If The Government Won't Do It, We Will!, Fan's Bharat Ratna to Mohd. Rafi Saaheb Options

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Mohammed Rafi (Hindi: मोहम्मद रफ़ी, Urdu: محمد رفیع, December 24, 1924 – July 31, 1980),commonly addressed as Rafi Saahab, was one of the most popular Indian playback singers.


Rafi Saab sang in many Indian languages including Hindi, Urdu, Punjabi, Bengali, Marathi, Kannada and Telugu and even English.

He is primarily remembered, however, for his Hindi songs, which still remain very popular in the Indian subcontinent and also among the Indian diaspora. Along with Mukesh and Kishore Kumar, he was one of the leading male Bollywood playback singers from the 1950s to the 1970s. He was awarded the Padma Shri in 1965. Sadly, this great gem of a human being and singer has only been awarded with the padma shri (India's 4th highest Civillian honour) and has yet to recieve the Bharat Ratna. But I'll get to that later.



It was his brother-in-law Mohammed Hameed who spotted the talent in Rafi and encouraged him. Rafi learnt Hindustani classical music from maestros Ustad Bade Ghulam Ali Khan, Ustad Abdul Wahid Khan, Pandit Jiwanlal Matto and Firoze Nizami.



Rafi's first public performance came at the age of 13, when he was allowed to sing at a concert featuring the legendary K. L. Saigal.In 1942, 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). Soon after, Rafi was invited by the Lahore radio station to sing for them.



Rafi Saaheb sang for nearly all the great music directors, from RD Burman to Anu Malik to Laxmikant Pyarelal. However, his partnership with Naushad Saaheb was the most glorified.

Naushad, who initially used him as part of the chorus. Rafi's first song with Naushad was "Hindustan ke hum hain" with Shyam Kumar, Alauddin and others, from A. R. 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.



Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singer in Bollywood.Songs from Baiju Bawra (1952) like "O duniya ke rakhwale" and "Man tarpat Hari darshan ko aaj" furthered Rafi's credentials.Naushad who had been using Talat Mahmood for his songs began favoring Rafi as the male voice in almost every song composed by him. Rafi would sing a total of 149 songs (81 of them solo) for Naushad.

Rafi Saab sang for nearly all actors, even helping less popular ones like Biswajeet and Joy Mukherjee score a hit or two. He did not mind singing for villains or comedians either.



Amitabh Bachchan

Signature tune: 'Patta patta…' (Ek Nazar)

Last film: Desh Premee (1982)

Rafi did get to sing a host of lovelies for AB like 'Tumse door rehke…' (Adalat), 'Oonchi oonchi baaton se…', (Mr Natwarlal), 'Mere dost qissa…' (Dostana), 'Teri bindiya re…' (Abhimaan), the title track of Desh Premee and the many songs of Suhaag and Naseeb. Incidentally, Rafi was the first voice of Bachchan's career in Pyar Ki Kahani. And careful listening of the post— Zanjeer Rafi numbers for him reveal a subtle, edgy and bottled-up modulation to them, as different from Rafi's full-throated singing for others.



Bharat Bhushan

Signature tune: 'O duniya ke rakhwale…' (Baiju Bawra)

Last film: Taqdeer (1967)

Bharat Bhushan personified saintly or melancholic love. And Rafi was at his spiritual best in timeless numbers in Baiju Bawra, Basant Bahar, Samrat Chandragupta, Barsaat Ki Raat and many other films.



Biswajeet

Signature tune: 'Nazar na lag jaaye…' (Night In London)

Last film: Kehte Hain Mujhko Raja (1976)

All the top chocolate heroes of the 60s and 70s were primarily 'Rafi-ians'. In their candy-floss films or tear-jerkers, they usually had a variety of songs, from light duets to ghazals and from chhed-chaad numbers to those lamenting over the heroine's bewafai. And Biswajeet, always lucky in getting great songs, got his cream with Rafi under a host of composers in Mere Sanam, Sagaai, Shehnai, Do Dil, Night In London, Jaal, Aasra, Pyar Ka Sapna, April Fool and many more.



Dev Anand

Signature tune: 'Khoya khoya chand…' (Kala Bazaar)

Last film: Manpasand (1980)

Like it or not, Dev Anand made most of his early musical reputation on Rafi's very vocal support. It was Rafi more than Kishore who represented the young, suave, debonair Dev with his sexy puff. In fact, S.D.Burman developed a unique crooning style for Rafi especially for Dev Anand in songs like 'Aise to na dekho…' (Teen Deviyan) and 'Dil ka bhanwar kare pukar…' (Tere Ghar Ke Saamne), and also in Guide, Jewel Thief, Kala Pani, Kala Bazaar, Gambler and Baat Ek Raat Ki.



When Shankar-Jaikishan composed for Dev, it was Rafi all the way in hits like Asli Naqli and Jab Pyar Kisise Hota Hai. Other composers followed in C.I.D, Hum Dono and many others, with Laxmikant-Pyarelal (Jaaneman) and Kalyanji-Anandji (Mahal) choosing Rafi in the qawwalis they composed for him.



Dharmendra

Signature tune: 'Main jat yamla…' (Pratiggya)

Last film: Mera Karam Mera Dharam (1987)

'Tough' times came in for Hindi cinema when Dharmendra brought his unique blend of muscle and gentleness. Rafi sat on 'garam-Dharam' like the proverbial glove, elevating the comedy ('Sa re ga ma…'/Chupke Chupke), the passion ('Aaj mausam bada beimaan hain…'/Loafer) and the machismo ('Arey maine tujhko chaha…'/Dharam-Veer).



Dilip Kumar

Signature tune: 'Madhuban mein Radhika…' (Kohinoor)

Last film: Kranti (1981)

Dilip Kumar minus Rafi is about as imaginable as Hindi films minus songs. The devotional 'Sukh ke sab saathi…' (Gopi), the effervescent 'Maang ke saath tumhara…' (Naya Daur), the plaintive 'Toote hue khwabon ne…' (Madhumati) and the classical 'Saawan aaye ya na aaye…' (Dil Diya Dard Liya), Rafi was perfect for every genre of song that went on the man who ruled the screen for two decades.



Guru Dutt

Signature tune: 'Chaudvin ka chaand'

Last film: Suhagan and Saanjh Aur Savera

The man who made a business to look at life tangentially was a Rafi-bhakt all the way. Even when he did not act in his own films (C.I.D., Baharen Phir Bhi Aayengi) he gave Rafi classics. And for himself, Rafi was his prime choice for masterpieces like 'Yeh mahalon yeh takhton…' (Pyaasa), 'Chaudhvin ka chand ho…' (Chaudhvin Ka Chand), 'Jaane kahan mera jigar…' (Mr & Mrs 55) and 'Tu mere saamne hai…' (Suhagan).



Jeetender

Signature tune: 'Badi mastani hai meri mehbooba…' (Jeene Ki Raah)

Last film: Madadgaar (1987)

Jumping Jack Jeetu and Rafi formed a perfect combination. In the more musical phase of Jeetu's acrobatic romance, we had Rafi delights galore in Farz, Jigri Dost, Himmat, Humjoli, Roop Tera Mastana, Caravan, Waris, Aulad and Yaar Mera along with more sober songs in films like Mere Huzoor and Jeene Ki Raah. Post-1972, Kishore dominated, and yet Rafi did get to sing 'Aisa na ho ke… (Aakhri Dao), 'Badi door se chalkar aaye hai…' (Jay-Vejay), 'Pal do pal ka saath hamara…' (The Burning Train) and the songs of Aasha.



Johnny Walker

Signature tune: 'Sar jo tera chakraaye…' (Pyaasa)

Last film: Night In London (1967)

Despite the occasional song by another singer, Johnny's oeuvre was lorded by Rafi, through classics like 'Sar jo tera chakraaye…' (Pyaasa), 'Suno suno Miss Chaterjee…' (Baharen Phir Bhi Aayengi), 'Yeh hai Bombai meri jaan…' (C.I.D.) and 'Main Bambai ka babu…' (Naya Daur). As someone aptly put it, "Rafi would sound more like Johnny Walker than Johnny Walker himself!"



Joy Mukherji

Signature tune: 'Dil ki awaz bhi sun…' (Humsaya)

Last films: Aag Aur Daagh and Ummeed (1971)

Rafi's voice was a 'joy' in this actor's breezy songs in Humsaaya, Phir Wohi Dil Laya Hoon, Ek Musafir Ek Hasina, Love In Tokyo, Shagird, Aao Pyar Karen, Ek Kali Muskayee, Ziddi, Love In Simla and Ishara.



Mehmood

Signature tune: 'Hum kaale hain to…' (Gumnaam)

Last film: Ek Baap Chhe Bete (1978)

Though Manna Dey dominated the 'Comedy King', Rafi had memorabilia like Sanjh Aur Savera ('Ajhu na aaye…'), Gumnaam ('Hum kaale hain to…'), Sadhu Aur Shaitan ('Mehbooba mehbooba…' and 'Kabhi aage kabhi peeche…'), Parvarish ('Mama ho mama…') and some other films.



Pradeep Kumar

Signature tune: 'Jo waada kiya…' (Taj Mahal)

Last film: Noorjehan (1967)

Regal, aristocratic, poetic — that was Pradeep Kumar, the man who made a career out of wooden histrionics. And Rafi provided all the magnificent expression in his career in timeless marvels like 'Jo waada kiya…' (Taj Mahal), 'Ab kya misaal doon…' (Aarti), 'Dil jo na keh saka…' (Bheegi Raat), 'Hum intezaar karenge…' (Bahu Begum).



Raaj Kumar

Signature tune: 'Chhoo lene do nazuk…' (Kaajal)

Last film: Chambal Ki Kasam (1980)

The eccentric Jaani found Rafi at his throat in dozens of films. 'Chhoo lene do nazuk honthon ko…' (Kaajal) set the pattern for many future hits in films like Heer Ranjha, Vaasna, Neel Kamal, Pakeezah, Chambal Ki Kasam.



Rajendra Kumar

Signature tune: 'Baharon phool barsao… (Suraj)

Last film: Saajan Ki Saheli (1981)

The Jubilee Kumar's long relationship with Rafi was replete with dozens of Rafi memorabilia, mainly under composers Shankar-Jaikishan, Laxmikant-Pyarelal and Naushad. One of the most tuneful singer-star associations of Hindi films, the team gave us musical brilliance in films like Dil Ek Mandir, Sasural, Jhuk Gaya Aasmaan, Suraj, Anjaana, Mere Mehboob, Palki, Geet, Goonj Uthi Shehnai, Talash and Sangam.



Rajesh Khanna

Signature tune: 'Yeh reshmi zulfein…' (Do Raaste)

Last films: Suraag and Dharam Kanta (1982)

Rafi had sung two major hits each for the phenomenon in these two films. Rafi also contributed to Rajesh's hit parade in films like Saccha Jhutha, Doli, Raaz, Aan Milo Sajana, Mehboob Ki Mehndi, Choti Bahu, Humshakal and Shehzada.



Rishi Kapoor

Signature tune: 'Parda hai parda… (Amar Akbar Anthony)

Last film: Deedar-e-Yaar (1982)

Madan Mohan first used Rafi for Rishi Kapoor in Laila Majnu. But it was after Laxmikant-Pyarelal's Amar Akbar Anthony that Rafi emerged as a perfect-match for Rishi even under R.D.Burman in Hum Kisise Kum Naheen and Zamaane Ko Dikhaana Hai. L-P also delivered the mega-hit Sargam, and the fabulous numbers from Karz, Naseeb, Badaltey Rishtey and Deedaar-e-Yaar.



Sanjay Khan

Signature tune: 'Waadiyan mera daaman…' (Abhilasha)

Last film: Abdullah (1980)

Chocolate romances were also the forte of future TV mogul Sanjay Khan. And Rafi provided due romantic confections in films like Ek Phool Do Mali, Intequam, Abhilasha, Abdullah, Shart, Haseenon Ka Devta, Milan Ki Raat, Woh Din Yaad Karo, Upaasna, Beti and other films.



Sanjeev Kumar

Signature tune: 'Khilona jaan kar…' (Khilona)

Last film: Biwi O Biwi (1981)

'Khilona jaan kar…' and 'Khush rahe tu sadaa…' (Khilona), 'Aaya re khilonewala…' (Bachpan), 'Joode mein gajra mat baandho…' (Dhoop Chhaon), 'Tere naam ka diwana…' (Suraj Aur Chanda), 'Tumse kahoon ek baat…' (Dastak), 'Main wohi wohi baat…' (Naya Din Nayi Raat) apart from the many duets in various films, Rafi has a specially sweet 'solo' relationship with the actor. Maybe both are making sweet music together in another world today.



Shammi Kapoor

Signature tune: 'Yahoo, chahe koi…' (Junglee)

Last film: Shalimar (1978)

Shammi Kapoor and Rafi were like two sides of a coin — inconceivable without each other. Along with primarily Shankar-Jaikishan, but also many other composers, Rafi and Shammi unleashed an orgy of melody that ranged from the boisterous 'Yahoo…' and 'Aiyiya karoon main kya…' in Junglee to the raag-based 'Tum mujhe yoon bhula na paaoge…' (Pagla Kahin Ka). The banquet spread also encompassed Rajkumar, Janwar, Dil Tera Deewana, Laat Sahab, Brahmchari, An Evening In Paris, Tumse Accha Kaun Hai, Prince, Jawan Mohabbat, Sacchai, Andaz and Jaane Anjaane all under S-J, and China Town, Kashmir Ki Kali, Tumsa Nahin Dekha, Dil Dekho Dekho, Bluff Master, Preet Na Jaane Reet and Teesri Manzil with others.



Shashi Kapoor

Signature tune: 'Pardesiyon se na…' (Jab Jab Phool Khile)

Last film: Shaan (1980)

Rafi was no less a fixture with Shashi Kapoor as with bade bhai Shammi. Kalyanji-Anandji's gossamer melodies from Jab Jab Phool Khile, Aamne Saamne, Haseena Maan Jayegi, Ek Shreeman Ek Shrimati and Raja Saab were supplemented by other composers in Pyar Kiye Jaa, Suhana Safar, Naach Uthe Sansar, Prem Kahani, Kali Ghata, Kanyadaan, Jahan Pyar Miley, Patanga, Chor Machaye Shor, Neend Hamari Khwab Tumhare, Shaan, Pyar Ka Mausam, My Love and others.



Sunil Dutt

Signature tune: 'Ehsaan mere dil pe…' (Gaban)

Last film: Yaadon Ki Zanjeer (1987)

Sunil Dutt's songs with Rafi included 'Aap ke pehlu… (Mera Saaya), 'Rang aur noor ki…' (Ghazal), 'Itni haseen itni jawaan raat…' (Aaj Aur Kal), 'Ehsaan mere dil pe…' (Gaban), and 'Yeh khamoshiyaan… (Yeh Raaste Hain Pyar Ke).


AMIT KUMAR



"He was a wonderful human being, and so were my experiences with him in the many songs we sang together, beginning with Aandhi's 'Salaam kijiye…'. I recall his dropping me all the way home after a recording that was very near his house because my car had broken down. He had once watched me backstage at a show at which both of us were performing. After I had belted out 12 songs at a stretch, he complimented me on my singing, but advised me to take breaks after every 3-4 songs in a very caring, fatherly way. My dad and I had the highest regards for each other and would talk on the 'phone frequently. He refused to take more than a token one rupee as payment for singing two songs in dad's film Chalti Ka Naam Zindagi. In 1972, when the media was highlighting the rivalry between dad and him, we were in London for a show and he invited us over to his home there and served us an exotic homemade meal. It was a great evening with both Rafisaab and dad also singing and recalling their days when my father would sing in the chorus of a Rafi song! Dad and Rafisaab were so similar in their simplicity and genuineness as human beings."











ANU MALIK:



"Mohammed Rafisaab remains my biggest source of motivation and inspiration. I recorded three songs with him for Poonam and one for a untitled film of Premnathsaab that never took off. 'Laagi lag jaaye…' from the former film was the last song that he recorded live - the recording was on 25th July. After that he did a song for L-P, but the track had been kept ready and it wasn't a live 'take'. I shall never forget what he told me: 'Kamal ke phool ki tarah taharte rehna!' He was simply the calmest, most serene and kindest human being I knew. He would insist on rehearsals but often refuse to accept money. Rafisaab was a very 'giving' person. He gave me vital tips on how to teach singers your song. I adore him, for he was music himself!"



LATA MANGESHKAR:



"All singers have a style, but Rafisaab could change completely even for the same composer, like Burman Dada's 'Sar jo tera chakraaye…'(Pyaasa) and 'Hum bekhudi mein tumko…'(Teen Deviyan). We met for the first time when we were both strugglers, way back in 1947. We always got along famously, and that's why we sang more duets than any other team of singers, all the way till his last song in Aas Paas.



"Rafi was very close to my brother Hridaynath, and in the late'40s would visit my house during Ganpati Utsav and once he even sang in my house. But otherwise there was hardly any socializing between us. Even when we did not sing together for three long years, the differences between us were only on the matter of royalties, and Rafisaab had been provoked by vested interests that did not want us to sing together. Jaikishan finally engineered a patch-up between us.



"Rafisaab's voice was of course his greatest blessing. High-pitched or soft,there was a certain namrataa in it. The inimitable harkatein and taan were all a natural part of his talent."



MAHENDRA KAPOOR:



"I began to learn music at 13 at Rafisaab's recommendation. He himself coached me for a while, and I was his only student. Maine gandaa bandhwaaya hai. I was his fan from as far back as I can remember, and would sing, talk and even dress like him. So he told me, 'How far can you go if you copy me?' He insisted on my learning classical music to become an original. He also told me that fitness and a morning walk were a must for a singer, and we would meet at six a.m. and take walks together during the early years when we lived close to each other."



MANNA DEY:



"Rafi was the complete singer who could sing everything. Among the frontline singers, only he and I would be called to sing every kind of song. And I did not grudge that he always remained ahead of me because he was a far better singer than I was."



NAUSHAD:



"Rafi and I were one. So since he passed away, only 50% of me has remained! Rafi actually came to Mumbai with a letter from my father in Lucknow! At that point I had no song for him but asked him if he would sing in my chorus. He was paid Rs 10 for that! Very soon, he proved that he was unmatched as singer. He would always help the needy, but would ensure that the money was handed over by his man Zaheer. I asked him once why he did this, and he replied, "Main denewala kaun hoon? Denewala to Allah hai!" I would always warn him against his fondness for pure ghee and milk, and even convinced him to join Bandra Gymkhana because he had gained weight. Dilip (Kumar)saab, Rajendra Kumar and Jeevan would also join us. My last song with him was for Sanjay Khan's unreleased Habba Khatoon, and Rafisaab was so moved by the composition that he refused payment for it. "



NITIN MUKESH:



"I was in awe of the man, and all the Mukesh-es, including my dad, my brother and I have always been huge fans of Rafisaab. To me personally, Rafisaab was the best thing that ever happened to Indian music, and in fact when Papa was alive I would sing his and Kishore-Uncle's songs in Papa's shows. Though Rafisaab was completely versatile, I always thought there was a strange pathos in his voice. And he must have been a great actor to make us feel that every hero he sang for was actually singing himself! Having met Rafisaab so often, I am still entranced by how such a shy, private person in real life would turn into a Shammi Kapoor, a Mehmood or a Jeetendra in front of the mike!



"He was among the first to reach my side when Papa passed away, and I remember his exceptionally kindness each time we recorded songs together. Those who became so big, I firmly believe, are born with everything correct, but few have the heart of gold that Rafisaab had. Oh, I could go on and on about Rafisaab!"



O.P.NAYYAR:



"The biggest blunder of my entire career was in removing this farishta from my music rooms for two years in the '60s because Rafisaab reported late for a recording of mine! Two years later, he met me and affectionately asked me why I was not working with him. I had missed him tremendously, so I relented and he was back with me. He would love my peppy songs, and would hope for yet another whenever he arrived after singing a melodramatic litany with someone else!"



OMI (OF SONIK-OMI):



"I have nothing but praise for Mohammed Rafi as a singer and as a man. He has sung the out-and-out majority of Sonik-Omi songs right from our first film Dil Ne Phir Yaad Kiya till his death. I could tell you enough anecdotes about him to make a book. If ever there was a perfect human being in this world, it was Rafi. In his last days, most of the active music directors were non-Punjabis and whenever he came for our recording he would say, "Aisa lagtaa hai ke main apne ghar aaya hoon" because he too was from Punjab. How sublime was that experience where we would sing out and teach the song, and he would learn it! His fondness for punctuality and self-discipline was amazing: one day we had a rehearsal at nine in the morning, and so at 8.15 I decided to go down and have a paan. To my amazement, he was strolling in my compound! His secretary had to go somewhere so he had dropped him early, and Rafisaab did not want to disturb us before time! Tomorrow there just might be another singer as great as him, par aisa insaan phir se nahin aayega!'



PYARELAL (OF LAXMIKANT-PYARELAL):



"What can I say about a man jo tareef se bahut hi oopar hai, and had countless golden qualities? I am only able to feel my deep regard for him, not to express it. Rafisaab aisi sargam thi jisse koi bhi raag ban saktaa tha. He could sing in any range or octave. If today's composers are to flower, the Almighty should create nine Rafis more! Can we find even a single song of his that is badly rendered? Of course, he had a major role in our career, and yet I would single out one song to show his greatness as a human being - Kalyanji-Anandji's 'Sukh ke sab saathi…' (Gopi). How much apnapan is there in the rendition of this bhajan though Rafisaab belonged to a different mazhab!"



RAJESH ROSHAN:



"I really miss him. People complain that present-day music is not up to the mark, but then where are the singers who could, like Rafisaab did, enhance a song four-fold? You can listen to Rafisaab throughout the day and get tremendous peace of mind. I remember he never took a song back on tape to learn it, but remembered it completely by heart, even if the recording was a week later, as happened with 'Chal kahin door nikal jaaye…' (Doosara Aadmi). He would just write out the words on a piece of paper and would be perfect in all the small detailing on the day of the recording. When I went for rehearsals to his house, he would lift the harmonium himself from its place and refuse to let me or anyone else do it for him. When you entered his house, it was like entering a temple. To my surprise, my hand would automatically touch the marble of his gate and then go to my head!"



SHAMMI KAPOOR:



"It is the gravest mistake to say that Mohammed Rafi was good only for my kind of songs - he sang every kind of song wonderfully. I mean, look at his Johnny Walker songs - Rafisaab never drank, Johnny Walkersaab never had a drop of alcohol, and yet together they were so outstandingly convincing in a drunken song. I think that Shama Parwana was my first film with beautiful music - by Husnlal-Bhagatram - and that's where Rafisaab first sang for me. But the Shammi-Rafi style as it is known was first established with O.P.Nayyarsaab's Tumsa Nahin Dekha. As a hero I was so involved with my songs, from concept to tunes to lyrics, that I would make it a point to attend all my recordings and offer the suggestions for the audio part of the visuals that I would enact. But whenever I could not, it was uncanny how Rafi would know exactly what I would want by way of nuances! I asked him how he knew exactly what I would want, and he would say, "Maine socha ke tum kaise karoge!"



"He was a very conscientious worker, a simple soul who meant well for everybody. It is strange that though he was an outgoing guy he was also shy. Probably singing all the uninhibited songs was his only way of being able to break through his shy nature! Outside our professional association we barely interacted, since our social lives were completely different.



"Strangely, I also feel that it was Naushadsaab who truly give his voice a body and basic colour to start with, that everyone later used and moulded to their needs. I missed a chance to work with that combination in Shabab , because though I was signed, they dropped me for a more saleable hero!"



SONU NIGAM:



"I think that it is pointless to even think of comparing any other singer, however great individually, to Rafisaab. My whole approach to him as an inspiration and guru is to match that dedication, infuse the same kind of range that he had, and consciously work at not being his clone, since I had grown up on Rafisaab and had the same kind of vocal tenor. Dig through the ocean that is Rafi and you find an unparalleled treasure of happy and sad songs, high-pitched songs and low crooning, and obviously every genre of song from bhajans, ghazals, qawwalis, Western rock numbers, lullabies, children's songs - the works! He had a soft voice, but what a punch it had when needed!"



SURESH WADKAR:



"Apart from being his fan and sharing playback credit in some films, I had the privilege of singing with him in Anpadh, and believe me, it was sheer joy. The song was a qawwali by Ashaji, Rafisaab and me and frankly, I was more than a little nervous. He put me at ease completely. I think that no other singer could bring out the sweetness and masti of every word, incredibly fit his voice to every hero and yet be in such perfect sur that every note was well-rounded and a complete experience in itself."



UDIT NARAYAN:



"I admire all our great singers, but to me Rafisaab is the ultimate. I could not believe my luck when Rajesh Roshanji gave me my first break with a song in which I sang live with my idol -I felt blessed, especially after Rafisaab told me not to be nervous as he too had felt the same way at his first few recordings! Even today I try to emulate his great qualities, like his soothing voice that was as pure and as unadulterated as crystal-clear water. Yes, I am proud to say that I come from the Mohammed Rafi school."



USHA KHANNA:



"His humility was amazing. I remember that at the recording of one of my Asha-Rafi duets in my first film Dil Deke Dekho, I was not fully satisfied with one part of the song, but was hesitant about telling him. He sensed that and told me, "Usha, tumne humse nahin seekha. Hamein tumse gaana seekhna hai." He warmly embraced me after recording 'Tu is tarah se…' (my last song with him which was for Aap To Aise Na The) and said that I had made a lovely composition. And he sang "Hum aur tum aur yeh sama…", again from Dil Deke Dekho, which was my first-ever recording."



USHA MANGESHKAR:



"He was so simple, so pious and free of vices that he would not even have a supari, and a singer of no ordinary calibre. He would be especially caring and helpful with young artistes, which I remember right from our first recording for Kinare Kinare when I was a rank newcomer. I still remember that for our song 'Sainath tere hazaaron haath…'(Shirdi Ke Sai Baba), I was faltering over a dozen times at my cue, but though his feet were swollen and it was painful to stand, he smilingly told me not to worry and keep trying, even though I suggested that my line should be done by the chorus. When one take was finally okay, he was even game for another, which was the norm then as a technical precaution."



Lata Mangeshkar(singer)



"A man of unassuming temparament, Rafi Sahab was very melodious. It's my good fortune that I sang the maximum number of duets with him. He sang every kind of song so brilliantly that even those listeners not very conversant with music, would spontaneously break into appreciative wahs - wahs. Singers like Rafi Sahab aren't born everyday."



Asha Bhosle(singer)



"His greatest ability was that he could sing at a high pitch and shift to a low pitch immediately. He could manage that very well. One of his songs which I love is Suhani raat dhal chuki."



Johny Walker(comedian-actor)



"Rafi Sahab was such a dedicated singer that he would take time to meet with the actors and to study the actors' personalities so that he could match his singing style with the actors' style, accent and pronunciation. Jab Rafi Sahab mere liye gaate, tab aisa lagta ki main khud ga raha hoon(When Rafi Sahab sang for me, it seemed like I was singing)".





Laxmikant(music director)



"He was a great human being. He would never ask what he was going to be paid for a song. Apart from waving off payments, he even helped producers financially. He'd help out the needy. He always gave without thinking of the returns.

Once Rafi recorded six songs in a day for us-two for Anjaam, one for Maa Aur Mamta, two for Man Ki Ankhen and one for Pyasi Shyam. Imagine, he could memorise six songs in a day! And he could do this at live recordings and not through the easy dubbing method that's on today. If any singer claims that he has recorded 25-30 songs in a day, he's talking nonsense. There's only one singer in India who can even attempt that and that's S.P.Balasubramaniam, not anyone else.

The demand for Mohammed Rafi's songs is phenomenal. No other singer, not even Lata Mangeshkar, has been able to attract such a tremendous following. It's almost as if he were still alive."



Jagjit Singh(ghazal singer)



"Rafi sahab had immense versatality and an ability to take on the personality of the hero on whom the song was picturised. Every time you hear a Rafi song, you see the hero, you can vividly put in place the situation and correctly access the mood."



Raj Kapoor(Actor/producer/director)



Raj kapoor's reaction on hearing the news about Rafi's death wasb "In the world of music, the uncrowned king of singing has left us".



Shammi Kapoor(actor)



Shammi Kapoor acknowledges that Rafi had a lot to do with his success. "It was amazing the way Rafisaab adapted himself to what I wanted him to do. I used to be terribly involved with my songs and go for all the recordings. I used to make it clear how I wanted a certain line sung and Rafisaab always responded. I remember when the song Tareef karoon kya uski (in Kashmir Ki Kali) was being recorded, I wanted the signature line Tareef karoon to be repeated till it reached a crescendo. O P Nayyar, the composer and a friend of mine, objected. He thought it would sound boring. But suddenly, Rafisaab spoke up and said 'I would like to do it the way the boy wants it because I know what he wants'." When the film was released, the song was a big hit. Nayyar hugged Kapoor and congratulated him for his foresight, but the actor maintains "it was possible only because Rafisaab had taken the song to such a pitch and had sung each repetition in a different style." He adds, with a touch of pride, "Though Rafisaab sang for all the actors -- be it Dilip Kumar or Johnny Walker -- he was especially identified with me. Some songs sung by him and picturised on Joy Mukherjee and Biswajeet were actually my kind of songs. Baharon phool barsao, Pukarta chala hoon main or Teri pyari pyari surat ko -- these were my songs, sung in Rafi's special style for me. I remember when he sang Main gaoon tum so jaao for Brahmachari, I told him how I wanted him to sing one particular line. When he saw the picturisation he came and kissed my hand and said, 'it's very beautiful, why didn't I think of that?' I felt as if my own voice had been lost and could not utter a word for hours when I heard this shocking news of Rafi Sahab's death."



Anand Bakshi(lyricist)



Even today when I write something I imagine how it would sound if Rafisahab had sung it. His place can never be filled again."



Udit Narayan(singer)



Udit Narayan talks about his FIRST recording with Rafi Saheb "As it was a dream come true I was obviously excited, and to add to my excitement I was to sing none other than with Rafisaab, that very singer whom I worshipped as my guru, whose voice I used to hear on the radio, was in front of me! I can't describe my ecstasy. But I was a bit nervous too. Rafisaab, realised this and the angel that he was, he comforted me by saying 'You remind me of myself. I too was of your age when I came in the industry. Do not worry keep going.'(Mohd. Rafi was a chorus singer at the start of his career.) "



Manna Dey(singer)



"Despite being an educated singer, I could never reach Rafi's height of popularity. And he sang very good songs that I could never hope to sing. His style was unique. I sing Rafi's songs to myself when I am alone. He was a singer par excellence. He was an uneducated singer like Lata, but their voices are gifts of God. It cannot be anything else!"

"I have been singing for many years now. I have seen and heard so many singers. But the most brilliant of all singers and all songs are the ones sung by Mohammed Rafi! "

"Mohammad Rafi was king, and Manna never grudged him his success because he genuinely believed that Rafi was better than he was! "

"In my time, there were giant singers. Rafi was there, and he was such a great singer. He used to sing for everybody -- the hero, the villain and the comedian. "

"How can you ever dream of singing what legendary singer like Rafi have sung? I do not claim to come up to his standards. "





Dharmendra(Actor)



On being asked "Hemant Kumar, Mukesh, Mohammad Rafi, Kishore Kumar... all of them provided playback for you. Whose voice suited you the best?", macho man Dharmendra said: " Mohammad Rafi's contribution to my career is immense. From numbers like Jaane kya dhoondti rehti hain yeh aankhen mujh mein ('Shola Aur Shabnam') right till Main jat yamla pagla deewana ('Pratigyaa') have remained evergreen. The other singers have also made huge contributions to my career. I can never forget that. But Rafi saab is a personal favourite. "



Yesudas saab said that God has been partial to Rafi. He said "god gift term anavasyamaa romba common aa ippo use aardu".. but idu Rafi kee thaan 100% porundu".(meanin that the term god gifted voice has been used too frequently , but it applies 100% to Rafi.) This person could sing "as intricately as a lady without sounding thin", "cover any mood", "versatility odey perfect example Rafi". Yesu said most important is the comfort level over ranges which makes you feel God has been partial to Rafi.

Awards



* 2001 - Rafi was honored with the "best singer of the millennium" by Hero Honda and Stardust magazine in Mumbai on Jan 7, 2001.



Government Awards



* 1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru, on the first anniversary of the Indian Independence Day.

* 1965 - he was honoured with the Padmashri by the Government of India.



National Film Awards



Winner



* 1968 - National Award for Best Male Playback Singer for Neel Kamal composed by Ravi.



Winner



* 1977 - National Film Award for Best Male Playback Singer for "Kya Hua Tera Wada" song in the film Hum Kisi Se Kum Nahin), composed by RD Burman, lyrics by Majrooh Sultanpuri.



Filmfare Awards



Winner



* 1960 - Filmfare Best Male Playback Award for "Chaudhvin Ka Chand Ho" in the film Chaudhvin Ka Chand

* 1961 - Filmfare Best Male Playback Award for "Teri Pyaari Pyaari Surat Ko" in the film Sasural

* 1964 - Filmfare Best Male Playback Award for "Chahunga Mein Tujhe" in the film Dosti

* 1966 - Filmfare Best Male Playback Award for "Baharo Phool Barsao" in the film Suraj

* 1968 - Filmfare Best Male Playback Award for "Dil Ke Jharoke Mein" in the film Brahmachari

* 1977 - Filmfare Best Male Playback Award for "Kya Hua Tera Vaada" in the film Hum Kisi Se Kum Nahin



Nominated



* 1961 - "Husnwale Tera Jawaab Nahin" in the film Gharana

* 1962 - "Aye Gulbadan Aye Gulbadan" in the film Professor

* 1963 - "Mere Mehboob Tujhe" in the film Mere Mehboob

* 1965 - "Choo Lene Do Nazuk Hothon Ko" in the film Kaajal

* 1968 - "Mein Gaaon Tum Sojaao" in the film Brahmachari

* 1968 - "Babul Ki Duayein Leti Ja" in the film Neel Kamal

* 1969 - "Badi Mastani Hai" in the film Jeene Ki Raah

* 1970 - "Khilona Jaan Kar" in the film Khilona

* 1973 - "Hum Ko To Jaan Se Pyaari" in the film Naina

* 1974 - "Achha Hi Huva Dil Toot Gaya" in the film Maa Behen Aur Biwi

* 1977 - "Pardah Hai Pardah" in the film Amar Akbar Anthony

* 1978 - "Aadmi Musaafir Hai" in the film Apnapan

* 1979 - "Chalo Re Doli Uthao Kahaar" in the film Jani Dushman

* 1980 - "Mere Dost Kissa Yeh" in the film Dostana

* 1980 - "Dard-e-dil Dard-e-jigar" in the film Karz

* 1980 - "Maine Poocha Chand Se" in the film Abdullah



Bengal Film Journalists' Association Awards



Winner



* 1965 - Best Male Playback Singer for Dosti

* 1966 - Best Male Playback Singer for Arzoo

AND NOW,

due to the lack of taste shown by our beautiful government , WE FANS Shall award this farishta,this sangeet ka samraat with our own Bharat Ratna award! After all, the best judge of a kalakar is his audience, isnt it so?




Congratulations to Rafi Saab!