" As the challenge grows mighty, so let thy might be ! " (Spring Leaves -- KMG)
Lives of celebrities, individuals of lasting achievement, and legendary persons, make interesting and inspiring reading. Their struggles and experiences offer invaluable lessons for anyone. One such celebrity was Mohd. Rafi who was the brightest star among the playback singers in the Hindi film music, for over three-and-half decades. He was an emoting Maestro, bringing out so explicitly and brilliantly the mood and feeling of the song. Very few could and can emote as well as he did. Still, perhaps, none can ever reach his excellence in that aspect !
Lives of celebrities, individuals of lasting achievement, and legendary persons, make interesting and inspiring reading. Their struggles and experiences offer invaluable lessons for anyone. One such celebrity was Mohd. Rafi who was the brightest star among the playback singers in the Hindi film music, for over three-and-half decades. He was an emoting Maestro, bringing out so explicitly and brilliantly the mood and feeling of the song. Very few could and can emote as well as he did. Still, perhaps, none can ever reach his excellence in that aspect !
I remember, in 1948 after Mahatma Gandhi's assassination, entire India was echoing with the famous song "Suno Suno Eh Duniyaavaale Bapuji ki Amar Kahaani"sung with extraordinary depth of feeling, ending with such pathos while singing lines dealing with the assassination, that would bring tears in any listener whoever it be . I remember the singer as Mohd. Rafi. Well, it was over six decades back, and perhaps I am subject to any correction.
So now let us know something about the life of this legendary singer:
" The voice continues to haunt us even today, thirty years since Mohd. Rafi passed away on 31st July 1980. After all he has left behind a rich legacy of songs sung by him over thirty five years. Rafi's voice ranging from the melancholic to the boisterous, was such that it suited every mood and every occasion in films. His is one voice that has been imitated the most; to be called a Rafi clone is actually regarded as a compliment by most of the newcomers. Yet, no one has been able to recreate the Rafi magic. Perhaps, no one can. At best, each of these singers has been able to imitate just one aspect of his voice. Nobody possesses the versatility that Rafi did.
Mohd Rafi was born in a small village called Kotla Sultan Singh near Amritsar, in December 1924. His family shifted to Lahore when he was still a baby. A Fakir used to come to their locality in Lahore every day singing. Young Rafi was so fascinated by him that he used to follow him around. His elder brother Hamid was aware of Rafi's love for music, and encouraged it. "In fact," says Music DirectorNaushad "a lot of credit for Rafi's success must go to Hamid, who knocked on several doors, and tried everything to ensure that his brother got work".
In Lahore, Rafi started taking music lessons from Ustad Wahid Khan. One day, Rafi and Hamid had gone to attend a performance by K.L. Saigal. But the legendary singer refused to sing since there was a power failure at the venue. Hamid went up to the Organizer and asked if his brothercould sing, to keep the audience quiet. That was Rafi's first public performance, at the age of thirteen! As it turned out, the setting was just right for him. Among the audience sat the noted Composer Shyam Sunder who was so impressed that he invited young Rafi to come to Bombay. Hamid took him to Bombay, without even telling their father why they were going. Their mother however knew about it, and blessed them.
But things were difficult in Bombay. The brothers had very little money. They lived in Bhendi Bazaar and walked every day to the Studio at Dadar to meet Shyam Sunder. They used to fill two pillow cases with 'chana gram' and lived off it for days. Finally, they did meet Shyam Sunder who, as promised, gave Rafi a song in the Punjabi film 'Gulbaloch'. His second was a Hindi film 'Gaon ki Gori'.
" Naushad Ali was one of the first Composers to work with Rafi. He narrates an endearing story: "When I heard Rafi, I liked his voice and promised him work in future. I was already doing a film called 'Shahjehan' with Saigal. Rafi who was a fan of Saigal, came to me with a request that it was his greatest desire to sing with Saigal. I gave him one line in the song 'Roohi roohi mere sapno ki Rani' ", recalls Naushad. "The first full song he sang for me was in 'Anmol Ghadi': 'Tere khilona toota balak'. Then again,he sang for me in Dillagi: 'Iss duniya mein aaye..' and 'Tere koonche mein..' ".
After this, Rafi became very popular and started getting work from other Music Directors as well. But it was left to Naushad to explore the wide range of Rafi's voice. The film was 'Baiju Bawra', the song 'Oh Duniya ke Rakhwaale...'. Rafi had a phenomenal range, and yet he never sounded out of tune.
Rafi could become the soul of Guru Dutt in songs like 'Dekhi zamaane ki' (Kaagaz ke phool). Johny Walker's voice in the mischvous 'Tel maalish' (Pyaasa), or sing the catchy 'Yeh hy Bombay meri jaan' (CID). He could match Shammi Kapoor's energy and zest in 'Yahoo..' (Junglee), and do a soft and romantic 'Ehsaan tera hoaga mujh per' in the same film. He could give character to a legend like Dilip Kumar with 'Tere husn ki kya taarif karoon' (Leader), as well as do wonders for a mediocre actor like Joy Mukherjee with songs such as 'Mujhe dekh kar' (Ek Musafir Ek Haseena), and 'Champa Kali' (Ziddi).
In spite of his success, Rafi remained an extremely quiet and reserved person. Many of his admirers could not fathom how such a low-profile man sounded so flamboyant in some of his songs. His son Shahid recalls: "When we asked him whether he had actually sung the 'Yahoo' number, he just smiled and nodded ...". Perhaps it was Rafi's humility and willingness to learn, that made him such a great Singer. He respected all his Music Directors, whether they were young or experienced. His contention was: you are teaching me a new song, so you are my 'Ustad'. If someone could not pay his fees, he would still sing for him, and treat the same way".
Rafi could become the soul of Guru Dutt in songs like 'Dekhi zamaane ki' (Kaagaz ke phool). Johny Walker's voice in the mischvous 'Tel maalish' (Pyaasa), or sing the catchy 'Yeh hy Bombay meri jaan' (CID). He could match Shammi Kapoor's energy and zest in 'Yahoo..' (Junglee), and do a soft and romantic 'Ehsaan tera hoaga mujh per' in the same film. He could give character to a legend like Dilip Kumar with 'Tere husn ki kya taarif karoon' (Leader), as well as do wonders for a mediocre actor like Joy Mukherjee with songs such as 'Mujhe dekh kar' (Ek Musafir Ek Haseena), and 'Champa Kali' (Ziddi).
In spite of his success, Rafi remained an extremely quiet and reserved person. Many of his admirers could not fathom how such a low-profile man sounded so flamboyant in some of his songs. His son Shahid recalls: "When we asked him whether he had actually sung the 'Yahoo' number, he just smiled and nodded ...". Perhaps it was Rafi's humility and willingness to learn, that made him such a great Singer. He respected all his Music Directors, whether they were young or experienced. His contention was: you are teaching me a new song, so you are my 'Ustad'. If someone could not pay his fees, he would still sing for him, and treat the same way".
Lata Mangeshkar, who has sung some of her most beautiful duets with Rafi, says:"Our songs together are so lovely that it is a pleasure to listen to them over and over again". Some of the memorable songs of the duo are: 'Jeevan mein Piya tera saath raheh' (Goonj Uthi Shehnai),'Tum tho pyar ho' (Sehra), 'Tasveer teri dil mein'(Maya), 'Dheere dheere chal' (Love Marriage), 'Tujhe jeevan ki dore se' (Asli Naqli), 'Chalo dildaar chalo' (Pakeezah), 'Tere husn ki kya taareef karoon' (Leader).
According to Shahid (his son), Rafi used to take a great deal of interest in his songs. "He always wanted to know who he was singing for. After that, you would hear shades of that person's voice in his singing, -- this was his special gift", says he. Indeed Rafi was special. All those actors he sang for, felt a sense of possessiveness for him, and acknowledged his contribution to their popularity.
His voice always struck a chord, even when he sang non-filmi songs such as 'Paaon padoon toreh Shyam --'. For generations to come, there is a huge repertoire of thousands of Rafi songs to revel in. His last song was 'Tu kahin aas paas hai dost--', for the film 'Aas Paas'. Today, in the midst of cacophony of voices, Rafi's is the one which stands out, even three decades after he has gone. "
( Source: 'Rafi legacy lives on' by Lata Khubchandani )
PS: Apart from thousands of songs Rafi sang for various actors, for almost over three decades (tho he died relatively young at age of 56), songs highly diversified in their moods, from romantic to the pathetic, from classical to hilarious, he sang many Bhajans too, e.g., ;Bhajoreh Bhiah Raam Govinda Hareh', 'Hari darsan ko Pyaasi'etc. There is no type that he has not covered.
( Source: 'Rafi legacy lives on' by Lata Khubchandani )
PS: Apart from thousands of songs Rafi sang for various actors, for almost over three decades (tho he died relatively young at age of 56), songs highly diversified in their moods, from romantic to the pathetic, from classical to hilarious, he sang many Bhajans too, e.g., ;Bhajoreh Bhiah Raam Govinda Hareh', 'Hari darsan ko Pyaasi'etc. There is no type that he has not covered.
Here are some of my personal views:
The latter half of the previous century, especially fiftees thru eighties, was indeed the golden age of Hindi film music, with great Singers like, Lata, Asha, Geeta Dutt, Rafi, Manna Dey, Talat Mahmood, Mukesh, Kishore Kumar etc. Music of those days had a distinct fragrance and flavor, was more melody-oriented and classical- based. While listening to those 'Bhooleh Bisre Geet', we would notice some distinct characteristics. The voice of the Singer used to be highlighted, with the background music then at a low key, bringing out clearly its richness and the subtle nuances. Only when the Singer stopped, orchestra used to become prominent. However, the intensity of volume throughout was fairly maintained at same level, compared to majority of today's songs, wherein the sound level (decibels) highly fluctuates, with the need to constantly monitor the volume adjustment of the playing instrument. Today's film music seems to be rather more rhythm-oriented ( in many, if not most, of the songs), with continuous loud beating of drums, almost submerging the voice of the Singer. Another characteristic has been well highlighted by Lataji herself in an interview: " In earlier times, when the Singer needed a break, the orchestra used to set in. Instead now-a-days, when the background music needs a break, only then does the Singer get the chance ! ".
Well, bits of exaggeration perhaps, all in good humor !
No doubt, with passage of time, tastes change, styles change, perceptions change. But, there is need to ensure that the fabric of our Indian traditional music, is preserved intact, despite alien influences, experimentations, and innovations.
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