{"id":9549,"date":"2025-01-04T09:05:46","date_gmt":"2025-01-04T03:35:46","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=9549"},"modified":"2025-01-04T09:05:46","modified_gmt":"2025-01-04T03:35:46","slug":"an-ode-to-mohammed-rafi","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/an-ode-to-mohammed-rafi\/","title":{"rendered":"An Ode to Mohammed Rafi"},"content":{"rendered":"
\"Naushad

Naushad and Rafi<\/p><\/div>\n

My initiation into Hindi film songs was in the late 1930s and early 1940s, with the melodious tunes sung by KC Dey, Pankaj Mullick, KL Saigal, Kanan Devi, Jagmohan Sursagar (O varsha ke pehle badal<\/em>), Manna Dey (Tyagamayi tu gayi<\/em> in Ram Rajya<\/em> (1943)) and Uma Shashi. As a boy of 4, I was fortunate to watch the film Dharti Mata<\/em> (1938) featuring the delectable song Duniya rang rangeeli baba<\/em> rendered by Pankaj Mullick, Uma Shashi and KL Saigal. That song remains etched in my memory; ever since then, it has served as a perfect start to the day, and to elevate my mood.<\/p>\n

By the mid-1940s, KL Saigal, after his great flourish in Naushad’s Shah Jahan <\/em>(1946), and Pankaj Mullick were not active in singing for films. It was then, when composers sought a new voice, one was heard in films such as Anmol Ghadi<\/em> (Tera khilona toota balak – <\/em>1946) and Jugnu (1947). Enter Mohammad Rafi. Of the eight songs in Jugnu<\/em>, Naushad gave Rafi only one duet with Noor Jahan: Yahan badla wafa ka bewafai ke siva kya hai<\/em>. But, with just this one song, Rafi established his credentials as a playback singer of class and soon was the master of all that he surveyed. His deep, rich, full-throated voice, with a range that could scale mountains, served composers well; Naushad, particularly, was delighted to exploit that voice, often stretching it to deliver far beyond any other male film singer of the time.<\/p>\n

\"Rafi,

Rafi, Naushad, Ustad Amir Khan and Madan Mohan (Pic courtesy: Madanmohan.in)<\/p><\/div>\n

Following his outstanding music for Shah Jahan<\/em>, Naushad entered into a five-year contract with AR Kardar and composed scintillating music for films such as Dulari <\/em>(1949), Dillagi<\/em> (1949), Dastaan<\/em> (1950), and Deewana<\/em> (1952). Around this period, he also composed for Mela<\/em> (1948), Deedar <\/em>(1951) and Baiju Bawra <\/em>(1952). Rafi\u2019s singing contributed greatly to the success of these films. Rafi thus emerged as the monarch of the playback singing scene for over 30 years until his premature demise when he was only 55. It challenges one’s imagination to think of how much richer the Hindi film music scene would have been had he lived longer.<\/p>\n

Rafi sang in several languages, although mostly in Hindi\/ Urdu, for over a thousand films, and delivered over 7,000 songs. He was exceptionally adept at honing what the composer and the story demanded. He could alter his voice to suit any on-screen situation or actor perfectly. In this regard, he was head and shoulders above his contemporaries. Even today, any student aspiring to play the harmonium is invariably informed by the tutor that the upper note keys are only used by singers with a high pitch, reverently adding, those like Mohammed Rafi. Such is the impact of Rafi\u2019s voice. With the possible exception of Manna Dey, no singer could hope to span the notes the way Rafi did so easily. Almost every composer tried to exploit his range and Rafi always obliged. Because he could do this and more. Despite the presence of stalwarts such as Manna Dey, Talat Mahmood, Mukesh, and Kishore Kumar, Rafi was regarded as a class apart<\/p>\n

Comparisons are odious. And none more so with songs and singers in Hindi films. But one listens to Jaane kya dhoondti rehti hain yeh aankhen mujh mein<\/em>, followed by Meri kahani bhoolnewale,<\/em> Hum aur tum aur yeh sama<\/em> and Apni toh har aah ek toofan hai<\/em>. We then traverse O duniya ke rakhwale<\/em> and Yeh duniya agar mil bhi jaye toh kya hai<\/em> with Aap ke haseen rukh pe aaj naya noor hai <\/em>and Aaj ki raat badi shokh badi natkhat hai<\/em> to follow. Listen to Aiyaiyya suku suku<\/em>, followed by Ek haseen shaam ko<\/em>. Let us hear Insaan bano kar lo bhalayi ka koi kaam<\/em> and immediately listen to Yeh mera prem patr padhkar <\/em>and Akele mein woh ghabrate toh honge<\/em>. Rafi’s voice was all milk and honey when he sang these soft, melodious songs at a slow tempo.<\/p>\n

\"Jaikishan,

Jaikishan, Mohd Rafi and Shammi Kapoor – a great association (Pic: Wikinut)<\/p><\/div>\n

But when Khayyam demanded Jaane kya dhoondti rehti hain<\/em> from him and Naushad pushed him to the limits with O duniya ke rakhwale<\/em>, Rafi performed as effortlessly as he crooned those sweet, slow-paced songs. One song from Sangam<\/em> (1964), Yeh mera prem patr padhkar,<\/em> became an iconic love anthem for a whole generation of young people. But, consider Roshan’s inspired song in the background of a young student dabbling in union politics, being led astray and burning his fingers. Written by Kavi Neeraj, Swapna jhare phool se<\/em>, meet chubhe shool se<\/em> reached fruition as a great song when Rafi delivered it with pathos and finesse that moves the listener. There was this magic to Rafi’s voice. \u00a0\u00a0It is interesting to note that he was as much Manna Dey\u2019s fan as the latter was a fan of his.<\/p>\n

\"\"

Mohd Rafi with Shakeel and Ravi
(Pic: mohdrafi.com)<\/p><\/div>\n

Rafi\u2019s Centennial Year is the right time to look back on his life and career, though I have refrained from a narrative of his biography. I will only say that Rafi Saheb was a noble soul who was always ready to help anyone, returning his singing fees to producers who were in financial distress and gently refusing fees from others if necessary. He seemed totally content and at peace with life and one will find it impossible to locate even a single photograph where he is not smiling broadly.<\/p>\n

One cannot do justice to any selection from the vast ocean that represents the \u2018Rafi repertoire\u2019 and hope to please the legion of Rafi fans and adorers who will have their own preferences for what they consider the quintessential Rafi. While listing these songs, I regretfully and with considerable thought eschewed duets, restricting myself to Rafi’s solos. My focus here is on the versatility of Rafi’s voice and not necessarily the popularity of a song.<\/p>\n

The songs I have listed here from the rich treasury of Rafi renderings have been broadly classified into three genres:<\/p>\n

 <\/p>\n

Soft, Melodious Crooning<\/strong><\/h2>\n

The soft, crooning voice that caresses the lyrics and sounds like poetry, most of them at a slow tempo. This trait, perhaps not as noticeable in other singers, is exemplified in these songs:<\/p>\n

    \n
  • Hum aur tum aur yeh sama<\/em> (Dil Deke Dekho<\/em>)<\/li>\n
  • Chaudhvin ka chand ho<\/em> (Chaudhvin Ka Chand<\/em>)<\/li>\n
  • Hui shaam unka khayal aaya<\/em> (Mere Humdum Mere Dost<\/em>)<\/li>\n
  • Tere mere sapne ab ek rang hain<\/em> (Guide<\/em>)<\/li>\n
  • Aap ke haseen rukh pe aaj naya noor hai<\/em> (Bahaarein Phir Bhi Aayengi<\/em>)<\/li>\n
  • Teri aankhon ke siwa duniya mein<\/em> (Chirag<\/em>)<\/li>\n
  • Khoya khoya chand khula aasmaan<\/em> (Kala Bazaar<\/em>)<\/li>\n
  • Ye mera prem patra padhkar<\/em> (Sangam<\/em>)<\/li>\n
  • Husnwale tera jawab nahin<\/em> (Sasural<\/em>)<\/li>\n
  • Hum bekhudi mein tumko<\/em> (Kala Pani<\/em>)<\/li>\n
  • Aaj ki raat badi shokh badi natkhat hai<\/em> (Nayi Umar ki Nayi Fasal<\/em>)<\/li>\n
  • Din dhal jaaye haye, raat na jaaye <\/em>(Guide<\/em>)<\/li>\n
  • Tu kahan yeh bataa iss nasheeli raat mein<\/em> (Tere Ghar Ke Samne<\/em>)<\/li>\n
  • Choo lene do naazuk hothon ko<\/em> (Kajal<\/em>)<\/li>\n
  • Apni toh har aah ek toofan hai<\/em> (Kala Bazaar<\/em>)<\/li>\n
  • Main zindagi ka saath nibhata chala gaya<\/em> (Hum Dono<\/em>)<\/li>\n
  • Zindagi bhar nahain bhoolegi<\/em> (Barsaat Ki Raat<\/em>)<\/li>\n
  • Ab kya misaal dun main tumhare shabab ki<\/em> (Aarti<\/em>)<\/li>\n
  • Tumhari zulf ke saye mein maang bhar doonga<\/em> (Naunihal)<\/em><\/li>\n
  • Koi sagar dil ko behlata nahin<\/em> (Dil Diya Dard Liya<\/em>)<\/li>\n
  • Aise toh na dekho<\/em> (Teen Deviyan<\/em>)<\/li>\n
  • Tumne mujhe dekha<\/em> (Teesri Manzil<\/em>)<\/li>\n<\/ul>\n

    A playlist of Rafi’s soft, melodious and romantic songs listed above. Click here<\/a> to enjoy or from the playlist menu in the video below!<\/span><\/strong><\/p>\n