Mohd. Rafi Sahab

MOHAMMED RAFI the paragon of humility, greatness and piety, all put together. A voice that left a landmark in the world of music. A stalwart who was unparalleled be it his style of singing, or the varying emotions he portrayed in the songs that suited every actor that he play backed for. 25 years have passed by and the reverberation of his voice or his songs continues like the waves that hit the seashore leaving behind a trail of finest silt of impressions in our hearts.

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Mohammed Rafi

Background information

Born December 24, 1924

Kotla Sultan Singh,Punjab, British India

Origin Indian

Died July 31, 1980 (aged 55)

Mumbai,Maharashtra, India

Genres Indian classical,ghazal, playback singing

Occupation

s

Hindi and regional playback singer

Instrument Vocalist

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s

Years

active

1944–1980

Mohammed Rafi (Hindi: मो�हम्मोद रफ़ी�, Urdu:  رفیع محمد ; December 24, 1924 – July 31,

1980), was an Indian playback singer whose career spanned four decades.[1] He

won several awards including Padma Shri, 5 National Awards and 6 Filmfare

awards.

Rafi was also capable of singing Bhajjans and Qawalis. He sang in many Indian

languages

including Hindi, Konkani, Urdu, Bhojpuri, Punjabi, Bengali,Marathi, Sindhi, Kanna

da, Gujarati, Maghi, Mathili, Assamese and Telugu. He also recorded a

few English and Persian songs.

Early years and background

Mohammed Rafi was born the youngest of six sons of Hajji Ali Mohammad at Kotla

Sultan Singh, a village near Amritsar in Punjab (British India).[2] Rafi, whose

nickname was Pheeka, started singing by imitating chants of a fakirin his village.[2] In 1935-36, Rafi's father moved to Lahore, and the rest of the family followed

later. Rafi's family owned a men's salon in Lahore's Noor Mohalla.[3] It was

his brother-in-law Mohammed Hameed who spotted the talent in Rafi and

encouraged him. Rafi learnt classical music from Ustad Bade Ghulam Ali

Khan, Ustad Abdul Wahid Khan, Pandit Jiwanlal Matto and Firoze Nizami.[4][5]

Rafi's first public performance came at the age of 13, when he was allowed to sing

at a concert featuring K. L. Saigal.[4] In 1941, Rafi, under Shyam Sunder, made his

debut as a playback singer in the duet "Soniye nee, Heeriye nee" with Zeenat

Begum in the Punjabi film Gul Baloch (the film was released in 1944).[6] In that

same year, Rafi was invited by All India Radio Lahore  station to sing for them.[7] He

made his professional debut in the Shyam Sunder-directed 1941 film Gul Baloch

and the Bombay film, Gaon Ki Gauri, the following year.

Initial days in Bombay

In 1944, Rafi moved to Bombay (now Mumbai), where poet Tanvir Naqvi

introduced him to some of film producers including Abdur Rashid

Kardar, Mehboob Khan and actor-director Nazeer.[3] Rafi's first song with Naushad

was "Hindustan ke hum hain" with Shyam Kumar, Alauddin and others, from A. R.

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Kardar's Pehle Aap (1944). Around the same time, Rafi recorded another song for

the 1945 film Gaon ki Gori, "Aji dil ho kaaboo mein". He considered this song his

first Hindi language song.[7] In 1945, Rafi married his cousin Bashira, nicknamed

"Majhi", in his village.[2]

In 1945, Rafi appeared on the screen for the song "Tera Jalwa Jis Ne Dekha" in the

film Laila Majnu.[7] He sang a number of songs for Naushad as part of the chorus,

including "Mere sapnon ki rani, Roohi Roohi" with K. L. Saigalfrom the

film Shahjahan (1946). Rafi sang "Tera Khilona Toota Balak" from Mehboob

Khan's Anmol Ghadi (1946) and a duet with Noor Jehan in the 1947 film Jugnu,

"Yahan Badla Wafa Ka". Following the Partition of India, Rafi decided to stay in

India and had his family flown to Bombay.

In 1948, Rafi sang "Suno Suno Aye Duniya Walon Bapu Ki Ye Amar Kahani",

written by Rajendra Krishan. He was invited by the Indian Prime

Minister, Jawaharlal Nehru, to sing at the latter's house. In 1948, Rafi received a

silver medal from Nehru on the Indian Independence Day. In 1949, Rafi was given

solo songs by music directors such as Naushad, (Chandni Raat, Dillagi and Dulari)

Shyam Sunder (Bazaar) and Husnalal Bhagatram (Meena Bazaar).

Rise to fame

Rafi's association with Naushad helped the former establish himself as one of the

most prominent playback singers in Bollywood.[7] Songs from Baiju Bawra (1952)

like "O duniya ke rakhwale" and "Man tarpat Hari darshan ko aaj" furthered Rafi's

credentials.[6] Naushad, who heretofore had been using Talat Mahmood for his

songs, began favoring Rafi as the male voice in almost every song he composed.

Rafi would sing a total of 149 songs (81 of them solo) for Naushad.[8]

In the late 1950s and 1960s, Rafi found favor with other notable composers of the

era such as O. P. Nayyar,Shankar Jaikishan and S.D. Burman. Burman patronized

Rafi as the singing voice of Dev Anand.[9] Rafi worked with Burman in movies

like Pyaasa (1957), Kaagaz Ke Phool (1959), Tere Ghar ke

Saamne (1962), Guide (1965), Aradhana(1969), and Abhimaan (1973). O. P.

Nayyar was so impressed with Rafi that he got Rafi to sing a song Man mora

baawara for singer-actor Kishore Kumar, in the movie Raagini. Later, Rafi would

sing for Kishore Kumar in movies such as Baaghi, Shehzaada and Shararat Nayyar

employed Rafi and Asha Bhosle for most of his songs. The team created many hit

songs in early 1950s and 1960s for movies such as Naya Daur (1957), Tumsa

Nahin Dekha (1957), andKashmir Ki Kali (1964). Rafi sang a total of 197 numbers

(56 solo) for Nayyar.[10]

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Rafi and Shankar Jaikishan were one of the most successful singer-music director

pairs in the Hindi film industry. Under the baton of Shankar Jaikishan, Rafi

produced his songs for actors like Shammi Kapoor and Rajendra Kumar. Out of six

Filmfare awards, Rafi won three for S-J songs, viz., Teri pyari pyari soorat ko,

Baharon phool barsao, and Dil ke jharokhe mein. The iconic song Yahoo! Chahe

koi mujhe junglee kahe was sung with aplomb by Rafi, only to be matched a fast-

paced orchestra and a composition by Shankar Jaikishan. S-J made Rafi give

playback for Kishore Kumar in the film Sharart (Ajab hai daastan teri yeh zindagi).

Rafi sang a total of 341 numbers (216 solo) for Shankar-Jaikishan.[8] Among the

successful films of this combination, are Basant Bahar, Professor, Junglee, Suraj,

Brahmachari, An Evening in Paris, Dil Tera Deewana, Yakeen, Prince, Love in

Tokyo, Beti Bete, Dil Ek Mandir, Dil Apna Aur Preet Parai, Gaban, Jab Pyar Kisi Se

Hota Hai.

Rafi got his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960),

composed by Ravi. He got National Award for the song Babul Ki Duaen Leti

Ja from the film Neel Kamal (1968), also composed by Ravi. Ravi and Rafi

produced several other hit songs, in the films China Town (1962), Kaajal (1965),

and Do Badan (1966). Madan Mohanwas another composer whose favorite singer

was Rafi. Rafi's first solo with Madan Mohan in Ankhen (1950), "Hum ishq mein

barbad hain barbad rahenge", was a hit.[7] They teamed up to produce many songs

including "Teri Aankhon ke Siva", "Rang aur noor ki baraat", "Yeh Duniya Yeh

Mehfil" and "Tum Jo Mil Gaye Ho". The composer duoLaxmikant-Pyarelal ("L-P")

also patronized Rafi as one of their leading singers, right from their very first

film,Parasmani (1963). Both Rafi and L-P won the Filmfare Awards for the song

"Chahoonga main tujhe saanjh savere" from Dosti (1964). Rafi sang a total of 369

numbers (186 solo) for L-P.[8]

At one point Rafi stated that he was only so keen to sing with Lata Mangeshkar as

she was with him.[11][12] Later, at the insistence of S. D. Burman the two decided to

reconcile and sing duets; on a personal level, there was still tension. During his

last years, Rafi was involved in a controversy over Lata Mangeshkar's introduction

in to theGuinness Book of World Records. In a letter dated June 11, 1977 to the

Guinness Book of World Records, Rafi had challenged the claim that Lata

Mangeshkar has recorded the maximum number of songs ("not less than 25,000"

according to Guinness). After receiving a rather evasive reply from Guinness, in a

letter dated November 20, 1979, he wrote: "I am disappointed that my request for

a reassessment vis-a-vis Ms Mangeshkar's reported world record has gone

unheeded.".[13] After Rafi's death, in its 1984 edition, the Guinness Book of Word

Records stated Lata Mangeshkar's name for the "Most Recordings" but also

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stated: "Mohammad Rafi (d 1 Aug 1980) [sic] claimed to have recorded 28,000

songs in 11 Indian languages between 1944 and April 1980.".[14] Many fans of Rafi

state that he has sung over 28,000 songs. However, according to the available

figures, Rafi has sung 4,516 Hindi film songs, 112 non-Hindi film songs, and 328

private (non-film) songs from 1945 to 1980.[14] The Guinness Book entries for both

Rafi and Lata were later removed in 1991.

Between 1950 and 1970, Rafi was the most sought after singers in Bollywood.[15] He sang for all the major male stars in Hindi films.[16] In 1965, he was honoured

by the Government of India with the Padma Sri award. Rafi recorded two Hindi

songs in English on 7" release in 1968. He also sang a song in Creole while on his

visit toMauritius in the late 1960s.[4] Rafi recorded two English albums as well.

One of them is Pop Hits. In Bollywood,yodeling is generally associated

with Kishore Kumar but Rafi introduced yodeling in Indian film as playback

singing. Rafi yodeled in some of his old songs, such as "Hello sweety seventeen"

(duet with Asha Bhosle), "O Chale ho kaha", "Dilke Aine main", and "Unse Rippy

Tippy Ho gayee" (duet with Geeta Dutt).

Last years

In early 1970s, Rafi fell ill and recorded fewer songs.[17] At The same

period Kishore Kumar's popularity increased due to the songs he sang,

controversially, for the film Aradhana in Mohd Rafi`s absence during

Rafi's Hajj pilgrimage in 1969.[11][18] The music for Aradhana was composed by S.

D. Burman, and he had used Rafi as the male playback voice for the first two

recorded duets, "Baaghon Mein Bahaar Hai" and "Gunguna Rahen Hain Bhanwre".[9] After these two recordings, S. D. Burman fell ill and his son and assistant, R. D.

Burman, took over the recordings. R. D. Burman got Kishore Kumar to sing the

solos "Roop Tera Mastana" and "Mere Sapnon Ki Rani", which led to Kishore

Kumar's popularity. During 1971-1973, Rafi's musical output decreased; however,

he did deliver several hits.[19]Some of Rafi's popular songs of the early 1970s were

with music directors like Laxmikant Pyarelal, Madan Mohan, R. D. Burman and S.

D. Burman. These include "Yeh Duniya Yeh Mehfil" from Heer Ranjha (1970),

"Jhilmil Sitaron ka" from Jeevan Mrityu (a duet with Lata Mangeshkar, 1970),

"Gulabi Aankhen" from The Train (1970), "Yeh Jo Chilman Hain" and "Itna to Yaad

Hain Mujhe" from Mehboob Ki Mehndi (1971), "Chura Liya Hain Tumne"

from Yaadon Ki Baarat(a duet with Asha Bhosle, 1973), "Tum Jo Mil Gaye Ho"

from Hanste Zakhm (1973), and "Aaj mausam bada beimaan hai"

from Loafer (1973).

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Rafi made a comeback as a leading singer in the mid-1970s. In 1974, he won the

Film World magazine Best Singer Award for the song "Teree Galiyon Mein Na

Rakhenge Qadam Aaj Ke Baad" (Hawas) composed by Usha Khanna.[8]In 1977, he

won both Filmfare Award and the National Award for the song "Kya Hua Tera

Wada" from the movieHum Kisi Se Kum Nahin, composed by R. D. Burman.[9] Rafi

sang for Rishi Kapoor in films like Amar Akbar Anthony(1977), Sargam (1979)

and Karz (1980). The qawwali "Pardah Hai Pardah" from Amar Akbar

Anthony (1977) was a superhit. Rafi's notable renderings in the late 1970s and

early 80s include Laila

Majnu (1976), Apnapan (1978),Qurbani, Dostana (1980), The Burning

Train (1980), Naseeb (1981), Abdullah (1980), Shaan (1980), and Asha (1980).

On Thursday, July 31, 1980, Rafi died at 10:50 p.m., following a massive heart

attack.[20] His last song was "Shaam phir kyun udaas hai dost" (Aas Paas), which he

had recorded with Laxmikant-Pyarelal few hours before his death.[21][22] He was

survived by four sons (Saeed Rafi, Khalid Rafi, Hamid Rafi, Shahid Rafi), three

daughters (Parveen, Nasreen, Yasmin) and 18 grandchildren.

Rafi was buried at the Juhu Muslim cemetery. In 2010, his tomb was demolished

to make space for new bodies. Fans of Mohammed Rafi who arrive twice a year at

his tomb, on December 24 and July 31, to mark his birth and death anniversary,

use the coconut tree nearest to his grave as a marker.[23] Mohammed Rafi was

known for his altruistic behavior,[24] which was exhibited on several occasions.

After death

Postage stamp issued by Indian government in honour of Rafi

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On Rafi's death, the government of India announced a two-day public holiday in

honour of him.[25]

Rafi's song from the film Gumnaam (1965), "Jaan Pehechan Ho", was used on the

soundtrack of Ghost World (2001). The film opens with the lead character dancing

around in her bedroom to a video of Gumnaam.[26] His "Aaj Mausam Bada Beiman

Hai" is featured in the 2001 film Monsoon Wedding.[27] Several of Rafi's unreleased

songs will be used for an upcoming film titled Sorry Madam.[28] Also, his song "Ye

duniya agar mil bhi jaaye" from Pyaasa (1957) was re-mixed and used as the

theme for the 2009 film Gulaal.

A documentary about Rafi’s life is under production by The Films Division of India.[29]

In the summer of 2008, the City of Birmingham Symphony Orchestra released a

double CD entitled Rafi Resurrected comprising 16 songs by Rafi. Bollywood

playback singer Sonu Nigam provided the vocals for this project and toured with

the CBSO in July 2008 at venues including the English National Opera in London,

Manchester's Apollo Theatre and Symphony Hall, Birmingham.[30] On September

22, 2007 a shrine to Rafi designed by artist Tasawar Bashir was unveiled

in Birmingham. Bashir is hoping that Rafi will attain sainthood as a result.[31]

The Padma Shri Mohammed Rafi Chowk in the Bandra suburb of Mumbai and

Pune (extending MG Road) is named after Rafi.

News:“Mujhe Darde Dil Ka Patha Na Tha Mujhe Aap Kis Liye Mil Gaye, Main Akela Yoon Hee Majhe Main Tha Mujhe Aap Kis Liye Mil Gaye”

About Rafi

For those people, who don’t know Mohd Rafi, I Quote that he is the only legendary singer in Indian Film Music. Following is about his life, his birth, his singing career etc..,

Rafi was born on 24th December 1924 in Kotla Sultan Singh, Amritsar, in a middle class Muslim family. His elder brother, Janab Hamid Sahab, was the first to take notice of the divine gift in Rafi’s voice. He decided

to concentrate all his efforts in providing all the support needed by his brother to make it big in the music world.

At the age of seven, Rafi learnt Hindustani Classical music under the renowned Ustaad Bade Gulam Ali Khan and Vahida Khan.

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time, Mohd Rafi has sung more than 26,000 superhit songs.

Mohd Rafi started his career at the age of 20, with a punjabi song, Soniye Hiriye, teri yaad ne bahut sataya for the movie Gul Baloch, which was released on 28th February, 1944. The producer was Sham Sunderji, who was very much impressed by Rafi’s style of singing and did not think

twice on booking Rafi for all his future films. In 1944, Rafi was very famous as a singer. Many of his songs were sung by youths and school-going kids. Rafi was invited by Nasir, a well-known actor of those times to Bombay. From this point, there was no turning back. Rafi sang for Shamji Sundarji’s production Gaon Ki Gori. This movie was also a great hit. With this hit, Rafi was called Play Back Singer. He was famous and settled play back singer around 1948.

K.L.Saigal & Pandit Paulsikar had no words for Rafi’s praise. When Mahatma Gandhi was assassinated, Rafi sang a song Suno Suno Ay Duniya Walon, Bapu ki Yeh Amar kahani

written by Rajinder Krishan and music by Hunslal Bhagatram, which touched everyone and was a great hit.

Whenever there used be a fusion of Naushad’s music, Shakeel Badayuni’s lyrics and Rafi’s voice, that number would become super-duper hit. These three were quite a team then. Their songs were being heard in all corner of the streets. In fact, those songs are still equally melodious now.Rafi had several

opportunities to sing in public. The range of Rafi’s voice was very very high. This is noticeable from the number O Duniya Ke Rakhwale from the movie Baiju Bawara. Naushad was very impressed by Rafi’s performance.

Rafi Sahab receiving the National Rajat Kamal Award from President Sanjiva Reddy for his song

‘Kya Hua Tera Vaada’ in the film ‘Hum Kissise Kum Nahin’ in 1977. Rafi could sing any type of song. Let it be pop, qawali, bhajan, gazal, romantic, rock’n'roll, light music, slow numbers, sad song, parody, fast numbers…, anything he was remarkeable. He was the first to fit into the playback singer role in a convincing way. His voice enhanced the brilliance of actors like Dilip Kumar. We could feel Guru Dutt’s heart beat when he sang Badi Dekhi Zamane Ki Yaari.

Rafi Sahab was honored by the Indian

Government in 1965 with the

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prestigious PadmaShree Award. Here he is seen with PresidentZakhir Hussain at the award

ceremony in New Delhi.

With the start of the famous Binaca Geet Mala in 1952, the program aired the immortal songs of the film Baiju Bawra and this really launched Rafi as a popular singer for all ages. Thousands of request for Rafi’s songs poured into Sri Lanka Radio. If he stylised his voice for the Dev Anand’s mannerisms, he took the job of instilling emotions in deadpans Suhani Raat Dal Chukhi in Dulari. It would not be an exaggeration to say that actors like Shammi

Kapoor owe their career to this little man with the Voice of God.

No singer at that time or even now in this era, can match Rafi. Rafi’s singing style was so simple, that nobody could imitate it. Even if they tried, they were not successful. His verstality was very different and way too impressive. His contemporaries were either ineffective in this front or were unwilling to compromize.

All this was about his singing carreer. But as a person, he was much more. Rafi did not imitate any one nor did he stop any one from imitating him. Where there was cut-throat pressure, Rafi was always totally with himself. Through out his carreer Rafi has not been accused of anything. Nor did he stop any new singer from taking his position. He was such a whole-hearted person, who would agree to sing for producers who could’nt afford him in return to nothing. Listening to Rafi is like rowing down a

river in a moonlit night.

So, when your eyesfocus and your finger points to the Rafi album

displayed on the colorful rack alignedalong with Dhamakas and remixes, understand that it is nothing unnatural, just the triumph

of voice over noise.

Now, Rafi is not amongst us, but that divine voice and soul will never fade from this earth. He was, and remains, a major force in film music, the music of love, despair, hope, humor…etc. Rafi’s voice had the healing capability. His music is as calm, as raging, as deep, as beautiful. It is the manifestation of the goodness and the divine.

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Awards Rafi Won

From the following list, you will notice Rafi Sahab had been nominated for 22 songs out of which he won 6. He was nominated for the first time for Chaudavin Ka Chand, which he won and last for Mere Dost Quissa. He was not in the list for the year 1959.

Based on this we had few viewpoints:

Sajjad: The number (22) would have been much higher if Filmfare had started giving awards for the best Male playback before 1959.

Naveen: One more thing about filmfare awards. Till 1966 there was a single category called Best Playback Singer. It became Best Male and Best Female after 1966. So during the years from 1959 to 1966, apart from Mukesh’s 1 and Mahendra Kapoor’s 1 for all the other years when Rafi did not win filmfare it was Lata who got it. So that probably is yet another reason for less count as competition was even tougher.

Harold Hussain: I agree with Sajjad. I’m convinced that he would have won more filmfare awards if they would have started earlier with this. Surely he would have won in 1953 with Baiju Bawra. On the first award night, Rafi Saab performed the award winning songTu ganga ki mauj mein. Unfortunately there was no best playback singer award at that time, only the best music director award that was won by Naushad for this movie.

Honorary

1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal

Nehru, on the first anniversary of the Indian Independence Day.[7]

1965 - Honoured with the Padma Shri by the Government of India.

2001 - Rafi was honored with the "best singer of the millennium" by Hero

Honda and Stardust magazine in Mumbai on Jan 7, 2001. Rafi won with 70% of

the votes.National Film Awards

Winner:

Year Song FilmMusic

directorLyricist

1957 "Jinhen Naaz Hain Pyaasa Sachin Dev Sahir

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Hind Par" Burman Ludhianvi

1964[32] "Chahunga Main Tujhe"

DostiLaxmikant-Pyarelal

Majrooh Sultanpuri

1966[32] "Baharo Phool Barsao"

SurajShankar Jaikishan

Shailendra

1967[33]

[34] "Babul Ki Duaae " Neel Kamal Bombay RaviSahir Ludhianvi

1977[5] "Kya Hua Tera Wada"Hum Kisi Se Kum Nahin

Rahul Dev Burman

Majrooh Sultanpuri

Filmfare Awards

Winner:

Year

Song FilmMusic

directorLyricist

1960

"Chaudhvin Ka Chand Ho"

Chaudhvin Ka Chand

Bombay RaviShakeel Badayuni

1961

"Teri Pyaari Pyaari Surat Ko"

SasuralShankar Jaikishan

Shailendra

1964

"Chahunga Main Tujhe"

DostiLaxmikant-Pyarelal

Majrooh Sultanpuri

1966

"Baharo Phool Barsao" SurajShankar Jaikishan

Shailendra

1968

"Dil Ke Jharoke Mein" BrahmachariShankar Jaikishan

Shailendra

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1977

"Kya Hua Tera Wada"Hum Kisi Se Kum Nahin

Rahul Dev Burman

Majrooh Sultanpuri

Nominated:

Year

Song FilmMusic

directorLyricist

1961

"Husnwale Tera Jawab Nahin"

Gharana Bombay Ravi Shakeel Badayuni

1962

"Aye Gulbadan Aye Gulbadan"

ProfessorShankar Jaikishan

Shailendra

1963

"Mere Mehboob Tujhe"

Mere Mehboob Naushad Shakeel Badayuni

1965

"Choo Lene Do Nazuk Hothon Ko"

Kaajal Bombay Ravi Sahir Ludhianvi

1968

"Mein Gaaon Tum Sojaao"

BrahmachariShankar Jaikishan

Shailendra

1969

"Badi Mastani Hai" Jeene Ki RaahLaxmikant-Pyarelal

Anand Bakshi

1970

"Khilona Jaan Kar" KhilonaLaxmikant-Pyarelal

Anand Bakshi

1973

"Hum Ko To Jaan Se Pyaari"

NainaShankar Jaikishan

Hasrat Jaipuri

1974

"Achha Hi Huva Dil Toot Gaya"

Maa Bahen Aur Biwi

ShardaQamar Jalalabadi, Vedpal Varma

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1977

"Pardah Hai Pardah"Amar Akbar Anthony

Laxmikant-Pyarelal

Anand Bakshi

1978

"Aadmi Musaafir Hai" ApnapanLaxmikant-Pyarelal

Anand Bakshi

1979

"Chalo Re Doli Uthao Kahaar"

Jaani DushmanLaxmikant-Pyarelal

Varma Malik

1980

"Mere Dost Kissa Yeh" DostanaLaxmikant-Pyarelal

Anand Bakshi

1980

"Dard-e-dil Dard-e-jigar"

KarzLaxmikant-Pyarelal

Anand Bakshi

1980

"Maine Poocha Chand Se"

AbdullahRahul Dev Burman

Anand Bakshi

Bengal Film Journalists' Association Awards

Winner

Year FilmMusic

directorLyricist

1957Tumsa Nahin Dekha

O. P. NayyarMajrooh Sultanpuri

1965[35] DostiLaxmikant Pyarelal

Majrooh Sultanpuri

1966[36] ArzooShankar Jaikishan

Hasrat Jaipuri

Discography: Mohammed Rafi

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Romance: Chand Mera Dil

Solid Gold: A Treasure Trove of Masterpieces, Vol. 1

Sukh Ke Sab Saathi Dukh Mein Na Koi...

Rough Guide to Bollywood Legends: Mohd. Rafi

Terra Di Giubba

Terra Di Giubba

Immortality: Commemorating the 25th Death Anniversary of the Immortal Voice

Dard, Vols. 1-2 Golden Collection

 

Rafi’s Mansion

Here is the address of Rafi Sahab’s residence in Mumbai.

Rafi MansionPlot No. 43,28th Road,Bandra,Mumbai -50MaharashtraINDIA

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Rafi’s Last Interview

This interview of Rafi Sahab is by Jyothi Venkatesh. It appeared in the Star & Style

magazine – Aug 22 – Sept 4, 1980.

Little did I realize that this meeting would be Rafi’s last ever interview to the

press. He spoke in chaste Urdu to me. Rafi was one of the few filmland celebrities

who belonged to the old school of discipline. At the dot of the appointed time, Rafi

was waiting for me, after doing his riyaz in the morning.

Rafi always felt that though singing was a God given gift, to maintain your voice

is tough. From the year 1942, I have been in this line. I have had my ups

and downs. Riyaz is a must if you want to preserve the quality of your

voice. I do not smoke, I do not touch liquor. I am pained to see before my

eyes, some singers who, after giving one hit song, start acting big only to

fall down with a thud soon after.

A humble and publicity-shy celebrity, Rafi’s formula for success was a

characteristic, Humility. It is a must for one to be successful in any

field. Resorting to Urdu he explained, Kisika dil hamne kabhi dukhaya nahin.

Jo kisika dil ko dukhata hai, woh kabhi tarakki nahin karega, zindagi

mein.

Rafi was born on December 24, 1924, in Punjab’s Amritsar district. At a very

young age, he showed an aptitude for music and he was sent to train under

renowned maestro, Ustad Abdul Waheed Khan of Kirana. How he became a

playback singer was described by him as follows:

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Ab aap ko main kya kya bataoon? I am a native of Lahore. I belong to a

very orthodox and conservative Muslim family. I used to sing at friends’

places when I was only 15. During one such occassion, Nasir Khan one of

the top producer-actors at that time, spotted me and offered to take me to

Bombay and groom me as a singer in films.

Khansaab had asked my father for his permission. My father had refused the offer

point blank since he frowned upon the very idea of my taking up singing in films

as a career. I was being trained in classical music at that time by my guru Ustad

Abdul Waheed Khan of Kirana. When Nasir Khan persisted with the offer my elder

brother convinced my Abaajaan to let me go to Bombay. With great reluctance my

dad agreed to my pursuing a career as a singer in films.

I made by debut as a playback singer in 1942, with ‘Laila Majnu’, a Nazir –

Swarnalatha starrer. The late Pandit Govindram was the music-director of the

film. I sang a qawwali as part of the chorus. I had even done a bit role in the film.

Later on, I acted in films like ‘Samaj Ko Badal Dalo’ and ‘Jugnu’. In ‘Gaon Ki Gori’,

I sang a duet with Noor Jehan under baton of music-director Shyam Sunder.

Before his death, the singer voiced his disillusionment with the music-directors

today. Rafi seemed to be visibly pained that music-directors sign films by the

dozen, as a result of which the quality of music in films has deteriorated. Very few

music directors today work with dedication on their tunes and compose

memorable music like Laxmikant Pyarelal did in ‘Sargam’. Most of the

others are in this field only to make a fast buck by copying foreign tunes

and plagiarising other composers’ tunes.

And lapsing into a flash-back of those good old days, Rafi had launched into a

tirade against film-making today and the role of the music director. Film-making

wasn’t merely a business proposition during those days when institutions

reigned supreme and free-lancing hadn’t become popular in the film

industry. Believe it or not, I used to be paid a meager amount of Rs. 75/- in

those days for one song!

When I entered the line, there were, of course, popular singers like Saigal

Saab, G.M.Durrani and Khan Mastan. Unka Khoobi yeh tha janab ki

instead of considering me as yet an other competitor they encouraged me

to give my best. In fact I remember the first time I met Saigal Saab at

Lahore where he had come to give a concert on the stage. The mike had

failed at the last minute. While it was being set right, I was asked to keep

the audience engaged by singing a couple of songs. I was only 15 then. I

had not yet met Nasir Khan or Shyam Sundar. Saigal Saab blessed me that

day and predicted that a day would come when I would be a sought after

singer.

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Melody and classical training were primary in the beginning when I set my foot in

the field of film music in the early forties. Today, however, music has degenerated

into just shor! In those days, I remember we singers used to help interlude music,

whereas today it is the other way round. A situation has come today when the

musical interludes help playback singer.

Perhaps not many are aware of the fact that Rafi wasn’t a Shylock where his

payments were concerned. Unlike Kishore Kumar who won’t sing unless and until

he is paid his remuneration before the recording, Rafi is said to have sung even for

a token amount of one rupee! Though I insist on being paid my price by

commercial film-makers who can afford it, I sing for small budget films,

including regional films, for a much lower price. Money isn’t the only

criterion for me to accept a film. Out of my earnings, I keep aside a sizable

amount for charitable purposes but I prefer not to tom tom it because I do

not want to seek publicity for those acts.

In spite of several years of experience in the field, Rafi never composed music for

any film. In fact, producer-director S. Mukherjee had asked me to compose

music for one of his films, sometime back. I turned down his offer because

it is my firm belief that one should be perfect in only one field. Look at

Talat Mahmood. He took up acting and after he could click neither as a

singer nor as an actor.

 

The late Mukeshbhai took up production and lost heavily when the films

he made flopped. If I were to agree to compose music for film today, the

other music directors would start feeling that I might steal their tunes for

my own films and hence they might even stop assigning me the job of

singing for them.

Unfortunately, Khuda willed otherwise and took Rafi away at a time when he was

once again emerging as a force to reckon with, with films like “Hum Kisise Kam

Nahin”, “Amar Akbar Anthony”, “Sargam” and “Mr. Natwarlal”, after his forced

exile in the early seventies when Kishore Kumar had taken over from Rafi.

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