Legends
Mohammed Rafi – A Century Old Music Marvel
A kid in Kolta Sultan Singh (a village near present-day Majitha Amritsar district) would see a fakeer roam the streets of the village singing some chants and would imitate him. Noticing his astounding singing acumen even at a tender age, the fakeer blessed the kid saying, “You will become a great singer one day.”
Later, the boy’s family shifted to Lahore, where he got some training in classical music. Now grown up, the boy made a debut as playback singer in 1941 in a Punjabi film Gul Baloch (released in 1944). A few years later, the boy moved to Bombay (now Mumbai), where poet Tanvir Naqvi introduced him to a few renowned film producers. He made his debut as a playback singer in Hindi cinema through Gaon Ki Gori (1945) and also song under Naushad’s baton in Pehle Aap (1944) around the same time. Hugely influenced by K.L. Saigal (like most other singers of that era) and G.M. Durrani, he sang songs for many Hindi films following their style, until he found and evolved his own style.
The solo “Suhaani raat dhal chuki” from Dulari (1949) sung for Naushad became very popular and the boy’s name became a talk of the town. He never looked back thereafter, and the fakeer’s blessing turned out to be absolutely true! This was the beginning of the legend, the musical marvel name Mohammed Rafi!
A man with a divine voice and golden heart, Mohammed Rafi was a master of singing and a thorough gentleman, deeply revered by his contemporaries and artistes of the subsequent generations. The purity of his heart always reflected in his voice and hence, it always sounds unadulterated – rightly described as ‘angel’s voice’! He ruled the kingdom of playback – as the undisputed emperor for more than two decades, and as one of the emperors for the other two. He was bestowed with inherent versatility and had a good mastery over classical music. Romantic, melancholic, devotional, comedy, classical – no genre was out of his reach. His playback suited the heroes, the side actors, the old, the young, everyone. His voice effortlessly blended with the style of any composer like water taking the shape of the container, as though he was made only for that composer. Always kind to the composers and producers with little adamance about the commercials, he was a preferred singer for many composers and never fell short of work. Sometimes he was alleged with playing it to the gallery. But he could never say no to anyone due to the innate kindness.
A good artist may not necessarily be a good human being too. But most of the artistes of the golden era of Hindi film music were good human beings, besides being masters of their respective art. Mohammed Rafi was a glaring example of this.
Discussing his songs is like taking a dip into a deep ocean. Nonetheless, let us have a peek at his work with various composers. As his work with the popular composers like the Burmans, Shankar Jaikishan, Laxmikant Pyarelal and Kalyanji Anandji (and all these composers themselves) are often discussed, the here is a glance at Rafi’s work with other composers.
1. Anil Biswas – Le Ja Uski Duwaayen (Bawre Nain – 1950)
While Mohammed Rafi was the first choice among the male singers for many composers, surprisingly, he has rendered only 10 odd songs from the Bheeshma Pitaamaha of Hindi film music, Anil Biswas. This could be, because Anil Biswas appears to have preferred Mukesh and Talat Mahmood as the male voices in his songs.
Here is a soulful song from Heer (1956) that Rafi has sung for Anil Biswas. The lyrics are by Majrooh Sultanpuri.
2. Naushad – Madhuban Mein Raadhika Naache Re (Kohinoor – 1960)
While Mohammed Rafi’s voice adaptable to any composer’s style, Naushad was a Rafi-centric composer, and they often seemed to be made for each other. Right from 1944 till the end of Nashad’s career, Mohammed Rafi sang hundreds of songs for Naushad, many of which are pure gems.
Though it is quite difficult to choose one from their innumerable joint songs, the classical number “Madhuban Mein Raadhika Naache Re” from Kohinoor (1960) would undoubtedly top the list of such songs.
This is a timeless classic, a masterpiece by Naushad and Rafi. According to Naushad, when he composed this classical song based on raag Hamir, the producer was sceptical whether the public would like such a heavy classical based song. Naushad and Rafi however insisted on keeping the song in the film. What’s more, Rafi asked the producer to pay him the remuneration for this song, only if it became popular. After the film was released, the song became extremely popular. Rafi however denied accepting any money from the producer stating that the popularity of the song was his remuneration. It is also said that Dilip Kumar underwent a proper training of playing sitar for a few months, as he wanted to play it himself even in the close shots in the song, rather than using a dummy. No wonder, all these stalwarts created such masterpieces consistently.
The rich orchestration predominantly comprising violins, sitar (played by the veteran sitar player Abdul Halim Jaffer Khan), jaltarang and tabla makes sure to engross you in the song. It has been appealing to the people with the knowledge of classical music as well as those who do not know its nitty-gritties with equal force for several decades. None other than Rafi could have done this kind of justice to the emotions in the song while expertly taking care of the classical technicalities. The song is written by Shakeel Badayuni.
3. Sajjad – Teri Mehfil Mein Aaye Hain (Mera Shikar – 1973)
Sajjad Hussain, the contentious master of offbeat melodies, could bag less than 20 films in his career spanning across three decades, due to his inability to encash the immense talent, short-temperedness and a tongue like a sharp sword. Though he worked with almost all the leading singers of his time, it is obvious that in such a small number of films, every singer including Mohammed Rafi would have sung only a few songs for him.
The Rafi solo “Teri mehfil mein aaye hain” from Mera Shikar (1973) composed by Sajjad and written by Shakeel Nomani is a nice song composed in qawwali-esque style. Mohammed Rafi has sung it wholeheartedly bringing out all the nuances as always.
4. C. Ramchandra – Ye Hasrat Thi (Nausherwan-E-Adil – 1957)
C. Ramchandra was one of the most popular composers in Hindi cinema during the late 1940s and the 1950s. He was one of the stalwarts who were instrumental in shaping up the golden era of Hindi film music. His style was original. He composed in his unique style many toe-tapping numbers based on western music as well as many euphonious romantic and soulful numbers based on Indian classical music with equal proficiency.
While Mohammed Rafi was always seen in C. Ramchandra’s music, he has only a handful of notable solos under his baton. One of them is the soulful solo “Ye hasrat thi” from the costume drama Nausherwan-E-Adil (1957). The two romantic Lata – Rafi duets from this soundtrack “Taaron ki zubaan par hai” and “Bhool jaayen saare ghum” are the high points of this album, but the pathos-laden Rafi solo also cannot be ignored. Rafi expresses the poignancy in this song as effectively as he expresses the sweetness of romance in the two duets. The lyrics are penned by Parvez Shamsi. We get to see a more freely moving and expressive Rajkumar in this song.
5. Madan Mohan – Teri Aankhon Ke Siwa (Chiraag – 1969)
Madan Mohan’s long-lasting association his favourite singer with Mohammed Rafi started right from the former’s first film as a composer, Aankhen (1950). Their collaboration has given us quite a few unforgettable songs like “Main nigaahen tere chehere se hataaoon kaise?” (Aap Ki Parchhaiyaan – 1964), “Rang aur noor ki baraat” (Ghazal – 1964), “Aap ke pehloo mein aa kar ro diye” (Mera Saaya – 1966), “Ek haseen shaam ko” (Dulhan Ek Raat Ki – 1966) and many more.
A soft and surreally romantic song in this league is “Teri aankhon ke siwa duniya mein rakha kya hai?” from Chirag (1969). Mohammed Rafi has rendered the song tenderly, to make complete justice with the mood of the song. It is a tandem song, with the other version rendered by Lata Mangeshkar. The song is written by Majrooh Sultanpuri and filmed on the protagonists, Sunil Dutt and Asha Parkeh.
6. Roshan – Jo Baat Tujhmein Hai (Taj Mahal – 1963)
Just like the combination of Madan Mohan and Mohammed Rafi, the magically mellisonant combination of Roshan and Mohammed Rafi has also given us numerous soft and soothing songs. Mohammed Rafi, being fluently malleable, has brought the profuse softness and soulfulness in Roshan’s melody-focussed compositions to life proficiently. Though Roshan was not a Rafi-centric composer and has used other male singers like Talat Mahmood and Mukesh also frequently, the songs that Mohammed Rafi has rendered under his baton certainly stand out in repertoires of both. Rafi appears in Roshan’s music noticeably in the 1960s.
One of their outstanding songs is “Jo Baat Tujhmein Hai” from Taj Mahal (1963). Here, the Mughal emperor Shah Jahan (Pradeep Kumar) expresses through Sahir Ludhianvi’s apt lyrics his inability to reflect through his painting the divine beauty of Mumtaz (Bina Rai), of which he has got just a glimpse. Mohammed Rafi’s rendition is mind blowing.
7. Vasant Desai – Kah Do Koi Na Kare Yahaan Pyaar (Goonj Uthi Shehnai – 1959)
Well known for melodious tunes based on classical and folk music, filled with simplicity and purity, Vasant Desai is regarded as one of the finest composers of Hindi and Marathi cinema.
Mohammed Rafi sang some 30+ songs for Vasant Desai. The high point of their joint repertoire is Goonj Uthi Shehnai (1959), which has two Rafi solos three amazing Lata – Rafi duets. One of the two Rafi Solos, “Kah do koi na kare yahaan pyaar” is a poignant, heart-rending composition, lyrics of which are penned by Bharat Vyas.
8. Salil Chowdhury – Toote Hue Khwabon Ne (Madhumati – 1958)
Salil Chowdhury was a true genius in Hindi and Bangla cinema. His offbeat tunes have always left the music lovers in astonishment. In his career spanning over 4 decades, he composed music primarily for Hindi, Bengali and Malayalam films. With his inventive and innovative approach, he experimented a lot with folk and western music. He also composed quite a few mind-blowing classical tunes.
Mohammed Rafi sang around 25 songs for Salil Chowdhury, who did not stick to particular male voice for his compositions. Madhumati (1958) was one of Salil Chowdhury’s best works, which has a soulful Rafi solo – “Toote hue khwabon ne” penned by Shailendra.
9. Hemant Kumar – Hum Laaye Hain Toofan Se (Jagriti – 1954)
Hemant Kumar was not only an adept music director of Hindi and Bengali film industry but was also an accomplished singer. Uncomplicated, tranquil, soulful, and sweet – that’s Hemant Kumar as a composer. And distinctive, deep and haunting – that’s Hemant Kumar as a singer. He has made valuable and cherishable contribution to both Hindi and Bengali film music through his sublime compositions and unparalleled rendition.
An adept singer that he himself was, Hemant Kumar used his own voice for many of his compositions. As such, none of the other singers (may be, except Kishore Kumar) have a large chunk of songs in his repertoire. Mohammed Rafi has sung barely 30+ songs for Hemant Kumar.
The sentimental number “Hum laaye hain toofan se kashti nikaal ke” from Jagriti (written by Kavi Pradeep) tops the charts of patriotic songs even today.
10. O.P. Nayyar – Aap Ke Haseen Rukh Pe (Baharen Phir Bhi Aayengi – 1966)
O.P. Nayyar’s songs were unmistakably his own, seasoned with Hindustani classical music and American jazz. He created a sound that was distinctive and unconventional. Clip-clopping tonga noises, flute and western drums, piano and sitar, velvety voices that oozed sensuality – all these summed up to become his signature tunes. His music has stood the test of time.
While in the female voices, Asha Bhosle was his main stay, among the male voices, he majorly used Mohammed Rafi, followed by Mahendra Kapoor (not a close second though).
The soothing and romantic Rafi solo “Aap ke haseen rukh pe” from Baharen Phir Bhi Aayengi (1966) written by Anjaan, albeit not confining to his signature style, has remained popular to date.
11. Jaidev – Kabhi Khud Pe Kabhi Haalaat Pe Rona Aaya (Hum Dono – 1961)
Jinxed, unsung, unlucky are some of the words associated with Jaidev. True he never got due recognition in spite of 3 National awards, in fact he was the first music director to get 3 National awards. Jaidev was always crisp, exhilarating and mellifluous with his tunes. Be it film or non-film music, his tunes were richly textured.
If we talk about the joint songs of Jaidev and Mohammed Rafi, the songs (two solos and one duet) from Hum Dono (1961) are absolutely unmissable. Out of the two solos, while “Main zindagi ka saath nibhata chala gaya” remains evergreen due to the carefree and detached philosophy narrated by Sahir Ludhianvi, “Kabhi khud pe, kabhi haalaat pe rona aaya” never fails to pull on the listeners’ heartstrings.
12. Chitragupt – Jaag Dil-E-Deewana (Oonche Log – 1965)
Though Chitragupt may not be considered as a leading composer of the golden era by many, when we listen to his songs, we absolutely accept him as the master of sweet tunes! His music was original, which pleases the music aficionados more as they listen to it more, defying the famous law of “diminishing marginal utility” in economics! He remained undisputed monarch in Bhojpuri films though.
The romantic solo “Jaag dil-e-deewana” from Oonche Log (1965) deserves a place at the top of quite a few beautiful songs that Mohammed Rafi has sung for Chitragupt.
13. Khayyam – Jaane Kya Dhoondhti Rehti Hain (Shola Aur Shabnam – 1961)
Khayyam has composed music for just over 50 films in his career, yet his effect on listeners has been more than many who scored for several hundred movies. Khayyam stands out with his light delicate melodies that haunt the audience. Simplicity, melody, grace and music in the correct sense of the word describe Khayyam perfectly.
Among the solos that Rafi has sung for Khayyam, the soul-stirring song with touching lyrics by Kaifi Azmi, “Jaane kya dhoondhti rehti hain ye aankhen mujh mein” from Shola Aur Shabnam (1961) stands out.
The century-old musical marvel named Mohammed Rafi will continue to keep the audience under its spell for centuries to come!
