Khaliq Amrohi has paid tribute to legendary Mohammad Rafi in his own unique way. Producer Nazim Rizvi and his Company Whispering Shadows and Entertainment, would be releasing the biography on the ‘melodious’ Rafi written by Amrohi. Amrohi, a great admirer of Rafi, took twenty years to finish the biography. Interestingly, the book is written in Urdu.

The book, which will also be released in English, talks about Rafi’s journey from cradle to grave. Another interesting fact revealed in the book is that Rafi could sing in 13 different languages.

Thakhliq Kaar Publications in Delhi will be releasing the biography which is expected to come out in market on Rafi’s birthday that is December 24.

Revered as “one of the four most influential playback singers of all time”, Mohd Rafi used his vastly flexible voice to provide music cues for countless Indian film stars from the late ’40s until his passing in 1980. While highly influential and practically iconic in his homeland, Rafi’s Western indie hipster and pop film fans are also unknowingly familiar with him; his classic works have played key roles in films like Ghost World and Monsoon Wedding (the latter track is included here in extended form). The surprisingly well-researched Rough Guide series continues its documentation of the ‘big four’ by collecting the recorded legacy of Mohd Rafi. The strength of his material makes the compilation ideal as both an introduction to new listeners, and as a rediscovery for the previously initiated. The collection reveals an unmistakable presence and undeniable talent that simply must be heard.

The Rough Guide to Bollywood Legends: Mohd Rafi completely illustrates the greatness of Rafisahib (an honorific that he used often) by presenting a diverse selection of material. “Chand Mera Dil” opens the compilation with a borderline stereotypical punch; its revisionist blaxploitative wah and punchy horn charts (wait for Rafi’s James Brown-like punctuation!) characterize the cartoonish reputation of Bollywood films. The song fortunately settles into a Sunday-afternoon Bolly-Axelrod arrangement, which Rafi practically kisses with his tender vocal take. “Taarif Karun Kya Uski” is another light-hearted piece, characteristic of both the artist and the genre, as it opens with a light Django-like guitar theme before going to a Hindu ho-down. Rafisahib obliges to the cheeriness of the composition and dances like a sprite over the clapping rhythm. “Yeh Ladka Hai Allah” rides a strolling guitar theme before kicking off a duet with female superstar playback singer, Asha Bhosle; (Ken Hunt, the compilation archivist and liner notes author, notes the song is a unique example of duet form wherein the second singer is held back from appearing until the very end of the song, so as to create musical suspense). In another pseudo-Western nod, “Tum Jo Mil Gaye Ho” features Rafi floating over a ’70s folk funk-type rocker. As these disparate sounds demonstrate, the music itself is a strong presence, showcasing the sophistication and complexity of Indian soundtrack music. Hunt also makes specific mention of Rafi’s terrific interpretive ability; he points out Rafisahib’s ability to sing in a variety of ranges, “from regional folk and classical through literary forms and devotional to the tasteful end of pop”.

However, the emotive and emotional power of Rafisahib’s voice comes to the fore on more serious fare. “Hum Kisise Kum Naheen”, which again features Ashaji (another honorific that Mohd Rafi always used), opens with an accordion theme, the box squeezing a scaled melody before entering a drone that leads into a heavy qawwali vamp (the song is in the filmi quawwali form, a mangling of the Moslem devotional form into a secular piece). Rafi sings a series of gorgeous sustained vocal lines that are hypnotic, while the rhythm slaps with such vigor that one can hardly be contained. Rafisahib turns in a positively muscular outing, a voice both forcefully rhythmic and slickly melodic. “Babul Ki Duayen Leti Ja” is a performance that rose to such mythic stature that it has become a doli song (the part of the wedding ceremony when the bridegroom gives the bride away), and rightly so considering the singer’s breathtaking approach. “Jo Baat Tujh Mein Hai” provides a relatively traditional Hindustani instrumentation of sarangi, sitar and tabla accompaniment for the master. “Dil Ka Bhanwar Kare Pukar” is uncharacteristic by filmi sangeet (film song) standards in its sparseness; written by Sachin Dev Burman, father of famed film composer R.D. Burman, S.D. had a distinct style with his minimalism. The song is nevertheless in good hands as Rafisahib practically caresses the rhythm, gliding over the melody like a bee visiting flowers. “Aaj Mausam Bada Be-Iman Hai”, originally featured in A. Bhimsingh’s 1973 film, Loafer, also provided a key piece of marigold sunshine in Mira Nair’s Monsoon Wedding from 2001. Heard in its entirety here, the song is absolutely devastating as Rafi wanders through the wash of strings with more grace than Kelly.

In addition to duets with the lead female playback singer, Lata Mangeshkar, this compilation provides a supple package of Rafisahib’s work. Ken Hunt’s in-depth liner notes detail the life and career of Mohd Rafi, as well as certain aspects of the Indian filmmaking industry. Ultimately, the package is geared towards an uninitiated Western audience. However, Rafi’s moving voice can and should be appreciated by anyone sympathetic to the romance of filmic life.

Even if belatedly, music lovers have now appealed to the government to honour Mohammed Rafi with the Bharat Ratna posthumously. A singer par excellence and a paragon of humility and piety, Rafi strode the musical landscape like a meteor, enchanting generations of music lovers and transcending geographical borders. The melody and vocals Mohd Rafi created, crafted and pioneered during his reign have withstood the test of Time. The mellifluous vocals rise like a glorious tide, caressing the soul with songs for every mood and occasion.

Mohammed Rafi has sung them all, with grace and unsurpassable elan – be it ghazals, bhajans, classicals, soft romantic numbers, bhangra, sad songs, duets, nazms, and high-pitched fast numbers

THE EARLY YEARS
Mohd. Rafi was born to Haji Ali Mohammed and Allah Rakhi in Kotla Sultan Singh village, a town near Amritsar on December 24, 1924. A disciplinarian father disapproved of Rafi’s passion for singing but the child had the blessings of his mother, according to Rafi’s youngest son Shahid Rafi, now in the business of garment exports in Mumbai.

The story goes that as a young boy, Rafi used to hear a fakir passing by the house, ektara in hand, singing to glory. The young lad would follow the fakir, sit with him under a tree and hear him to his heart’s content. This mendicant was the first to plant the singing bug in young Rafi’s mind. The ubiquitous radio too played its part, Rafi being glued to it when not attending primary school. At 14, Rafi’s family moved to Lahore for good, where he discreetly trained under Ustad Barkat Ali Khan.

Music composer Shyam Sunder, impressed by the lad’s voice, gave Rafi his first break – a duet – in Gul Baloch. The song ‘Soniyo ni heeriyo ni teri yaad ne sataaya…’, was recorded in 1942 in Lahore and thus became his first recorded song. Composer Feroze Nizami duly got for young Rafi his first job – through Radio Lahore in 1943. Thereafter, along with elder brother Hamid (who helped Rafi get major singing assignments in the early struggling days) Rafi reached Mumbai.

The brothers took up a ten-by-ten-feet room in the crowded downtown Bhendi Bazar area. Probably, to make ends meet Rafi also faced the camera in two movies, but his heart was set on singing. Long hours of early morning riyaaz mainly at the Chowpatty sea-face followed. As destiny would ordain, Shyam Sunder was now in Mumbai and again provided an opportunity to Rafi – who got to sing a duet with GM Durrani, ‘Aji dil ho qaabu mein to dildar ki aisi taisi…’, for Gaon Ki Gori, which became Rafi’s first recorded song in a Hindi film. Rafi’s stars were looking up now. National recognition soon came from the runaway hit, composed by Firoz Nizami, ‘Yahaan badla wafa ka…’ with Noorjehan, then reigning queen of Hindi playback singing for Jugnu. Many other popular songs followed and music composers were now convinced of Rafi’s phenomenal voice range.

In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the immortal song ‘Suno suno ae duniyawalon, Bapuji ki amar kahani…’, which became a national rage. Mohd Rafi became a household name.

It was perhaps Baiju Bawra (1952) that brought real fame to Rafi and riches never even dreamt ever by this God-fearing lad who was on his way to becoming India’s topmost singer. ‘Man tadpat Hari darshan ko…’, ‘O’ duniya ke rakhwale…’, ‘Tu Ganga ki mauj…’ all became chartbusters. It heralded the era of the Naushad-Shakeel-Rafi team the musical works of which later reflected young India’s dream of a ‘secular and noble’ India.

THE SINGER AND THE MAN:
The then-Prime Minister Jawaharlal Nehru while viewing Baiju Bawra, enquired about the singer of the devotional songs from his secretary. When the PM was told it was a singer by the name of Mohd. Rafi, he was invited to dinner with the PM himself. Rafi was duly honoured and hugged for his singing feat by Pandit Jawaharlal Nehru. He was all of 28 years then and thus started the annual visit to the PM’s house and the tradition of singing for Prime Minister Nehru and several dignitaries.

Naushad, Shankar-Jaikishan, O.P. Nayyar, C.Ramachandra, Hemant Kumar and Ravi now began composing great numbers suited to Rafi’s vocal range. Rafi’s clear rendition, perfect sur and bhaav, unparallelled expression and impeccable diction placed him way above the other singers of his time.

However, despite fame and adulation, Rafi’s life and routine remained unaltered. The recording room-to-home itinerary never changed. No film parties, no vices, retiring at 9 pm and doing riyaaz from 4 to 7 in the morning were some strict norms laid by the maestro for himself. The only ‘luxuries’ Rafi indulged in and looked forward to were sports like carrom, badminton and flying kites along with family members and close friends.

Rafi became quite adept in singing in languages like Marathi, Kannada, Konkani, Bengali, Punjabi, Gujarati and English. He would rehearse for days before each recording – driving perfection into the numbers.

When Aradhana happened (and Kishore came in due to the advent of R.D.Burman as its associate music director and later hit centerstage), a section of music composers wasted little time in prophesizing the end of the road for Rafi and his salability as a playback singer. This hurt the gentle Rafi no end. Believing this to some extent, he thought of retiring and settling down with his sons in London. But Naushad, Rafi’s mentor and friend, urged Rafi to stay on and not run away from the scene as – he had considerable talent to face the heat of the times.

At this stage, composer duo Laxmikant-Pyarelal was in top creative form and not getting typecast in a specific musical mould like R.D. Burman. LP also did not forget Rafi’s huge role in their success in Parasmani, Dosti and many other films and his support when they were making their transition from assistants to music composers.

In due course, Rafi regained his confidence and once again was on top reckoning form with hit numbers from films like Amar Akbar Anthony, Hum Kisise Kum Naheen, Sargam and many others.

A teetotaler and family man to the core, Rafi is the shining example of a singer who lit the way and blazed the trail for numerous aspiring singers from Mahendra Kapoor to Anwar and Shabbir Kumar down to Sonu Nigam. Mahendra Kapoor was his disciple and both shared a guru-shishya relationship till the very end.

Rafi came from a family where humility was equated with worshipping the divine. He had a lovable nature, no enemies and perennial humility.

Help would often go to artistes fallen on bad times – without the world knowing of it. He sang more for the song than for the money – the money would come later or never from struggling producers – but satisfaction always arrived at his doorstep. He would often waive his singing fees from debutant composers with no resources – charging one rupee as a token for a song. If he liked a song he would waive his fees too, citing his satisfaction as his payment. Rafi was content with the remuneration he received for his recordings. He did not chase money like some other artistes of the day.

THE LIMITED HONOURS
Did the Indian government give due recognition to Mohd Rafi, asked a Bangladesh journalist in www.mohdrafi.com, a website dedicated to the legend. The Padma Shri was conferred on Rafi and a nondescript tiny marquee with the sign “Mohammed Rafi Chowk” stands on Mumbai’s arterial SV Road in Bandra, the suburb in which he lived. But Rafi’s biggest award perhaps is the place that he has carved in people’s heart in many corners of the world.

Mohammed Rafi (December 24, 1924 – July 31, 1980) was arguably the greatest of Hindi/Urdu playback singers in Bollywood. Rafi still remains popular in Indian Subcontinent and in many other parts of the world such as the UK, Kenya, West Indies, where people of Indian origin have settled. He continues to inspire new Bollywood playback singers like Sonu Nigam, Mohammed Aziz, Shabbir Kumar and Anwar.
Rafi sang many duets with Lata Mangeshkar, but he has also sung a large number of songs with Geeta Dutt and Lata`s sister Asha Bhosle as well. His songs ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawaalis to ghazals and bhajans, and from slow melancholic tunes to fast fun-filled songs. He sung for Rajendra Kumar and Jeetendra, the tragedy heroes Dilip Kumar and Bharat Bhushan, comedian Johnny Walker, and many more. His voice personified the rebellious image of the star Shammi Kapoor and also gave expression to smaller and younger heroes like Biswajit and Joy Mukherjee. Rafi has also sung for singer-actor Kishore Kumar in a few movies like Raagini, Baaghi Shehzaada, and Shararat.

Early years:
Rafi was born at Kotla Sultan Singh Village near Amritsar in Punjab, to a middle class Muslim family. His family shifted to Lahore when he was still a baby. Every day, a “fakir” used to come to their locality in Lahore and sing. The young Rafi was so fascinated by him, that he used to follow him around. His elder brother Hameed was aware of Rafi`s love for music and encouraged it. In Lahore, Rafi started taking music lessons from Ustad Abdul Wahid Khan and he also learned Indian classical music from Ghulam Ali Khan. One day Rafi and his brother Hameed went to attend a performance by K. L. Saigal. But the legendary singer refused to sing because there was a power failure at the venue. Hamed went up to the organiser to ask whether his brother could sing to keep the audience quiet. That was Rafi`s first public performnce at the age of 13. Among the audience sat noted composer Shyam Sunder, who invited Rafi to Bombay.

Rafi`s first song was in Punjabi for the film Gul Baloch – it was a duet with the singer Zeenat Begum. The song was Soniye nee, Heeriye nee, composed by Shyam Sunder. Shyam Sunder was impressed with his voice and gave Rafi seven songs in another film Bazaar. Also, in 1944, Rafi decided to move to Bombay, where Naushad gave him a break in Pehle Aap (1944). Rafi made his mark with Tera Khilona Toota Balakin Anmol Ghadi (1946). Rafi`s first hit song was Yahan Badla Wafa Ka with legendary songstress Noor Jehan, composed by Feroz Nizami. It earned Rafi fame. Producer of film Amar Raj, J B Wadia went looking for him because he wanted only Rafi to sing songs for his film.

Rafi also had brief roles in movies like Laila-Majnu (1945) and Jugnu (1947). In Laila-Majnu, he was seen singing Tera Jalwa as a part of the chorus. Most famous film being Neel Kamal 1968. He has sung over 26000 songs . He sang in hindi, english, bhangra, bhajan and more styles.

Rise to Fame:
Rafi`s big time came when he met the composer Naushad in Bombay. Rafi`s first song for Naushad was Hindustan ke hum hain for the film Pehle Aap in 1944. Rafi and Naushad struck a chord. The first hit for the duo was the soundtrack of the superhit movie Anmol Ghadi (1946). Before Rafi, Naushad`s favorite singer was Talat Mahmood. Once Naushad found Talat smoking during a recording. He was annoyed and hired Rafi to sing all the songs of the movie Baiju Bawra. After the Partition of India, Rafi and Naushad decided to remain in India. Whenever Naushad required a male voice in the songs composed by him, he would approach Rafi and nobody else. This attitude of Naushad was criticized by many people, but he continued his patronage of Rafi. Naushad used Rafi`s voice for almost all actors of that time including Bharat Bhushan and Dilip Kumar.

Soon, Rafi became the favorite singer of other composers too, notably O. P. Nayyar, Shankar Jaikishan and Sachin Dev Burman. Rafi became the voice of Dev Anand with soul-stirring songs composed by S. D. Burman. Rafi sang songs of all moods for S. D. Burman, picturized on Dev Anand – the romantic dil ka bhanwar, the drunk hum bekhudi mein, the free-spirited khoya khoya chaand. Rafi and S. D. Burman teamed up with Dev Anand`s Navketan production house to produce hit tracks in many movies – Kala Bazar, Tere Ghar Ke Saamne, Guide among others. S. D. Burman also got Rafi to sing for Rajesh Khanna in Aradhana and Amitabh Bachchan in Abhimaan. Rafi and S. D. Burman also produced soulful songs for Guru Dutt`s Pyaasa, C.I.D. and Kaagaz ke Phool.

O. P. Nayyar used Rafi and Asha Bhosle for most of his songs. Together they created music in the 1950s and 1960s. O. P. Nayyar was once quoted as saying “If there had been no Mohd. Rafi, there would have been no O P Nayyar”. He and Rafi created many songs together including the famous Yeh hai Bombay meri jaan. O P Nayyar was so impressed with Rafi that he got Rafi to sing for singer-actor Kishore Kumar – Man mora baawara for the movie Raagini. The team will be particularly remembered for the songs picturized on Shammi Kapoor. The song Jawaaniyan yeh mast mastand the title song Yun to humne lakh hansee dekhe hain, tumsa nahin dekhaof the film Tumsa Nahin Dekha became instant hits. They were followed by hits like Taareef karoon kya uski jisne tumhe banaya from Kashmir ki Kali.

Shammi Kapoor himself gives a large credit for his success to Rafi. Shammi`s image of the young, rebellious, carefree man can be attributed to the famous song Yahoo! Chahe koi mujhe junglee kahe, kehne do jisung by Rafi and composed by Shankar Jaikishan. Shanker-Jaikishan also created beautiful songs with Rafi. The team will be remembered for the ones picturized on Rajendra Kumar – Baharon phool barsaao and others.

Rafi was also composer Ravi`s first choice for playback singing. He got Rafi to sing the famous Rock-n-Roll number from the movie China Town Baar Baar Dekho, picturized on Shammi Kapoor. Madan Mohan was another composer whose favorite singer was Rafi. They teamed up to produce many ghazals including Teri aankhon ke siva duniya mein rakha kya hai, the sad Yeh duniya yeh mehfil mere kaam ki nahinand the romantic Tum jo mil gaye ho. Madan Mohan used Rafi`s voice in many films like Chirag and Laila Majnu.

The famous composer duo Laxmikant Pyarelal (“L-P”) also used Rafi as their male voice in 1960s and 70s. When L-P were new in the industry, Rafi sang for them, although he was the numero uno singer in Bollywood at that time. They got Rafi to sing for their first hit film Paarasmani. Both Rafi and L-P won the Filmfare Awards for the song Chahoonga main tujhe shaam savere from the superhit movie Dosti. The song was to be sung by L-P`s favorite singer Lata Mangeshkar, but then producer of the film decided to hand over the song to Rafi. L-P weren`t amused with the idea. But when the recording was finished, Rafi also became their favorite singer.

In 1965, Rafi was honoured by the Government of India with the Padma Sri award. In the year 1969, Bollywood witnessed the rise of a new superstar, Rajesh Khanna in the movie Aradhana. Aradhana was the beginning of the era of another great singer Kishore Kumar. Few claim that Rafi was overshadowed by Kishore. But Rafi delivered many hit songs during that time like Aaj Mausam bada Beimaan he(Loafer 1973) and many more. He came back with a bang with memorable songs from Sargam, Hum Kisise Kam Nahin and Amar, Akbar, Anthony which put Rafi right back on the top.

Last years:
His song Kya hua tera waada from the movie Hum Kisise Kum Nahin fetched him the National Film Award and Filmfare Award for the year 1977. His songs from the films sung towards the late 1970`s Laila Majnu, Amar Akbar Anthony and Sargam, became hits. Laxmikant-Pyarelal the famous music director began to churn out hit after hit from Rafi during the late 1970s. His dard-e-dil, dard-e-jigar, composed by Laxmikant-Pyarelal and filmed on Rishi Kapoor, in the movie Karz, became a rage amongst the youngsters.

On July 31, 1980 after composing a song for the movie Aas Paas, Shaam phir kyun udaas hai dost with L-P, Rafi asked “Should I leave?”. L-P were surprised because Rafi had never said anything like this before. While leaving, Rafi said once again “OK. I will leave.” Rafi died at 7.30 p.m. on the same day due to a massive heart attack.

Personal Life:
Rafi married Bilquis and had four sons and three daughters. He was a teetotaller, a religious and extremely humble person. He was a devout Muslim. Once, when a lesser-known composer, Nisar Bazmi (who migrated to Pakistan in early 1960s), didn`t have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He even helped producers financially. As Laxmikant (of the Laxmikant-Pyarelal duo) once observed – “He always gave without thinking of the returns”.

Lata,Mukesh,RafiRafi was also famous for his various humanitarian efforts. Rafi and Lata Mangeshkar had a major debate over the issue of royalties in 1960s. Rafi believed that once a recording was over and a singer has been paid, he or she should not ask for more. Lata, on the other hand said that singers should be paid royalties for their works, over and above the amount given for the singing. This led to a fall out between them. They refused to sing songs together. At the insistence of Nargis they finally made up at a stage concert and sang Dil Pukare from the film Jewel thief, composed by S D Burman.

Awards:
Filmfare Nominations and Awards

# 1960 Chaudhvin Ka Chand Ho (Film: Chaudhvin Ka Chand) – WON

# 1961 Husnwale Tera Jawaab Nahin (Film: Gharana)

# 1961 Teri Pyaari Pyaari Surat Ko (Film: Sasural) – WON

# 1962 Aye Gulbadan Aye Gulbadan (Film: Professor)

# 1963 Mere Mehboob Tujhe (Film: Mere Mehboob)

# 1964 Chahunga Mein Tujhe (Film: Dosti) – WON

# 1965 Choo Lene Do Nazuk Hothon Ko (Film: Kaajal)

# 1966 Baharon Phool Barasao (Film: Suraj) – WON

# 1968 Mein Gaaon Tum Sojaao (Film: Brahmachari)

# 1968 Babul Ki Duayein Leti Ja (Film: Neel Kamal)

# 1968 Dil Ke Jharoke Mein (Film: Brahmachari) – WON

# 1969 Badi Mastani Hai (Film: Jeene Ki Raah)

# 1970 Khilona Jaan Kar (Film: Khilona)

# 1973 Hum Ko To Jaan Se Pyaari (Film: Naina)

# 1974 Achha Hi Huva Dil Toot Gaya (Film: Maa Behen Aur Biwi)

# 1977 Parda Hai Parda (Film: Amar Akbar Anthony)

# 1977 Kya Hua Tera Vaada (Film: Hum Kisise Kum Nahin) – WON

# 1978 Aadmi Musaafir Hai (Film: Apnapan)

# 1979 Chalo Re Doli Uthao Kahaar (Film: Jani Dushman)

# 1980 Dard-e-dil Dard-e-jigar (Film: Karz)

# 1980 Maine Poocha Chand Se (Film: Abdullah)

# 1980 Mere Dost Kissa Yeh (Film: Dostana)

Other languages
N T Ramarao (for Telugu films Bhale Thammudu, Aradhana), Akkineni Nageswara Rao(for Hindi Suvarna Sundari)

Categorized Songs Listing
Songs in Marathi
Shodisi Maanava (Non-filmi)
He mana aaj koni (Non-filmi)
Ha chhand jivala lavi pise (Non-filmi)
Virale geet kase (Non-filmi)
Ga pori sambhal – Daryageet (Non-filmi; with Pushpa Pagdhare)
Prabhu tu dayalu (Non-filmi)
Hasa mulanno hasa (Non-filmi)
Ha rusawa sod sakhe (Non-filmi)
Nako bhavya waada (Non-filmi)
Majhya viraan hridayee (Non-filmi)
Khel tujha nyaara (Non-filmi)
Nako aarati ki nako pushpmaala (Non-filmi)

Songs in Telugu
Yentha Varu Kani Vedantulaina Kani (film: Bhale Thammudu)
Na Madi Ninnu Pilichindi Ganamai (film:Aradhana)
Taralentaga Vecheno Chanduruni Kosam (film:Akbar Salim Anarkali)

Fun Songs
Yeh Hai Bombay Meri Jaan (C.I.D., 1957)
Sar Jo Tera Chakraye
Chahe Koi Mujhe Junglee Kahe (Junglee, 1961)
Main Jat Yamla Pagla
Chadhti Jawani Meri
Jaan Pehechaan Ho (Gumnaam, 1966)

Qawwallis
Na To Caravan Ki Talash
Hum Kisise Kum Nahin
Raaz Ki Baat Kah Doon
Yeh Hai Ishq Ishq
Main Idhar Jaoon Ya
Pardah Hai Pardah (Amar Akbar Anthony, 1977)

Devotional
Yaa Nabi Salaam Aleika
O Duniya Ke Rakhwale (Baiju Bawra, 1952)
Man Tarpat Hari Darshan (Baiju Bawra, 1952)
Vrindavan Ka Krishna
Meri Binti Suno Bhagwan
Badi Der Bhai Nandlala (Khandaan, 1965)

Patriotic
Hum Laye Hain Toofan (Jagriti, 1954)
Ab Tumhare Hawale
Yeh Desh Hai Veer
Apni Azadi Ko Hum
Hindustan Ki Kasam (Hindustan Ki Kasam, 1973)
Ae Watan Ae Watan (Shaheed, 1965)

Children
Nanhe Munne Bacche
Re Mama Re Mama Re
Chhoon Chhoon Karti
Chakke Mein Chakka
Hai Na Bolo Bolo

Classical
Sawan Aaye Ya Na Aaye (Dil Diya Dard Liya, 1966)
Naache Man Mora Magan
Madhuban Mein Radhika Naache Re (Kohinoor, 1960)
Nava Kalpana
Man Re Tu Kaahe (Chitralekha, 1964)

Wedding
Babul Ki Duayen Leti Ja
Mera Yaar Bana Hain
Aaj Mere Yaar Ki Shaadi Hai
Teri Rab Ne Bana Di
Chalo Re Doli Uthao

Folk
Nain Lad Jaihen (Ganga Jamuna, 1961)
Dukh Bhare Din Beete
Govinda Aala Re Aala (Bluff Master, 1963)
Pipra Ke Patwa
Jogira Holi Khelat

Friendship
Meri Dosti Mera Pyar (Dosti, 1964)
Ek Rasta Do Rahi (Ram Balram, 1980)
Bade Miya Diwane
Duniyan Chhoote Yaar
Badi Door Se Aaye Hain (Samjhauta, 1973)

Sentimental
Ham Tum Se Juda Hoke
Kabhi Khud Pe (Hum Dono, 1961)
Aap Ke Pahloo Mein
Yaad Na Jaye Beete Dino Ki (Dil Ek Mandir, 1963)
Dil Ke Jharokhe Mein (Brahmachari, 1968)
Kya Se Kya Ho Gaya (Guide, 1965)
Toote Hue Khwabon Ne (Madhumati, 1958)
Din Dhal Jaye (Guide, 1965)
Khilona Jan Kar Tum
Raha Gardishon Mein Hardam (Do Badan, 1966)

Romantic
Wadiyan Mera Daaman
Aane Se Uske Aaye Bahar (Jeene Ki Raah, 1969)
Chand Mera Dil
Pukarta Chala Hoon Main (Mere Sanam, 1965)
Yeh Mera Prem Patra (Sangam, 1964)
Chaudhvin Ka Chand (Chaudhvin Ka Chand, 1960)
Yeh Reshmi Zulfen (Do Raaste, 1969)
Teri Pyari Pyari Soorat (Sasural, 1961)
Baharon Phool Barsao (Suraj, 1966)
Mere Mehboob Tujhe (Mere Mehboob, 1963)
Chhoo Lene Do Nazuk (Kaajal, 1965)
Main Kahin Kavi Na
Aap Aaye Bahaar Aayi
Na Jhatko Zulf Se Pani

Duets With Lata
1952 Tu Ganga Ki Mauj (Baiju Bawra)
1957 Zara Samne to Aao (Janam Janam Ke Phere)
1959 Laagi Chhoote Na (Kali Topi Lal Rumal)
1960 Do Sitaron Ka Zameen (Kohinoor)
1961 Sau Saal Pehle (Jab Pyar Kisise Hota Hai)
1962 Tujhe Jeevan Ki Dor Se (Asli Naqli)
1962 Dil Tera Deewana (Dil Tera Diwana)
1962 Mujhe Kitna Pyar (Dil Tera Diwana)
1962 Awaz Deke (Professor)
1963 Jo Vada Kiya Vo (Taj Mahal)
1963 Paon Chhoo Lene Do (Taj Mahal)
1964 Ek Shahensha Ne (Leader)
1967 Dil Pukare Aa Re Aa Re (Jewel Thief)
1968 Bekhudi Mein Sanam (Hasina Maan Jayegi)
1968 Ni Sultana Re (Pyar Ka Mausam)
1968 Woh Hai Khafa Khafa (Shagird)
1969 Rimjhim Ke Geet (Anjana)
1969 Resham Ki Dori (Sajan)
1970 Mere Mitva Mere Meet (Geet)
1970 Jhil Mil Sitaron Ka (Jeevan Mrityu)
1970 Yunhi Tum Mujhse Baat (Sachcha Jhutha)
1970 Mujhsa Bhala Yeh Kajal (The Train)
1971 Chadati Jawani (Caravan)
1971 Kitna Pyara Waada Hai (Caravan)
1971 Itna to Yaad Hai Mujhe (Mehboob Ki Mehandi)
1971 Kuch Kehta Hai Yeh Sawan (Mera Gaon Mera Desh)
1972 Tere Naino Ke Deep (Anuraag)
1972 Patta Patta Buta Buta (Ek Nazar)
1973 Teri Bindiya Re (Abhimaan)
1973 Main Tujhse Milne Aayi (Heera)
1973 Diwane Hai Diwanon Ko (Zanjeer)
1974 Vaada Karle Saajna (Haath Ki Safai)
1976 Tumse Door Rehke (Adalat)
1976 Tere Mere Yarane (Naagin)
1979 Dafliwale (Sargam)
1979 Koyal Boli (Sargam)
1979 Parbat Ke Is Paar (Sargam)
1979 Atthara Baras Ki (Suhaag)
1980 Mujhe Chhoo Rahi Hai (Swayamvar)
1980 Mujhe Choo Rahi Hai (Swayanvar)
1982 Janam Janam Ka Saath (Bheegi Palken)

Duets With Asha
Chura Liya Hai Tumne (Yaadon Ki Baaraat, 1973)
Abhi Na Jao Chhodkar
Achha Ji Main Haari
O Haseena Zulfonwale (Teesri Manzil)
Deewana Hua Badal (Kashmir Ki Kali, 1964)
Gunguna Rahe Hai (Aradhana)
O Mere Sona Re (Teesri Manzil, 1966)
Uden Jab Jab Zulfen Teri (Naya Daur, 1957)
Hamdam Mere
Sawan Aaye Ya Na Aaye

Duets With Male Singers
Band Mutthi Lakh Ki
Chal Kahin Door
Chana Zor Garam
Hum Premi Prem Karna
Hum Teeno Ki Woh Yaari
Hum To Aap Ke Deewane
Sa Re Ga Ma
Yaadon Ki Baraat
Badi Door Se Aaye Hain (Samjhauta, 1973, with Mukesh)
Dil Ne Phir Yaad Kiya
Salamat Rahe Dostana Hamara (Dostana, 1980, with Kishore Kumar)
Ek Rasta Do Rahi (Ram Balram, 1980, with Kishore Kumar)

Mohammed Rafi(Rafi Sahab to most of his fans and well-wishers) was and will be the greatest singer the Indian subcontinent has produced. Rafi Sahab, along with Lata Mangeshkar, shares the Guiness honors for having sung the most number of songs(approx 26,000). During his film career, spanning 40 years(from 1940 to 1980) Rafi Sahab sang a wide variety of songs and versatality has been his forte. He could sing for any mood and for any actor with great ease. His songs ranged from classical numbers(Madhuban mein Radhika nache re) to songs that followed no rules of music(Uffu Khuda Unko hampe pyar aaya), from sad lamentations(Na kissi ke ankh ka noor hu) to highly romantic numbers(Aapke Haseen Rukh pe aaj naya noor hai), from qawallis(Hum Kissise Kum Nahin) to ghazals(Teri ankhon ke siva duniya mein rakha kya hai) and bhajans(Duniya na bhaye mohe ab to bulale), from slow melancholic tunes(Hum Bekhudi mein tumko pukare chale gaye) to fast masti-bhare geet(April Fool banaya). Rafi Sahab’s patriotic songs like ‘Watan pe jo Fida hoga’, ‘Kar chale hum fida’ ‘Jahan dal dal par’ and ‘Apni Azadi ko hum’ are truly soul-stirring. RafiSaab could very beautifully express the hero’s love for his ‘mehbooba’ and the same voice could also curse the ‘bewafa lover’. The golden voice of the tragedy heroes, Dilip Kumar and Bharat Bhushan was also the voice of comedian Johny Walker in songs like ‘Sar jo tera chakraye’ and ‘Yeh hai Bombay meri jaan’. Rafi’s voice personified the rebellious image of Yahoo star, Shammi Kapoor and also gave expression to smaller and younger heroes like Biswajit and Joy Mukherjee. It was Rafi Sahab’s voice that made Rajendra Kumar a ‘Jubilee Star’ and Jeetendra a ‘Jumping Jack’. Another interesting fact is that Rafi Sahab has also sung for singer-actor Kishore Kumar in a few movies like ‘Raagini’, ‘Baaghi Shehzaada’, and ‘Shararat’. In 1965, Rafi Sahab, was honored by the Indian Govt. with the PadmaSri award. On July 31, 1980 the Indian Film industry lost its golden voice. Even though Rafi Sahab is not with us anymore, his voice and melody will enthrall music lovers for years to come. Rafi Sahab’s voice has been stilled and yet…..

A Great Tribute to Mohd Rafi sahab by a Fan,He express his view about Mohd Rafi in a good manner we also admirer of Mohd Rafi.We include this article to give a tribute to Mohd Rafi : A Legend Singer,

I have always wanted to write about this man, the man who sang to us numbers that made us dance, cry, laugh, introspect, pray and above all, adore him. It was in school, I don’t remember which class I was in though, seems too long a time, when I first heard Rafi. He was on television singing for a child in Dosti. The song was b’ful. I still remember it, “Koi jab raah na paaye”. And thus began my journey along Rafi’s path.

In my home, it’s almost a tradition that everyone watches the television together. So, there was Rafi singing to the whole family and we were all mesmerised. Afterwards, I asked my father about it. He said that it was sung by Mohammad Rafi, the legendary singer who perhaps is the only Indian singer till date to have captured the hearts of millions of Indians and foreigners (and that is no exaggeration) for generations. In fact, he took out from his treasures some loose papers stapled together which had yellowed and faded and gave it to me and my sister. They were the songs sung by Rafi when my father was still a student. We went through the papers, prepared a new list and got the songs recorded. And we listened to the cassettes like crazy. We used to go to sleep with Rafi singing to us. Those were beautiful days indeed.

Born in Punjab (now in Pakistan) Rafi moved to Lahore when he was 14 to study music under Ghulam Ali Khan. He used to sing on Radio Lahore. His debut as playback singer in movies came in a Punjabi movie, Gul Baloch and later that year, he moved to Bombay. Naushad gave him his break in Indian films in Pehle Aap. When he sung “Suhaani raat dhal chuki” (Dulaari), his career took off like never before. I have listened to that song and it’s one of the slowest and melodious songs that I’ve heard. Those days Doordarshan used to air special programs from its archives. In such a programme, Rafi sang this song clad in a black Punjabi suit and an orchestra playing in the background. It was immensely enjoyable.

He sang with Noorjehan in Jugnu. He sang for Kishore Kumar in movies like Raagini, Baaghi Shehzaada and Sharaarat. Imagine Kishore, a singer himself, just moving his lips without a sound! I later came to know that the song in Raagini was so difficult that Kishore expressed his inability to sing the song which then went to Rafi, for classical singing was his forte. Heard, “Madhuban mein Raadhika naachere..“? And the song “Chahoonga main tujhe saanjh sawere” from Dosti which was originally to be sung by Lata Mangeshkar was given to Rafi by the producer as he felt that only he could do justice to that song. And his song “Baabul ki duaayein leti jaa” (Neelkamal) is still played in all marriage parties.

He perhaps had Shammi Kapoor as his favourite onscreen hero as Mukesh had Raj Kapoor. But there was perhaps not a single actor those days for who Rafi hadn’t sung. And in the movie Kroadh, Amitabh Bachchan sings on stage for this great singer (”Mohammad Rafi tu bahut yaad aaya“).

He was truly a versatile singer. From foot tapping to soul stirring, from fast numbers to slow duets, he sang them all. He never touched alcohol all his life but sang for drunks like Dev Anand (”Din Dhal Jaaye” in Guide) and Raj Kumar (”Chhoo lene do nazuk hoton ko” in Kajal). And who can forget the melodious “Aey dil muskil jeena yahaan” with Johny Walker giving an unforgettable performance onscreen?

Rafi gave his first public performance when he sang to keep the audience quiet when K. L. Saigal refused to sing on stage during a show becasue of a power failure. He was just 13 years old then. Composer Shyam Sundar heard him and brought him to Bombay. Rafi has even acted in films! He was part of the chorus in movies such as Laila Majnu and Jugnu. Rafi sang all the songs for Baiju Bawra by accident. Talat Mehmood, the original choice was caught smoking during the recording and old Naushad awarded all the songs to Rafi.
Rafi is known to have helped producers in need. He has sung for a fee as low as Re. 1. Unbelievable!

And though I love listening to Lata’s songs, I don’t very much like her as a person. Rafi and she were at odds for quite some time after giving out hits after hits as they had different opinions regarding royalty issues. Rafi was of the opinion that singers shouldn’t be demanding royalties as they were paid to sing a song. But Lata thought otherwise. I think Rafi was right, but then others are welcome to have their own views.

Rafi died in 1980, 8 years before I was born. We saw the recording of his funeral on the TV a few years back. The whole of Mumbai it seemed had come to a standstill. Shammi Kapoor who was abroad that time, rushed back to Mumbai. The crowd was so huge and teary eyed that people still say to this day that the entire nation stopped to weep for him. India not only lost a great singer but a great man as well. That a man who left this earth before I came onto, could influence me deeply surely seems a story. But isn’t. For people, those who have heard him, will surely vouch for it.

Mohammad Rafi day for Hindi film music lovers all over the world. There never was, and never will be, another Rafi. Even the heavens cried for him when his funeral procession in Bombay as drenched by the rains. And Manoj Kumar had remarked: “They are the tears of Saraswati”.
Even during Rafi’s time there were imitators like Mahendra Kapoor wholented singers themselves but were not able to set themselves free from the Rafi grip. Later we had singers like Anwar(Hum se kaa bhool hui..; Teri ankhon ki chaahat.. and Kasme hum apni jaan ki…)who did well for themselves to begin with but faded away quickly when it was noticed that all they could be poor copies of the great master. Then Shabbir Kumar and Mohammad Aziz who are echoes of the genius but mere echoes, no matter how successful they are in today’s dhoom-dhamaka music age.

Born in Sultan Singh, a small town of Lahore, Pakistan, on December 24, 1924, Rafi grew up to be a great fan of “Fakir Baba”, a town minstrel who had mesmerised the little boy. He would follow im around as if he the Pied Piper. His father was quick to notice the little child’s fascination for music and became his greatest source of inspiration. His elder brother, Hamid, then began giving him taalim seriously and had him trained under Ustab Abdul Wahid Khan of the kirana gharana, Ustad Chhote Ghulam Ali Khan and Pandit Jivanlal Mattoo; After he grew up into a young lad, it was Kundan Lal Saigal, by then a legendary name in the fand acting, inder whose influence he came. It was Saigal who keep recommended him wherever he could and introduced him to Lahore Radio. Then came music director Shyam Sundar, considered the man who “discovered” Rafi who made him sing for his first film Gul Baloch (1940) in Punjabi. Rafi verbalized his love passion in the famous love lore,Soniye, Heeriye, teri yaad ne bahut sataya … but he had to wait for a while before he could soulfully lament about his unrequited love with the singing sensation of the, Noor Jehan (Yahan badla wafa ka…).
This Jugnuduet brought Rafi’s voice to wide notice and interesting, Rafi used to do bit roles those days to supplement his income and had played a comic role of Dilip Kumar’s friend in Jugnu. Rafi did not sticj to this dual role and thus created a major headache for Talat Mahmood who was the reigning singer then. Naushad’s musical score in Baiju Bawara changed all the known equations and Rafi with his O duniya ke rakhwale, Man tarpat hari darshan ko aaj…, and Tu Ganga ki mauj main Jamuna ka dhaara…(the last, a duet with Lata Mangeshkar) made it very clear to everyone who care to listen that the voice was here. Baiju Bawara started an unending shower of seeetness which was to last till 1980, or as fans would prefer to say till eternity.
It was his Baiju Bawara colleague Lata who was to say decade later that Rafi ws “one of the wheels of the chariot of film music.” The great poet and lyricist, Sahir Ludhaianvi, who diest in the same year as Rafi, had remarked once: “The capability Rafi possessed was of acting with his voice.If he was to sing for some revolutionary character then his voice would take on the spirit of a revolutionary and when he sang for a drunkard, his voice likewise would take on a drunkard’s tilt. Ihe sings fro a dejected lover his voice would sing into sorrow and indignation and for a religious man he would immerse itself into Bhakti.
In other, simpler, words, Rafi sang with great feeling. And he had phenomenal versatility, something which always made him score over every other. Whether it was the religious fervour of the Baiju Bawra songs, or the Yahoo exuberance of Junglee; whether it was the drunken drawl, tinged with sorrow, of Hum bekhudi mein tum ko pukare chale gaye…(Kala Bazar) or the drunken naughtiness of Chal chal mere bhai..(Naseeb), or Mujhe duniya walon sharabi na samjo…(Leader), it was Rafi all the way. Take, then, his soft, romantic Maine chand aur sitaron ki tamanna ki thi… (Chandrakanta) or his rock-n-roll belting out of Aaja aaja main hoon pyar tera…(Teesri Manzil). Or his patriotic Awaz do hum ek hain…(non-filmy) and his rollicking Aasman se aaya farishta…(An Evening In Paris). And then contrast it with his feathery Dil ka bhanwar kare pukar…(Tere Ghar Ke Samne) or Meri duniya mein tum aayee..(Heer Ranjha).
It was Rafi to sing O duniya ke rakhwale, who without caring for the blood flowing from his mouth, completed the recording till the recording staff didn’t stop the recording and the sound of hue and cry could be listened at the end of the song. So many singers will come but the devoted singer like Mohd Rafi will never.