Mohd Rafi and Naushad Ali Although Mohammad Rafi could sing any type of song, my choice of his best songs are classical based; and though he has sung more hit classical based songs for a few composers like Naushad, Shankar-Jaikishan, S.D. He was the favorite of all illustrious MDs of his time such as Naushad, Shankar-Jaikishan, S D Burman, C Ramchandra, Madan Mohan, O P Nayyar, Roshan and later R D Burman, Kalyanji –Anandji and Laxmikant-Pyarelal. In the film ‘ Ragini’ O P Nayyar even used Rafi to playback for Kishore Kumar for the song ‘Man mora Bawara’ which was classical based. Naushad used to compose very tough classical based songs which none other than Rafi could sing.
If one listens to “ O Duniya ke Rakhwale” of Baiju Bawra and “ Zindabad, Zindabad aye Mohabbat” of Mughal-e-Azam, one can notice the high pitch where even Rafi’s tone seems to almost breakdown. Can anybody guess what the song was? When Rafi Saab rehearsed for fifteen days for this song and after recording this song his voice was broken. And people started telling he won’t get his voice back. Okay the raag was Darbari and it was Baiju Bawra and the song was “ O Duniya ke Rakhwale”. That was how Rafi Saab performed his immortal songs based on classical ragas.
Therefore, I personally feel, it is not exaggeration or inappropriate to call Rafi Saab – Baiju of modern times. There is one better example of Kuhu-kuhu bole koyaliya (Suvarna Sundari). This superb semi-classical duet is based on four Ragas, one each for each stanza, Sohni, Bahar, Juanpuri and Yaman. This movie Suvarna Sundari was dubbed from the 1957 Telugu movie of the same name, made before Hindi – same Music director (Adi Narayan Rao) and same tune. All songs are basically reproductions from the Telugu version.
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But whereas Ghantasala and Jikki were not awarded for Telugu version for Hayi Hayiga Aamani Raga Sohini. The surprising part was that this Hindi song won a National Award in 1958, where as the regional Telugu song was neglected. Well, anyhow, people were happy for Adi Narayana Rao, who got awarded for this excellent composition along with Rafi and Lata. Normally, one sees the lyrics, mood & raaga match to create a perfect effect, here a unique experimentation has been tried in “Kunj-kunj mein bhanvre dole, gun-gun bole” – mood & lyrics are suited for “raaga bahaar” but this antara is set in raaga Sohini, whereas in “Kaahe ghata mein bijuri chamke” – mood & lyrics are suited for “raaga malhaar” but this antara is set in raaga Bahaar & yet its effect is perfect. One more word about the lyrics penned by Bharat Vyas, assuming that he had to write lyrics keeping in mind the fact that the song was to be dubbed, he has come up with words that fit with the lip movement of the actors. Not just that, he came up with a song that makes perfect sense.
In fact, it is as good a song as any that Bharat Vyas wrote in his career. This song is among the most difficult songs that have been sung in HFM. For one, the singers are called upon to sing in a wide range of frequencies, and secondly, it is a semi classical song, where one needed to sing not just one raag, but as many as four raagas. Likewise in Duniya na bhaaye (Basant Bahar, 1956) like all classical-based songs, it starts out slow with a short alaap and a slow tempo that quickens pretty soon. Rafi starts out pleading for a place at God’s feet, since he does not like the world and soon the voice is soaring in an ecstasy of devotional fervor, with, of course, perfect control on the higher notes. Also in Kahan ja raha hai (Seema, 1955) – A compassionate understanding of human troubles coats Rafi’s voice as it once again effortlessly brings forth the emotions demanded of it.
Madhuban main Radhika naache (Kohinoor, 1960) – This beautiful, semi-classical song in the well-known and popular Raag HAMIR. The song has five antaras. The third and the fifth antaras are taranas and the fourth is in sargam. Further in Ya meri manzil bata (Rakhi, 1962) Rafi was especially adept at expressing anger, his voice could slip into the high notes and quick enunciation of the angry man, with extraordinary control and with such great effect – like in O duniya ke rakhwaale which is probably the angriest lament in HFM. The song expresses anger in a more subdued form.
But it always cools down to a baffled, sad sort of anger with Rafi’s voice-modulation doing a superb job of expressing the emotion, as always. Classical Music, however, has frequently made a straightforward entry into cinema, directly with great performers, as well as indirectly through the voice of filmi playback singers. The magnificence of classical music came live with Bade Ghulam Ali Khan singing “Premjogan Ban Ja” in Mughal-e-Azam, D. Paluskar and Ustad Amir Khan presenting the duet, “ Aaj Gawat Man Mero Jhum Ke” in Baiju Bawra, the duets of Ustad Bismillah Khan and Ustad Amir Khan in the movie Goonj Uthi Shehnai, Pt.
Bhimsen Joshi’s song in the movie Ankahi. Manna Dey, who of all the composers is best grounded in classical music, has made thrilling presentations, such as “ Laga Chunri Mein Daag”, “Chalo Kahe Ko Jhoothi Banao Batiyan” And “Phul Gendwa Na Maro”. Saigal’s resounding Bhairavi, “”Babul Mora” in the film street singer made in Calcutta in 1939, is one of the immortal creations in Indian film music. Saigal was trained basically in ghazal singing, but was gifted with purity of voice which is the soul of classical singing.
In the movie Tansen made in 1943, he presented Raag Bilawal, “ Sapt Suran Teen Gram”, with transparent purity of notes. So did Mohammad Rafi when he sang Raag Malkouns, “ Man Tarapat Hari Darashan Ko Aaj”, in Baiju Bawra. In Kohinoor, he was even able to run into impressive taans when he sang “ Madhuban mein radhika nache ri”.
Classical music is the base of all music compositions. Besides, the runaway successes of films like Baiju Bawra, Basant Bahar, Tansen, Payal Baje, Abhimaan etc was possible because Classical music was presented to them in the way they loved. Music Directors like Vasant Desai, Naushad, S.D.Burman and many others have helped classical music reach to people in an acceptable form. Md Rafi is the best male playback singer India has ever had, there is no doubt about it. But, never the less, in my opinion Manna Dey even has a better command over others so far classical based songs are concerned.
![Song Song](/uploads/1/2/5/3/125397962/746257384.jpg)
With Md Rafi sahab having better timber and divine touch in his voice, got a clear edge over him. Even then, Manna dey got very less amount of songs throughout his career, if compared to Md Rafi, Kishore Kumar and Mukeshji.
Naushad sahab, having admitted the great competence of Manna Dey as a singer, hardly had given him any real opportunity to sing. Indeed rafi sahab was a jewel of india, he is immortal in the heart of thousand of millions of indians across the globe. Rafi sahab must be conferred with the highest civilian award ‘bharat ratna’ for his passionate love for his country and countrymen. It is interesting to note that while rafi saab used to sing in normal stature (standing or sitting in a comfortable posture) but his songs reveal that he would have done so with so much acting or lmoving his body while he sang a particular song. I salute him from the core of my heart.
Bashira ( m. 1945) Bilquis (1947–1980) Children 7 Awards. 6. 1 Honours (1967) Musical career Genres, Instruments Vocals Signature Mohammed Rafi (24 December 1924 – 31 July 1980) was an Indian and widely considered to be one of the greatest and most influential singers of the Indian subcontinent. Rafi was notable for his voice, versatility and range; his songs were varied from fast peppy numbers to patriotic songs, sad numbers to highly romantic songs, to and to songs. He was known for his ability to mould his voice to the persona and style of an actor, lip-syncing the song on screen in the movie. He received six and one. In 1967, he was honoured with the award by the.
In 2001, Rafi was honoured with the 'Best Singer of the Millennium' title. In 2013, Rafi was voted for the Greatest Voice in Hindi Cinema in the CNN-IBN's poll. He has recorded songs for over a thousand Hindi films and has sung songs in various regional Indian languages as well as foreign languages, though primarily in - and over which he had a strong command. He has recorded as many as 7405 songs in many languages. He has sung in many regional Indian languages including,.
Apart from Indian languages, he also sang songs in many foreign languages including,. Rafi's family tree. Mohammed Rafi was the second eldest of six brothers born to Haji Ali Mohammad. The family originally belonged to, a village near present-day in of.
Rafi, whose nickname was Pheeko, began singing by imitating the chants of a in the streets of his native village where his family lived. Rafi's father moved to in 1935, where he ran a men's salon in Noor Mohalla in. Rafi learnt from, Pandit Jiwan Lal Mattoo and Firoze Nizami. His first public performance came at the age of 13, when he sang in Lahore featuring. In 1941, Rafi, under Shyam Sundar, made his debut in Lahore as a playback singer in the duet 'Soniye Nee, Heeriye Nee' with Zeenat Begum in the film Gul Baloch (released in 1944) under music director Shyam Sunder. In that same year, Rafi was invited by station to sing for them. He made his debut in Gaon Ki Gori in 1945.
Early career in Mumbai Rafi moved to (then Bombay), in 1944. He and Hameed Sahab rented a ten-by-ten-feet room in the crowded downtown Bhendi Bazar area.
Poet Tanvir Naqvi introduced him to film producers including, and actor-director Nazeer. Shyam Sunder was in Mumbai and provided the opportunity to Rafi to sing a duet with, 'Aji dil ho kaabu mein to dildar ki aisi taisi.,' for Gaon Ki Gori, which became Rafi's first recorded song in a Hindi film. Other songs followed. Rafi's first song with was 'Hindustan Ke Hum Hain' with Shyam Kumar, Alauddin and others, from A. Kardar's Pehle Aap (1944).
Around the same time, Rafi recorded another song for the 1945 film Gaon Ki Gori, 'Aji Dil Ho Kaaboo Mein'. He considered this song to be his first Hindi language song. Rafi appeared in two movies. In 1945, he appeared on the screen for the song 'Tera Jalwa Jis Ne Dekha' in the film Laila Majnu. He sang a number of songs for Naushad as part of the chorus, including 'Mere Sapnon Ki Rani, Roohi Roohi' with, from the film Shahjahan (1946). Rafi sang 'Tera Khilona Toota Balak' from Mehboob Khan's Anmol Ghadi (1946) and a duet with in the 1947 film Jugnu, 'Yahan Badla Wafa Ka'. After partition, Rafi decided to stay back in India and had the rest of his family flown to.
Noor Jehan migrated to and made a pair with playback singer. In 1949, Rafi was given solo songs by music directors such as Naushad ( Chandni Raat, Dillagi and Dulari) Shyam Sunder ( Bazaar) and Husnalal Bhagatram ( Meena Bazaar). Saigal, whom he considered his idol, Rafi was also influenced by G. In the early phase of his career, he often followed Durrani's style of singing, but later evolved his own, unique style.
He sang with Durrani in some of the songs such as 'Humko Hanste Dekh Zamana Jalta Hai' and 'Khabar Kisi Ko Nahiin, Woh Kidhar Dekhte' ( Beqasoor, 1950). In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the song 'Suno Suno Ae Duniyawalon, Bapuji Ki Amar Kahani'. He was invited by the Indian Prime Minister, to sing at his house. In 1948, Rafi received a silver medal from Jawaharlal Nehru on Indian Independence Day. Recording career in the 1950s and 1960s.
See also: In his early career, Rafi associated with many contemporary music directors, most notably. In the late 1950s and 1960s, he worked with other composers of the era such as,. Work with Naushad As per Naushad, Rafi came to him with a letter of recommendation from Naushad's father. Rafi's first song for Naushad Ali was 'Hindustan Ke Hum Hain' ('We belong to Hindustan') for the film Pehle Aap in 1944.
The first song for the duo was the soundtrack of the movie Anmol Ghadi (1946). Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi cinema. Songs from (1952) like 'O duniya ke rakhwale' and 'Man tarpat hari darshan ko aaj' furthered Rafi's credentials.
Rafi ended up singing a total of 149 songs (81 of them solo) for Naushad. Before Rafi, Naushad's favourite singer was. Once Naushad found Talat smoking during a recording. He was annoyed, and hired Rafi to sing all the songs of the movie Baiju Bawra.
Work with S D Burman S.D. Burman used Rafi as a singing voice of. Rafi worked with Burman in 37 films, including (1957), (1959), Kala Bazar, Nau Do Gyaran, Kala Pani, (1963), (1965), (1969), and (1973).
Work with Shankar-Jaikishan Rafi's partnership with was among the most famous and successful in the Hindi film industry. Under Shankar-Jaikishan, Rafi produced some of his songs for actors like. Out of six Filmfare awards, Rafi won three for S-J songs – 'Teri Pyari Pyari Surat Ko', 'Baharon Phool Barsao' and 'Dil Ke Jharokhe Mein'. The song 'Yahoo! Chahe Koi Mujhe Junglee Kahe' was sung by Rafi, only to be matched a fast-paced orchestra and a composition by Shankar Jaikishan.
S-J had Rafi give playback for Kishore Kumar in the film Shararat ('Ajab hai daastan teri yeh zindagi'). Rafi sang a total of 341 numbers (216 solo) for Shankar-Jaikishan. Among the films of this combination are, Dil Tera Deewana, Prince, Beti Bete,. Work with Ravi Rafi got his first for the title song of (1960), composed. He received the for the song 'Babul Ki Duaen Leti Ja' from the film (1968), also composed by Ravi. Rafi wept during the recording of this song.
He admitted this in his interview to the BBC in 1977. Ravi and Rafi produced several other songs in the films (1962), (1965), and (1966). Work with Madan Mohan was another composer whose favourite singer was Rafi. Rafi's first solo with Madan Mohan in Ankhen (1950) was 'Hum Ishq Mein Barbad Hain Barbad Rahenge'. They teamed up to produce many songs including 'Teri Aankhon Ke Siva', 'Yeh Duniya Yeh Mehfil', 'Tum Jo Mil Gaye Ho', 'Kar Chale Hum Fida' and 'Meri Awaz Suno'. Nayyar Rafi and (OP) created music in the 1950s and 1960s. Nayyar was once quoted as saying 'If there had been no Mohd.
Rafi, there would have been no O. He and Rafi created many songs together including 'Yeh Hai Bombay Meri Jaan'. He got Rafi to sing for singer-actor – 'Man Mora Baawara' for the movie Raagini.
Later, Rafi sang for Kishore Kumar in movies such as Baaghi, Shehzaada and Shararat. Nayyar used Rafi and Asha Bhosle for most of his songs. The team created many songs in the early 1950s and 1960s for movies such as (1957), (1957), and (1964).
Rafi sang a total of 197 numbers (56 solo) for Nayyar. The songs 'Jawaaniyan yeh mast mast' and the title song 'Yun to humne lakh hansee dekhe hain, tumsa nahin dekha' of the film Tumsa Nahin Dekha were hits. They were followed by songs like 'Taareef karoon kya uski jisne tumhe banaya' from Kashmir ki Kali. Rafi and OP had a falling-out during the recording for movie 'Sawan ki Ghata'. As disclosed by OP during one of his interviews; Rafi reported late to the recording stating that he was stuck in 's recording. OP then stated that from now on he too did not have the time for Rafi and cancelled the recording.
They did not work together for the next 3 years. Work with Laxmikant-Pyarelal The composer duo (L-P) patronised Rafi as one of their singers, right from their very first song by him from the film (1963). Rafi and L-P won the for the song 'Chahoonga Main Tujhe Saanjh Savere' from (1964). Rafi rendered the highest number of songs for the music director duo Laxmikant-Pyarelal: 388 numbers for L-P. Once, when composer (who had migrated to ) didn't have enough money to pay him, Rafi charged a fee of one rupee and sang for him.
He also helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed – 'He always gave without thinking of the returns'.
Work with Kalyanji Anandji Kalyanji Anandji composed around 170 songs in the voice of Rafi. Kalyanji's relationship with Rafi started with the 1958 film, Samrat Chandragupta, his debut film as a solo composer. Kalyani-Anandji and Rafi went on to work together for the music of the -starrer Haseena Maan Jayegi (1968), which featured songs like 'Bekhudi Mein Sanam' and 'Chale The Saath Milke'. Work with contemporary singers Rafi associated with several of his contemporaries, singing duets with them and sometimes for them (as in case of Kishore Kumar who was also an actor).
Rafi sang the highest number of duets with (female), (male) and (female). In the song 'Humko Tumse Ho Gaya Hai Pyaar Kya Karein' ( ), Rafi sang one song with Kishore Kumar, Lata Mangeshkar, and Mukesh, the most legendary singers in. This was probably the only time that all of them rendered their voices for one song. Work with other music directors Rafi sang frequently for all music directors during his lifetime, including Roshan, Jaidev, Khayyam, Rajesh Roshan, Ravindra Jain, Bappi Lahiri, Sapan Jagmohan etc. He had a special and major association with,.
He also sang for many small time and lesser-known music directors. Many for whom he sang for free while making their compositions immortal. As he selflessly believed in financially assisting producers and helping small-time projects who could not afford much. Many in the industry received regular financial help from Rafi. Private albums Rafi sang several hit songs in 's album Golden Hits with. He recorded many private albums in various genres and languages, many of which are noted as all-time classics today.
Rafi recorded Hindi songs in English on 7' release in 1968. He also sang a song in while on his visit to in the late 1960s.
Rafi recorded two English albums as well. One of them is Pop Hits.
Royalty issue In 1962–1963, the popular female playback singer raised the issue of playback singers' share in the. Recognizing Rafi's position as the leading male playback singer, she wanted him to back her in demanding a half-share from the 5% song royalty that the film's producer conceded to select composers. Rafi refused to side with her, stating that his claim on the film producer's money ended with his being paid his agreed fee for the song.
Rafi argued that the producer takes financial risk and the composer creates the song, so the singer does not have any claim over the royalty money. Lata viewed his stand as a stumbling block on the royalty issue and stated that it is because of the singer's name also that the records get sold. This difference of opinion subsequently led to differences between the two. During the recording of 'Tasveer Teri Dil Mein' ( Maya, 1961), Lata argued with Rafi over a certain passage of the song. Rafi felt belittled, as music director sided with Lata.
The situation worsened when Lata declared that she would no longer sing with Rafi. Rafi stated that he was only so keen to sing with Lata as she was with him.
The music director later negotiated a reconciliation between the two. In an interview given to on 25 September 2012, Lata claimed to have received a written apology from Rafi.
However, Shahid Rafi, Mohammad Rafi's son, rebuffs the claim, calling it an act to dishonour his father's reputation. Early 1970s In the 1970s, Rafi suffered from a throat infection. During a brief period in the early 1970s, Rafi recorded fewer songs. While Rafi's musical output was relatively lower during this period, he sung a considerable number of songs. Some of Rafi's hit songs of the early 1970s were with music directors like, R.D. Burman and S.D.
Rafi on a 2016 stamp of India Singers like, and were influenced by Rafi's style of singing. Also imitated Rafi's voice. On 22 September 2007, a shrine to Rafi designed by artist Tasawar Bashir was unveiled on Fazeley Street, UK. Bashir is hoping that Rafi will attain sainthood as a result. The Padma Shri Mohammed Rafi Chowk in the suburb of and Pune (extending MG Road) is named after Rafi.
In the summer of 2008, the released a double CD titled Rafi Resurrected comprising 16 songs by Rafi. Bollywood playback singer provided the vocals for this project and toured with the CBSO in July 2008 at venues including the in London, Manchester's. In June 2010, Rafi along with Lata Mangeshkar was voted the most popular playback singer in the Outlook Music Poll, conducted by magazine. The same poll voted 'Man re, tu kahe na dheer dhare' ( Chitralekha, 1964), sung by Rafi as the No. Three songs were tied for the No. 2 place: Two were sung by Rafi.
The songs were 'Tere mere sapne ab ek rang hain' ( Guide, 1965) and 'Din dhal jaye, hai raat na jaye' ( Guide, 1965). This poll was published in Outlook. The jury included people in the Indian music industry. There have been appeals to the to honour the singer, posthumously, with the (India's Highest Civilian Award) An official biography was written on Rafi's life by Sujata Dev titled Mohammed Rafi – Golden Voice Of The Silver Screen launched on his 91st birthday. As well as an award winning documentary titled Dastaan-E-Rafi directed by Rajni Acharya and Vinay Patel (which took 5 years to make) was released to commemorate his 92nd birthday which was later released on DVD. It featured over 60 interviews of various Bollywood personas and closely recalled his story through his songs and the personal recounts. Many biographies and documentaries continue to be written and made on him.
Lata Mangeshkar his contemporary, has said that 'Rafi bhaiya was not only India's greatest playback singer but also a wonderful person' and that 'he was one singer whose vocal range could outclass any other singer, whether it was me, Asha, Mannada or Kishore bhaiya'. When producer-director Manmohan Desai (who was a big fan of Rafi) and used him in numerous hit films, was asked to describe the voice of Rafi he remarked that 'If anyone has the voice of god, it is Mohammed Rafi'. Annually his birth and death anniversaries inspire several thousand musical tributes on stage, radio and television. Rafi's popularity today is reflected in his huge fan following around the world. Today, Rafi's popular songs continue to be remixed or recreated. Rafi's Baharon Phool Barsao was voted the most popular Hindi song in a BBC Asia Network poll commemorating 100 years of Hindi Cinema. In a CNN-IBN survey in 2013, he was voted the greatest voice of Hindi Cinema.
In 2001, Rafi was named as the 'best singer of the millennium' by Hero Honda and Stardust magazine. Popular culture was launched in Mumbai on 31 July 2010 on the 30th anniversary of the singer's death, started by his son Shahid Rafi to impart training in Indian classical and contemporary music. After his death, numerous were dedicated to Rafi, including: Allah Rakha, Mard, Coolie, Desh-Premee, Naseeb, Aas-Paas and Heeralal-Pannalal.
A song in the 1990 Hindi film Kroadh 'Na Fankar Tujhsa' picturised on actor Amitabh Bachchan and sung by singer Mohammed Aziz was also dedicated to the memory of Rafi. Rafi is one of the recording artists mentioned in the 1997 hit British song '. Rafi's song from the film (1965), ', was used on the soundtrack of (2001). The film opens with the lead character dancing around in her bedroom to a video of Gumnaam. The song has also been used for 's 2011 'The Date' commercial. Rafi was commemorated on his 93rd birth anniversary by Search Engine which showed a special doodle on its Indian home page for him on 24 December 2017.
His 'Aaj Mausam Bada Beiman Hai' is featured in the 2001 film. His 'Kya Mil Gaya' (, 1961) has been used in (2002), where Ramu and Sharonna sing a version of the song. His song 'Mera Man Tera Pyasa' (, 1970) has been used as one of the soundtracks in the Jim Carrey-Kate Winslet starrer (2004). This song is played in the background in Kate Winslet's character's home while the lead pair are having a drink (at approximately 00.11.14 runtime).
Personal life Rafi married twice; his first marriage was to his cousin; Bashira Bibi which took place in his ancestral village. The marriage ended when his first wife refused to live in following the killing of her parents during the riots of the and moved to Lahore, Pakistan. His second marriage was to Bilquis Bano.
Rafi had four sons and three daughters; his first son Saeed was from his first marriage. Rafi's hobbies included playing badminton, carrom and flying kites.
According to Mohammed Rafi Voice Of A Nation, a book authorised by Rafi's son Shahid, Rafi was known to be of a very gentle calm demeanour who always remained a humble, selfless, ego-less, devoted, god-fearing and family loving gentleman throughout his life. Rafi was noted to never send anyone he met back empty-handed, he contributed to the society and helped people through his charity and notable deeds.