The Rafi saab,Kishore Da & Mukesh ji FC - Page 116

Originally posted by: preity*zinta

sensations87 post ALL comments into ONE post not individual posts please, otherwise its considered spamming!

Done. 😃
Edited by sensation87 - 16 years ago

Rafi Saab's Favourite Photo

This is written by Perry Khan (Mazher Mahmood) @ HF

In fact Rafi Saab's last interview was given to my father Sultan Mahmood just a couple of weeks before his death. The article for Indian film mag Shama has been widely circulated. However, I would like to share a small anecdote. As Rafi Saab was a family friend the interview was very relaxed and light hearted. At one point my father told Rafi Saab that interviewing him was quite an irritating task for any journalist as he would only offer short, well rehearsed replies. Similarly he was too shy to give TV interviews and to talk on stage to his fans. My father asked him why he was so scared to talk.

Rafi Saab replied: "Asal mein Sultan bhai meri awaz achi nahin hai! Radio peh mujhe presenter ki naukri kabhi na milti. Waqeh jab mein bolta hoon mujhe lagta hai meri awaz achi nahin hai".

My father asked him where his singing voice came from. The voice that will mesmerise fans until the end of time.

"Mujhe khud nahin patta lagta. Yeh sab Allah ki merhbani hai. Main toh kuch nahin hoon. Mujhe gaane ka bohat shauk hai, main gaata hoon aur logon ko bohat pasand aajata hai. Sab upparwale ka karam hai!"

After the interview a series of photographs were taken, Rafi Saab changed out of his kameez and lungi, donned his watch and posed for a series of pics. He happily posed around the hotel room at the photographers beck and call. I remember that as the photographer had finished his posed shots, Rafi Saab quietly suggested:

"Ek foon ke saath foto ho jaye?"

He then posed for the photo below holding the hotel phone to his ear. I later accompanied my late father to see Rafi Saab and I took along some of the photos asking him to sign them for me. He shifted through the bundle of photos and found the one with the phone. He said with a child-like innocence: "Yeh mein ne kichwayi thi. Achi ayi hai na?"

Rafi's Favourite Photo



On Rafi Saab's death anniversary as the world still weeps at his passing, I know that Rafi Saab would have liked me to share this photo with his fans. I know that the great man would also have been overwhelmed by the fact that so many people around the world would want to see his photo. So as my tribute to on Rafi Saab's 26th death anniversary this is my gift to his army of fans.

You are the composers. I will sing the way you tell me to

This anecdote was provided by Ms. Nalini Ramji

In 1947, the Shankar-Jaikishan team was given its first job, composing the music for Barsaat. Their first composition was Main Zindagi Mein Hardam Rota Hi Raha Hun, which required a singer with an extremely wide vocal range. Being new in the field, they were afraid that Rafi, whom they had been told was the only one who could sing it, would refuse to sing for them. When he came to see them, they were very nervous, and said, "Please listen to the tune and sing it as you would like to." Rafi smiled and replied, "You are the composers. I will sing the way you tell me to." From that time, Shankar and Jaikishan quickly climbed the ladder of success, and Rafi became the soul of their music.

The song, Yahan Badla Wafa Ka

This anecdote was provided by Ms. Nalini Ramji

In the early days, when Rafi was trying to establish himself, Firoze Nizami composed a duet between Noorjehan and G.M.Durrani, for 'Jugnu'. However, Noorjehan persuaded Firoze Nizami to use Rafi instead of G.M.Durrani. The song, Yahan Badla Wafa Ka became a super hit quickly brought Rafi into the limelight.

http://www.mohdrafi.com/anecdotes/the-song-yahan-badla-wafa- ka.html
Edited by sensation87 - 16 years ago

The Rafi-Kishore saga

The following article appeared in The Statesman,Calcutta, on Aug.7 th 2005. It will give more food for thought to the ongoing debate about the Rafi personality and magic - Mohan Flora .

Mohd. Rafi was the greatest playback singer, asserts Ranjan Das Gupta as he pays tribute on the melody kings 25th death anniversary. Rafi was a classically trained singer while Kishore was naturally endowed with excellent resonance. The latter was a versatile genius, singer, music director, actor, writer and director all rolled into one. Both were proficient singers but had separate individual styles.

In the 1950s Rafi literally ruled the roost. He was the most favoured singer for veteran composers like Naushad, S.D. Burman, Shanker Jaikishan, Madan Mohan while Kishore was preferred by S.D. Burman and Salil Choudhury who was playback mainly for Dev Anand and his own films. Rafi on the other hand could balance his melodious voice for diverse stars like Dilip Kumar, Dev Anand, Guru Dutt, Rajendra Kumar and Shammi Kapoor.

It is an astonishing fact that O.P. Nayar used Rafi to sing for Kishore Kumar the unforgettable tune Man Mora Bawra in Ragini in 1957. Shanker Jaikishan also had Rafi to sing Ajab Hai Dastan in Shararat in 1958. Says record museum owner Vinod Santhalia, It is simply amazing. Imagine Mohd. Rafi sang for Kishore Kumar in films Kishore himself acted.

Shanker Jaikishan commented, No doubt Kishore Kumar is a good singer. He sang beautifully for me in Rangoli. But Ajab Hai Dastan was simply not Kishores cup of tea. The mukhdas and antaras required a singer of Rafis range and classical background.

Although Kishore Kumar felt bad about this, he could only marvel at Rafis brilliant rendering of the two songs. Rafi characteristically remarked, No one else except Kishore could sing Dukhi Man Mera in Funtoosh so well.

Salil Choudhury was not favourably inclined towards Rafi at one point of time, but even he was compelled to use Rafi for the unforgettable Tootey Huey Khuabo Nay in Madhumati and Koi Soney Ke Dil Wala in Maya and confess that Rafi was indeed peerless.

It is generally known that Rafi and Kishore went through a bad patch in their relationship. Yet it is also true that both liked and respected each other. S.D. Burman openly admitted to Kishore that the three solos in Guide by Rafi could not be matched by any singer. On Dev Anands special request, he composed the Kishore-Lata super hit duet Gata Rahe Mera Dil for Guide. Similarly, Rafis numbers in Teen Deviyan and the haunting duet with Lata Mangeshkar in Jewel Thief were far superior to the Kishore numbers in these films.

In the late 60s when R.D. Burman composed the melody for Tum Bin Jaaun Kahan in Pyar Ka Mausam, he experimented the same solo with both Rafi and Kishore. True, Kishore sang this number by melodiously incorporating his inimitable yodelling. But in the romantic number, Rafi scored over Kishore in melody.

The 60s was also considered Rafis decade though Kishore matured considerably as a singer during this period. The Jungle Mein Mangal number Woh Din Ke Baat Sharan Karo had both Rafi and Kishore together but is somehow not remembered that well. But Shanker Jaikishans Hanste Gate Jahan Se Guzar in Andaz by Rafi quite eclipsed Kishores entire Zindagi Ek Safar in 1971.

Madan Mohan also used both Rafi and Kishore in the song Yu Na Sharma for Parwana in 1972. Kishore sang the happy rendition for hero Navin Nischal. But there was Rafi again to do full justice to the Are Hansnewale, the melancholic aspect of the same song for Amitabh Bachchan.

In the 1970s the Kishore Kumar wave took the Hindi film music by storm and was backed by R.D. Burman. Some critics felt R.D was partial to Kishore and avoided using Rafi. The Rafi Kishore duet Yaadon Ki Barat from the film with the same title in 1973 turned out to be a superhit. But it cannot be categorised either as an exclusive Rafi or a Kishore gem for both sang in perfect harmony.

Subsequently, R.D. Burman opted for Rafi again after four years as no other singer could have rendered so skillfully Chand Mera Dil and Kya Hua in Hum Kisi Se Kum Nahin; that too in a film with many Kishore Kumar superhits like Mil Gaya and Aa Meri Jaan.

When Rafi sang Darde Dil for Laxmikant Pyarelal in Karz in1980 based on a single note, he proved melody was indeed God-gifted to him, remembers upcoming singer Sujan Bose. Kishores Ay Mere Umar Ke and Ek Hasina Thi could not touch that level. The same can be said for Rajesh Roshan's Yarana where Rafi's Aare Re Aisa Tarana completely surpassed Kishore's Sara Zamana and Tere Jaisa.

Mohd. Rafi left for his heavenly abode on 31 July, 25 years ago. Remembers author Nabaran Bhattacharya, The photo of a silent, sad and grief-struck Kishore in the newspapers portrayed very well that no one except him understood what an irreparable loss had taken place in Indian film music.

As Kishore himself said when Jagjit Singh criticised the Rafi gharana, How dare these so-called ghazal singers criticise an icon that Manna Dey, Mukesh and I dare not criticise. Rafi was unique.

Mohammed Rafi with other male singers

This article is written by Mr. H.V.Guru Murthy.

The late Mohammed Rafiji has sung so many duets with Lata, Asha, Geeta Dutta, Suman Kalyanpur, Sharada, Shamshad Begum, Noorjehan, etc. But there are innumerable songs which Rafi has sung with other Male Playback Singers. These songs carry the versatility of these male playback singers.

The first such song which comes to my mind is 'Gham Ki Andheri Raat Me' from "Sushila" with Talat. Both the singers though do not sing along (Rafi sings the Mukhda where as Talat sings the Antara) but still match each other. Both of them gave another beautiful song in "Aadmi" – 'Kaisi Hasin Aaj'. Another song was from "Haqeeqat" – 'Hoke Majboor Muzhe', of course, apart from Rafi and Talat, it also had Mannadey and Balbir.

With Mukesh, Rafiji gave 'Ramiah Vastavayya' from "Shree 420" and 'Saat Ajube Is Duniya Me' from "Dharamveer". But the tile song of "Dil Ne Phir Yaad Kiya" was a classic, Rafi starting the song, Suman Kalyanpur singing in the middle and Mukesh coming at the end set to music by Sonik Omi. Beautifully picturised on Dharmendra, Nutan and Rehman in a Boat, this song was a treat to watch. Rafi and Mukesh again came together in "AAA" along with Kishore and Lata – 'Dil Me Dilbar Tu Rahta Hai' picturised on three different heroes.

But the best combination was that of Rafi and Mannadey. Both talented and versatile singers, only difference being the superior melodious voice of Rafi, these two came out with some memorable numbers especially qawalis. 'Tu Hai Mera Prem Devta' from "Kalpana" and 'O Giridhari' from "Heera Moti" incidentally both of O.P.Nayyar, drew the best out of each other. They had a healthy rivalry and knew that a little quarter given would enable the other to overshadow. 'Sarfaroshi Ki Tamanna' from "Shaheed" had Rafi and Mannadey to Prem Dhawan's tunes. Every time I listen to this song, I get emotional because of its lyrics, music and the way the two have sung. "Sachai" had 'Ae Dost Mere Maine Duniya Dekhi Hai'. Qawalis like 'Ab Ja Balaba Hu Shiddate' and 'Aise Me Tuzhko Dhoondake' from "Bahu Begum", 'Bhari Mehfil Me Cheda' from "Palki, 'Qawali Ki Raat', etc. popularized Filmy Qawalis like never before. The title song from "Palki" was another gem. The song 'Bade Miya Deewane' from "Shagird" was another hilarious song picturised on Joy Mukherjee and I.S.Johar. The title song of "Hindusthan Ki Kasam" was another song where these two great singers matched their talents as also the song 'Taqat Watan Ki' from "Prem Pujari".



The duo of Rafi and Kishore also gave some memorable and popular hits. 'Halka Halka Sa' from "Khoz", "Yadon Ki Baraat" – Title song, 'Hum Premi' from "Parvarish" along with Shailendra Singh, 'Ae Baag Ki Kaliyon' from "Jungle Main Mangal", etc. "Hum Kisise Kum Nahi" had a medley of songs with Rafi coming up with 'Chaand Mera Dil', Kishore with 'Aa Dil Kya', RD with 'Tum Kya Jano' and finally Kishore and Asha with 'Mil Gaya'. The dance competition was picturised in a unique way by Director Nazir Hussain. Rafi, Kishore and Lata also came together in that wonderful song 'Na Jaane Kaise' from "Badalte Rishtey" when Rafi makes his entry in the final stanza 'Rishtey Kabhi Toote Kahan' and as usual, steals the show. Rafi again makes a grand entry in the third stanza (Yeh Mastiyan Ye Bahar) of 'Kya Mausam Hai' from "Doosra Aadmi" again with Kishore and Lata. Rafi, Kishore and Mannadey also came together for 'Bachche Me Hain Bhagawan' in "Nanna Farishta". "Parwana" starring Navin Nischol and Amitabh had 'Yunha Sharma' by Kishore and 'Are Hasnewalon' by Rafi picturised on Navin and Amitabh respectively. Though they were two separate songs, it was picturised together, with Navin Nischol singing Kishore's version and Amitabh getting Rafi's version in the background. "Shaan" also had a lovely number 'Janoo Meri Jaan'. In "Dostana", they came out with 'Bane Chahe Dushman' that too in two parts, one happy and another slightly sad version. In both versions Rafi stood out especially while singing 'Gire Hai To Kya Hai' in the sad version.

Rafi also had RD for company in 'Yamma Yamma' in "Shaan", Anada Bakshi and Lata in 'Ke Aaja Teri Yaad Aayi' in "Charas", Balbir in 'Ye Desh Hai Veera Jawanon Ka' in "Naya Daur" and 'Kyaji Main Zhoota Boliyan' from "Jagte Raho", Amitabh in 'Chal Chal Mere Bhai' from "Nasseb", etc. Another song which really became a top hit was 'Saze Rahi Gali Meri Ma' from "Kunwara Baap" where in Mehmood gave Rafi company. Rafi and Shailendra Singh had a good song in "Suhag" – 'Ae Yaar Sun Yaari Teri' as well as 'Rabane Banadi Jodi'. In "Kranti", he sang with Nitin Mukesh 'Mera Chana Hai Apni Marzi Ka' along with KK. All these songs became popular hits. The group song from "The Burning Train" – 'Pehli Nazar Me' was also a unique song.

http://www.mohdrafi.com/meri-awaaz-suno/mohammed-rafi-with-o ther-male-singers.html

Totally Mast - Mast Baharon Ka Main Aashiq

mohdrafi.com

The song 'Mast Baharon Ka Main Ashiq' belongs to a very successful film titled Farz which was released in 1967. The plot is rather far fetched - it is about a secret agent who is assigned to investigate and report on the murder of another fellow spy and solve a very critical mystery involving some very dangerous criminals. Whilst on this superbly important mission, the spy finds time to fall in love with a very pretty girl. Luckily or unluckily for him, the girl's father seems to be one of the criminals he is after.



You might say the plot stinks, but in 1967, it did not. Though it was a slow starter, it sure did pick up after a couple of weeks. This is attributed to the really popular songs which featured in the film, one of them being Mast Baharon Ka main Ashiq. It's amazing what one single song can do for a film and all those involved - not only did it help in the reversal of the film's fate, it also catapulted the hero of the film, Jeetendra to instant fame. All thanks to Rafi Sahab! He has done the vocals and has played a major hand in creating the superstar named Jeetendra. This song has been done so well by him - it has made his voice immortal. Also, in this song he varies from his studiedly conventional songs to something really wild and the "cuckoo" really is something delightful.

This was the song that gave him his jumping jack image - which stands even today. In the song, you see a very energetic Jeetendra prancing about with a very svelte Aruna Irani. They get so carried away that at one point in the song he pulls her out from between his legs! In those days, this was a rather daring and sexy move. Whilst we are recounting how important this song was for Jeetendra, how can we forget mentioning that this is the song which first featured his famous white shoes?

The music for the song has been composed by Lakshmikant Pyarelal and they have not disappointed in the least. In fact, it is one of their most famous creations. It has a little bit of swing, jazz and Bollywood - a cocktail which seems to worked extraordinarily. A rather long song, you won't know where the time flew because the music has been so beautifully and perfectly composed. And kudos to the pair for the wonderfully and strategically placed "cuckoo" in the song.



To accompany the great music, lyrics were provided by Anand Bakshi. It is indeed needless to say how well the lyrics fit the character and song - a match made in Bollywood heaven. It just personifies the hero's mood and is an excellent example of Anand Bakshi's talent.

All in all, a song which achieved fame and success for all those who helped create it. Beautifully done and a soon to be collector's special for its beauty.

http://www.mohdrafi.com/audio-songs/totally-mast-mast-baharo n-ka-main-aashiq.html

Yeh Desh Hai Veer Jawanon Kaa

This article is in appreciation of the song Yeh Desh Hai Veer Jawanon Ka from Naya Daur. mohdrafi.com

It is the rhythm of the rural India where the golden grains sow the seeds of prosperity, where the hardworking couples pray to the Mother Nature with their sweaty hands, and where the children taste the saltiness of the soil in their early days, that can be experienced throughout this song.

The song unveils the celebrations of the 'Shravan' when each villager gathers in the central place to celebrate the year's best days. They forget about their worries and famines. Now it is Shravan, the month of prosperity. If they don't enjoy now, then when?

Here, there is no difference between Hindu, Muslim or Sikh. The Shravan is the same for all, so is the celebration. The united spirit of India is seen best in villages. It is this harmony that once prevailed in those villages that created a nation of Veer Jawans (Brave Soldiers).

The movie Naya Daur (A New Road) is not just an entertainment piece. It is considered as one of the classic Indian movies of the 20th century, with its extraordinary plot of a cart racing. Shankar, the cart racer (Dilip Kumar), had to race his horse carriage against a bus in order to unite the divided village, and the thme of the story is that he wins over all the challenges.

Sahir Ludhyanvi composed the beautiful lyrics for this song that created a sensation in the hearts of the proud Indian of the mid-twentieth century with its beautifully drawn village panorama. The typical Punjabi music tone of the singers Mohammed Rafi and Balbeer added the perfect symphony to the beats of the drums. It is not only the rhythm of the music, but also the dance movements of the village girls and the turban-clad farmers that made the combination of the music and the dance work in perfect harmony.

Dilip Kumar, the hero of the movie, is leading the song along with Ajeet. The female cast is played by the old beauty queen Vyjayantimala. The movie unveils a very relevant social theme. The village in which Dilip Kumar works as a horse carriage puller had to face a new challenge when the son of their old employer takes over the farming with his innovative business plans. The villagers suffered owing to the loss of jobs due to the commercialisation as well as exploitation by the new employer. Dilip Kumar faced his worst moments in life when the employer introduced a bus in the village and he lost his earning from the horse carriage. The climax of the plot is unveiled when Dilip Kumar wins over the employer after winning a race against the bus using his horse carriage.

The movie unveils a typical romantic saga also. The scene of the romantic fields waiting for a shower from the rain gods and the roads that witness the active movements of the village symbolize the thriving energy of the villagers. In the song 'Yeh Desh Hai…' we can see this spirit of the villagers who live each moment of their lives with maximum spirit. It is aptly said that India lives in villages.

yayyyyy we completed 150 pages finally!!👏 wooohoooooo!!!

alright so last article for today...

Happy Holi: Tan Rang Lo Ji Aaj Man Rang Lo

This article is written by mohdrafi.com. Happy Holi to all Rafians. Tan Rang Lo Ji Aaj Man Rang Lo, Khelo, Khelo Umang Bhar Rang Pyaar Ke Lelo, Ranglo.

A vibrant splash of colors marks the iconic recall of this prominent festival of India – Holi. Celebrated every year on the Purnima (full moon day) of Phalgun (one of the months according to Hindu calendar falling between February - March), Holi boasts of more than one explanation to rejoice and frolic. Holi has religious significance for Hindus who celebrate the triumph of goodness over evil through this festival. Holi is also celebrated as 'the spring festival' or 'Basant Utsav', representing the end of chilly winters and the doorstep to the blooming spring season. Dulandi Holi, Rangpanchami, Dol Purnima, Hola Mohalla, Shimgo, Kaman Pandigai, Phagu Purnima and Lathmaar Holi are the various names of this festival that vary from state to state in India, marking the vast diversity of Indian land unified in a strong bond by this festival.

Spanning for two days, namely 'Dulhandi' or 'Holika Dahan' (Holi eve) and Holi or 'Dhuleti', the celebrations of Holi start almost a fortnight before its eventual arrival. The local markets swarm with gulal (color powder in red, green, yellow, pink, orange etc.), Pichkari (water sprinklers), water balloons, variety of other color forms et al, to serve Holi pranks. The formal celebrations of Holi, however, inaugurate with a bonfire on Holi eve, also called 'Holika Dahan'. The bonfire popularly corresponds to the Hindu epic of devotional excellence exemplified by demon king Hiranyakashyap's son Prahlad, who was saved from similar fire unhurt by his venerated Lord Narayana, when king's sister Holika tried to burn him to death. The consecutive morning marks the main Holi celebrations with smearing of gulal and relish of delicacies like Gujiya, Mathri, Malpuas, puranpoli, dahi badas, etc. Children and prankster adults however extend the tradition beyond simple spray of gulal and water to drenching each other with buckets full of water and use all kinds of tough colors, even silver and golden paint in fewer cases. The festival is also viewed by many as a chic opportunity to flirt around unchecked and romance. Thandai or pakoras mixed with Bhang (herbal intoxicant) is another typical feature associated of Holi celebrations, symbolizing the ancient tradition of pure enjoyment and naughtiness attached with the festival.

The traditions of celebrating Holi throughout India are as diverse as the colors that constitute the vibrant Holi. While people in metropolitans and cities celebrate spray of colors with feasts, dance and dholak, folks in Barsana and Nandgaon (the places associated with the birth and childhood of Lord Krishna) revive the classic Lathmaar Holi every year. While women in Haryana play the revengeful Dulandi Holi with their devars, people in Maharashtra and Gujrat form human pyramids to break pots full of buttermilk hung high on the streets. On the other hand, south Indians worship Kaamdeva (god of love as per Hindu mythology) to regard his sacrifice to evoke worldly interests in Lord Shiva.

The spirit of Holi is the same in all parts of the country, irrespective of the fashion of celebration in each area. The 'festival of colors' quite naturally enjoys national importance as the vivacity of colors unfailingly wins over hearts across cultures and religions to participate with equal fervor during this festival.

All the articles previously posted are mostly about Rafi sahab and they are written by his fans!!! So enjoy reading them!! Its great to see all those legends and the way they have contributed to the indian music industry.They all rock and we're all proud of them. Their songs are ever green!! 👏

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