:

    Adding to LP-Rafi solo list

    Jaane hum sadak ke logon (Aasha)
    Mere deshpremiyon (Deshpremee)
    Jan jani janardan (Naseeb)
    Sari khushiyan hai (Suhana Safar)
    Gulabi gulabi aaknon se tu (Banphool)

  8. Hashmat Alvi says:

    A well written sharp and crispy write up by none other than the rafi sahab fan Janab Walijah Sahab. Well done Sir, a beautiful writing for the beautiful song and lot of pathos in the song. A very nice and great write up. And the anecdotes made it the crowning glory.

  9. anurag says:

    in continuation with post 52, and reply to post 53………….Yes, I agree with comments that Ghantasala was very comfortable in higher and lower pitches. May be if range is checked, his range was wider than Rafi. He sang very nice songs , accurately, when classical base song was there.

    But there is some other specialty Rafi possessed. First, a velvet voice, a dream voice full of emotions, which is equally expressive whether the song is light or classical. Secondly, his style of expressions. Listen very minutely and then you understand….. and the songs like ” Saj rahi gali meri…..” which no one would dare to touch, and Rafi was superb in that.

  10. sohail says:

    rafi sahab always on top he never died his body is far from us but his goodness and most powerfull most lovingly voice beautiful voice never died i always miss him

  11. P. Haldar says:

    post 60:

    Ramesh ji, I did send you a message five days ago. Haven’t you got it?

    P. Haldar

  12. who’s ghantasala…
    ok idont want to know him..

    i love…Rafi..
    awaz nahi wo jaadu ki ek lehar hai… jis me behte hue main kho jaata hun.. jo mujhe baadalo ke dosh par utha le jati hai.. jo mujhe himalya ki sair karati hai.. jo meri aankho ke gosho ko bhigo jaati hai..
    agar dard ka koi definition hai to wo ye song hai..
    “chaahun ga main tujhe shaam savere..”

    When i listen to
    “rang aur noor ki baraat kise pesh karun…”
    “bewafa hi sahi dilruba hai meri…”
    i cant stop crying.. becoz i see myself in these songs and i can relate my life with these songs..
    then when i heard…
    “maine tere liye ye jag chhoda tu mujh ko chod chali…”
    mera dil chaha ke jogi banjaun..aur sehraon ki khaak chanu..
    ye song mere dil ko chu kar meri rooh me bas gaya..
    itna dard tha…
    is dard ko hum jaise nakaam ashiq hi samajh sakte hain…
    hum jaiso ke liye ye awaz ek naimat hai…

  13. Man Mouji says:

    Long back, while comparing Rafi and Talat, Dilip Kumar remarked sensibly. He said, Rafi had more range than Talat. Talat’s songs are of particular type but Rafi could sing any type of songs. If we can keep our likings and prejudices aside it won’t take much efforts to understand that same opinion applies to Rafi and Kishore Kumar also.

    Those who are the fans of old Hindi songs are always seen into three generations.

    The first one believe nothing but K.L. Saigal. They immediately start describing the painful emotions in Saigal’s “Babul moraa”, “Jab dil hi tut gaya”.

    Second generation worships Rafi and starts clapping with “Tarif karun kya uski”. If they are senior, they will tell you the beauty of “Suhani Raat Dhal Chuki” and the songs of ”Baiju Bawra” if they have classical liking.

    The next generation will talk about “Mere Sapnon ki rani” and Kishore’s saga. It is said that in the mid of 70s “Aradhana” brought Kishore Kumar’s empire over film music.

    Tere Aane Ki Aas Hai Dost
    Shaam Fir Kyo Udaas Hai Dost
    Mehki Mehki Fiza Ye Kahti Hai
    Tu Kahin Aas Paas Hai Dost
    Tu Kahin Aas Pass Hai Dost…….

    Rafi recorded this song for Laxmikant Pyarelal which turned out to be his last song and this undisputed king of Hindi music golden era passed away on 31st July 1980. So many singers came after Rafi having certain similarities with Rafi’s voice like Anwar, shabbir Kumar, Mohammed Aziz to the latest update Sonu Nigam but Rafi has still retain the unshakable place in the hearts of millions of his followers as number one singer of Hindi film music.

  14. Hussein Sheikh says:

    Rafi Saheb was an allrounder, he could sing any song with ease.

  15. A Rakesh says:

    post-62 Dear Shri Kurpad ji,
    I take your kind words as a compliment, but I really love reading and moreover this song, I’m talking about, is such a multi-emotional piece that it requires a person of better caliber to make a good writeup, covering all minute details. I’m a Rafi fan and love listening to old hindi film numbers, but let me accept that listening to these beautiful songs, with an analytical approach, I started, only after going through this site. I’ll certainly take your suggestion and will a give a try some other time.

  16. Prasad says:

    Rafi Sahab greatest ability was that he could sing at a high pitch and shift to a low pitch immediately. He could manage that very well.

    One of his songs which I love is ” Suhani raat dhal chuki.”

  17. rameshkurpad says:

    post 61 – rakeshji,

    your choice of the song – of talat and rafi sahab – sushila – is very good.

    rakeshji, why do you want some rafi fan to write an article on this song.

    you have a fairly good power of the english language, why dont you write the article yourself – even if it is only one or two paragraphs of 100 words as a whole.

    it would be a good begining for being heralded into this lovely website as an author.

    come on rakeshji, pick up that – thinking cap of yours – muster some courage and rafi sahab’s blessings are always there for his true fans/bhakts.

    i give you two weeks time to have it seen on the website.

    your time starts now …………….. 12.02.11 – 1600 hours.

    ramesh narain kurpad

  18. A Rakesh says:

    Dear Shri Walijah ji,
    Excellent writing and research, which took me back into the past, when, I still remember, this song was such a great hit and used to be played in every corner of the country, on radio, loudspeakers etc.
    Though I’m a regular reader here, but this is my second post. I really wish if some Rafi Saab’s fan, who is good at writing, write something on a beautiful duet ‘gum ki andheri raat mein’, from film ‘Sushila’, lyrics by ‘Jaan Nisar Akhtar’, composed by ‘C Arjun’ and sung by Talat ji and the ‘legend’.
    I’m not sure if the choice of the singers for this song was just to have two great singers or it was really explored to meet the song’s demand, because both the voices have matched perfectly for the emotions for their respective portions.
    Talat ji beautifully sings for the depression, hopelessness, totally lost and one who completely gives up. Rafi saab sings to motivate, encourage and to bring him out of that state, as if comes to his rescue and it is a sheer magic. It seems, he can bring any body out of any set back and depression, if one just listens to this song. The voice, the modulation, the emotions, he has put everything is in exact amount – out of this world. It is as if we are seeing the song not just listening to it. I’m sure that if not that song, a full half an hour movie would have been required to communicate the same situation, that too I’m not sure if it could have been done properly.

  19. LUCKY says:

    Needless to confess that among singers no one has left such an indelible mark on the consciousness and hearts of millions of his fans around the world and I’m one of them. Mohd Rafi is an institution of play back singing, an icon for generations of music lovers who have happened to listened to him during his lifespan and even right now his legion of fans are spread right across the globe where ever the Urdu/Hindi speaking communities of the sub continent resides. My personal love for Mohd Rafi Sahab has dated back to the early days when I had the honour of listening to his remarkable and soul shaking songs in an audio cassette format and ever since then I have become his die hard fan till this day. Friends who happen to be his fan posting such beautiful posts on some of his gems here in this forum for the fans like me to cherish and enjoy the effervescent divine voice of Muhammad Rafi Sahab.

  20. rameshkurpad says:

    haldar sahab,

    these days i am truly truly enjoying some fantastic views being expressed by the fans here and mind you these views are at their peak when its about rafi sahab.

    the fans really bring out their best wares when they talk about rafi sahab’s minute legendary innate qualities ( which other singers simply did not possess ) rather than when they compare the merits and demerits visa vis other singers – especially i am always faintly amused when they drag ” the legendary ghantasala – as if he was their personal friend.

    retro music lovers and those born in early 50’s or late 40’s are all aware of the legendary ghantasala’s mighty singing prowess.

    anyway let me not be negative in my tone of talk – but – truth always peeps out of the bag inadvertantly – whenever i set to write.

    haldar sahab – i am still patiently awaiting your personal email to me. :))))))

    ramesh narain kurpad

  21. BINU NAIR says:

    From whispering to whistling to delivering poetry’s of shakeel badayuni and sahir ludhianvi both ‘differently’ BY MOHD RAFI was the stuff that music lovers looked forward to for four long decades.

    mohd rafi could easily make dreams real by transporting listeners to another zone – by his essays in playback singing.

    hear and judge them- at will on you tube.

    type songs : ‘Ek shehenshah ne banwakar taj mahal’ tuned by naushad written by shakeel eugolising taj mahal and the other gem of a song for the proletariat written by sahir and tuned by madan mohan in which the hero tells his lover : lets ‘not’ meet at the taj mahal.
    the song is : Mere mehboob kahin aur mila kar mujhse.
    if one is not intoxicated fully by these travel to the song from film : mere garib nawaz – another essay in flawless rendering.

    from the rafi foundation, mumbai : cell : 09833 250 701

  22. P. Haldar says:

    post 53:

    Man mouji saab, thank you for a great post. I totally agree that Rafi’s low-pitched deliveries are deadly. I still can’t understand why people consider that to be his weakness; it could be the “envy” factor. I’m sure you know of the journalist called Raju the joker, who goes around interviewing dadas and keeps finding faults in his style. Poor guy; can’t write a paragraph without mentioning Rafi. Anyway, coming back to his low-pitched songs, some of Madan Mohan’s compositions are just out of this world. Listen to “tumse kahun ik baat paron se halki halki” and you wonder if he’s singing or whispering. Yet you can hear every word clearly as he caresses it seductively. What a song! He held a monopoly on the letter “W” of the alphabet; from whispering to whistling, no one can touch him.

  23. P. Haldar says:

    As we watch history unfold in front of our eyes, let us extend our dosti to the people of Egypt. Many of you may not know that the songs of dosti were not only heard in India, but also in Trinidad, Surinam, Morocco and Egypt. To our brothers and sisters in Egypt, I want to say, “mubarak ho”. You have taught the people from the land of Gandhi what non-violence, civil disobedience and national pride really mean. I am overwhelmed! Apni azadi ko hum hargiz mita sakte nahin.

  24. H.A.K. Walijah says:

    to post 53 – Man Mouji Sahab

    yours is a fantastic post.

    Rafi Sahab had the great ability to conquer all kinds of pitches whether low or high and I would agree with that statement. However, I would go for the Normal/Low Pitch style. The low pitch style or the Normal style is what I would always term as the “Vintage Rafi Sahab”; a style that had the ability to bring tears to one’s eyes, to bring a smile on one’s lips, to strike a cord in one’s heart and at times touch the deepest of thoughts. Whether it is the flowing – Tere Pyar Ne Mujhe Gham Diya or the romantically emotional – Teri Tasveer Bhi Tujh Jaisi or the mockingly depressing -Itni Badi Duniya Jahan Itna Bada Mela, they are all in a class of their own.

    And, the best part is that they are hundreds of such songs for Rafi Sahab fans to cherish.

    Best regards

    H.A.K. Walijah

  25. Bhushan says:

    Anurag ji

    All others become weak in higher notes ? It applies to kishore kumar and others.

    Ghantasala has sung the highest sa in higher octave with quite ease, as well excellent in lower notes and octaves. His voice has much wider range than others. Rafi was also good in high pitches. It is quite confirmed by your post that you have got incomplete knowledge about ghantasala, so it does not serve any purpose, except arguing, in this regard with you.

  26. Man Mouji says:

    the normal and low Pitch Rafi Songs are by far the larger in number than the H Pitch ones. But, the god-given high Pitch capability of Rafi Saab could be properly utilised only by a handful of MDs such as Naushad, SDB (occasionally), SJ (occasionally) and even Iqbal Quereshi, for that matter. Some MDs were just obsessed with somehow utilising his high-pitch capability and in the process did not do justice either to themselves or to the Great man. Actually, the best High Pitch songs of Rafi Saab also contain the low pitch for a large part.

    Talking of unforgettable High Pitch songs of Rafi Saab, I will give some examples:

    1. “Yeh Mahalon Ye Thakhthon” from Pyaasa (SDB). Starts quite low in pitch at the beginning and reaches the unreachable peaks at the ‘Jala Do Ise’ part. The result: the listener’s hairs literally rise and his soul stirs!

    2.Yeh Duniya Ke Rakhwale (Naushad) is another well known example, combining extreme low and extreme high pitches.

    3. I was listening to a recent from film:Shama Parwana (1954), “O Toone Mera Yaar Na Milaya”.This song starts in the normal pitch, but in the last Antara (Bahar Gham Ka Mere Daste Na Dawa Se Utha), Rafi Saab goes to the highest possible scale. In doing so, he expresses the great agony of the hero somewhat similar to an infant crying breathlessly! And someone like me becomes absolutely restless on listening!

    4. Of course, we all know “Zindabad Zindabad” from Mughl-e-Azam, wherein the whole song is only on High Pitch. See how he makes you tremble when he sings in the last Antara, “Woh Pathhar Hai Insaan Kahaan Aa Aa Aa Aa Aa Aa Aa”

    5. Of course, Iqbal Quereshi’s Oh Hum Na The and Subha Na Aayee from Cha Cha Cha are two more examples of starting with low pitch and reaching the peak before the listener realises!

    6. In Duniya Na Bahye Mohe from Basant Bahar (SJ), the song again starts on normal pitch, but once he comes to “Dil Ke Yeh Tukde Kaise Bech Doon Duniya Ke Bazaar Mein”, he peaks in pitch and you just keep saluting him.

    7. One more example is “Tu Shokh kali Main Mast Pawan” from Main Suhagan Hoon (Lachhiram). The last Antara starting with “Har Dam Aankhe Pyaar Karen”!

    But, having said this and praising his High Pitch songs, I would still like his normal and low pitch songs. As this post is getting too long, I would give some noteable examples of the normal/low pitch category later.

    The fact is that songs of Rafi Sahaab have both high pitch and low pitch in one song itself. There are many such songs. For example, JAANE KYA DHOONDHTI REHTI HAIN… begins at low and ends in a high note. So also, YEH MEHLON YEH TAKHTON … Similarly the song AYE GULBADAN AYE GULBADAN is like a roller-coaster ride with highs and lows. One of the most difficult songs DUNIYA NA BHAAYE MUJHE likewise begins with a low Aalaap and goes on rising in crescendo. The result is: One enjoys all kinds of pitch in Rafi Sahaab’s songs.

    Fortunately or unfortunately, it is not easy for one to completely fathom and understand ‘Mohammed Rafi’, what with such phenomenal quantity and variety of such mindboggling quality. I, for one, think that I know ‘quite a bit’ about Rafi Saab, but that ‘quite a bit’ has still not reached the 60% mark! In fact, discussions and polls of this type are possible only with Rafi Saab and no other.

    On the current issue, for Normal/Low Pitch songs only because he seems to have a higher number of high quality songs in this variety than in the High Pitch variety.It is just that the MDs have given him a higher number of these N/L pitch songs. I know he is equally at complete ease on both kinds.

    Incidentally, it is interesting to note that both O.P.Nayyar Saab and Khayyam Saab have told in interviews on Vividhbharati that they prefer the Normal/Low pitch songs of Rafi Saab in his subdued tone. OPN had even named “Man Re Tu Kahe Na” from Chitralekha (Roshan) as his great favorite. But, then again, it is their opinion. A Naushad may feel differently. Even OPN and Khayyam may fall in a dilemma if you play to them the High Pitch gems of Rafi Saab such as “Zindabad Zindabad” or “Jaane Kya Dhoondti” or a “Yeh Mahalon Yeh Thakthon”.

    How can I dare to say Yes for this & No for that ???

    Man Re, Tu Kahe Na Dheer Dhare…

    Na Ja Ab Kahin Na Ja, Dil Ke Siwa…

    One at the bottom of Ocean, the other one, at the top of Himalaya.

    I like both styles. (of course depending on mood)

    God have made everything for human being’s (specially for me) enjoyment,in the same line, like God, Rafi have sang each & every possible style of singing.

    Rafi mastered all type of sound – Pashyanti, Madhyama, and Baikhari and above these…
    Saptam-Sur Ke Upar ONLY Rafi Hi Surila Hai.

    I will request all to elaborate ‘lovely’ Rafian Songs in..

    1-Pashyanti (murmuring)
    3-Baikhari (more than Normal)
    4-Saptam Sur (above all possible (hearable)sound’s level)

    with musical regards

    Man Mouji

  27. Rafifan1 says:


    I do not agree with one point – you had said “all others become weaker in higher notes” – No, ghantasala was special in higher notes as well as lower notes. He has sung the highest possible notes with ease. Kishore kumar, manna dey of course, have not touched such levels. Rafi’s speciality is found in medium range songs which is hard to be matched, and as I understand ghantasala was equallly special.

  28. anurag says:

    Rafi sahab always sang most difficult notes effortlessly, without overburdening the listeners with classical demonstration, though when the songs were tried by others, the difficulties in the song were exposed.
    Rafi sahab is the only male singer who lived the songs with his deep expressions, while others only sing, whether good or bad.
    He exactly knew how much to reveal; how a most difficult murky to perform without demonstrating classical knowledge, where to remain flat or not to. I know many songs which he sang “gungunate huye” Listen to the tail lines of the song, ” Roka kai baar mene dil ki umang ko…” when he sings ” O jane jaan…”( in 3 styles in the song; the last one -superb) I am sure Asha Bhosle must have become speechless, not knowing what to do.
    Listen to song: Subhan allah oye… Haseen chehra.. wo mastana adayen..” Who except Rafi sahab can sing so effortlessly?

    There are many good admirable singers who are unique in their own respect Like Manna de, Talat, Ghantasala, Kishore, but none close to rafi sahab.
    As rafi sahab raised to higher pitches, he used to become more expressive; all others become weaker in higher notes. Though Rafi sahab was little weak in lower notes but was overlooked and covered by his beautiful voice in middle and higher pitches.
    listen to his Non-film Ghalib ghazals and feel ghalib in his soft velvet voice!!
    True, No one is close to Rafi as far as film playback singing is concerned.

  29. Sachin Sharma says:

    Dear Walijah sahab

    Nice write up about the biggest hit “Dosti”.

    No doubt this movie was greatest hit at that time and even now the songs are very good just because of great RAFI sahab , LP sahab and great Majrooh sahab.
    Thanks for RAFI sahab photograph also.


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