Well I also had a time in Lahore, but unfortunately in those days of FSc our administration at Govt College Lahore (96-98) was very strict and tape-recorders were strictly banned in hostels. However during my stay at Rawalpindi Medical College (99-2003) , I had a friend who was a die-hard fan of Rafi Sahab, used to play his songs on his PC. From those days I have developed taste for Rafi. I can't express my feelings of deja vu while listening to his songs on a special thread dedicated to him.
Article Authored by A.R.Murty in August 2007 for Meri Awaz Sunno Forum
Mohammed Rafi, the numero uno among all the singers that our country has produced, ruled over Bollywood for close to four decades. He sang over 27000 songs and in many languages and he sang all types of songs. Be it ghazals, geets, qawwallis, bhajans, romantic or tragic, patriotic or plain Message Board songs, Mohd. Rafi rendered them all with such subtle ease and passion that he has no parallels in the music industry. He worked with all the top film producers, directors, music directors, female lead singers, male lead singers and a host of chorus artistes.
Many a Music Directors owe their success to Mohd. Rafi sahib, for he not just sang for them but raised the class of their compositions many times over. Mohd. Rafi was the soul of many all-time mega movies in the four decades that he was sitting at the altar of Bollywood’s music industry. Several hundreds of movies became instant hits and went on to celebrate Silver Jubilees and many a actor made their day by becoming romantic heroes. Such was the aura of the phenomenon called Mohd. Rafi that none could choose to find alternate singers. Producers, directors, heroes, music directors and even female playback singers all made a beeline to the residence of Mohd. Rafi sahib, all because their individual and collective future depended on the greatest singer of our times. He shaped the destiny of several hundred artistes, music directors, actors, singers and many more in the industry. Mohd. Rafi sahib did not disappoint anyone of them. Each got more than what they had bargained for in the form of the best music rendering that Bollywood would offer to a cinema-crazy nation. Such was the impact of his magic that his fan following soon spread across nations €“ from the sub-continent to the great Americas and the Europe.
The mid-1950s to late 1970s saw the versatility and the range that this humble and shy human being could produce not only outsmarting the very best in the Indian film industry but also the likes of which has not been seen in any other part of the world. This arrangement continued until it came to a grinding and abrupt halt on that fateful day of July 1980. A whole nation was shell shocked to hear the unbelievable news that Mohd. Rafi was no more. People travelled from all corners of the country to Bombay (now Mumbai) to pay their last respects to a superlative artiste. Thousands braved the rains to attend the funeral of a man they had loved and respected. Radio stations broadcast the gloomy information and TV channels telecast the funeral procession and the musical sway that the great son of India had generated through his immortal songs. I had just then settled in Hyderabad after a long innings at Ahmedabad where we had a core-Rafi group. There were no mobiles then and no emails either. My Rafian-friends collected all the newspaper and magazine reports on the untimely death and the works of Mohd. Rafi sahib and mailed them to me. The tinge of grief and gloom loomed over our lives for many months to come.
Rafi sahib worked with several hundreds of artistes from the film industry. Many a film critics and film journalists had known him from close quarters having studied his music and his life-style. Several of them had interviewed him too. Many of those artistes and media personnel are still alive reminiscing the times they had spent knowing the magic of Mohd. Rafi sahib. Musicians would know how they felt after the recording sessions and so too the Music Directors would be able to label Mohd. Rafi sahib as the top most singer. Film heroes of yesteryears for whom Rafi Sahib was an integral part of their careers would be able to tell us the impact that his songs had on their rise in the industry. Rafi sahib had contributed to the rise of each one of them. While many notable artistes, including many legendary music directors are no more, there are still quite a sizeable of them and their orchestra members who could shed light on the phenomenal presence of Mohd. Rafi sahib in the industry. Film critics and journalists can dig out their archives and present to the world the legacy Mohd. Rafi sahib by way of fresh articles.
Today is the age of the internet and websites. Younger generation today does not read periodicals and newspapers. We Rafians have adapted to the changing times and made the internet our daily staple food. Let those in the Bollywood spare their memories and anecdotes and experiences with all music lovers through their columns regular or occasional.
It is the call of the hour that Bollywood pays back Mohd. Rafi sahib, in equal measure, in return for all that Mohd Rafi saieb had done in such a short span. Bollywood must also take the lead in the march for glorification of Mohd. Rafi sahib with the Bharat Ratna. Let this become the one-point agenda for all those who were associated with a great human being and the greatest singer of all times – Muhammad Rafi. Generations to come would thank Bollywood for their contribution to this most reasonable and justified cause. The media also should play a positive part in portraying the works of this wonderful artiste both in the print and visual sectors for he remains an inseparable part of lives of millions of people still swearing by his name. Come one Bollywood. Yours is the turn to do a noble duty.
Movie Mere Humdum Mere Dost: Na Jaa Kahin Ab Na Jaa
Movie Yaadon Ki Baraat: Chura Liya Hai Tumne Jo Dilko
Movie Raajput: Doli Ho Doli
Movie Laila Majnu: Likh Kar Tera Naam Zameen Par
Movie Aap Aye Bahaar Ayee: Mujhe Teri Muhabbat Ka Sahara Mil Geya Hauta
Rafi Sahab's Memories Evokes the Feeling of Synchronized Melody in the Air
Article Translated by Ashok Parekh Which Appeared in Daily Mumbai Samachar circa July 2009.
31st July is amidst us. It was on this day, Rafi saab left all of us for heavenly abode. Media has started to pay tributes to him. Few days back a Gujarati daily in Mumbai, Mumbai Samachar had published an article in which musician Dilip Dholakia has narrated his association and experiences with Rafi saab. While Dilip Dholakia has independently given in few Hindi films in name of D. Dilip, he worked as assistant with Chitragupta and Lakshmikant Pyarelal. Following is my humble attempt for English translation which might not be error free but will definitely provide us all in general and Gujarati fans in particular a new angle of knowing our beloved Rafi saab:
I composed the first Gujarati ghazal by Mohammed Rafi, Milan na dipak sau buzai gaya chhe, abhagi nayan vat koni juve chhe penned by Barkat Virani for the film Mota Ghar Ni Dikri. Albeit, earlier I had composed a solo Mithadi Najaru Laagi two duets with Lataji, O Naholia Re Nen Parovi and Avi Rasili Chandni Vanvagado Relavati in the film Satyavan Savitri released in 1963. I just cannot say that I had decided for Rafisaabs playback. His choice was automatic. Whatever tune he was given, he used to bring cent percent perfection in it. He gave total attention to words. Gujarati was not his language even so, his attempt to bring prominence of Urdu words in Gujarati accent in such a way that it could bring the weightage in the ghazal.
I had told producers of Satyavan Savitri that I will have only Rafi saab and Lataji as singers. My association with Rafi saab was so old that we were co-chorus singers when Rafi saab came in Mumbai. Our relations were such that I had took him with me to sing in my communitys program. He was singer and we were technicians. So he became star but he maintained his friendship with till the end. I worked as assistant with Chitragupta and later on with Lakshmikant Pyarelal and recorded many songs with him so his choice was obvious for Satyavan Savitri and Mota Ghar Ni Dikri. But I have done a wonderful work with Rafi saab. H.M.V. at that time told me to make Guajarati ghazal album with Rafi saab. I told them that for this Purushottam Upadhyay (another noted Gujarati singer cum music director) should be the right person. H.M.V.s Dubey agreed with me. Rafi saab sung divso judai na jay chhe after four days rehearsal. Rafisaab wanted to understand how Purushottam was singing. He exactly caught how Purshottam was singing and sung only after he knew it after four days. Rafi saab was giving much attention for expression. Not a single word should hurt. With Rafisaab it was like with every breath sur was coming out. His expression with word, voice and music was complete. We completed Milan na dipak sau buzai gaya chhe in one day only. It was based on raag bageshari. The original written by Barkatbhai was changed for the film. I was with Purushottam when Rafi saab were singing ‘divso judaai na jay chhe. There is no singer like Purushottam in Gujarati. Rafi saab said, I wanted to sing the way Purushottam sings.
Recording with Rafi saab was such that during rehearsal if his attention was elsewhere, he would say, please sing this again. Manna Dey and Rafi saab would have sung 50 songs together. Mannaday is technically much powerful. If Rafi saab was singing with him and was unhappy for something, would say Mannaday, please sing this. Thereafter Rafi saab would sing even better. Mannaday often told me, he sings much better than me after learning from me!. When Rafi saab signed in English, he used to take 30-45 seconds to write each letter because he was not much educated. But as a playback singer he was master. Mannaday and Lataji were fast in picking up the composition. Rafi saab took longer but once he picked up, oh, just nobody could touch him. Great singers do not become great just like that. Singing became his nature which always seen on his face. When we were recording Milan na Deepak sau buzai gaya chhe.. in Bombay Lab, his throw for each word and the way it was composed, both became meaningful.
My association with him was 29 years long. The songs I composed with him for Hindi films (Dilip bhai gave music independently under the name D. Dilip) were not much popular but Pyar ka mara hun main Julie, o Julie jaane de adayen ab jaane de in 1962 film private secretary was quite popular. But All India Radio had banned it. A duet in bagdad ki raten, Zzulfowalense na bhulke bhi pyar kijiyeby Rafi saaab and Shamshad Begum was also quite popular. I have substantial experience of Rafi saab approach in producing each song during my 16 years association with Lakshmikant Pyarelal. Even during long duration in picking up a composition, it was continually churning within him and once he picked, he picked it totally. Rafi saab and Lataji were asking before singing on whom the song was going to be pasteurized and after knowing they would sing exactly like the actors were singing themselves. It is different matter that we know who sung the song! They very well knew that while singing, they had to project the actors on the screen and not themselves. This way the association of each song with Rafi saab is important for its tale of birth but now Milan na Deepak sau buzai gaya chhe (All lamps our meeting are extinguished).
Movie Ishq Par Zoor Nahin: Yeh Dil Deewana Hai
Movie Hanste Zakhm: Tum Ju Mil Gaye Hu
Movie Do Raaste: Yeh Reshmi Zulfien
Movie Kaajal: Chu Lene Du Naazuk Hauntun ko
Movie Hawas: Teri Galyon Main Na
Movie Guide: Kya Se Kya Hoegya
Movie Guide: Tere Mere Sapne
Movie Mere Mehboob: Yaad Mein Teri Jaag Jaag Ke
Movie Zabak: Teri Duniya Se Door Hoke Chale Majboor
Movie Bahu Begum: Hum Intezaar Kariengay
Movie Bheegi Raat: Dil Jo Na Keh Saka
Movie Akaash Deep: Mujhe Dard E Dil Ka Pata Na Tha
Muhammad Rafi’ Sahab’s 30th death anniversary is here and all I’ve left to say is that (often clichd on such occasions but here I really mean it) I can’t find words to even encompass the beauty, magnificence, subtlety and pristine articulation of stupendously modulated divine voice of this immortal human being. Mohd Rafi’s legacy lives on during this hollow era where natural talent has been overtaken by glamour, hard work and dedication for short-cuts and networking, love of an art with the lust of money and fame. Therefore there’s no doubt in my mind that these so called singing artists of subcontinent can never even dare to come closer to the sublime class and versatility of Rafi Sahab and for true lovers of gentle and hallowed music espoused with silky pearls of poetry the name Rafi will remain the indelible hallmark for all of the posterity of singers who want to seriously carve their names on the template of profound artistry and excellence. Rafi Sahab you are not forgotten your memory and beautiful gem of songs lives on like a flickering flame in the dark avenues of our consciousness to gain hope, aesthetic charm and yearning for the cosmic beauties of Almighty The Magnificent. Rafi Sahab thanks once again for those great moments which your die hard fans cherish on almost daily basis in the last six plus decades now and shall continue to do so Insha Allah till this world retain its existence.
Tributary Clips for Muhammad Rafi Sahab
Tribute to Muhammad Rafi Sahab: Hum TV (Pak) Production
