Wishing the readers and their friends and families a very Happy New Year with Rafi’s centenary year celebrations (b. 24 December 2024, d. 31.7.1980)
Mohammad Rafi is the undisputed most versatile playback singer of Hindi films. You think of genres – bhajan, qawwali, romantic, patriotic, ghazal – he could do all. There was another unique aspect about his voice – he had the unique ability to modulate his voice to sound like the character he was singing for on the screen, without much conscious effort. He personified Dilip Kumar, Shammi Kapoor, Rajendra Kumar, and he was the voice of Johnny Walker and Mehmood. His over 4800 Hindi film songs are the most by any male playback singer, leaving the next Kishore Kumar far behind. He is outnumbered by only the two great Mangeshkar sisters – Lata Mangeshkar and Asha Bhosle.
To be sure the other male playback singers like Manna Dey, Mukesh, Hemant Kumar and Talat Mahmood had their strong fan-following, but they are outnumbered by Rafi by a multiple of about four to ten. We describe them as niche singers, and being niche singers they were nowhere comparable to Rafi in versatility.
Rafi was born in a Punjabi Jat Muslim family which came from a village named Kotla Sultan Singh in Amritsar district. He spent his early years at Lahore, learned music from several stalwarts of classical music and earned his musical spurs there. He started singing while he was in his teens. There is an oft-repeated story which goes like this. Once the legendary KL Saigal had come for a concert in Lahore. During the programme the mike failed causing an uproar in the audience. A young lad Rafi took the stage and held the audience spellbound.
He debuted as a film singer in Lahore in the Punjabi film Gulbaloch (1944) under the baton of Shyam Sundar. Shyam Sunder is also credited with recording his first Hindi film song in 1944 for the film Village Girl, but the film got delayed and was released in 1945. Before this his voice first appeared in the film Pahle Aap (1944) under the music director Naushad. In due course Rafi became the first voice of choice for Naushad. So did he become the preferred voice of other top ranking music directors. Even SD Burman who was very fond of Kishore Kumar composed almost equal number of songs for him and Rafi, and he always reserved his very best, complex and special songs for Rafi.
Rafi passed away prematurely on 31st July 1980 leaving millions of his fans mourning. Despite his enormous fan following, he remained rooted to the ground – an humble, god-fearing person, devoid of vanity and jealousy. Rafi has been most extensively covered on this blog, discussing his songs in various combinations, such as solos, duets with other singers and under different music directors. But he is eminently worthy of centenary celebrations dedicated to him. I wish all the readers and their friends and families a very Happy New Year with this inaugural post on Rafi’s centenary celebrations, with his solos under different letters of alphabets. I am limiting myself mostly to my great favourites which are obviously very popular and well-known, therefore, many of the songs in the list would be repetitions for which I offer no apologies.
1. Aaj ki raat badi shokh badi natkhat hai from Nai Umar Ki Nai Fasal (1965), lyrics Neeraj, music Roshan
This would not be the first choice of many because Rafi has sung many great songs under the alphabet ‘A’. Even Roshan’s Ab kya missal dun main tere shabab ki (Aarti, 1962) is more famous. But there is something in Aaj ki raat that has long mesmerised me. It is a supreme romantic solo of solitude in the night, it has minimal orchestration giving full prominence to Rafi’s voice, and the flute pieces interspersed by Roshan create magic. I can’t help quoting the lyrics in full.
आज की रात बड़ी शोख बड़ी नटखट है
आज तो तेरे बिना नींद नहीं आयेगी
अब तो तेरे ही यहाँ आने का ये मौसम है
अब तबीयत न खयालों से बहल पायेगी
देख वो छत पे उतर आयी है सावन की घटा
दे रही द्वार पे आवाज़ खड़ी पुरवाई
बिजली रह रह के पहाड़ों पे चमक उठती है
सूनी आंखों में कोई ख्वाब ले जो अंगड़ाई
कैसे समझाऊँ
कैसे समझाऊँ कि इस वक़्त का मतलब क्या है
दिल की है बात
हो दिल की है बात न होठों से कही जायेगी
आज तो तेरे बिना नींद नहीं आयेगी..
ये भटकते हुये जुगनू ये दिये आवारा
भींगते पेड़ों पे बुझ बुझ के चमक उठते हैं
तेरे आँचल में टके सलमे सितारे जैसे
मुझसे मिलने को बिना बात दमक उठते हैं
सारा आलम
साला आलम है गिरफ्तार तेरे हुस्न में जब
मुझसे ही कैसे
हो मुझसे ही कैसे ये बरसात सही जायेगी
आज तो तेरे बिना नींद नहीं आयेगी..
रात रानी की ये भीनी सी महकती खुशबू
आ रही है के जो छन छन के घनी डालों से
ऐसा लगता है किसी ढीठ झखोरे से लिपट
खेल आयी है तेरे उलझे हुए बालों से
और बेज़ार
और बेज़ार न कर मेरे तड़पते दिल को
ऐसी रंगीन ग़ज़ल रात न फिर आयेगी
आज तो तेरे बिना नींद नहीं आयेगी..
2. Basti basti parbat parbat gata jaaye banjara from Railway Platform (1955), lyrics Sahir Ludhiyanavi, music Madan Mohan
Sunil Dutt debuted with Railway Platform. As the credit titles roll you see parallel railway tracks and an incoming train from which this song comes through. Soon you see Manmohan Krishna in the compartment singing this song. Train itself is a metaphor for life in the world, and itinerant singers in train compartments usually sing of deep philosophy of life, its futility, and people’s greed for money when everything would have to be left behind – Dhan daulat ke peechhe kyon hai ye duniya deewani, yahan ki daulat yahin rahegi sath nahin ye jaani. A long song but Rafi’s singing and the message keep you engrossed.
3. Chal ud ja re panchhi from Bhabhi (1957), lyrics Rajendra Krishna, music Chitragupta
Bhabhi gave recognition to Chitragupta and helped him move out of mythological to social, romantic films. He scored a large number of extremely melodious songs, but could not get the top commercial billing. Chal ud ja re panchhi is a superb philosophical song for which Rafi had no parallel.
4. Dil ki mehfil saji hai chali aaiye from Saaz Aur Aawaz (1966), lyrics Khumar Barabanqvi, music Naushad
‘D’ poses impossible choice to pick one from Deewana mujhsa nahin is ambar ke neeche, Dekhi zamaane ki yari, Dil jo na kah saka wohi raaz-e-dil kahne ki raat aayi, Din dhal jaye haye raat na jaye, Dil ki mehfil sazi hai chale aaiye. Anyone is as good as the other. Joy Mukherjee-Saira Bano film in 1966 does not seem to belong to Naushad canon – the lyricist Khumar Barabanqvi is an indication. But Naushad’s touch is unmistakable. A beautiful song. No acrobatics but beautiful voice modulation by Rafi.
5. Ek haseen sham ko dil mera kho gaya from Dulhan Ek Raat Ki (1966), lyrics Raja Mehdi Ali Khan, music Madan Mohan
Rafi has sung some of his best ghazals under the baton of Madan Mohan, many of which were picturised on Dharmendra.
6. Falak pe jitne…. Gham uthane ke main to jiye jata hun from Mere Huzoor (1968), lyrics Hasrat Jaipuri, music Shankar-Jaikishan
‘F’ is one letter which does not pose a challenge for choice as it does not have many songs. This song is picturised on Jeetendra, cast in an atypical crying role.
7. Guzre hain aaj ishq mein hum us makaam se from Dil Diya Dard Liya (1966), lyrics Shakeel Badayuni, music Naushad
Based on Emily Brontë’s Wuthering Heights, the film Dil Diya Dard Liya was a resounding flop. But Naushad has maintained his musical standards. One of the memorable Rafi songs picturised on Dilip Kumar.
https://www.youtube.com/watch?v=Bf2iVFWUCQ0
8. Hai duniya usi ki zamana usi ka from Kashmir Ki Kali (1964), lyrics SH Bihari, music OP Nayyar
Shammi Kapoor did all the crazy things in Kashmir Ki Kali, but since our films had to be of three hours duration, and had to contain a variety of songs, there was a sad twist in tale, Pran was up to his evil design, and Shammi Kapoor had his world shattered. He drowns his sorrow in drinks with this great song by Rafi. Now we all recognise the famous saxophone player Manohari Singh in the frame. He has been covered in the series on Arrangers and Musicians.
https://www.youtube.com/watch?v=WO_aMRsEIIY
9. Is bhari duniya mein koi bhi hamara na hua from Bharosa (1963), lyrics Rajendra Krishna, music Ravi
There are acknowledged great music directors who did not achieve commercial acclaim. Ravi was the flip side who achieved great success though not counted among the greats. He composed some of Rafi’s best ghazals. This poignant song fits very well on Bharat Bhushan.
10. Jo baat tujhmein hai teri tasveer mein nahin from Taj Mahal (1963), lyrics Sahir Ludhiyanavi, music Roshan
Roshan’s songs for Rafi were exceptional. I easily put Roshan among the top who five who composed best songs for Rafi. Jo baat tujhmein hai has long been my great favourite.
11. Kar chale hum fida jaan-o-tan sathiyo from Haqeeqat (1964), lyrics Kaifi Azmi, music Madan Mohan
Haqeeqat was one of the most acclaimed war movies. It depicts an operation from the war with China. In a war in which India didn’t do well, an inspiring song was needed. One of the perennial patriotic songs by Rafi, written so well by Kaifi Azmi and composed equally well by Madan Mohan.
12. Lakhon hain nigah mein zindagi ki raah mein sanam haseen jawan from Phir Wohi Dil Laya Hun (1963), lyrics Majrooh Sultanpuri, OP Nayyar
This was the period when OP Nayyar was the top gun in film music. Joy Mukherjee doesn’t have to do much. He has to carry a guitar, it does not matter if he does not strum it but carries it like a mace. He has to fall in love with someone, OP Nayyar’s music does the rest. Joy Mukherjee makes his living as a roving singer. An ideal role for some excellent music. One of the best by OP Payyar for Rafi.
13. Maine chaand aur sitaron ki tamanna ki thi from Chandrakanta (1956), lyrics Sahir Ludhiyanavi, music N Datta
This song based on Raag Bhimpalasi mesmerised me on the very first listening. This is my eternal favourite. It transports you to a surreal world where the man reflects on what he wished and what befell his fate.
14. Na jhatko zulf se pani ye moti toot jayenge from Shehnai (1964), lyrics Rajendra Krishna, music Ravi
I don’t use very flattering words for Ravi, but some of his songs are exceptionally good and have become landmarks of film music. I put Na jhatko zulf se pani as one of the best ’zulf’ songs. Rajshri shaking off the water droplets from her wet hair prompts Biswajit to sing this naughty romantic song.
15. O door ke musafir humko bhi saath le le from Udankhatola (1955), lyrics Shakeel Badayuni, music Naushad
The best of Naushad-Rafi. What a song!
https://www.youtube.com/watch?v=pD7HziV7204
16. Paas baitho tabiyat bahal jayegi from Punarmilan (1964), lyrics Indivar, C Arjun
This one song made me write on C Arjun in the series on Forgotten Composer Unforgettable Melodies. There is a story how this song came about. Once Indivar and C Arjun were travelling in a bus on adjacent seats when a beautiful girl boarded and stood near their seat. Indivar who wished she would sit beside her, nudged C Arjun to leave the seat for her.
17. Qadmon mein tere ae sanam humne to sar jhuka liya from Ummeed Pe Duniya Jhukti Hai (Unreleased), lyrics Prem Dhawan, music Madan Mohan
This song has been released in Madan Mohan’s album titled ‘Tere Bagair’. I believe Tere Bagair is a compilation from his unreleased films. Rafi Excel sheet mentions the film’s name for this song. Madan Mohan’s site also mentions Ummeed Pe Duniya Jeeti Hai among his unreleased films. The YT has this song thanks to the intrepid uploader. The song is beautiful and showcases Rafi’s talent for soft ghazals.
18. Raha gardishon mein hardam mere ishq ka sitara from Do Badan (1966), lyrics Shakeel Badayuni, music Ravi
One of the well-known Rafi’s ghazals. Ravi as always is very competent. Asha Parekh getting married to Pran is, of course, a sad occasion. Manoj Kumar can do nothing but sing Raha gardishon mein hardam mere ishq ka sitara. As per the standard formula of our films this is a temporary aberration and things would get sorted out in the end.
19. Sab jawan sab haseen koi tumsa nahin from Main Suhagan Hun (1964), lyrics Kaifi Azmi, music Lachchhi Ram
An unforgettable song by a forgotten composer, lip-synched by an unknown actor. Lachchhi Ram has also been covered in this blog.
20. Tasveer banata hun teri khoon-e-jigar se from Deewana (1952), lyrics Shakeel Badayuni, music Naushad
‘T’ is an oft-recurring first letter in many words, therefore, this too poses a difficult challenge to pick one from Tang aa chuke hain kashmkah-e-zindagi se hum, Tujhe kya sunaaun main dilruba, Taqdeer ka fasana jaakar kise sunayein, Tum ek baar mohabbat ka imtehan to lo. I have to choose one, and I pick my favourite Naushad’s Tasveer banata hun teri khoon-e-jigar se. Rafi is immersed in underlying emotions for the song. Shakeel has penned beautiful lyrics – Saawan teri zulfon se ghata maang ke laya, haye maang ke laya/ Bijli ne churaai hai tadap teri nazar se are teri nazar se.
21. Unhein kissa-e-gham likhne jo baithe from Naya Kanoon (1965), yrics Hasrrat Jaipuri, music Madan Mohan
Rafi is the master of recital songs with no musical support. This also has a slower and sadder Asha Bhosle version, and in an exception to the general rule in twin songs, I like Asha Bhosle’s version more.
22. Vidhi ne dekho virah milan ka kaisa khel rachaya from Ram Rajya (1967), lyrics Bharat Vyas, music Vasant Desai
This song may be new for many readers. There is a chorus in the background, but it does not take away its character as a Rafi solo. Rafi is able to bring out the immense expanse of Ram story from his devout voice. The song also describes the strange games destiny plays when even Lord Ram has to suffer pangs of separation from his beloved Sita.
23. Wo sadgi kahein ise deewangi kahein from Shama (1961), lyrics Kaifi Azmi, music Ghulam Mohammad
Nimmi agonises as she realises it is the wrong man, but as her lover is sighted she is joyous. A very good composition by Ghulam Mohammad. Wonderful instrumental prelude and interludes.
24. Ye jhuke jhuke naina ye lat balkhati to dil mera kyun na deewana ho tera from Bharosa (1963), lyrics Rajendra Krishna, music Ravi
It is not surprising that there is no song on ‘X’ and I have to per force skip to ‘Y’. Ye hanste huye phool from Pyasa (1957) is in a different class, but it is a very short recital as the poet Guru Datt reclines on the grass. Therefore, I choose this peppy song composed by Ravi. Ravi was surely born with a Midas touch. Guru Datt’s get-up as a villager in dhoti and wearing a moustache seems odd, but the song is outstanding.
25. Zindagi ke safar mein akele the hum mil gaye tum to dil ko sahara mila from Nartaki (1963), lyrics
Ravi again but what a contrast from the earlier song. Professor Sunil Dutt uplifts the courtesan girl Nanda from her surroundings, but he is not conscious that he has done some charity. Rather he is grateful that she has come into his life. Sunil Dutt rowing the boat and his sole companion Nanda looking at him lovingly and the natural beauty make this an ultimate romantic song.