All Great Mds' Preference For Rafi Saab!, Some Widely-reported Stories On This Options

[venkat]

Friends,

That all great MDs during the Platinum-era of HFM from 1947 to 1972 had a distinct preference for Rafi Saab is crystal-clear, well-known and needs no debate, as the historical facts and statistics speak for themselves.

But, there were some instances of extreme display of this tendency by some of the great MDs of olden days.

In this thread, let us narrate and discuss some of such instances.

To start with, I recall one radio interview that I heard very long back, which gave me the following information.

In early, mid and late fifties, it was fashionable to listen to Talat Mehmood songs and somewhat over-rate him. Many Industry bigwigs, such as Anil Biswas, Bimal Roy, etc., too were not immune to this tendency.

So, when Bimal Roy was making Sujata (1959), he had advised S.D.Burman to use Talat Mehmood for the great SDB composition, "Jalte Hain Jis Ke Liye".

But, S.D.Burman was far from enamoured by Talat Mehmood's style of singing. He wanted to utilise only Rafi Saab for this sublime composition and tried to reason out with Bimal Roy. But, as Bimal Roy wouldn't listen, he had to finally use Talat Mehmood.

But, what is really amusing was that during the rehearsals and recording, S.D.Burman made no secret of his displeasure to poor Talat Ji. He even used to say, "Yeh Boda Achha Composition Hoy. Is Ko Khorab Mot Koro".

Such was SDB's bullishness on Rafi Saab.

More later.

Venkat

PS. It is a different matter that the song, "Jalte Hain Jis Ke liye", from Sujata happened to have been sung by Talat Mehmood extremely well and it is a great favorite of mine. But, the above was just to illustrate great MDs' stubborn preference for Rafi Saab.

This post has been edited by venkat: Sep 27 2008, 04:12 PM

[venkat]

Renowned Music Director, Ravi, once narrated this in an interview on Vividhbharati.

Somewhere down the line, after Film: Dhool Ka Phool, B.R.Chopra had a misunderstanding with Rafi Saab and stopped using his services for his Films. In stead, he started using Mahendra Kapoor.

But, when Film:Waqt was being made, Ravi got all the songs done on Mahendra Kapoor. But, when it came to the title song, "Waqt Ke Din Aur Raat", Ravi had fiercely argued it out with B.R.Chopra and got Rafi Saab to sing that song, as it needed subtle expressiveness in the voice and proper modulation of the pathos in the lyrics.

More later.

Venkat

This post has been edited by venkat: Oct 1 2008, 06:23 PM

[venkat]

This is what Iqbal Quereshi had once said in an interview on Vividhbharati.

He said that his compositions invariably are always meant for only Rafi Saab as he alone had the range to do justice to them.

In this context, he said that one of the very few times he had gone to a different singer was for the Film:Umar Qaid (1961). In this Film, he had a nice composition, "Mujhe Raat Din Yeh Khayal Hai" which was sung by Mukesh Ji.

Iqbal Quereshi had specifically pointed out that during the Antaras, the song's scale goes quite high and hinted at the difficulty faced by Mukesh Ji at those places. He then repeated that Rafi Saab alone was the singer for his compositions.

Venkat

PS. Personally, I feel that song, "Mujhe Raat Din Yeh Khayal Hai" is a very nice song even as it was, but I do agree with Iqbal Quereshi on that scale mismatch between the song and the singer.

This post has been edited by venkat: Sep 27 2008, 08:51 PM

[venkat]

Rafi Saab was the only blue-eyed boy of O.P.Nayyar right from the beginning of OPN's career. He preferred Rafi Saab as strongly as he 'un-preferred' Lata Mangeshkar.

But, as it would always happen with blue-eyed boys, OPN also had a fierce possessiveness for Rafi Saab, a feeling that Rafi Saab must give his best and most (both in quality and time) only to OPN.

We all know how this resulted in a fall-out between the two in the year 1966, as Rafi Saab turned up late for the recording of the song in Film:Baharen Phir Bhi Aayenge(1966), "Badal Jaaye Agar Maali Chaman Hota Nahin Khali". The song was eventually recorded by Mahendra Kapoor. But, after 1966, though OPN thought that 'Badal Jaaye Agar Rafi Saab, OPN's Career Hota Nahin Khali', it actually proved otherwise.

Much after Rafi Saab's death, OPN, the highly egoistic man though he was, had this to say in an interview. "The biggest blunder of my musical career had been to keep this Farishta out of my recording room for over 5 or 6 years". Very late realisation!!

However, from early fifties to 1966, OPN's preference for Rafi Saab was total and absolute and surpasses that of any other MD.

He used Talat Mehmood for a Film in which Talat Mehmood himself was the Hero. Similarly, he used Kishore Kumar in 3 or 4 Films (until 1966, mind you) in which Kishore Kumar was the Hero. On the other hand, OPN had used Rafi Saab even for Kishore Kumar for one song in Film:Raagini (1958) and for two songs in Bhagam Bhagh (1956).

OPN did use Manna Dey for 4 or 5 songs, but all of them were duets/group songs with Rafi Saab.

Open to minor corrections in facts, but not in conclusions!!

Venkat

This post has been edited by venkat: Sep 28 2008, 08:09 PM

[Akhtar]

Very interesting insight. Thankyou for your efforts Venkatji.

[Pratul]

Venkat ji, Excellent Topic and Excellent Info.

Thanks for starting the topic.

Pratul

[behenji.turned.mod]

gimme more more more !!

[venkat]

Thanks, friends, for your kind words. Masala stuff is always bound to be attractive!!!

Venkat

[venkat]

Madan Mohan was with Rafi Saab right from the Films:Anjaam(1952) and Chacha Chowdary(1953), or even earlier. This inextricable relationship lasted all the way upto Laila Majnu (1976).

Madan Mohan had made over 160 songs with Rafi Saab, 88 solos, 63 duets and 9 group songs.

Madan Mohan made probably about 250 songs with Lata Ji, out of which the proportion of duets is rather low, may be not even 25% (?).

This brings me to the theory that Lata is, in general, a solo girl rather than a duet girl, not only for Madan Mohan, but also for all the other great MDs. I am floating this theory in order to test it from the inputs of learned members.

While Madan Mohan went on making countless number of very high quality songs with Rafi Saab, as he did even with Lata Ji for that matter, he had faced a very dicey/difficult situation from 1964 on wards. The reason: In that year, Lata said that she would no longer sing with Rafi Saab, for her own reasons.

Now, Lata Mangeshkar is the hot favorite and blue-eyed girl of Madan Mohan, as was well-known to all and even to Lata.

The subsequent events from 1964 to 1966 have, however, shown that Madan Mohan did indeed make his choice decisively in favor of Rafi Saab, in this 'greatest male singer vs. greatest female singer plus personal favorite' issue.

In 1964, Madan Mohan made music for the following Films: 1.Aap Ki Parchhayiyan, 2.Gazal, 3.Haqeeqat, 4.Jahan Ara, 5.Pooja Ke Phool, 6.Sharabi, 7.Woh Kaun Thhi and 8.Suhagan

In 1965, Madan Mohan composed for the following Films:1.Bombay Race Course, 2.Naya Qanoon, 3.Neela Akash, 4. Rishte Naate and 5. Dak Ghar

In 1966, Madan Mohan was the MD for the following Films: 1.Dulhan Ek Raat Ki 2. Ladka Ladki, 3.Mera Saya and 4.Neend Hamari Khawab Tumhari.

We are talking of 1964-66 as this was the period of Rafi-Lata rift.

Firstly, Madan Mohan retained Rafi Saab as the lead singer (be it solos or duets) for over 80% of the above named Films and had at least one song of Rafi Saab even in the other 20%, barring just a Film or Two.

Secondly, coming to the interesting part of duets in the above Films, Madan Mohan had used Lata Ji and excluded Rafi Saab only for the following five duets (open to additions).

1."Ae Sanam Aaj Yeh Qasam"--Jahan Ara (1964)--Lata and Talat

2."Bheegi Chandini"--Suhagan (1964)--Lata and Manna Dey

3."Tum Hi To Meri Pooja Ho"--Suhagan (1964)--Lata and Talat

4."Chod Kar Tere Pyaar Ka Daman"--Woh Kaun Thi(1964)--Lata and Mahendra Kapoor

5."Aap Ne Apna Banaaya, Meherbaani"--Dulhan Ek Raat Ki (1966)--Lata and Mahendra Kapoor.

Out of the above, Jahan Ara duet can be excluded as Rafi Saab was, in any case, not the lead male singer for Jahan Ara. It was indeed Talat.

In contrast, Madan Mohan had, in the above named 1964-66 Films, around 12-15 duets featuring Rafi Saab either with Asha or Suman, not to speak of an equal number of all-time great solos of Rafi Saab in these very Films.

Some of these memorable duets of Rafi-Suman and Rafi-Asha are 1.Baad Muddat Ke yeh Ghadi Aayi, 2.Mujhe Yeh Phool Na De Tujh Ko Dilbari Ki Qasam, 3.Jaao Ji Jaao Dekhen Hai Bade Tum Jaise Chor Lutere, 4.Ab Do Dilon Ki Mushqil Aasan Ho Gayi Hai, 5. Aap Ko Pyaar Chupaane Ki Buri Adat Hai, 6.Tere Paas Aake Mera Waqt Guzar, 7.Kabhi Tera Daman NA Chodenge Ham, 8.Husn Jab Jab Ishq Se Takaragaya.

Madan Mohan is indeed one of the many great MDs who knew the worth of Rafi Saab!!

Venkat

This post has been edited by venkat: Sep 30 2008, 11:13 AM

[myawan]

Another great topic by you venkat sahab! congrats.

interesting reading this.

Just wanted to add my two cents here, Rafi sahab as everybody knows was a great singer anyways but the thing that separates from the rest was his humbleness and his down to earth personality that made it very easy for every MD to work with him.

[nasir]

Excellent information and interesting trivia!
Thank you Venkatji for taking time to share these with us.

[princeali]

Excellent thread !!.

Keep these interesting stories coming Venkat-ji !.

Love how you mentioned Burman Dada's tooty-footy Hindi/Urdu.

This post has been edited by princeali: Oct 1 2008, 11:15 AM

[venkat]

If there was ever one MD who could genuinely be termed a Rafi Loyalist, it was Naushad Ali.

It was a noble reltionship that started with the Film:Pehle Aap(1944) for the song, "Hindustan Ke Ham Hain". Since then, there was never any looking back and there were never any misunderstandings that are quite possible in that field.

They were so close and intimate that Naushad would address Rafi Saab in singular number as Tum, Miya, etc.

This combination of two greatests had resulted in the ever-green, all-time great hits from Films such as Mela(1948); Chandni Raat, Dillagi, Dulari (1949); Dastaan(1950); Deedar, Jadoo (1951); Aan, Baiju Bawra, Deewana (1952); Amar, Shabab (1954); Udan Khatola (1955); Mother India(1957); Sohni Mahiwal(1958); Kohinoor, Mughal-e-Azam (1960); Son Of India (1962); Mere Mehboob (1963); Leader(1964); Dil Diya Dard Liya, Saaz Aur Aawaz (1966); Palkhi, Ram Aur Shyam (1967); Aadmi, Sangharsh (1968); Ganwar (1970); Tangewali(1972); My Firend(1974); Sunehra Sansar (1975); Love and God (1986).

Naushad not only always preferred Rafi Saab for his own compositions, but also strongly believed and wished that Rafi Saab should always be and should continue to be the No.1 in the field!!

He used to frequently caution Rafi Saab from the late 60's to take extra care of the voice. He would say to Rafi Saab, "Doodh Ghee Shakkar Thhoda Qam Khaya Karo, Miyan".

Not surprising because Rafi Saab was reportedly a connoisseur of food, as confirmed by Khayyam Saab too in an interview. Kahyyam Saab had mentioned in that interview that Rafi Saab's Ghar is the place if one was looking for heavenly food!

Naushad Saab himself mentioned in an interview that there was a time when Rafi Saab used to be very upset and disheartened at certain events that took place at the onset of 70's. During those times, Naushad Saab used to always advise and counsel Rafi Saab and used to uphold the great soul's morale. He would say to him, "You are the monarch of HFM, who are all these others?"

I had the good fortune of listening to many an interview of Naushad Saab on Radio. Whenever I heard Naushad Saab's soft, but articulate sentences on Rafi Saab with so much of passion, I used to get highly emotional.

I am sure Naushad Saab would have taken his rightful place beside his friend in the Heavens!!

Venkat

This post has been edited by venkat: Oct 1 2008, 05:34 PM

[venkat]

Any contributions from other Rafi fans?

Venkat

[venkat]

There are many MDs who used Rafi Saab for Raj Kapoor in some Films.

1. Naushad in Film:Andaz (1949) in Rafi-Lata duet, "Yun To Aapas Mein Bigadte Hain, Khafa Hote Hain", and three Rafi-Suraiya duets in Film:Dastaan(1950), including the famous "Tarari Arari Tarari"

2. Lesser-known Music Director, Krishna Dayal, in Film:Baawra(1950), in solo, "Sahil Jo Dubo De Kashthi Ko"

3. Madan Mohan in Film:Dhun (1953) in solo, "Gori Ki Ankhiyan---Nazar Mila Le O Dilruba"

4.S.Mohinder in Film:Paapi (1953) in two solos and one famous Rafi-Asha duet, "Meri Zindagi Hai Tu, Mujh Ko Teri Justaju"

5. Ghulam Mohammed in Film:Amber (1952) in three Rafi-Lata duets, including the famous and peppy "Ham Tum Yeh Bahar, Dekho Rang Laaya Pyaar, Barsaat Ke Maheene Mein"

6.O.P.Nayyar in Film:Do Ustaad (1959) in one solo ("Worli Ka Naakaa") and five lovely Rafi-Asha duets, including "Ruk Ruk Ruk Kahan Chali Deewani".

But, Shankar Jaikishan have one unique speciality to their credit.

They not only used Rafi Saab in their very first Film:Barsaat (1949), but are also the first MDs to have used Rafi Saab even for Raj Kapoor in the very same Film:Barsat (1949), in a solo, "Main Zindagi Mein Hardam Rota Hi Raha Hoon".

Shankar Jaikishan then went on to use Rafi Saab for Raj Kapoor in two more Films, Ek Dil Sau Afsaane(1963) and Mera Naam Joker (1970).

In Ek Dil Sau Afsane, it was an ever-green Rafi-Lata duet, "Tum Hi Tum Ho Mere jeewan Mein".

In Mera Naam Joker, it was the soul-stirring solo, "Sadke Heer Tujh Pe Ham Fakir". Now, knowledgeable music fans who know this song would admit that only Rafi Saab could ever render it so effectively, no matter who was actually Raj Kapoor's voice. Sure enough, Shankar Jaikishan and even Raj Kapoor knew it and that is why all Raj Kapoor rules were waived and Rafi Saab was chartered for this great song.

Why I mentioned SJ's use of Rafi Saab for even Raj Kapoor is because it shows SJ's utmost bullishness on Rafi Saab.

I will present the part II on SJ in my next post.

Venkat

This post has been edited by venkat: Oct 19 2008, 10:18 PM