Khayyam and Jaidev’s relationship with Mohammad Rafi

Khayyam and Jaidev’s relationship with Mohammad Rafi

When we visualise the golden era of music in Indian cinema we primarily think about the giant music directors like Shankar Jaikishan, Naushad, etc., or lyricists like Shakeel Badayani, Shailendra, Majrooh Sultanpuri or singers like Rafi, Lata who made major contribution to the music of that age. Among the legendary giants there were other composers who composed music for less number of films but created their identity and everlasting appeal even with the less number of compositions. Jaidev and Khayyam are two composers who received numerous awards for their classic performance and still remain few of the offbeat composers without whom the firmament of music would be colourless.


Jaidev who came to Bombay initially from Ludhiyana to become an actor learnt music from K. Jaokar and Janardan Jaokar and Ustad Ali Akbar Khan and after ashort span of stay in his home town Ludhiyana, returned to Bombay with his immense command of folk and classical music. As he initially worked with Navketan Banner, he got a scope of working with SD Burman also. His debue with Chetan Anand’s film Joru Ka Bhai, 1955, gave him opportunity to compose independant music but he got recognition with the film Humdono in 1961.


Humdono was also the starting point of Jaidev’s relationship with the man with the golden voice, Mohammad Rafi. The unique style of Jaidev included his tunes which appeared not to end with the antara or the sanchari and uniting them with the mukhra unlike other composers. Rafi’s voice had the effect of sedative which doctor’s prescribe for patients who cant sleep in the song “Abhi na jao chor kar, ki dil abhi bhara nahi” in Hum Dono. The way Rafi pronounced adhuri yaas, hardly any playback singer can think even today. The emotions of the character were kept intact and the musical value of the song was enhanced by Rafi in a tremendous way in Humdono. The ghazal in the film “kabhi khud pe kabhi halat pe rona aya” can be categorised as one of the ten best ghazals Rafi did sing in his life. At the same time the other song “main zindagi ka saath nibhata chala gaya” which showed the carefree attitude of Dev Anand, who got admitted in military in the film, had the effect of santoor and the prelude and interlude followed the main song of Rafi that music lovers even memorised them as a song itself. Lata Mangeshkar’s performance in the song “Allah tero naam” in raag gara was probably one of her best performances ever. Jaidev’s return path of the sanchari was again evident in the classical bhajan which is still sung sometimes as prayer song at other times in temples and places of worship. The other film he composed music for include Mujhe Jeene Do, 1963, where Lata’s song “Nadi nare na jao sham” became hit. As it was female oriented film with Wahida Rehman providing the lead performance there were hardly sequences for male songs.


In the other film Kinare Kinare, in 1963, Jaidev asked Rafi to sing duet song with Usha Mangeshkar titled “maya anchal jale kaya ka abhiman”. His other notable songs for Rafi include “aaj ki raat hai bus jalwa dikhane ke liye” and “roop ki dhoop to dhalke rahegi” from the film Jiyo Aur Jeene Do, in 1969. Both were successful with Jaidev’s folk effect in the respective songs.


In the 1970s, Jaidev shifted towards Ghazal singer Bhupinder Singh for most of his songs, with “Do Diwane Shahar Me” and “Ek Akela is shahar me” from the film Gharonda, 1977, directed by Gulzar with Amol Palekar in the lead role. Runa Laila’s song “tumke hona ho mukhko to itna yakeen hai” looked like it was never going to end with the brilliant lyrics of gulzar. The violin was played so brilliantly in the song “Ek akela is shahar me” depicting urbanised folk songs, that it identified the pathos of Jaidev who was a loner in life. The other successful film of Jaidev included Dooriyan, 1979, acted by Uttamkumar and Sharmila Tagore. There Bhupinder Sing’s song “Zindagi zindagi o mere ghar ana ana zindagi” and “zindagi me jab tumhare gham nahi the”showed Jaidev’s unconventional movement in the rise and fall of the antara and sanchari. Jaidev along with Madanmohan had composed music for Rishi Kapoor’s film Laila Majnu, 1977, where Rafi’s songs “barbad muhobbat ki dua saath liye ja”, “is reshmi pazeeb ki jhankar ke sadpe”, “likhkar tera naam zameen par” were superhits and marked Rafi’s tremendous combination with Rishi Kapoor.

Jaidev received national award for the brilliant composition of music in the films Reshma Aur Shera, Gaman and Ankahi, most of which included Rajasthani folk music. Jaidev never got the recognition which he deserved. It is a pity that Jaidev got a scope of composing music for female oriented films where he made the best use of Lata Mangeshkar, because Rafi could have made enormous contribution to Jaidev’s remote style of music composition. Even then the combination of Rafi and Jaidev carry enormous musical value for music lovers across the country.


Khayyam better known as Mohammad Zahur Khaiyyam is the other music composer, who had such an immortal appeal in his compositions, yet had not received the recognition he deserved. He was born in Jullundher, Punjab in 1927, and learnt music from Pandit Amarnath and Hunslal Bhagatram. Khayyam initially used Tala Mehmood in the song “Sham-e-gham ki kasam” in Dilip Kumar’s Footpath, 1954, where he made his debue and Mukesh in the songs “Woh subah kabhi to ayegi” and “phir na kije meri gustaq nigaho ka gila” in Raj kapoor’s Phir Subah Hogi, 1958. Although Rafi had one song “jo bor kare yar ko us yaar se touba” in Phir Subah Hogi, 1958 where it was a duet with Mukesh singing for Raj Kapoor and Rafi singing for Rehman.


But Khayyam acknowledged the golden voice of Rafi in the film Shola Aur Shabnam, 1961, where most of the lyrics were written by Kaifi Azmi and Rafi’s songs “dhunti rehti yeh ankhe mujhme”, “jeet hi lenge bazzi hum tum”, “pehle to aankh milna”, “phool ko dhoonde pyaasa bhawra” had a soft, passionate flavour of the soil of mountains. The songs were picturised on Dharmender. In the film Shagun, 1964, the song “parbaton ke paron par sham ka basera hai” sung by Rafi carried the intoxicating appeal of Khayyam. The next film Mohabbat is ko kahte hai, 1965, picturised on Shashi Kapoor had a fantastic duet song of Rafi and Lata titled “thehriye hosh me alun to chale jaiyega” which was a form of a poetry where each of the poets answered one another. In Akhri Khat, in 1966, Rafi’s song “aur thori der theher” had the same folk effect of Khayyam. Lata Mangeshkar was brilliant with her performance of “baharo mera jeevan bhi sawaaro” and “mere chanda mere nanhe” in the same film.


In the 1970s, Khaiyyam composed music in lesser films but again came up with creative music and received the filmfare award for composing music for the film Kabhi Kabhi, 1975, where the title song written by Sahir Ludhianvi and sung by Mukesh and Lata were well acclaimed by music lovers of India. His composition in Umrao Jaan, 1981, brought him the second filmfare award and amazed the musical pandits with classical mujra, which became extinct from bollywood music at that time. His songs in the film Bazaar, 1982, picturised on Nasiruddin Shah, titled “karoge yaad to” had ghazal andaz and Bhupinder Singh was sublime with his performance.


As Khayyam, like Jaidev, composed music in mostly offbeat films their presence was felt whenever the directors came up with thoughtful stories, powerful direction and rich lyrics. Although they have provided less number of songs for Rafi but the creations of the combination should be restored for the epic value of the folk and classical effects in the songs.


*************************************************************************************

1.

Bhupinder Singh in his TV interview in DD1 Channel said he was an absolute admirer of Rafi. He said he got a scope of acting in Chetan Anand’s Haqeeqat, 1964 where the songs were composed by MadanMohan. There was a song “hoke majboor usne bulaya hoga” which had to be sung by Bhupinder, Tala Mehmood, Manna Dey and Rafi. He wanted to share the microphone with Rafi. As Rafi was shorter in height than Bhupinder a tool was provided during the recording to match both Rafi and Bhupinder.The song was very successful and was a landmark in Bhupinder Singh’s life.

Article By Souvik Chatterji

Master of Law from Warwick University, Coventry, UK.
Master of Law from Case Western Reserve Univerwsity, Cleveland, Ohio,USA.


More Articles by Souvik Chatterji

• Bengali Classic Literature and Bollywood Films
  
• Sudhin Dasgupta
  
• Manobendra Mukherjee
  
• Ravi Shankar Sharma and Mohammed Rafi
  
• Salil Chowdhury and Mohammed Rafi
  
• Rahul Dev Burman and Mohammed Rafi
  
• SD Burman and Mohammed Rafi
  
• Laxmikant Pyarelal and Mohammed Rafi
  
• OP Nayyar’s immortal relationship with Mohammed Rafi
  
• Mohammed Rafi Songs
  
• Shankar Jaikishan
• Mohammed Rafi a Versatile Maestro
• Wide dimension of Stories of Satyajit Ray
• Music in Films of Gulzar
• Detective Stories of Satyajit Ray

Mohammed Rafi Songs

Immortal Ghazals sung by Mohammad Rafi

Mohammed Rafi

Mohammad Rafi is a name which has galvanised the Indian firmament during golden age of Indian film music. As his dimension was as wide as the horizon of creative arts, various categories of his songs has been remembered by generations for the last 50 years, including ghazals, Hindustani classical songs, bhajans, folk songs, songs on the freedom movement of India, qawallis, najrul geeti and many more types of geet. Among them ghazal is one category where Rafi’s sweet voice has brought life into the sensational lyrics and outstanding music compositions of the Golden era.

The ghazal is a common song form in India and Pakistan today. There are different definitions of it, but simply it is a musical form, but having a poetic recitation. Today, however, it is commonly conceived of as an Urdu song, with prime importance given to the lyrics.In some modernized ghazals the poet's name is hidden somewhere in the last verse, usually between the front and end of a word.

In the 1950s and 60s, the song picturised on the different films were based on different moods of the characters depicted in the stories. As the lyrics of the ghazals were quite rich, having immense literary and poetic value they generally captured the pensive moods of the major characters of the stories.Most of the films had ghazal in one form or the other composed by the musical giants of the golden age.

Madanmohan used to be considered as the king of ghazals. His most outstanding creations were composed for Mohammad Rafi , including “Tumhari Zulfke sayeme sham karlunga, safar is umraka palme tamam karlunga” from the film Naunihal, 1967, “ Baad muddat ke yeh ghari aayi, aap aye to zindagi ayee”, from the film Zahanara, 1964, “kisiki yaad mai apna ko hai bhulaye hue”, from the film Zahanara, 1964, “ Rang aur noor ki barat tujhe pesh karu, in muradonki hassen raat tujhe pesh karoon,” from the film Ghazal, 1965, “Barbad muhobaat ka dua saath liye ja” from the film Laila Majnu, 1977, picturised on Rishi Kapoor (1).

There were very dignified ghazals composed by Roshan during that era. Some of them include “ jane who kaun hai kya naam hai in aankhoka” from the film Bheegi Raat, 1965, picturised on Pradeep kumar, “ Hum intezar karenge, tera kayamat tak, khuda kareki kayamat ho, aur tu aye,” from the film Bahu Begum, 1967, “ Aab kya misal doon mai tumhare shabab ki,” and “aapne yaad dilaya tha to mujhe yaad aya” from the film Aarti, 1963, picturised on Pradeep Kumar.Roshan composed one of the most evergreen hit titled “ Zindagi bhar nahin bhulenge woh barsaat ki raat,” from the film Barsaat ki raat, 1960, picturised on Bharat Bhushan.The legendary lyrics were written by Sahir Ludhiyanvi (2).

S. N. Tripathi composed few immortal ghazals based on the life of the last Mughal Emperor Bahadur Shah Zafar. The songs included “ Na kisisi ki aankh ka noor hoon” and “lagta nahin yeh dil mera” from the film Lal Quila. Jaidev composed one of his master pieces, “ kabhi khud pe kabhi halaat pe rona aya, baat nikli to har ek baat pe rona aya” from the film Humdono, 1961.

Shankar Jaikishan is known to create songs of diverse range of subjects.Even amongst his stylish western compositions the best ghazals were composed for Mohammad Rafi. Some of them include “unke khayal aaye to ate chale gaye” from the film Lal patthar,1971, picturised on Raajkumar, “ Chalke teri aankhose sharab aur ziaada” from the film Aarzoo,1965, picturised on Rajenderkumar, “O Mere Shahe Khuba, o meri Jan- e- jajana” from the film Love In Tokyo, 1965, written by Hasrat Jaipuri and picturised on Joy Mukherjee.

Ravi has composed few unforgettable tunes like “chaudavi ka chand ho yah aaftab ho, jobhi ho tum khuda ki kasam, lajawab ho” from the film Chaudavi ka chand, 1960, picturised on Gurudutt, also “Chulene do nazuk hoton ko, kuch aur nahin hai jaam hai yeh” and “yeh zulf agar khulke bikhar jaye to accha ho” from the film Kaajal, 1965, picturised on Raaj Kumar.

Naushad had done proper justice to each and every raaga he has used to compose his songs. His notable ghazals include “ Mere mehboob tujhe meri mohabbat ki kasam” and “ tumse ishar – e –haal kar baithe” from the film Mere Meheboob, 1963 picturised on Jubileekumar Rajender Kumar” written by Shakeel Badayani, “ koi sagar dil ko behlata nahin” from the film Dil Diya Dard liya,1966, and “aajki shaam mere dilki salaami lele, dilki salaami lele, kal tere bazm se diwana chala jayega, shamma rah jayegi, parwana chala jayega”, from the film Ram Aur Shyam, 1967, picturised on Tragedy king Dilip Kumar (3).

OP Nayyar had made a very unique use of the santoor with the sarangi, and he too while making his western blend thought about ghazals for Rafi. His best creations include “ aapke hasin rukh pe aaj naya nur hai, mera dil machal gaya to mera kya kusur hai” from the film Baharen phir bhi ayegi , 1966,picturised on Dharmender, and “Aachal se sajane lena dilko” and “Zulf ke chayon me chehere ka ujaala lekar”from the film Phir Wohi dil Laya Hoon, 1963, written by Majrooh Sultanpuri and picturised on Joy Mukherjee.

There were ghazalas from other Classical composers also like “Kahin bekhayal hoker yuhin chuliya unhiko,” and “ Aise to na dekho, ki humko nasha ho jaye” by SD Burman in the film Teen deviya, 1965, “Theheriye hosh me aaloon to chalejayiega” by Khayyam.As these songs are soft in nature, they create an everlasting impact on the souls of numerous music lovers of the country who find themselves associated with Rafi. It is very difficult to mention the notable ghazals sung by the maestro who has around 26000 songs in a span of 35 years.An archive should be created where Rafi’s creations are restored, categorised and preserved for future generations to know the noble hertitage of ghazals India had during the golden age.

*****
***
**
*

(1) Noted and renouned Ghazal Singer, Ghulam Ali had said that Rafi’s songs had reflected the truth that the man possessed and the sweetness of the songs depict his generousness and kindness of heart.

(2) My father Ex Chief Public Prosecutor of Bankshall court, Chief Metropolitan Magistrate’s Court interviewed Monobendra Mukherjee, the Bengali Classical Singer composing Music for Bengali films Mayamrigo 1960, Joyjayanti,1970, Badhu,1962, and singing more than 1000 nazrul geeti, who said that he used to do the riyaaz everyday for several hours to do justice to his thumris, tappas and he is amazed about only one singer in India, Mohammad Rafi, whose voice floats like a river and the harkats in the songs are so accurate and effortlessly sung like the way clouds flow in the sky.

(3) Jagjit Singh, one of the most legendary ghazal singers of the present century, said some of the very melodious Ghazals were sung by Rafi during the Golden age, listeners heard them and appreciated them even sometimes not knowing that they are categorized as ghazals. Jagjit Singh composed music for noted film Saath Saath and TV serial Mirza Ghalib starring Nasir uddin Shah and directed by Gulzar.

Article By: Souvik Chatterji

Master of Law from Warwick University, UK and
Master of Law from Case Western Reserve University,USA.
Assistant Director, CUTS International
Centre for Competition, Investment & Economic Regulation
D-217, Bhaskar Marg,Bani Park, Jaipur 302 016, India
Ph: 91.141.2282821 (Board)
http://www.cuts-ccier.org

Browse more Articles by Souvik Chatterji - Station Hollywood

• Shankar Jaikishan
• Mohammed Rafi a Versatile Maestro
• Wide dimension of Stories of Satyajit Ray
• Music in Films of Gulzar
• Detective Stories of Satyajit Ray

Mohammed Rafi

Mohammed Rafi a Versatile Maestro

Mohammad Rafi

Music had played a very significant role in translating Indian thoughts throughout thousands of years. Right from the time of maharajas and nawabs it used to be presented in their courtrooms either by ustads or by the ruler himself. There was music inherently existing at every place, every part of society, every geographical location irrespective of being sung by sants or bairagis or fakirs or majhimollas. Indian cinema in the last century had based its feet on the strong story base of such characters. Now one of the main reason of reaching the stories to millions of people in our country and abroad was the everlasting music produced during 1940s, 50s, 60s.Mohammad rafi is a name which has galvanized the musical history of the golden era of Indian cinema.


Now being very popular icon of the 50s, 60s and the 70s a lot had been said about the man with the golden voice in all the leading electronic media including, newspaper, journals, television and radio. What has not being said is the everlasting treasure of rich lyrics, compositions, tunes, orchestrations that had been left by the great legend for millions of his lovers to cherish for decades and decades.


1950s and 60s can be described as an era of classical prose, poetry, shayeris. Although the subject matter of Indian cinema ranged from Historical classics like “ Tajmahal”, “ Mughal-I –Azam” to classic literature like”Devdas”(written by Sarat Chandra Chatterjee) “ Kabuliwala” (written by Rabindranath Tagore) to Suspense Thrillers like “ Woh kaun thi” “ Mera saya”. The list can go on. But what were common to all those films were the pains, devotion and imagination with which lyricists and music composers composed the songs. And of course the expression, andaz, style and perfection Mohammad Rafi had presented which is a rich asset for future generations.


If the compositions of the legendary music directors are analysed it can be said that each of them had their own foundation “ in musical terms we call it gharana”.It was a rich combination of ghazals, qawallis, Hindustani classical,mujras, thumris, kajris, bhajans, folksongs( like bhatiyali, bayul) , light songs, rock and roll, western..The composers included Shanker Jaikishan, Naushad, Roshan, Madanmohan, SD Burman, Gulam Mohammad, Wasant Desai, Khemchand Prakash, Salil Chowdhury, OP Nayyar, C.Ramchandran, Anil Biswas, Khayyam, Jaidev,Iqbal Qureshi, Ravi, Dattaram,S.N. Tripathi and others. Typically in those days musical sequences used to be created on the basis of the situation the story required, and both the lyricist and the composer used to create music which suited such sequence. Mohammad Rafi had the record of transforming the creation into history.


If we look at the film “ Tajmahal” ,released in 1963, after the demise of mumtaz mahal , Shahjahan was associated with the lyrics” hum ate rahen hai, hum ate rahenge, muhabbat ki rasme nibhate rahenge, jan-e-wafa tum do sada fir kya thikana humko ana parega.” The lyrics was written by Sahir Ludhianvi and music composed by Roshan in Rag- Pahari..Rafi had transformed his passion with the badshahi andaz of Shahjahan that existed at that time.The song had not lost its immortal value even today.


Similarly in the film “ Bahubegum” , released in 1967, Meenakumari had waited for Pradipkumar a long time and was almost deciding to marry Ashokekumar when came the classic song “hum intezar karenge, tera qayamat tak,khuda Karen ki qayamat ho aur tu aye”.The song had such an everlasting impact that people forgot to pay homage to the serious performance of Ashokekumar who burnt himself in that film.


There are songs where Rafi had made people intoxicated. There are other songs where he had awakened the audience. One of the example is in the Film “ Bheegi Raat” .At the frag end of the film, the song “Dil Jo na kah saka wohi raz-e dil, kaheneki raat ayee.” It was picturised on Pradeepkumar in 1965 and song composed by Roshan in raag kalyan.


In the film “Zahanara” Rafi’s immortal song “ Baad muddat ke yeh ghari ayee, ap aye to zindagi ayee, isq marmar ke kamyab hua , aaj ek zarra aaftab hua” and “ kisiki yaad me aapnako hai bhulaye hue” had brought poetic passion in numerous Indians. People could not understand what to appreciate, Rafi’s poetic passion , or Bharatbhusan’s natural performance or the strong lyrics or Madanmohan’s composition. In the film “ Mirza Ghalib” Rafi had brought life into few quality ghazals composed by Ghalib himself where tunes were given by Ghulam Mohammad.


In the film “ Mere mehboob” released in 1963, the title song “ Mere mehboob tujhe meri muhhobat ki kasam , phir teri nargisi aankhoka sahara deden, mera khoyahua rangeen nazara deden” had brought the cultured pardanashin community of Aligarh to Cinemahall. Rafi’s sweetness and bass had overpowered the majestic screenpresence of Jubilikumar “ Rajenderkumar” , classic creation of Naushad and rich lyrics of Shakeel Badayani.The pandemonium hall of Aligarh University was opened for the classic song.


In Gurudutt’s Pyasa released in 1957, the climax of the film came into being when Gurudutt did not accept the recognition given to him by brothers in open hall.The famous song “ yeh mahalon , yeh takhton , yeh tajon ki duniya “ had created unrest in the cinema halls. Rafi’s voice had helped in social awakening. The song was composed by SD Burman. The same Rafi had mesmerized the listeners with his romantic mood in the film “Chawdavi ka chand” acted by Gurudutt , released in 1960,with the title song, “Chawdavikachandho, yah aaftab ho, jobhi ho tum khudakikasam lajawab ho”. The music was composed by Ravi. Rafi’s tragic andaz in the film Kagaz ka phool , released in 1959 had brought tears in the eyes of the audience with “ are dekhi zamane ki yaari, bichre sabhi, bari, bari.” The sensitive words were put in by Sahir Ludhiyanvi.


In most of the tragic situations Rafi had felt the pathos in himself while analyzing what the situation demanded. His song “koi sagar dil ko bahalata nahin” in the film “Dil diya dard liya” composed in raag kalawati had transformed intoxication into tragedy. It was released in 1966.In the film “ aadmi”, released in 1967, his song “ aaj purani raahon par koi mujhe awaz na den, dard me dube geet na den , gham ka sisakta saz naden” had made people think who was a better tragedian, Dilipkumar or Rafi himself. Both the lyrics were written by Shakeel Badayani and music composed by Naushad. In the film “ Kohinoor” released in 1960, Rafi had presented a pure classical andaz in the song “ Madhubanme radhika nacchere, giridharki muraliya bajere”.It was composed by Naushad in raag hamir and was picturised on Dilipkumar.In the same film there was totally different melody in the song “ Do sitaronka zammen par hai Milan aaj ki raat”.The words of Shakeel Badayani had been given adequate expression by Rafi.Aushad had given some serious compositions to Rafi like “ Ek shahanshah ne banwake hasin tajmahal sari duniyako muhabbatka nishani di hai.”It was composed in raag lalit in 1964 in the film “Leader” acted by Dilipkumar.

Mohammed Rafi

In the film “Meri surat teri aankhe” acted by Ashoke kumar , SD Burman had given Rafi one of the tragic raag Pilu, the song was“ Tere bin sune nayan hamare”. It was composed on the same lines as “ ami chinu eka basoro jagaye” in Bengali, sung by SD Burman himself. Other notable creations of SD Burman were “Aise to na dekho” in raag Gara in the film “ Teen Deviya” , “ hum bekhudime tumko pukare chaalegaye” in “Kalapani”, 1960 and “Din dhal jaye” in Guide, 1965 *.


In the film “ Lal patthar”(1971), Shankar jaikishan had composed for Rafi “ unke khayal aye to ate chaale gaye”in raag gara. There the nostalgic mood of badshah was presented by Rafi.Other quality creations of Shankar Jaikishan included “ Aji ruth kar ab kahan jaiyega” in raag desh in Aarzoo(1966) starring Rajenderkumar, “ Khudabhi asma se jab zamin par dekhta hoga” in the film ‘Dharti,” “ mujhko apne gale lagalo ai mere humrahi”( Humrahi, 1962) “surahidar gardan koel sihi awaz”in the film “ Aman”. The lyrics were written by Hasrat Jaipuri.


In creations of OP Nayyar, Rafi had mixed the eastern passion with western flavour. So in the song “Zulfke chayon me chehreka ujala lekar” in “Phir wahi dil laya hoon”(1963) written by Majrooh sultanpuri or “ Mujhe dekhkar aapka muskurana” in “ Ek musafir ek hasina” (1962) picturised on Joy Mukherjee , or “ Tukre hai mere dilke ai jan tera aansoo” in “Mere Sanam” (1965) picturised on Biswajeet, we find the voice floating with western air to suit the compositions.


Besides Rafi ‘s voice had been used in “Kabhi khudpe kabhi halatpe rona aya” (Humdono, 1961) by Jaidev, “Parabatoke Pedo par shamka basera hai’by Khayyam, “ ek sawal tum karon, ek sawal hum Karen” (Goonj uthi sahnai, 1959) by Wasant Desai.There were other composers also in those decade who had given their best creations to Mohammad Rafi. It is difficult to compile major songs of the legend who did sing around 25000 songs in a span of 35 years. But the songs are expected to be preserved for future generations as rich historical remains because the alfaz (words) and sur ( musical composition) were created not mechanically, but with the deepest thoughts from the core of the heart.


Tragedy King Dilipkumar had rightly said that “jaise indradhanush ke andar saat rang kaid hai, usi tarah rafi ki awaz ki ehmiat tafteez karne ke liye mere pass alfaaz nahin hai”, Meaning the way the seven colours (vibgyor), are immersed in a rainbow, in the same way it is not possible to express the significance of Rafi’s golden voice in words. An Archive on Mohamad Rafi’s works should be established where the creations of musical giants can be preserved. Furthermore the future generations can get inspiration for rich creation in future.


* [My father Sri Chittaranjan Chatterji, Ex Chief Public Prosecutor of Bankshall Court,Kolkata had interviewed classical Bengali singer “ Manobendra Mukherjee” who said his performance in the Bengali feature film “ Lalubhulu” featuring a blind and a handicapped young boy as friends was superceded by Rafi’s performance in the Hindi film “Dosti” for which Laxmikant Pyarellal won their first filmfare award in 1964.Manobendra Mukherjee said it was Rafi only who could have matched his performance .]

Article By: Souvik Chatterji.

Assistant Director
CUTS International,
Centre for Competition, Investment and Economic Regulation
D-217, Bhaskar Marg,
Bani Park, Jaipur 302 016, India
Ph: 91.141.2282821 (Board)
http://www.cuts-ccier.org