Mohd.

Rafi Sahab

MOHAMMED RAFI the paragon of humility, greatness and piety, all put together. A voice that
left a landmark in the world of music. A stalwart who was unparalleled be it his style of singing,
or the varying emotions he portrayed in the songs that suited every actor that he play backed
for. 25 years have passed by and the reverberation of his voice or his songs continues like the
waves that hit the seashore leaving behind a trail of finest silt of impressions in our hearts.

MOHD.RAFI Page 1
 Mohammed Rafi

Background information

Born December 24, 1924

Kotla Sultan Singh,Punjab, British India

Origin Indian

Died July 31, 1980 (aged 55)

Mumbai,Maharashtra, India

Genres Indian classical,ghazal, playback singing

Occupations Hindi and regional playback singer

Instruments Vocalist

Years active 1944–1980

MOHD.RAFI Page 2
Mohammed Rafi (Hindi: मोहम्मद रफ़ी, Urdu: ‫ ;محمد رفیع‬December 24, 1924 – July 31, 1980),
was an Indian playback singer whose career spanned four decades.[1] He won several awards
including Padma Shri, 5 National Awards and 6 Filmfare awards.

Rafi was also capable of singing Bhajjans and Qawalis. He sang in many Indian languages

including Hindi, Konkani, Urdu, Bhojpuri, Punjabi, Bengali,Marathi, Sindhi, Kannada, Gujarati
, Maghi, Mathili, Assamese and Telugu. He also recorded a few English and Persian songs.

Early years and background

Mohammed Rafi was born the youngest of six sons of Hajji Ali Mohammad at Kotla Sultan
Singh, a village near Amritsar in Punjab (British India).[2] Rafi, whose nickname was Pheeka,
started singing by imitating chants of a fakirin his village.[2] In 1935-36, Rafi's father moved
to Lahore, and the rest of the family followed later. Rafi's family owned a men's salon in
Lahore's Noor Mohalla.[3] It was his brother-in-law Mohammed Hameed who spotted the talent
in Rafi and encouraged him. Rafi learnt classical music from Ustad Bade Ghulam Ali
Khan, Ustad Abdul Wahid Khan, Pandit Jiwanlal Matto and Firoze Nizami. [4][5]

Rafi's first public performance came at the age of 13, when he was allowed to sing at a concert
featuring K. L. Saigal.[4] In 1941, 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).[6] In that same year, Rafi was invited by All India
RadioLahore station to sing for them.[7] He made his professional debut in the Shyam Sunder-
directed 1941 film Gul Baloch and the Bombay film, Gaon Ki Gauri, the following year.

Initial days in Bombay

In 1944, Rafi moved to Bombay (now Mumbai), where poet Tanvir Naqvi introduced him to
some of film producers including Abdur Rashid Kardar, Mehboob Khan and actor-director
Nazeer.[3] 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.[7] In 1945, Rafi married his cousin Bashira, nicknamed
"Majhi", in his village.[2]

In 1945, Rafi appeared on the screen for the song "Tera Jalwa Jis Ne Dekha" in the film Laila
Majnu.[7] He sang a number of songs for Naushad as part of the chorus, including "Mere sapnon
ki rani, Roohi Roohi" with K. L. Saigalfrom the film Shahjahan (1946). Rafi sang "Tera Khilona
Toota Balak" from Mehboob Khan's Anmol Ghadi (1946) and a duet with Noor Jehan in the
1947 film Jugnu, "Yahan Badla Wafa Ka". Following the Partition of India, Rafi decided to stay
in India and had his family flown to Bombay.
MOHD.RAFI Page 3
In 1948, Rafi sang "Suno Suno Aye Duniya Walon Bapu Ki Ye Amar Kahani", written
by Rajendra Krishan. 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).

Rise to fame

Rafi's association with Naushad helped the former establish himself as one of the most
prominent playback singers in Bollywood.[7] Songs from Baiju Bawra (1952) like "O duniya ke
rakhwale" and "Man tarpat Hari darshan ko aaj" furthered Rafi's credentials. [6] Naushad, who
heretofore had been using Talat Mahmood for his songs, began favoring Rafi as the male voice
in almost every song he composed. Rafi would sing a total of 149 songs (81 of them solo) for
Naushad.[8]

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.[9] Rafi worked with Burman in movies like Pyaasa (1957), Kaagaz Ke
Phool (1959), Tere Ghar ke Saamne (1962), 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 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),
andKashmir Ki Kali (1964). Rafi sang a total of 197 numbers (56 solo) for Nayyar. [10]

Rafi and Shankar Jaikishan were one of the most successful singer-music director pairs in the
Hindi film industry. Under the baton of Shankar Jaikishan, Rafi produced his songs for actors
like Shammi Kapoor and Rajendra Kumar. Out of six Filmfare awards, Rafi won three for S-J
songs, viz., Teri pyari pyari soorat ko, Baharon phool barsao, and Dil ke jharokhe mein. The
iconic song Yahoo! Chahe koi mujhe junglee kahe was sung with aplomb by Rafi, only to be
matched a fast-paced orchestra and a composition by Shankar Jaikishan. S-J made Rafi give
playback for Kishore Kumar in the film Sharart (Ajab hai daastan teri yeh zindagi). Rafi sang a
total of 341 numbers (216 solo) for Shankar-Jaikishan. [8] Among the successful films of this
combination, are Basant Bahar, Professor, Junglee, Suraj, Brahmachari, An Evening in Paris,
Dil Tera Deewana, Yakeen, Prince, Love in Tokyo, Beti Bete, Dil Ek Mandir, Dil Apna Aur Preet
Parai, Gaban, Jab Pyar Kisi Se Hota Hai.

Rafi got his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960), composed
by Ravi. He got 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 Mohanwas another

MOHD.RAFI Page 4
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 hit.[7] They teamed up to produce many
songs including "Teri Aankhon ke Siva", "Rang aur noor ki baraat", "Yeh Duniya Yeh Mehfil"
and "Tum Jo Mil Gaye Ho". The composer duoLaxmikant-Pyarelal ("L-P") also patronized Rafi
as one of their leading singers, right 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 (1964). Rafi sang a total of 369 numbers (186 solo) for L-P. [8]

At one point Rafi stated that he was only so keen to sing with Lata Mangeshkar as she was with
him.[11][12] 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 theGuinness 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 evasive 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.". [13] 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 (d 1 Aug 1980) [sic] claimed to have
recorded 28,000 songs in 11 Indian languages between 1944 and April 1980.". [14] 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.[14] The Guinness Book entries for both Rafi and Lata were later removed in
1991.

Between 1950 and 1970, Rafi was the most sought after singers in Bollywood. [15] He sang for all
the major male stars in Hindi films.[16] 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 toMauritius in the late 1960s.[4] 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.
Rafi yodeled in some of his 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).

Last years

In early 1970s, Rafi fell ill and recorded fewer songs. [17] At The same period Kishore Kumar's
popularity increased due to the songs he sang, controversially, for the film Aradhana in Mohd
Rafi`s absence during Rafi's Hajj pilgrimage in 1969.[11][18] The music for Aradhana was
composed by S. D. Burman, and he had used Rafi as the male playback voice for the first two

MOHD.RAFI Page 5
recorded duets, "Baaghon Mein Bahaar Hai" and "Gunguna Rahen Hain Bhanwre". [9] After
these two recordings, S. D. Burman fell ill and his son and assistant, R. D. Burman, took over
the recordings. R. D. Burman got Kishore Kumar to sing the solos "Roop Tera Mastana" and
"Mere Sapnon Ki Rani", which led to Kishore Kumar's popularity. During 1971-1973, Rafi's
musical output decreased; however, he did deliver several hits.[19]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),
"Jhilmil Sitaron ka" from Jeevan Mrityu (a duet with Lata Mangeshkar, 1970), "Gulabi
Aankhen" from The Train (1970), "Yeh Jo Chilman Hain" and "Itna to Yaad Hain Mujhe"
from Mehboob Ki Mehndi (1971), "Chura Liya Hain Tumne" from Yaadon Ki Baarat(a duet
with Asha Bhosle, 1973), "Tum Jo Mil Gaye Ho" from Hanste Zakhm (1973), and "Aaj mausam
bada beimaan hai" from Loafer (1973).

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.[8]In 1977, he won both Filmfare Award and the
National Award for the song "Kya Hua Tera Wada" from the movieHum 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).

On Thursday, July 31, 1980, Rafi died at 10:50 p.m., following a massive heart attack.[20] His last
song was "Shaam phir kyun udaas hai dost" (Aas Paas), which he had recorded
with Laxmikant-Pyarelal few hours before his death.[21][22] He was survived by four sons (Saeed
Rafi, Khalid Rafi, Hamid Rafi, Shahid Rafi), three daughters (Parveen, Nasreen, Yasmin) and 18
grandchildren.

Rafi was buried at the Juhu Muslim cemetery. In 2010, his tomb was demolished to make space
for new bodies. Fans of Mohammed Rafi who arrive twice a year at his tomb, on December 24
and July 31, to mark his birth and death anniversary, use the coconut tree nearest to his grave
as a marker.[23] Mohammed Rafi was known for his altruistic behavior, [24] which was exhibited
on several occasions.

MOHD.RAFI Page 6
After death

Postage stamp issued by Indian government in honour of Rafi

On Rafi's death, the government of India announced a two-day public holiday in honour of him.
[25]

Rafi's song from the film Gumnaam (1965), "Jaan Pehechan Ho", was used on the soundtrack
of Ghost World (2001). The film opens with the lead character dancing around in her bedroom
to a video of Gumnaam.[26] His "Aaj Mausam Bada Beiman Hai" is featured in the 2001
film Monsoon Wedding.[27] Several of Rafi's unreleased songs will be used for an upcoming film
titled Sorry Madam.[28] Also, his song "Ye duniya agar mil bhi jaaye" from Pyaasa (1957) was
re-mixed and used as the theme for the 2009 film Gulaal.

A documentary about Rafi’s life is under production by The Films Division of India. [29]

In the summer of 2008, the City of Birmingham Symphony Orchestra released a double CD

entitled Rafi Resurrected comprising 16 songs by Rafi. Bollywood playback singer Sonu
Nigam provided the vocals for this project and toured with the CBSO in July 2008 at venues
including the English National Opera in London, Manchester's Apollo Theatre and Symphony
Hall, Birmingham.[30] On September 22, 2007 a shrine to Rafi designed by artist Tasawar Bashir
was unveiled in Birmingham. Bashir is hoping that Rafi will attain sainthood as a result. [31]

The Padma Shri Mohammed Rafi Chowk in the Bandra suburb of Mumbai and Pune (extending
MG Road) is named after Rafi.

News:
“Mujhe Darde Dil Ka Patha Na Tha Mujhe Aap Kis Liye Mil Gaye,
Main Akela Yoon Hee Majhe Main Tha Mujhe Aap Kis Liye Mil Gaye”

MOHD.RAFI Page 7
About Rafi

For those people, who don’t know Mohd Rafi, I Quote that he is the only legendary
singer in Indian Film Music. Following is about his life, his birth, his singing career
etc..,

Rafi was born on 24th December 1924 in Kotla Sultan Singh, Amritsar, in a middle
class Muslim family. His elder brother, Janab Hamid Sahab, was the first to take
notice of the divine gift in Rafi’s voice. He decided to concentrate all his efforts in
providing all the support needed by his brother to make it big in the music world.

At the age of seven, Rafi learnt Hindustani Classical music under

the renowned Ustaad Bade Gulam Ali Khan and Vahida Khan.

time, Mohd Rafi has sung more than 26,000 superhit songs.

Mohd Rafi started his career at the age of 20, with a punjabi song, Soniye
Hiriye, teri yaad ne bahut sataya for the movie Gul Baloch, which was
released on 28th February, 1944. The producer was
Sham Sunderji, who was very much impressed by
Rafi’s style of singing and did not think twice on booking Rafi for all
his future films. In 1944, Rafi was very famous as a
singer. Many of his songs were sung by youths and
school- going kids. Rafi was invited by Nasir, a well-
known actor of those times to Bombay. From this
point, there was no turning back. Rafi sang for
Shamji Sundarji’s production Gaon Ki Gori. This
movie was also a great hit. With this hit, Rafi was called
Play Back Singer. He was famous and settled play back singer around 1948.

K.L.Saigal & Pandit Paulsikar had no words for Rafi’s praise. When Mahatma
Gandhi was assassinated, Rafi sang a song Suno
Suno Ay Duniya Walon, Bapu ki Yeh Amar
kahani written by Rajinder Krishan and music
by Hunslal Bhagatram, which touched everyone
and was a great hit.

MOHD.RAFI Page 8
Whenever there used be a fusion of Naushad’s music, Shakeel Badayuni’s lyrics and Rafi’s voice,
that number would become super-duper hit. These three were quite a team then. Their songs
were being heard in all corner of the streets. In fact, those songs are still equally melodious
now.Rafi had several opportunities to sing in public. The
range of Rafi’s voice was very very high. This is noticeable
from the number O Duniya Ke Rakhwale from the movie
Baiju Bawara. Naushad was very impressed by Rafi’s
performance.

Rafi Sahab receiving the National Rajat Kamal Award from

President Sanjiva Reddy for his song ‘Kya Hua Tera Vaada’ in
the film ‘Hum Kissise Kum Nahin’ in 1977. Rafi could sing
any type of song. Let it be pop, qawali, bhajan, gazal, romantic, rock’n'roll, light music, slow
numbers, sad song, parody, fast numbers…, anything he was remarkeable. He was the first to fit
into the playback singer role in a convincing way. His voice enhanced the brilliance of actors
like Dilip Kumar. We could feel Guru Dutt’s heart beat when he sang Badi Dekhi Zamane Ki
Yaari.

Rafi Sahab was honored by the Indian

Government in 1965 with the
prestigious PadmaShree Award. Here
he is seen with President
Zakhir Hussain at the award
ceremony in New Delhi.

With the start of the famous Binaca Geet Mala in 1952, the program aired
the immortal songs of the film Baiju Bawra and this really launched Rafi as
a popular singer for all ages. Thousands of request for Rafi’s songs poured
into Sri Lanka Radio. If he stylised his voice for the Dev Anand’s
mannerisms, he took the job of instilling emotions in
deadpans Suhani Raat Dal Chukhi in Dulari. It would
not be an exaggeration to say that actors like Shammi
Kapoor owe their career to this little man with the
Voice of God.

No singer at that time or even now in this era, can match Rafi. Rafi’s
singing style was so simple, that nobody could imitate it. Even if they tried,
they were not successful. His verstality was very different and way too
impressive. His contemporaries were either ineffective in this front or
were unwilling to compromize.

MOHD.RAFI Page 9
 All this was about his singing carreer. But as a person, he was much
more. Rafi did not imitate any one nor did he stop any one from
imitating him. Where there was cut-throat pressure, Rafi was
always totally with himself. Through out his carreer Rafi has not
been accused of anything. Nor did he stop any new singer from
taking his position. He was such a whole-hearted person, who
would agree to sing for producers who could’nt afford him in return
to nothing. Listening to Rafi is like rowing down a river in a moonlit
night.

So, when your eyes

focus and your finger points to the Rafi album
displayed on the colorful rack aligned
along with Dhamakas and remixes, understand that it
is nothing unnatural, just the triumph
of voice over noise.

Now, Rafi is not amongst us, but that divine voice and soul will never fade from this earth. He
was, and remains, a major force in film music, the music of love, despair, hope, humor…etc.
Rafi’s voice had the healing capability. His music is as calm, as raging, as deep, as beautiful. It is
the manifestation of the goodness and the divine.

Awards Rafi Won

From the following list, you will notice Rafi Sahab had been nominated for 22 songs out of
which he won 6. He was nominated for the first time for Chaudavin Ka Chand, which he won
and last for Mere Dost Quissa. He was not in the list for the year 1959.

Based on this we had few viewpoints:

Sajjad: The number (22) would have been much higher if Filmfare had started giving awards
for the best Male playback before 1959.

Naveen: One more thing about filmfare awards. Till 1966 there was a single category called
Best Playback Singer. It became Best Male and Best Female after 1966. So during the years from
1959 to 1966, apart from Mukesh’s 1 and Mahendra Kapoor’s 1 for all the other years when Rafi
did not win filmfare it was Lata who got it. So that probably is yet another reason for less count
as competition was even tougher.

Harold Hussain: I agree with Sajjad. I’m convinced that he would have won more filmfare
awards if they would have started earlier with this. Surely he would have won in 1953 with Baiju
Bawra. On the first award night, Rafi Saab performed the award winning songTu ganga ki mauj
mein. Unfortunately there was no best playback singer award at that time, only the best music
director award that was won by Naushad for this movie.

MOHD.RAFI Page 10
Honorary

 1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru,
on the first anniversary of the Indian Independence Day.[7]
 1965 - Honoured with the Padma Shri by the Government of India.
 2001 - Rafi was honored with the "best singer of the millennium" by Hero
Honda and Stardust magazine in Mumbai on Jan 7, 2001. Rafi won with 70% of the votes.
National Film Awards

Winner:

Year Song Film Music director Lyricist

"Jinhen Naaz Hain Hind Sachin Dev

1957 Pyaasa Sahir Ludhianvi
Par" Burman

Laxmikant- Majrooh
1964[32] "Chahunga Main Tujhe" Dosti
Pyarelal Sultanpuri

Shankar
1966[32] "Baharo Phool Barsao" Suraj Shailendra
Jaikishan

1967[33][34] "Babul Ki Duaae " Neel Kamal Bombay Ravi Sahir Ludhianvi

Hum Kisi Se Kum Rahul Dev Majrooh

1977[5] "Kya Hua Tera Wada"
Nahin Burman Sultanpuri

Filmfare Awards

Winner:

Yea
Song Film Music director Lyricist
r

"Chaudhvin Ka Chand
1960 Chaudhvin Ka Chand Bombay Ravi Shakeel Badayuni
Ho"

"Teri Pyaari Pyaari Surat

1961 Sasural Shankar Jaikishan Shailendra
Ko"

MOHD.RAFI Page 11
 Laxmikant- Majrooh
1964 "Chahunga Main Tujhe" Dosti
Pyarelal Sultanpuri

1966 "Baharo Phool Barsao" Suraj Shankar Jaikishan Shailendra

1968 "Dil Ke Jharoke Mein" Brahmachari Shankar Jaikishan Shailendra

Hum Kisi Se Kum Rahul Dev Majrooh

1977 "Kya Hua Tera Wada"
Nahin Burman Sultanpuri

Nominated:

Yea Music
Song Film Lyricist
r director

"Husnwale Tera Jawab

1961 Gharana Bombay Ravi Shakeel Badayuni
Nahin"

"Aye Gulbadan Aye Shankar

1962 Professor Shailendra
Gulbadan" Jaikishan

1963 "Mere Mehboob Tujhe" Mere Mehboob Naushad Shakeel Badayuni

"Choo Lene Do Nazuk

1965 Kaajal Bombay Ravi Sahir Ludhianvi
Hothon Ko"

"Mein Gaaon Tum Shankar

1968 Brahmachari Shailendra
Sojaao" Jaikishan

Laxmikant-
1969 "Badi Mastani Hai" Jeene Ki Raah Anand Bakshi
Pyarelal

Laxmikant-
1970 "Khilona Jaan Kar" Khilona Anand Bakshi
Pyarelal

1973 "Hum Ko To Jaan Se Naina Shankar Hasrat Jaipuri

MOHD.RAFI Page 12
 Pyaari" Jaikishan

"Achha Hi Huva Dil Toot Maa Bahen Aur Qamar Jalalabadi,

1974 Sharda
Gaya" Biwi Vedpal Varma

Amar Akbar Laxmikant-

1977 "Pardah Hai Pardah" Anand Bakshi
Anthony Pyarelal

Laxmikant-
1978 "Aadmi Musaafir Hai" Apnapan Anand Bakshi
Pyarelal

"Chalo Re Doli Uthao Laxmikant-

1979 Jaani Dushman Varma Malik
Kahaar" Pyarelal

Laxmikant-
1980 "Mere Dost Kissa Yeh" Dostana Anand Bakshi
Pyarelal

Laxmikant-
1980 "Dard-e-dil Dard-e-jigar" Karz Anand Bakshi
Pyarelal

"Maine Poocha Chand Rahul Dev

1980 Abdullah Anand Bakshi
Se" Burman

Bengal Film Journalists' Association Awards

Winner

Year Film Music director Lyricist

Tumsa Nahin Majrooh

1957 O. P. Nayyar
Dekha Sultanpuri

Laxmikant Majrooh
1965[35] Dosti
Pyarelal Sultanpuri

Shankar
1966[36] Arzoo Hasrat Jaipuri
Jaikishan

MOHD.RAFI Page 13
Discography: Mohammed Rafi

Romance: Chand Solid Gold: A Sukh Ke Sab Rough Guide to Terra Di Giubba
Mera Dil Treasure Trove Saathi Dukh Bollywood
of Masterpieces, Mein Na Koi... Legends: Mohd.
Vol. 1 Rafi

Terra Di Giubba

Immortality: Dard, Vols. 1-2 Golden Collection

Commemorating
the 25th Death
Anniversary of
the Immortal
Voice

Rafi’s Mansion

Here is the address of Rafi Sahab’s residence in Mumbai.

Rafi Mansion
Plot No. 43,
28th Road,
Bandra,
Mumbai -50
Maharashtra
INDIA

MOHD.RAFI Page 14
Rafi’s Last Interview
This interview of Rafi Sahab is by Jyothi Venkatesh. It appeared in the Star & Style magazine –
Aug 22 – Sept 4, 1980.
Little did I realize that this meeting would be Rafi’s last ever interview to the press. He spoke in
chaste Urdu to me. Rafi was one of the few filmland celebrities who belonged to the old school
of discipline. At the dot of the appointed time, Rafi was waiting for me, after doing his riyaz in
the morning.

Rafi always felt that though singing was a God given gift, to maintain your voice is tough.
From the year 1942, I have been in this line. I have had my ups and downs. Riyaz is
a must if you want to preserve the quality of your voice. I do not smoke, I do not
touch liquor. I am pained to see before my eyes, some singers who, after giving
one hit song, start acting big only to fall down with a thud soon after.
A humble and publicity-shy celebrity, Rafi’s formula for success was a
characteristic, Humility. It is a must for one to be successful in any field. Resorting to
Urdu he explained, Kisika dil hamne kabhi dukhaya nahin. Jo kisika dil ko dukhata
hai, woh kabhi tarakki nahin karega, zindagi mein.
Rafi was born on December 24, 1924, in Punjab’s Amritsar district. At a very young age, he
showed an aptitude for music and he was sent to train under renowned maestro, Ustad Abdul
Waheed Khan of Kirana. How he became a playback singer was described by him as follows:
Ab aap ko main kya kya bataoon? I am a native of Lahore. I belong to a very
orthodox and conservative Muslim family. I used to sing at friends’ places when I
was only 15. During one such occassion, Nasir Khan one of the top producer-

MOHD.RAFI Page 15
actors at that time, spotted me and offered to take me to Bombay and groom me as
a singer in films.
Khansaab had asked my father for his permission. My father had refused the offer point blank
since he frowned upon the very idea of my taking up singing in films as a career. I was being
trained in classical music at that time by my guru Ustad Abdul Waheed Khan of Kirana. When
Nasir Khan persisted with the offer my elder brother convinced my Abaajaan to let me go to
Bombay. With great reluctance my dad agreed to my pursuing a career as a singer in films.
I made by debut as a playback singer in 1942, with ‘Laila Majnu’, a Nazir – Swarnalatha starrer.
The late Pandit Govindram was the music-director of the film. I sang a qawwali as part of the
chorus. I had even done a bit role in the film. Later on, I acted in films like ‘Samaj Ko Badal
Dalo’ and ‘Jugnu’. In ‘Gaon Ki Gori’, I sang a duet with Noor Jehan under baton of music-
director Shyam Sunder.
Before his death, the singer voiced his disillusionment with the music-directors today. Rafi
seemed to be visibly pained that music-directors sign films by the dozen, as a result of which the
quality of music in films has deteriorated. Very few music directors today work with
dedication on their tunes and compose memorable music like Laxmikant Pyarelal
did in ‘Sargam’. Most of the others are in this field only to make a fast buck by
copying foreign tunes and plagiarising other composers’ tunes.
And lapsing into a flash-back of those good old days, Rafi had launched into a tirade against
film-making today and the role of the music director. Film-making wasn’t merely a
business proposition during those days when institutions reigned supreme and
free-lancing hadn’t become popular in the film industry. Believe it or not, I used to
be paid a meager amount of Rs. 75/- in those days for one song!
When I entered the line, there were, of course, popular singers like Saigal Saab,
G.M.Durrani and Khan Mastan. Unka Khoobi yeh tha janab ki instead of
considering me as yet an other competitor they encouraged me to give my best. In
fact I remember the first time I met Saigal Saab at Lahore where he had come to
give a concert on the stage. The mike had failed at the last minute. While it was
being set right, I was asked to keep the audience engaged by singing a couple of
songs. I was only 15 then. I had not yet met Nasir Khan or Shyam Sundar. Saigal
Saab blessed me that day and predicted that a day would come when I would be a
sought after singer.
Melody and classical training were primary in the beginning when I set my foot in the field of
film music in the early forties. Today, however, music has degenerated into just shor! In those
days, I remember we singers used to help interlude music, whereas today it is the other way
round. A situation has come today when the musical interludes help playback singer.
Perhaps not many are aware of the fact that Rafi wasn’t a Shylock where his payments were
concerned. Unlike Kishore Kumar who won’t sing unless and until he is paid his remuneration
before the recording, Rafi is said to have sung even for a token amount of one rupee! Though I
MOHD.RAFI Page 16
insist on being paid my price by commercial film-makers who can afford it, I sing
for small budget films, including regional films, for a much lower price. Money
isn’t the only criterion for me to accept a film. Out of my earnings, I keep aside a
sizable amount for charitable purposes but I prefer not to tom tom it because I do
not want to seek publicity for those acts.
In spite of several years of experience in the field, Rafi never composed music for any film. In
fact, producer-director S. Mukherjee had asked me to compose music for one of
his films, sometime back. I turned down his offer because it is my firm belief that
one should be perfect in only one field. Look at Talat Mahmood. He took up acting
and after he could click neither as a singer nor as an actor.
 
The late Mukeshbhai took up production and lost heavily when the films he made
flopped. If I were to agree to compose music for film today, the other music
directors would start feeling that I might steal their tunes for my own films and
hence they might even stop assigning me the job of singing for them.
Unfortunately, Khuda willed otherwise and took Rafi away at a time when he was once again
emerging as a force to reckon with, with films like “Hum Kisise Kam Nahin”, “Amar Akbar
Anthony”, “Sargam” and “Mr. Natwarlal”, after his forced exile in the early seventies when
Kishore Kumar had taken over from Rafi.

MOHD.RAFI Page 17