Mohammed Rafi

" Dil ka soona saz tarana dhundega,
teer-e-nigahain ka nishana dhundega,
mujhko mere baad zamana dhundega."

A versatile singer, Rafi sang in many Indian languages. His songs, which still remain very popular in India today and also among the Indian diaspora. He was the man him self and he solely dominated the music industry from the 1950s to the 1970s and Mukesh, Manna De and Kishore Kumar used to follow him .

Rafi recorded song for the 1945 film Gaon ki Gori, "Aji dil ho kaaboo mein". He considered this song his first Hindi language song.Rafi was first noted for the song "Tera Khilona Toota Balak" from Mehboob Khan's Anmol Ghadi (1946). His duet with Noor Jehan in the 1947 film Jugnu, "Yahan Badla Wafa Ka" became a hit.

In 1948, Rafi sang "Sun Suno Aye Duniya Walon Bapuji Ki Amar Kahani", written by Rajendra Krishna, which became a huge hit. 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).

" aaj purani raho se koi mujhe awaz na de,
dard me dube geet na de,
gham ka jhijhakta saaz na de "

" Meri awaz suno, payar ka raz suno,Maine ek phool jo sine me saja rakhha tha,
Us ke parde me tumhe dil me laga rakhha tha,
Tha juda sabse meri ishq ke andaaz suno,
meri awaz suno "

Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers 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.

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. Rafi worked with Burman in movies like Tere Ghar ke Saamne (1962), Pyaasa (1957), Kaagaz Ke Phool (1959), 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 when the the latter was so busy with acting that he didn't have time to record his own songs. O. P. 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) and Kashmir Ki Kali (1964). Rafi sang a total of 197 numbers (56 solo) for O P Nayyar. The combination of Shankar Jaikishan and Rafi is noted for the songs picturized on Rajendra Kumar. Rafi sang a total of 341 numbers (216 solo) for Shankar-Jaikishan.

Rafi got his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960), composed by Ravi. He got his first 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 Mohan was 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 great hit. They teamed up to produce many hit songs including "Teri Aankhon ke Siva", "Rang aur noor ki baraat", "Yeh Duniya Yeh Mehfil" and "Tum Jo Mil Gaye Ho". The composer duo Laxmikant-Pyarelal ("L-P") also patronized Rafi as one of their leading singers 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. Rafi sang a total of 369 numbers (186 solo) for LP. Rafi sang for many lesser-known composers as well. Once, when composer Nisar Bazmi did not have enough money to pay him, Rafi charged a fee of one rupee and sang for him.

The 1960s witnessed the straining of relations between Rafi and Lata Mangeshkar. Lata had wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers. But Rafi took a diametrically opposite view, and believed that a playback singer's claim on the filmmaker ended with the payment of the agreed fee for the song. During the recording of "Tasveer Teri Dil Mein" (Maya, 1961), Lata argued with Rafi over a certain passage of the song. Rafi felt belittled, as music director Salil Chowdhury sided with Lata. The situation worsened when Lata Mangeshkar declared that she would no longer sing with Rafi. Rafi stated that he was only so keen to sing with Lata as she was with him. 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 the Guinness 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 escapist 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.". 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 stated: "Mohammad Rafi ( 1 Aug 1980) claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980.". 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. The Guinness Book entries for both Rafi and Lata were later removed in 1991.

Between 1950 and 1970, Rafi was one of the most sought after singers in Bollywood. He sang for all the major male stars in Hindi films. 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 to Mauritius in the late 1960s. 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 before Kishore Kumar took it to a whole different level and perfected it. Rafi yodeled in some of 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).

During 1971-1976, Rafi's musical output decreased; however, he did deliver several hits. 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), "Chura Liya Hain Tumne" from Yaadon Ki Baarat (1973), "Yeh Jo Chilman Hain" and "Itna to Yaad Hain Mujhe" from Mehboob Ki Mehndi (1971), "Tum Jo Mil Gaye Ho" from Hanste Zakhm (1973), "Gulabi Aankhen" from The Train, Aaj Mausam bada Beimaan hai from Loafer (1973), and "Jhilmil Sitaron ka" from Jeevan Mrityu (a duet with Lata Mangeshkar, 1974).

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.In 1977, he won both Filmfare Award and the National Award for the song "Kya Hua Tera Wada" from the movie Hum 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). Rafi's comeback phase had once again brought him back as a leading playback singer.

On Thursday, July 31, 1980, Rafi died at 10:50 p.m., following a massive heart attack. His last song was "Shaam phir kyun udaas hai dost" (Aas Paas), which he had recorded with Laxmikant-Pyarelal several days before his death. He was survived by four sons (Saeed Rafi, Khalid Rafi, Hamid Rafi, Shahid Rafi), 3 daughters (Parveen, Nasreen, Yasmin) and 18 grandchildren.

Naushad wrote on Rafi's Death-
" Goonjte hai teri awaz ameero ke mahal me.
jhopro ki gharibon me bhi hay tere saaz,
yu to apne mousiki par sab ka fakr hota hai
magar ay mere saathi mousiki ko bhi aaz tujh paar naaz hai "

Thousand Deaths

Walking alone
hands in the pocket,
Shining lights lined across the street,
Staring around with Cold eyes
Invisible among strangers
Straying thoughts
Lost Opportunities
Abandoned hopes
Unsaid words
Oh I am dying a thousand deaths every waking hour.

A promise

I am no immortal to
promise you undying love.
I am no saint to
promise you sacrifices.
But know this my love,
This is me,
old, tired and thin
promising to be there until I breathe.


मन क्यों ना तू खुश होता रे?

जब थीं दिल में उमंगें जागी,
जब सपने नए मिले थे सारे,
कितनी मन्नतें तब माँगी,
कितने देखे टूटते तारे।

अब जब झोली में हैं आए,
क्यों है तू यों थका-थका रे।
रस्ते का क्यों दर्द सताए,
सामने मंज़िल बाँह पसारे।

मन क्यों ना तू खुश होता रे?

खुशी न जाने क्यों नहीं आती!

मंज़िल क्यों वैसी नहीं लगती,
जैसी थी सपनों में भाती,
जो भी पीछे छोड़ आया हूँ,
अलग ये उससे नहीं ज़रा सी।

प्रश्न है खुद से जिसको ढूँढ़ा
क्या वो कोई मरीचिका थी?

और उसे सब कुछ दे डाला
बची है बस ये राख चिता की।

खुशी न जाने क्यों नहीं आती!

कितनी बार तुम्हें देखा

कितनी बार तुम्हें देखा
पर आँखें नहीं भरीं।

सीमित उर में चिर-असीम
सौंदर्य समा न सका
बीन-मुग्ध बेसुध-कुरंग
मन रोके नहीं रुका
यों तो कई बार पी-पीकर
जी भर गया छका

एक बूँद थी, किंतु,
कि जिसकी तृष्णा नहीं मरी।

कितनी बार तुम्हें देखा
पर आँखें नहीं भरीं।

शब्द, रूप, रस, गंध तुम्हारी
कण-कण में बिखरी
मिलन साँझ की लाज सुनहरी
ऊषा बन निखरी,
हाय, गूँथने के ही क्रम में
कलिका खिली, झरी

भर-भर हारी, किंतु रह गई
रीती ही गगरी।

कितनी बार तुम्हें देखा
पर आँखें नहीं भरीं।

--शिवमंगल सिंह सुमन

Kaminey - Title track (Very meaningful)

(Kya Kare Zindagi Isko Hum Jo Mile
Iski Jaan Kha Gaye, Raat Din Ke Gile) - 2
Raat Din Gile
Meri Aarzoo Kamini, Mere Khwab Bhi Kaminey
Ek Dil Se Dosti Thi, Yeh Huzoor Bhi Kaminey
Kya Kare Zindagi Isko Hum Jo Mile
Iski Jaan Kha Gaye, Raat Din Ke Gile

(Kabhi Zindagi Se Maanga, Pinjre Mein Chaand La Do
Kabhi Laanten Deke, Kaha Aasmaa Pe Taango)  2
Jeene Ke Sab Kareene The Hamesha Se Kaminey
Kaminey Kaminey Kaminey Kaminey
Meri Daastaan Kamini, Mere Raasten Kaminey
Ek Dil Se Dosti Thi, Yeh Huzoor Bhi Kaminey

Jiska Bhi Chehra Cheela, Andar Se Aur Nikla
Masoom Sa Kabootar Naacha To More Nikla
Kabhi Hum Kaminey Nikle, Kabhi Doosre Kaminey
Kaminey Kaminey Kaminey Kaminey
Meri Dosti Kamini, Mere Yaar Bhi Kaminey
Ek Dil Se Dosti Thi, Yeh Huzoor Bhi Kaminey

Yahi hota pyar hai kya

Javed Akhtar:
nind ke baadalon ke pichhe hain
muskuraata huwa koyi chehara
chehare par bikhari ek reshami latt
sarsaraata huwa koyi aanchal
aur do aankhein hairaan haira si

tera banega woh jo, tera nahi hai 
aye dil bata kyun tujko, itna yakin hai 
mere dil-e-beqkaar
haan dil-e-beqkaar
yahi hota pyaar hai kya
mere dil-e-beqkaar
yahi hota pyaar hai kya
mere dil-e-beqkaar
yahi hota pyaar hai kya

Javed Akhtar:
nind ke baadalon ke pichhe hain
ek mulaakaat
ek haseen lamha
jheel ka thehara thehara sa paani
ped par chehchahaati ek chidiyaan
baagh mein khilate nanhe nanhe phool
khubsurat labon ki narm si baat

khwaabon mein koyi kyun hai yuun rehta
aye dil tu kyun mujhe hain yeh kehta
woh mera rasta bhi hai, aur woh hi manzil 
woh mera sagar bhi hai, aur woh hi saahil
kaisi bata yeh betaabiyaan hain
hum chalte chalte aye kahaan hain
yahi hota pyaar hai kya 
mere dil-e-beqkaar
yahi hota pyaar hai kya
mere dil-e-beqkaar
yahi hota pyaar hai kya

Javed Akhtar:
nind ke baadalon ke pichhe hain
dopaher ek pili pili si
lohe ki thandak ke lehje mein
tuta aaina, udate kuchh kaagaj
kirchon kirchon bikhrata ek mandar
palkon pe jhil-milaata ek aansu
ghehara sannata, shor karata huwa
nind ke baadalon ke pichhe hain

sunta hoon mein teri yeh dastaan
simmte ki ek din to yeh dooriyaan
pal mere tum mein dil koyi nahi hai 
tere zidd mein aye dil sadd afreen hai 
kyun yeh junoon hai, kya zustju hai
aakhir tujhe kyun, yeh aarzoo hai
yahi hota pyaar hai kya 
mere dil-e-beqkaar
yahi hota pyaar hai kya
mere dil-e-beqkaar
yahi hota pyaar hai kya

Tumhari Yaad

un dino, jab ke tum the yahaan
zindagi jaagi jaagi si thi
saare mausam bade mehraba dost the
raaste, daawatnaame the jo manjilon ne likhein the jamin par hamaare liye
ped baahein pasaarein khade the
hame chaanv ki swaal pehnaane ke waaste
shaam ko sab sitaare, bahot muskuraate the jab dekhate the hamein
aati jaati hawaayein, koyi geet khushboo ka gaati huyi, chhedati thi, guzar jaati thi
assama ??pigle-neelam ka ek gehra taalaab tha
jisme har raat ek chaand ka phool khilta tha
aur ??pigle-neelam ki leharon mein behta huwa
woh hamaare dilon ke kinaaron ko chhu leta tha
un dino, jab ke tum the yahaan

ashko mein jaise dhul gaye, sab muskuraate rang
raste mein thak ke so gayi maasum si umang
dil hai ki phir bhi khwaab sajaane ka shauk hai
paththar pe bhi gulaab ugaane ka shauk hai
barso se yun to ek amaawas ki raat hai
abb isako hausala kahoon ki jidd ki baat hain
dil kehta hain andhere mein bhi roshani to hai
maana ke raakh ho gaye ummid ke ye ???
is raakh mein bhi aag kahi par dabi toh hain

aapaki yaad kaise aayegi
aap ye kyun samajh na paate hain
yaad toh sirf unaki aati hai
hum kabhi jinko bhool jaate hai

:- Javed Akhtar


jaane kiski talaash unaki aankhon mein thi
aarajoo ke musaafir bhatkate rahein
jitane bhi woh chale
utane hi bichh gayein raah mein faasalein
kwaab manjil thi aur manjilein khwaab thi
raaston se nikalate rahein raaste
jaane kis waste aarjoo ke musaafir bhatkate rahein

koyi puraani yaad mera rasta roke mujhse kehti hai
itani jalati dhoop mein yuun kab tak ghumoge
aayo, chalke bitein dino ki chhanv mein baithe
us lamhein ki baat karein
jisme koyi phool khila tha
us lamhein ki baat karein ke
jisme kisi aawaaz ki chaandi khanak uthi thi
us lamhein ki baat karein ke
jisme kisi nazaron ke moti barse the
koyi puraani yaad mera rasta roke mujhse kehti hai
itani jalati dhoop mein yuun kab tak ghumoge

sach toh yeh hai kasoor apana hain
chaand ko chuune ki tamanna ki
aasamaan ko jamin par maanga
phool chaaha ki paththaron pe khilein
kaanton mein ki talaash khoshboo ki
aarjoo ki ke aag thandak de
barf mein dhundate rahein garmi
khwaab jo dekha chaaha sach ho jaaye
isaki humko saja toh milani hi thi
sach toh yeh hai kasoor apana hain

:- Javed Akhtar

Jab we met..again

And we met one day 
you were surprised, i was shocked.. 
you smiled, i shrugged. 
“Long time” 
and a silence followed. 

Last time, your silence had broken me 
this time, you broke the silence. 
“I have to go, he would be waiting.” 
“Ah, sure. I hope we meet again… 
somehow, somewhere” 
We parted our ways again, 
but with a goodbye and smile, 
oh really? 

We could have talked, 
about our lives without each other, 
or rather about.. 
how you landed in this city again. 
or rather about.. 
old buddies and good old times. 

No, not really.. 
how can we become so casual, 
after all that had happened. 

But we could have said something else 
on weather, winds, sun, countries… 
Thousands of things 
people talk about 
when they have nothing 
to say to each other. 

But we went away, 
We were ashamed 
of surviving without each other 
for all these goddamn years

Sab kehte hain mai deewana hu

mujhko teri aawaaz se khushboo aati hai
aur khushboo mein rang dikhaayi dete hai
tu jab nahi hai tab bhi tu hai saath mere
milon se chhute hai tujhko haath mere
woh jo teri saanson mein hai ghulein huye
kahin rahoon woh geet sunaayi dete hai
baadal, titli, kaliyaan, lehrein, phool, hawaan
ye sab tere roop dikhaayi dete hain
main hoon, tera naam hain, teri baatein hain
har pal dohraata tera afsaana hoon
mujhko to abb hosh nahin hain
tu hi bata, sab kehte hain main tera deewaana hoon

:- Javed Akhtar


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