Wishing the readers and their friends and families a very Happy New Year with Rafi’s centenary year celebrations (b. 24 December 1924, d. 31.7.1980)
Mohammad Rafi is the undisputed most versatile playback singer of Hindi films. You think of genres – bhajan, qawwali, romantic, patriotic, ghazal – he could do all. There was another unique aspect about his voice – he had the unique ability to modulate his voice to sound like the character he was singing for on the screen, without much conscious effort. He personified Dilip Kumar, Shammi Kapoor, Rajendra Kumar, and he was the voice of Johnny Walker and Mehmood. His over 4800 Hindi film songs are the most by any male playback singer, leaving the next Kishore Kumar far behind. He is outnumbered by only the two great Mangeshkar sisters – Lata Mangeshkar and Asha Bhosle.
To be sure the other male playback singers like Manna Dey, Mukesh, Hemant Kumar and Talat Mahmood had their strong fan-following, but they are outnumbered by Rafi by a multiple of about four to ten. We describe them as niche singers, and being niche singers they were nowhere comparable to Rafi in versatility.
Rafi was born in a Punjabi Jat Muslim family which came from a village named Kotla Sultan Singh in Amritsar district. He spent his early years at Lahore, learned music from several stalwarts of classical music and earned his musical spurs there. He started singing while he was in his teens. There is an oft-repeated story which goes like this. Once the legendary KL Saigal had come for a concert in Lahore. During the programme the mike failed causing an uproar in the audience. A young lad Rafi took the stage and held the audience spellbound.
He debuted as a film singer in Lahore in the Punjabi film Gulbaloch (1944) under the baton of Shyam Sundar. Shyam Sunder is also credited with recording his first Hindi film song in 1944 for the film Village Girl, but the film got delayed and was released in 1945. Before this his voice first appeared in the film Pahle Aap (1944) under the music director Naushad. In due course Rafi became the first voice of choice for Naushad. So did he become the preferred voice of other top ranking music directors. Even SD Burman who was very fond of Kishore Kumar composed almost equal number of songs for him and Rafi, and he always reserved his very best, complex and special songs for Rafi.
Rafi passed away prematurely on 31st July 1980 leaving millions of his fans mourning. Despite his enormous fan following, he remained rooted to the ground – an humble, god-fearing person, devoid of vanity and jealousy. Rafi has been most extensively covered on this blog, discussing his songs in various combinations, such as solos, duets with other singers and under different music directors. But he is eminently worthy of centenary celebrations dedicated to him. I wish all the readers and their friends and families a very Happy New Year with this inaugural post on Rafi’s centenary celebrations, with his solos under different letters of alphabets. I am limiting myself mostly to my great favourites which are obviously very popular and well-known, therefore, many of the songs in the list would be repetitions for which I offer no apologies.
1. Aaj ki raat badi shokh badi natkhat hai from Nai Umar Ki Nai Fasal (1965), lyrics Neeraj, music Roshan
This would not be the first choice of many because Rafi has sung many great songs under the alphabet ‘A’. Even Roshan’s Ab kya missal dun main tere shabab ki (Aarti, 1962) is more famous. But there is something in Aaj ki raat that has long mesmerised me. It is a supreme romantic solo of solitude in the night, it has minimal orchestration giving full prominence to Rafi’s voice, and the flute pieces interspersed by Roshan create magic. I can’t help quoting the lyrics in full.
आज की रात बड़ी शोख बड़ी नटखट है
आज तो तेरे बिना नींद नहीं आयेगी
अब तो तेरे ही यहाँ आने का ये मौसम है
अब तबीयत न खयालों से बहल पायेगी
देख वो छत पे उतर आयी है सावन की घटा
दे रही द्वार पे आवाज़ खड़ी पुरवाई
बिजली रह रह के पहाड़ों पे चमक उठती है
सूनी आंखों में कोई ख्वाब ले ज्यों अंगड़ाई
कैसे समझाऊँ
कैसे समझाऊँ कि इस वक़्त का मतलब क्या है
दिल की है बात
हो दिल की है बात न होठों से कही जायेगी
आज तो तेरे बिना नींद नहीं आयेगी..
ये भटकते हुये जुगनू ये दिये आवारा
भींगते पेड़ों पे बुझ बुझ के चमक उठते हैं
तेरे आँचल में टके सलमे सितारे जैसे
मुझसे मिलने को बिना बात दमक उठते हैं
सारा आलम
सारा आलम है गिरफ्तार तेरे हुस्न में जब
मुझसे ही कैसे
हो मुझसे ही कैसे ये बरसात सही जायेगी
आज तो तेरे बिना नींद नहीं आयेगी..
रात रानी की ये भीनी सी नशीली खुशबू
आ रही है के जो छन छन के घनी डालों से
ऐसा लगता है किसी ढीठ झखोरे से लिपट
खेल आयी है तेरे उलझे हुए बालों से
और बेज़ार
और बेज़ार न कर मेरे तड़पते दिल को
ऐसी रंगीन ग़ज़ल रात न फिर आयेगी गायेगी (See comment #20, 21 and 22)
आज तो तेरे बिना नींद नहीं आयेगी..
2. Basti basti parbat parbat gata jaaye banjara from Railway Platform (1955), lyrics Sahir Ludhiyanavi, music Madan Mohan
Sunil Dutt debuted with Railway Platform. As the credit titles roll you see parallel railway tracks and an incoming train from which this song comes through. Soon you see Manmohan Krishna in the compartment singing this song. Train itself is a metaphor for life in the world, and itinerant singers in train compartments usually sing of deep philosophy of life, its futility, and people’s greed for money when everything would have to be left behind – Dhan daulat ke peechhe kyon hai ye duniya deewani, yahan ki daulat yahin rahegi sath nahin ye jaani. A long song but Rafi’s singing and the message keep you engrossed.
3. Chal ud ja re panchhi from Bhabhi (1957), lyrics Rajendra Krishna, music Chitragupta
Bhabhi gave recognition to Chitragupta and helped him move out of mythological to social, romantic films. He scored a large number of extremely melodious songs, but could not get the top commercial billing. Chal ud ja re panchhi is a superb philosophical song for which Rafi had no parallel.
4. Dil ki mehfil saji hai chali aaiye from Saaz Aur Aawaz (1966), lyrics Khumar Barabanqvi, music Naushad
‘D’ poses impossible choice to pick one from Deewana mujhsa nahin is ambar ke neeche, Dekhi zamaane ki yari, Dil jo na kah saka wohi raaz-e-dil kahne ki raat aayi, Din dhal jaye haye raat na jaye, Dil ki mehfil sazi hai chale aaiye. Anyone is as good as the other. Joy Mukherjee-Saira Bano film in 1966 does not seem to belong to Naushad canon – the lyricist Khumar Barabanqvi is an indication. But Naushad’s touch is unmistakable. A beautiful song. No acrobatics but beautiful voice modulation by Rafi.
5. Ek haseen sham ko dil mera kho gaya from Dulhan Ek Raat Ki (1966), lyrics Raja Mehdi Ali Khan, music Madan Mohan
Rafi has sung some of his best ghazals under the baton of Madan Mohan, many of which were picturised on Dharmendra.
6. Falak pe jitne…. Gham uthane ke main to jiye jata hun from Mere Huzoor (1968), lyrics Hasrat Jaipuri, music Shankar-Jaikishan
‘F’ is one letter which does not pose a challenge for choice as it does not have many songs. This song is picturised on Jeetendra, cast in an atypical crying role.
7. Guzre hain aaj ishq mein hum us makaam se from Dil Diya Dard Liya (1966), lyrics Shakeel Badayuni, music Naushad
Based on Emily Brontë’s Wuthering Heights, the film Dil Diya Dard Liya was a resounding flop. But Naushad has maintained his musical standards. One of the memorable Rafi songs picturised on Dilip Kumar.
https://www.youtube.com/watch?v=Bf2iVFWUCQ0
8. Hai duniya usi ki zamana usi ka from Kashmir Ki Kali (1964), lyrics SH Bihari, music OP Nayyar
Shammi Kapoor did all the crazy things in Kashmir Ki Kali, but since our films had to be of three hours duration, and had to contain a variety of songs, there was a sad twist in tale, Pran was up to his evil design, and Shammi Kapoor had his world shattered. He drowns his sorrow in drinks with this great song by Rafi. Now we all recognise the famous saxophone player Manohari Singh in the frame. He has been covered in the series on Arrangers and Musicians.
https://www.youtube.com/watch?v=WO_aMRsEIIY
9. Is bhari duniya mein koi bhi hamara na hua from Bharosa (1963), lyrics Rajendra Krishna, music Ravi
There are acknowledged great music directors who did not achieve commercial acclaim. Ravi was the flip side who achieved great success though not counted among the greats. He composed some of Rafi’s best ghazals. This poignant song fits very well on Bharat Bhushan Guru Dutt (see comment #21).
10. Jo baat tujhmein hai teri tasveer mein nahin from Taj Mahal (1963), lyrics Sahir Ludhiyanavi, music Roshan
Roshan’s songs for Rafi were exceptional. I easily put Roshan among the top who five who composed best songs for Rafi. Jo baat tujhmein hai has long been my great favourite.
11. Kar chale hum fida jaan-o-tan sathiyo from Haqeeqat (1964), lyrics Kaifi Azmi, music Madan Mohan
Haqeeqat was one of the most acclaimed war movies. It depicts an operation from the war with China. In a war in which India didn’t do well, an inspiring song was needed. One of the perennial patriotic songs by Rafi, written so well by Kaifi Azmi and composed equally well by Madan Mohan.
12. Lakhon hain nigah mein zindagi ki raah mein sanam haseen jawan from Phir Wohi Dil Laya Hun (1963), lyrics Majrooh Sultanpuri, OP Nayyar
This was the period when OP Nayyar was the top gun in film music. Joy Mukherjee doesn’t have to do much. He has to carry a guitar, it does not matter if he does not strum it but carries it like a mace. He has to fall in love with someone, OP Nayyar’s music does the rest. Joy Mukherjee makes his living as a roving singer. An ideal role for some excellent music. One of the best by OP Payyar for Rafi.
13. Maine chaand aur sitaron ki tamanna ki thi from Chandrakanta (1956), lyrics Sahir Ludhiyanavi, music N Datta
This song based on Raag Bhimpalasi mesmerised me on the very first listening. This is my eternal favourite. It transports you to a surreal world where the man reflects on what he wished and what befell his fate.
14. Na jhatko zulf se pani ye moti toot jayenge from Shehnai (1964), lyrics Rajendra Krishna, music Ravi
I don’t use very flattering words for Ravi, but some of his songs are exceptionally good and have become landmarks of film music. I put Na jhatko zulf se pani as one of the best ’zulf’ songs. Rajshri shaking off the water droplets from her wet hair prompts Biswajit to sing this naughty romantic song.
15. O door ke musafir humko bhi saath le le from Udankhatola (1955), lyrics Shakeel Badayuni, music Naushad
The best of Naushad-Rafi. What a song!
https://www.youtube.com/watch?v=pD7HziV7204
16. Paas baitho tabiyat bahal jayegi from Punarmilan (1964), lyrics Indivar, C Arjun
This one song made me write on C Arjun in the series on Forgotten Composer Unforgettable Melodies. There is a story how this song came about. Once Indivar and C Arjun were travelling in a bus on adjacent seats when a beautiful girl boarded and stood near their seat. Indivar who wished she would sit beside her, nudged C Arjun to leave the seat for her.
17. Qadmon mein tere ae sanam humne to sar jhuka liya from Ummeed Pe Duniya Jhukti Hai (Unreleased), lyrics Prem Dhawan, music Madan Mohan
This song has been released in Madan Mohan’s album titled ‘Tere Bagair’. I believe Tere Bagair is a compilation from his unreleased films. Rafi Excel sheet mentions the film’s name for this song. Madan Mohan’s site also mentions Ummeed Pe Duniya Jeeti Hai among his unreleased films. The YT has this song thanks to the intrepid uploader. The song is beautiful and showcases Rafi’s talent for soft ghazals.
18. Raha gardishon mein hardam mere ishq ka sitara from Do Badan (1966), lyrics Shakeel Badayuni, music Ravi
One of the well-known Rafi’s ghazals. Ravi as always is very competent. Asha Parekh getting married to Pran is, of course, a sad occasion. Manoj Kumar can do nothing but sing Raha gardishon mein hardam mere ishq ka sitara. As per the standard formula of our films this is a temporary aberration and things would get sorted out in the end.
19. Sab jawan sab haseen koi tumsa nahin from Main Suhagan Hun (1964), lyrics Kaifi Azmi, music Lachchhi Ram
An unforgettable song by a forgotten composer, lip-synched by an unknown actor. Lachchhi Ram has also been covered in this blog.
20. Tasveer banata hun teri khoon-e-jigar se from Deewana (1952), lyrics Shakeel Badayuni, music Naushad
‘T’ is an oft-recurring first letter in many words, therefore, this too poses a difficult challenge to pick one from Tang aa chuke hain kashmkah-e-zindagi se hum, Tujhe kya sunaaun main dilruba, Taqdeer ka fasana jaakar kise sunayein, Tum ek baar mohabbat ka imtehan to lo. I have to choose one, and I pick my favourite Naushad’s Tasveer banata hun teri khoon-e-jigar se. Rafi is immersed in the underlying emotions for the song. Shakeel has penned beautiful lyrics – Saawan teri zulfon se ghata maang ke laya, haye maang ke laya/ Bijli ne churaai hai tadap teri nazar se are teri nazar se.
21. Unhein kissa-e-gham likhne jo baithe from Naya Kanoon (1965), yrics Hasrrat Jaipuri, music Madan Mohan
Rafi is the master of recital songs with no musical support. This also has a slower and sadder Asha Bhosle version, and in an exception to the general rule in twin songs, I like Asha Bhosle’s version more.
22. Vidhi ne dekho virah milan ka kaisa khel rachaya from Ram Rajya (1967), lyrics Bharat Vyas, music Vasant Desai
This song may be new for many readers. There is a chorus in the background, but it does not take away its character as a Rafi solo. Rafi is able to bring out the immense expanse of Ram story from his devout voice. The song also describes the strange games destiny plays when even Lord Ram has to suffer pangs of separation from his beloved Sita.
23. Wo sadgi kahein ise deewangi kahein from Shama (1961), lyrics Kaifi Azmi, music Ghulam Mohammad
Nimmi agonises as she realises it is the wrong man, but as her lover is sighted she is joyous. A very good composition by Ghulam Mohammad. Wonderful instrumental prelude and interludes.
24. Ye jhuke jhuke naina ye lat balkhati to dil mera kyun na deewana ho tera from Bharosa (1963), lyrics Rajendra Krishna, music Ravi
It is not surprising that there is no song on ‘X’ and I have to per force skip to ‘Y’. Ye hanste huye phool from Pyasa (1957) is in a different class, but it is a very short recital as the poet Guru Datt reclines on the grass. Therefore, I choose this peppy song composed by Ravi. Ravi was surely born with a Midas touch. Guru Datt’s get-up as a villager in dhoti and wearing a moustache seems odd, but the song is outstanding.
25. Zindagi ke safar mein akele the hum mil gaye tum to dil ko sahara mila from Nartaki (1963), lyrics Shakeel Badayuni, music Ravi
Ravi again but what a contrast from the earlier song. Professor Sunil Dutt uplifts the courtesan girl Nanda from her surroundings, but he is not conscious that he has done some charity. Rather he is grateful that she has come into his life. Sunil Dutt rowing the boat and his sole companion Nanda looking at him lovingly and the natural beauty make this one of the greatest romantic songs.
{ 39 comments… read them below or add one }
Very apt beginning of celebrations of centenary year of birth of Mohammad Rafi.
To be sure the other male playback singers like Manna Dey, Mukesh, Hemant Kumar and Talat Mahmood had their strong fan-following, but they are outnumbered by Rafi by a multiple of about four to ten. We describe them as niche singers, and being niche singers they were nowhere comparable to Rafi in versatility.
Excuse me, but I have a few questions:
From where did you get this data?
I do not know the meaning of niche singer but it sounds pejorative. Am I correct?
Who are these ‘We’? A group or simply you using the Royal Pronoun?
Ashokji,
Thanks a lot.
Neeruahaf,
Your last question first. I didn’t use ‘We’ as the royal ‘I’, but a generic pronoun for the group. I have always used ‘niche’ for singers like Mukesh and Hemant Kumar whose one song in a film towered over many others, including by Rafi. This made some think I didn’t hold Rafi in great esteem.
‘Pejorative’ is a strong term. But in the present context now that you say it, I can see it may appear I am describing them as lesser compared to Rafi in at least one aspect. That could not be my intent. Even after your stricture I don’t know how I can describe this difference without comparison.
Superb blog AK Ji! Very nicely compiled.
Some songs that I could think of for some of the ‘alphabets’ ( of course it is just my own liking and not to comment anything on your selection)
U-Unke khayal aaye tho from Lal Pathar( picturised on G.M Durrani -it is said Rafi moulded his initial singing on him contrary to K L Saigal by many other singers!)
W-Woh Hum Na the Woh Tum Na the-from Cha Cha Cha-music Iqbal Quereshi-that phrase” paalki bahar ki” is just 100% Rafiesque!
Y-Yaad Na Jaaye Beete Dinon ki( masterpiece of Rafi from Dil Ek Mandir)
Z-Zindagi Hai Kya Sun meri jaan -from Maya -Salil Chowdhury-inspired from the Charlie Chaplin movie Limelight-listen from 1.24 min onwards in link below)
https://www.youtube.com/watch?v=rl47EmHmSaY
Thanks once again for a fitting tribute to the legend on his birth centenary year.
Sivanandam ji,
Thanks a lot for your appreciation. Coming from a Rafi fan and Rafi expert it means a lot to me.
On U and W I was very seriously thinking of your choices. It was a toss up. On Z I had no doubt.
GM Durrani. Rafi did start as a junior to him, that comes out in Rafi’s intial songs with him. How the tables had turned by ‘Unke khayal’.
I would myself agree with you though I am hearing it for the first time. KL Saigal’s name comes up as his idol in several sources, including Rafi’s interviews. He was a very taciturn man, as if one had to extract words from his mouth. Another name he mentions is of Vidyanath Seth, but not of GM Durrani.
Come to think of it, Kishore Kumar’s first solo ‘Marne ki duayein kyun maangun, jeene ki tamanna kaun kare’ is modelled more clearly on Saigal.
This Very well written article on Rafi Sahib has given a head start to SOY for the newyear. But song selection is a bit let down. Yes Cha Cha Cha song and these following numbers could have been considered.
1 Sardar Malik’s gem – mujhe thum se mohabath hai
2 Film Mrig Trishna – navi kalpana (Rafi’s classical learning/understanding is evident in his rendering)
3 Babul ke dhuvayen from Neel Kamal – where Rafi virtually weeps while singing
4 Rang aur noor from the film Gazal where Madan Mohan brings out the best of Rafi,
5 LP’s hit number from the film Jeene ki Rahi the title song.
I can add a few more but it is enough.
Mr Vasudevan,
Thanks a lot. Personal favourites vary a great deal.
Ak ji
Happy new year to you and all the readers.
Nice start to the year with a lovely post.
But A to Z of Rafi without SDB is unfathomable even after respecting personal preferences. . The omission becomes even more glaring as you also hold SDB in high regard.
I think of at least 3 songs
Din dhal Jaye
Hum bekhudi me and
Kahi bekhayal hokar
as good as, if not better than the songs in the list.
Mr Muli,
Thanks for your greetings. All the three SDB songs are superb and these could have made the cut. SDB happens to be most extensively covered on this blog.
AK Ji,
Post ref #6—I am definitely a Rafi fan ( apart from being fan of many other singers also!) .. but in no way an expert on anything! Still so many songs and facts to be discovered. Thanks for your kind words.
The reference to KL Saigal/ GM Durrani was , of course purely based on what I read -I do not have any in-depth knowledge on that. The only thing that is differnt between Rafi and others like Kishore & Mukesh is that Rafi never sang in Saigal style whereas Kishore & Mukesh ( latter to a great extent) followed Saigal style in initial days.
One more interesting fact is that it was Rafi who was fortunate to sing along with the great Saigal in the song as part of Chorus: Mere Sapnon Ki Rani Ruhi Ruhi in the film Shahjahan -towards the fag end of the song, one can clearly identify Rafi’s voice in the Chorus!!
This is a very appropriate post to mark his birth centenary. As such he indeed surpassed all those others of his time and sang for all composers although some made him their favorite foe every male song they composed. And there were some songs which only he could sing without disruption in voice due to the high pitch required. However, it is not possible to include every type of song in the compilation. Good tribute!
KB,
Thanks a lot for your appreciation.
The new year post for 2024 is an apt revelation of genius of Mohammad Rafik and the anglicised titles (25, coverage of X probably not feasible) picked in support thereof are avant garde. Hunting for less heard songs to build another compendium would need deep search in internet, Such an effort may not be worthwhile as it will merely assert what has been revealed of Rafi’s deep range of coverage of scales by AKji. I have only one complaint in this post. Rafi’s singing in western style are stuff of legend, songs like – laal laal gaal, jungle me mor nacha. Not one finds a place here. I think one can write a separate post on each type of songs he sang – romantic, light, bhajan, classic et al.
To sum up, I consider the present post as a la bonne heure.
Mr Rangan,
Thanks a lot for your generous words. It is an evidence of Rafi’s genius that merely picking up songs on starting with distinct alphabets would not do full justice to him.
Good new year celebration post.
Everyone of us can have his/her own set of songs.
I too noted the absence of S D Burman. And many of Ravi songs. But it’s your list, so your rules
Anup,
Thanks a lot for. Yes as I finished selection of songs I noticed absence of SD Burman and surfeit of Ravi.
AK,
Thanks for such a treat in the Rafi centenary year. Most of the songs are my personal favourites too. Selecting on the basis of English alphabets the Hindi songs is always tricky. In many cases one English alphabet covers two Hindi alphabets and for some two sets of English can be used for one alphabet of Hindi. For example ‘Va’ of Hindi can take V and W of English, F and Ph can be uses for Fa and for ‘ka’ K and Q can be used.
As for songs the first one is a perfect description of a romantic night. Gopal Das Neeraj gave out the most memorable lyrics of his career in his first film. As per revised edition of Vol 4 of HFGK, songs of Nai Umar Ki Nai Fasal were recorded in September 1963. Rafi in Aaj Aur Kal released in August, 1963 sang another beautiful night song ‘itni haseen itni jawan raat kya karen. This song was written by Sahir Ludhianvi, who also wrote ‘ye raat ye chandani fir kahan’ 11 years ago. There is a similarity in lyrics of the first stanza of the Jaal and Aaj Aur Kal songs. In Jaal it says ‘pedon ki shakbon pe soyi soyi chandani’ and in Aaj Aur Kal it is ‘pedon ke bajuon pe lachakati hai chandani’.
The song ‘ek haseen sham ko’ has a very important connection in my life. When I was 17, my family had gone to a marriage of the daughter of my father’s friend in early June. As the village where we were going was not connected by bus, they had come to receive us in a camel cart. My wife, who was 10 year old then, had also come in that cart. Later after 4 years in 1975 my mother-in-law proposed the match to her brother who was friend of my father, as she was suffering from cancer and died later that year and my wife was the only unmarried daughter left. In 1977 we got married and we remember that evening fondly. Another point I want to make is the ‘sham’ can be ‘haseen’ without it being pleasant. In this context another thing which which comes to my mind is that the ‘raat’ also can be haseen without being pleasant. In our days in Haryana most of the marriages in villages were held in the hot months of May and June, being the idle season for farming and ready money available as a result of Rabi crop. The newly wed couple enjoyed themselves despite the heat. For them these times were the most haseen.
Na jhatko zulf se pani is perhaps the most romantically picturised song of the Zulf songs. Paas baitho tabiyat bahal jayegi is not only special for CArjun, but is a landmark song for Jagdeep.
I had checked the number of songs for the composers and lyricists. Anup’s comment above reminded me of it. Ravi and Madan Mohan had five each and four for Naushad. Two each for Roshan and OPN and one each for 7 others. For lyricists Shakeel had the most (5), followed by 4 for Rajinder Krishan and 3 each for Sahir and Kaifi Azmi.
Hans,
When you are in form you are unbeatable. Thanks a lot for your comments. SD Bumrnan’s absence and Ravi’s preponderance happened without any conscious effort. Now I realise I should have made some effort for having more balanced mix of music directors while retaining the alphabet criteria.
‘Sham’ has come in for some very interesting usage. Gulzar writes, ‘Sahar bhi ye raat bhi dopahar bhi mili lekin/ Hameen ne sham chuni’. Here sham is a depressing time which the forlorn, unfortunate man chooses for himself. In the first song Neeraj uses a interesting adjective for ‘raat’. ‘Aisi rangeen ghazal raat na phir
ayegi‘ gayegi. ‘Ghazal’ is an adjective, meaning something like ‘haseen’. I have not seen another use of ‘rangeen ghazal raat’.AK,
Happy New Year!
Thanks for welcoming the new year with (beginning of) celebrations of Rafi’s centenary year.
“ Now I realise I should have made some effort “.
I will not add more to that.
Not only Ravi has five songs but his movie Bharosa is repeated.
To top it, in two songs heroes have changed though in the movie it is not
In song # 24 it is rightly Guru Dutt
but in song # 9 you write
“ This poignant song fits very well on Bharat Bhushan.”
But going your past standard I am very hopeful and would console myself with this sher of Ghalib
इब्तिदा ए इश्क़ है रोता हैं क्या
आगे आगे देखियें होता है क्या
In song 21
Are you sure Asha’s version is a slower version?
As you have said Rafi’s song is recital with no music support while Asha’s song is orchestrated with (if I am not mistaken) Datta’s theka.
And contradicting your last comment. (I am hoping I am not wrong)
(Neeraj uses a interesting adjective for ‘raat’. ‘Aisi rangeen ghazal raat na phir ayegi’. ‘Ghazal’ is an adjective, meaning something like ‘haseen’. I have not seen another use of ‘rangeen ghazal raat’.)
Are you sure Ghazal is used as adjective for raat?
Because I think rangeen is the adjective for ghazal and not raat.
The lyrics are
Aisi rangeen ghazal raat na phir gayengi (the verb for raat iis gayengi and not ayengi)
.
AK ji,
This is a very different post on Rafi which gives you the liberty of presenting 25 songs. However, like the others I feel the list could have been more representative.
Rafi worked with the lesser known / unsung music directors as well even if it was just a couple of films and even in those he delivered gems.
And like mumbaikar8 has said in the comment #21, it is Aisi rangeen ghazal raat na phir gayegi
Mumbaikar8 @21,
Welcome back to SOY. You have not lost any of your ferocity. Thanks for pointing out the error in my misunderstanding about ‘rangeen ghazal raat na phir gayegi’. Since corrected.
And thanks also for pointing out the inadvertent error in the hero’s name.
On the two versions of Unhein kiss-e-gham jo likhne ko baithe, I heard them again. Asha Bhosle’s version does have rhythm support, but to my ears it sounded slower and more pathos-filled.
And by the way, did you mean to say, “Going by your past standards, I am not very hopeful…..”
Anita @22,
My focus was on my favourite solos on alphabets, and lost sight of balancing the music directors. Towards the end I realised it was getting tilted in favour of some music directors and some were getting left out. Hopefully in some other post I would do balancing between the music directors.
I have to thank both you and Mumbaikar8 for correcting my long held mishearing a set of words, and hence my contrived explanation. Now everything sounds straightforward – since corrected.
AK, @ 20
Giving stats did not mean that I am for any balancing. You did the right thing by selecting songs which came to your mind first. I would have done the same thing. This method is natural while balancing is a conscious effort. You have always the option of writing a sequel for left out songs. One thing is clear that Ravi is on a very high pedestal in your mind.
Regarding song one ‘aaj ki raat’. This is my eternal favourite. When Roshan was in mood the music was just sublime. Here he has given full leverage to Neeraj for the lyrics and composed it on the lyrics without changing. I have listened to this song umpteen times, but still when I read the lyrics on paper, I am unable to think how the composer did his tune so beautifully. In my view the composer always drew more delight in composing a good song on the lyrics, though it was hard work. Fitting lyrics to a ready tunes is relatively easier and more so if you ask the lyricist to tweak the words. Such songs always give you extra happiness as a listener. This was the reason people liked Ravi’s songs without knowing who composed them.
Regarding the contents, the song is absolute magic lyrics wise and it would be hard to find such lyrics in praise of the night. The first antara might have been been experienced by almost every one as it talks about the rainy night. Second antara talks about the ‘jugnus’. In my late childhood and early adolescence I lived in a house which about a kilometre away from a big canal. In the canal area there were lots and lots of jugnus in the rainy season. I used to go there with my cousin on the maternal side who was about 10 years older. One day he caught a lot of jugnus and put them in his side pocket. When we reached home my sister thought there was some fire in his pocket as he was a bidi smoker too. The Raat ki rani shrub has been my favourite, also from that age. We lived for some time in a house in which there was big shrub almost like a small tree. After that I have always tried to plant that shrub. In my present farmhouse I have been able to grow quite a large shrub which gives out mind blowing fragrance in the night.
This is with reference to Neeruahaf’s comment @ 2.
Although AK replied, his reply did not cover the statistic part and since ‘we’ was challenged regarding niche singers it would be appropriate if anybody else comes in.
First the matter of statistics. Most of the times statistics are based on HFGK. Prior to that there were wild claims by singers about the number of songs. Hamraazji – the compiler of HFGK – said in a meeting, which I also attended, that when Harish Raghuvanshi – author of Mukesh Geet Kosh – went to Nitin Mukesh to write something about the book, his initial reaction was anger when told that Mukesh number was about 1000. Such misconceptions were busted after publication of HFGK.
Let us look at numbers of the four singers mentioned. Hemant Kumar was a full fledged composer in Hindi and in addition he composed for a number of Bengali songs. To expect many songs for him would be wrong. He had around 300 songs in HFM, so Rafi sang about to 15-16 times this number. Talat Mehmood, despite his big reputation, had between 450-500 songs. Mukesh had around 1000 and Manna Dey had around 1100 upto 1980. So, AK’s claim was quite appropriate.
to be continued…
Before going to the matter of niche singers, I would post 4 songs of Rafi. The first one is ‘ye duniya paglon ka bazar’ from 1953 film Chacha Chaudhary composed by Madan Mohan. This song runs for about 3 minutes and has only one antara which comes at 2.17 and ends at 2.51. Except these 34 seconds Rafi sings the mukhda only in different ways. People talk about ‘tareef karun kya uski’ being sung in different styles, but Rafi has done that umpteen number of times and this song is one of them. In another great song ‘ye zulf agar khul ke bikhar jaye to achha’, which came in 3 parts in the film, Rafi sang the ending word ‘achha’ 17 times and every time he sang it in a distinct way. Links to both the songs are given below.
https://www.youtube.com/watch?v=HARooqWk_fw
https://www.youtube.com/watch?v=BFXEYIja2Z0
The third song is ‘o dil walo matwalo humse shadi karva lo’ from Taqdeer composed by LP. In this song too Rafi sings ‘shadi karwa lo’ differently each time but the difference is that he executes this at a very high pitch. And this song is less remembered due to there being famous songs like ‘jab jab bahar aayi’ and ‘mujhe bhool jana’ in that film.
https://www.youtube.com/watch?v=k8YcXE7zmnA
The fourth is ‘affu khuda humko tumpe pyar aaya’ from Jab Jab Phool Khile composed by KA. This film has other Rafi solos like ‘yahan main ajnabi hoon’, ‘ek tha gul aur ek thi bulbul’ and two versions of ‘pardesiyon se na ankhiyan milana’ which have all been more talked about. But this one is a marvel. A great composition and great picturisation. Listen to the song and come to 3.55 when the special Rafi magic starts. From 3.55 to 4.03 in flat 8 seconds Rafi sings 20 words comprising 47 letters, in one go. This was specifically done, because in this 8 second part the camera is brought in close up on the face of Shashi Kapoor who lip-syncs the 20 words.
https://www.youtube.com/watch?v=LeTtI4IklZQ
I think nobody can claim that any singer would be able to do such things and maintain such high standards of singing.
to be continued…
Now to the main point. First I make it clear that I am a fan of Rafi, but I listen to each and every good song whichever singer has sung it and I think a true music lover should be like this. I even listen to singers like Shyam Kumar occasionally. The 4 singers, Manna Dey, Mukesh, Talat Mehmood and Hemant Kumar, mentioned by AK as niche singers are all great singers and can sing any kind of song. But, why are they called niche singers. Mukesh and Hemant have voices that excel in soulful songs or dard bhare nagme and are mainly known for those songs. Talat is principally known for his gazals, though he has ability to sing all type of songs. He came with the same reputation in HFM and due to his own perception pampered by Rafi haters like Anil Biswas he remained in his cocoon, though he could have done better things. In one of his interviews he did not want to sing the songs for Agha in Patita and he had to sing them as he was a friend. A playback singer who is ashamed of singing for character artists cannot attain versatility. In another interview he questioned Khayyam for selecting Rafi to sing Ghalib gazals, on which he deemed to have some birthright. Manna Dey was a unique case who was forced to become a niche singer because he was typed for some special category of songs. His niche is classical songs in which area he has given numerous great songs. The niche singer view of most of the regulars of SOY and not AK only.
Rafi could sing soulful songs, gazals and classical songs with equal finesse as these niche singers, and none of these singers can attain the quality mastered by Rafi in other type of songs. Only suggestion I would like to make to those who think like Neeruahaf is to listen to more and more Rafi songs. They would know the difference.
AK,
I tried to make a list of songs, using the first word – as far as possible – from the songs posted by you and here is the result.
1. Aaj purani rahon se koi mujhe – Aadmi – Naushad
2. Bada hi CID hai wo neeli (no Basti) – Chandan – Madan Mohan
3. Chal chal re musafir chal – Pooja – SJ
4. Dil – so many- dil ki awaaj bhi sun – Humsaya – OPN
5. Ek tha gul aur ek thi bulbul – Jab Jab Phool Khile – KA
6. Falak pe jitne – koi nazrana lekar – Aan Milo Sajna – LP
7. Garibon ka jeena bhi hai (no Gujre) – Nai Roshni – Ravi
8. Hai bas ke har ek unke ishare men – Mirza Ghalib – Ghulam Mohd
9. Is duniya men ae dil walo – Dillagi – Naushad
10. Jo baat honi hai wo baat – Khakaan – N. Datta
11. Kar de madad garib ki – aulad walo – Ek Phool Do Mali – Ravi
12. Lakh baar dhikkar hai – main nahin manunga mati – Chandrakanta – N. Datta
13. Maine shayad tumhen pehle bhi – Barsaat Ki Raat – Roshan
14. Na kisi ki ankh ka noor hoon – Lal Quila – SN Tripathi
15. O duniya ke rakhwale – Baiju Bawra – Naushad
16. Pagdi sambhal jatta (no Paas) – Shaheed – Prem Dhawan
17. Qadam qadam pe likh rahi hai zindagi kahaniyan – Sarkar – Govind Ram
18. Rahun kaise main tumko nihare bina – Tulsidas – Chitragupta
19. Sab men shamil ho magar – Bahu Beti – Ravi
20. Tasveer teri dil mera – maike se aaja biwi – Devar Bhabhi – Ravi
21. Unhen manzil nahin milti – Vidyarthi – 1966 -Babu Singh
22. Vadiyan mera daman – Abhilasha – RD Burman
23. Wo phule phule phirte hain – Amar Jyoti – Vasant Desai
24. Ye duniya ye mehfil mere kaam ki nahin – Heer Ranjha – Madan Mohan
25. Zindagi hai kya sun meri jaan – Maya – Salil Chaudhary
Hans @25,
Nice to know that there is at least one more person who is as passionate about ‘Aaj ki raat badi shokh badi natkhat hai’. From Nai Umar Ki Nai Fasal another song Karwan guzar gaya gubar dekhate rahe, attained mass popularity thanks also to Neeraj reciting the poem in a sonorous voice in Kavi Sammelans.
@26, 28,
The word ‘niche’ was treated as ‘pejorative’, but regulars would remember I have used this term earlier too, in a positive sense. Thanks for adding the statistics. I presumed everyone knows the ballpark figures.
@27,
This is wonderful. Tareef karun kya uski is the most famous example because of OP Nayyar’s composition, Shammi Kapoor’s persona; he finally jumps in the Dal lake in frenzy. It is great to cite some more examples of Rafi’s exceptional vocals.
@29,
Had I consciously tried to do the balancing among music directors, I would have reduced Ravi and cast my net wider. I find that in your list too Ravi has four, I thought you would take this opportunity to do a more balanced list. One knows your Ravi-Rafi fascination. I must admit again, in my case these songs were at the top of my recall.
AK,
There are too many Roshan, Rafi and Neeraj fans and that was the reason this film’s music got so prominence despite the film being a resounding flop. Lyrics are exceptional like ‘mujhse hi kaise ye barsaat sahi jayegi’ meaning the marvellous night is a torture to him without her. After beautiful description of the night in the three stanzas he ends with the ‘rangeen gazal’ thing. The situation is Rajeev is marvelling at the night and at the same time feeling a tinge of sadness and both these emotions have been brought out by Rafi in a manner only he could do.
I think niche is a positive word, because it puts the niche singers in a specialist position. The only problem is that Rafi is a super specialist floating smoothly through all the specialities of these singers.
You must remember that I prepared my list keeping in view the first word used in songs posted by you, so there was limit to my choice. But still my list has 19 as compared to your 12. If I had prepared an independent list I would have certainly included ‘hum bekhudi men tumko pukare chale gaye’, though ‘hai duniya usi ki’ is no less my favourite and both convey the same sentiment of remembering the beloved.
Mumbaikar8,
Saw you after a long long time. I have also been extremely irregular. Welcome and hope you will contribute more in the Rafi centenary year.
About the points you raised. We both are Rafians and we have roughed up AK so much on this issue that he would have thought us to be ruffians if he had not been a good friend and a nice person. 😉 He has begun the centenary year in right earnest which should be appreciated. I had noticed his comment on ‘unhen kissa-e-gham’ and also the words ‘no acrobatics’ in song description of ‘dil ki mehfil saji hai’. Words like ‘acrobatics’ and ‘vocal gimmicks’ were used to show even his qualities in negative light. We ought to be vigilant while being positive in this centenary year.
+AK reg. ‘unhen kissa-e-gham’
I think AK here tried to compare apples and oranges. Firstly, a recitation is not a song in the strict sense of the word and the Rafi recitation and Asha song cannot be called twin songs. This is composition by Madan Mohan on Hasrat Jaipuri’s lyrics. Mumbaikar8 mixed up with ‘tang aa chuke hain’ which was composed by N.Datta for Asha in the film Light House. This was included in Pyaasa as recitation by Rafi. ‘Tang aa chuke hain’ by Asha had one common stanza besides the mukhda, with the Rafi recitation. In Asha’s version of ‘unhen kissa-e-gham’ no line is common except the mukhda. Situation of both the songs is different. Rafi’s recitation comes when he goes to the same editor – after marriage in the need of his hour – whom he had earlier refused to give his poem. The editor does not even offer a seat to him. He is reciting the poem on the demand of the editor. Asha song comes when Vyjyantimala sings it on radio to earn some money, when she comes to know that Bharat Bhushan is working as coolie to earn livelihood.
Usha Timothy in one interview had said that while other singers sang as per ‘surs’ Rafi sang in ‘shrutis’. I am a fan of Asha’s ability to convey the right emotions, particularly of sadness, in a song and she had done full justice here also. But, Rafi’s recitation is just out of this world and Asha cannot even come near it. Hasrat Jaipuri had done wonders too in this film and particularly in the Rafi recitation. Though the recitations are composed by the composer, but in these the main contribution comes from the singer and that is why Rafi recitations always scored over others. I agree with Mumbikar8 that Asha’s version was not a slow version. In slow singing nobody can come close to Rafi.
Hans,
Two Rafians talking about a third makes interesting reading. Except that you are giving ideas to Mumbaikar8 to bring out her more powerful microscope and gun. US has become a trigger-happy country.
Hans @29,
If you notice my post was on Rafi’s ‘solos’. Your list contains some duets.
AKji,
In spite of your advance intimation, when we met in last December, I have responded very late. Extremely sorry for my slackness.
Your curtain-raiser post initiating Rafi’s centenary celebrations is novel and good one too. Needless to mention, the selection of 25 of your favourite Rafi-solos (in alphabetical order), would be the favorite of others too. Thanks for the bouquet. Listening to Rafi’s songs is always a pleasure.
The Rafians have arrived in time. And Hansji’s active involvement clearly suggests of his regular participation this year. With Hansiji’s and Mumbaikar’s participation, the going can be expected to be great.
With more posts on Rafi on the anvil, it would be a “Dhamak” year.
Thanks AKji.
Venkataramanji,
Thanks a lot for your appreciation. I suspect you are also a closet Rafian. The more the merrier. I am sure there would be a number of posts on him. If the song selection is good you cannot tire of Rafi.
AK @ 33
I think there is no harm in two Rafians talking about a third Rafian. 🙂 I agree with you being a Rafian, but cannot agree with your oft-repeated statement that only 10-12 per cent of Rafi songs are memorable. So far as microscope is concerned Mumbaikar8 has a powerful one, but she cannot be called trigger happy because she uses her gun judiciously.
@34
Anyone can stumble in a hurry. But only song no. 11 is a duet. I dont consider ‘ek tha gul’ a duet.
Hans,
I too do not consider Ek the gul a duet though it has distinct Nanda’s voice. There is all the more reason to consider Kar chale hum fida a solo as there is no other voice other than Rafi, though there is amplified echo as chorus. It was a conscious choice. We may agree to disagree.
AK,
There is no disagreement here because I also consider chorus based songs as solos. The oldest example of the heroine’s interjections treated as a duet I remember is from Rimjhim-1949. Some of the songs where there was the other singer have been treated differently. Baiju Bawra’s famous ‘tu ganga ki mauj’ is literally a solo at the end of which there is a line in Lata’s voice. This is considered a duet. ‘Tum jo mil gaye ho’ from Hanste Zakhm is also such song where in the film Lata sings the mukhda at the end, but this song has been treated as solo.
In Meri Surat Teri Ankhen Rafi sings the song ‘tere bin soone nayan hamare’ in a solo mode. Lata sings an antara separately, when Rafi has finished. In the film situation Ashok Kumar and Asha Parekh on whom this song is picturised do not come face to face in this scene. In this film Lata was not singing with Rafi due to her strike. Even the lyrics of the song do not match up. Shalendra wrote a typical philosophical song for Ashok Kumar as per his situation and the song had nothing to do with love situation nor it was a love song from any angle. Lata’s lines say ‘chhup ke na ga ye prem tarane’, which is not the case. Thus the credit of solo has been taken away from one of the most beautiful solos.