MOHD. RAFI - The Legend of Legends

Date of Birth: 24-Dec-1924

Village: Kotla Sultan

City: Amritsar

State: Punjab

Mohammad Rafi
“Man With The Golden Voice”
By Rakesh Roshan Koul (Ashu)
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31st July 1980 ! The black day in the world of music !

Music director Shyamal MItra had come home in the morning. He wanted to record some songs of Durga Puja in the voice of Rafi saab. Rehearsals continued till 1 pm in the afternoon.

One broker had come to meet him. There was a discussion about a plot. After he went, Rafi saab got up and said to his brother "There is pain since morning in the chest. Maybe it is because of gas".

He was troubled with this problem of gas for many years now. Lots of restrictions were put by the doctor. But he did not follow them. In the beginning he listened to the doctor but then was bored of the same. He used to say "The whole day I have to stand and sing ( studios ). Its a work of labor. If I put restrictions on food, where shall I gather the strength to sing?"

After complaining about the chest pain, he went upstairs and took the regular medicine for gas trouble. But the pain did not subside. "Zaheer, Doctor ko phone karo", he said. Doctor had an inkling of an heart attack. He gave an order to take Rafi saab to the hospital immediately. National Hospital was nearby. It was decided to take him there. Till now Rafi saab was not aware of the seriousness of the situation. He walked down to till his car and they went to the National Hospital. It was confirmed that there was a heart attack. There were no proper treatment facilities in that hospital. Hence he was shifted immediately to Bombay Hospital. Every doctor and nurse of Bombay Hospital tried to do their best. Rafi saab fought with death till 10 pm in the night. The doctor's voice was choked when he announced the news. "I would have given my own life, to save this 'voice', this life", he said!

The period of early 1950’s and the late 1970’s could truly be called the golden era of Indian film music, when Mohammed Rafi dominated and was recognized as the uncrowned king of Indian film kingdom.

Rafi’s melodious voice echoed around the world and continues to be admired by music lovers everywhere. Rafi has given all time hits with virtually every music composer and sang for all leading actors including superstar Dilip Kumar.

Rafi’s voice simply moves listeners into a state of serenity. A single of his song can move listeners forward or take them back on a journey of their memories. Rafi provided a melody for every situation, to love, to laugh, to ponder, to muse, to cry and to demand.

Many of Rafi’s fans admire his range of singing which includes sentimental and classical melodies, devotional Naats and Bhajans and Urdu Ghazals. Ghazal requires both the poet and the singer to have a command of their gentlest form of expression, its musical presentation needs deeper involvement and finer skill. In musical terms it is halfway between light classical and classical music, and Rafi in his mastery in music was able to present it with great success. The only other singer of his time who made a big name in singing Ghazals was Talat Mahmood; who will also be remembered for a long time to come.

It is difficult to name a single music director who succeeded without using Rafi or female singer Lata Mangeshkar, the nightingale of Indian film industry. Every music director holds them both in utmost esteem.

In Baiju Bawra, Rafi a devout Muslim took the music world by a storm through his presentation of ‘O Duniya Ke Rakhwaley, Sun Dard Bhare Mere Naaley’, penned by Shakeel Badayuni and music composed by Naushad Ali, Maestro with the Midas Touch. Such melodies will continue to touch the hearts and minds of their listeners for generations to come.

Rafi, Naushad and their generation represented the best of India’s popular culture. They are the people who worked to make India a secular society which seems to be lost in today’s age of violence and technology.

Usha Timothy and Joyti Matwankar upcoming singers along with others were two prominent singers, who were personally trained by Rafi Sahib and because of their talent had the opportunity to record several songs with Mohammed Rafi.

Rafi has left behind a legacy and vacuum never filled to date by any singer in India or elsewhere. Rafi’s unique voice and style became popular to such an extent that many new and younger singers started imitating him and continue to do so.
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"MAN TARPAT HARI DARSHAN"
The most popular bhajan from the movie Baiju Bawra ...
Initially, the Urdu-speaking Mohammed Rafi sahab had problems pronouncing some Sanskrit words.. So the music director, Naushad sahab had to invite Sanskrit pundits from Varanasi to train Rafi sahab so that he could pronounce the Sanskrit lyrics of the bhajan fluently... The pundits had to work very hard to improve Rafi sahab's diction. But after a great deal of effort, the pundits finally did succeed in improving Rafi sahab's pronunciation to the desired extent. After several rehearsals, Naushad sahab gave them his final approval to record this bhajan. This bhajan is popular even today. and it has been sung at least once in most of the temples all over the world. We have heard this bhajan thousands of times, and we still want to listen to it over and over again. This does not surprise when we consider all the effort that went into the composition and rehearsals of this Great bhajan before it was recorded.
Naushad sahab in one of his interview says that before the recording he had asked all musical accompanists to come to the studio afer taking bath and be clean to respect the religion.. I do not think there is any another composition in Hindi films based on Raga Malkauns that is better than Man Tarpat bhajan..This is just my view,,Lyrics for this popular bhajan was authored by the great poet Mohammed Shakil badayuni sahab...The Indian government had honoured him with the title Geet Kar-e-Azam,,, Badayuni sahab worked most extensively with Naushad sahab.

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Mohd. Rafi doesn't need any introduction. He was truly matchless and incomparable. What I can say he is one of the most popular personality in the history of Indian sub-continent. The popularity and achievements he gained during his 40 years singing carrier was remarkable and unbelievable. No other singer was able to do this through their entire span of life. His singing carrier spanned four decades and he performed an estimated 26000 songs. He sang in many Indian languages including Hindi, Urdu, Punjabi, Bhojpuri, Bengali, Marathi, Sindhi, Kannada, Gugarati, Maghi, Mathili, Konkanni Goan, and Telugu. He also recorded English and Persian songs. He is mostly remembered by his Hindi and Urdu songs. Mohd. Rafi was one of the leading male singers in the Hindi film music industry from 1940 to 1980. I feel myself one of the lucky person to got the opportunity to write something about the greatest legend. What to write and what to say about him, it is just my feeling, my desire, or what I say, it is my inner-voice that I would like to share with all of you. Sometimes I feel that it is my bad luck when I was born, at the same time, the legend Mohd. Rafi left all of us alone and leaving tears behind him. It is said that when he left this world, the tears from heaven fell on earth (Us ke gum mai asmaan bhi roo pada), but the voice never left. To his die-heart fans, Mohd. Rafi will always be immortal. In his personal life, he was shy and emotional type of person. He never speaks too much. He mostly loves kids and always playing with them when ever he gets time. His hobbies were gardening, playing carem and badminton. One thing if you notice about him was his face was always smiling. In every photograph he has smiling face. Has had no bad habits like smoking or drinking. He was always ready to help others. For example he sang many free songs for struggling music directors in Bollywood music industry. On Thursday, 31 July 1980 at 10:50 Pm, he suffered 4 major heart attacks. His sudden death created a panic in the entire country. He was survived by 4 sons, 3 daughters, and 18 grand children.

Initial Period of Singing

In the music industry he was simply known as "The Voice", because he was so famous for the way he put his heart and soul when it is show time. Rafi Sahab was the greatest and it is impossible to conceive of another singer attaining the range , the versatility and the awesome emotion that is golden voice always contained. Allthough music was not a part of his family background and his father was totally against it. His elder brother Mohd. Deen had a barber shop and Rafi spent his childhood days in his shop. At the age of 7 years, his brother noticed him following a fakir who usually comes to that place and singing a song. Mohd Rafi got inspired singing the same song, the song line was " khetan de din chaar ne maie khetan de din char". At the age of 15 years, Rafi could not control his feelings and decided to become a singer by knowing that his father in totally against it and he did not allow him to do this. But to be the greatest singer was Rafi's destiny. When a was barely seventeen years old, and sang his first playback song for a Punjabi film, 'Gul Baloch' under the music direction of the late Shyam Sunder in 1941. Following the popularity of his Punjabi song, Rafi Sahab took the final big step in his life and ventured off to Bombay to realise his dreams of making singing his career. In 1942 he arrived in Bombay to sing, again under the music direction of Shyam Sunder for the movie 'Gaon ki Gauri'.

After this successful debut in Bombay, Rafi Sahab approached the renowned music director Naushad Ali. Naushad did not disappoint him, giving him two lines (Ruhi Ruhi Mere Sapnon ki Rani) with K.L Saigal for a song in the movie 'Shahjehan'. Although Rafi Sahab had several 'hit' songs during these early years. The real recognition for Rafi Sahab, though, which never saw him looking back again, was his incomparable effort for his songs in 'Baiju Bawra' under the music direction of Naushad Sahab. O Duniya ke and Mann Tarpat Hari Darshan ko aaj' left Rafi Sahab in a league all of his own. He continued over the years to lend his magnificent golden voice to such great music directors as Sachin Dev Burman, C. Ramachandra, Roshan, Shankar-Jaikishen, Madan Mohan, O.P. Nayyar, Kalyanji-Aanadji, Laxmikant Pyarelal, Jaidev, Salil Chowdhury, Ravindra Jain, Iqbal Qureshi, Usha Khanna, Ravi, Chitragupta and Rahul Dev Burman, Usha Khaanna and many more.'Bapu ki Amar Kahani', a poignant song dedicated to the Mahatma Gandhi, recorded just a month after Gandhi-ji's assassination in January of 1948, had Nehru-ji shedding tears at the emotion in Rafi Sahab's voice. Rafi Sahab sang over 26,000 songs in all the national languages of India in his 40 year career. He was the master of all forms of songs- he could sing ghazals, qawwalis and bhajans with the same ease and greatness. There came a time in the sixties when Rafi Sahab was the permanent voice of Shammi Kapoor, Dilip Kumar, Rajendra Kumar, Dev Anand, Dharmendra, Shashi Kapoor and Raj Kumar. In fact, Shammi Kapoor's films were mainly popular because of the songs, which were sung by Rafi Sahab in a very distinct style. Rafi Sahab's voice personified the rebellious image of 'Yahoo' star, Shammi Kapoor; made Rajendra Kumar a 'Jubilee Star' and Jeetendra a 'James Bond'.

Rise and Fame

The great Rafi Sahab even sang for singer-actor Kishore Kumar in movies such as Raagini, Baaghi, Shehzaada and Shararat. In 1965 he was honoured with the Padma Shree, a coveted award of which any Indian citizen would justly be proud. In 1977, Rafi Sahab received the 'Rajat Kamal' award from then Indian State President, Sri Sanjiva Reddy at the 25th National Film Festival Awards. Humble, unostentatious and soft spoken, and yet a giant among musicians, he was a man of tremendous integrity and very often sang without charging a fee for struggling music directors. Words cannot do justice to comprehend what this artist was about. Alas, there is no substitute today to listening to his voice. His style truly reflected the man's character. The purity of his voice reflected the purity of his ideals and his mind. Rafi Sahab received his training from prominent classical Ustads like Abdul Wahid Khan, Pandit Jiwanlal Matto, Ghulam Ali Khan and Firoz Nizami - all doyens and devotees of music. Rafi Sahab scaled heights of fame and popularity that no other Indian singer ever has or ever will with his haunting melodies that enchanted lovers of music all over the world. Rafi and Naushad were one of the famous singer and music director in Bollywood film industry. They had worked together near about 20 years and deliver many super hits to the film industry. Mohd. Rafi was one of the favourite singer of Naushad Ali. Like Naushad Ali, music dirictor shankar Jaiskishan had worked with Rafi near about 20 years and deliver hits aftr hits. There are other singers at that time and they also have achieved the popularity lik Rafi did. Those are Kishore kumar, Mukesh, Manaday. Among those gaint singers, Rafi continues his rule till 1980. Rafi and Shankar Jaikishan was one of the most successfull singer-music director pairs in the film industry. Other music directors include Laxmikant Payrelal, O. P. Nair, Roshan,Madhan Mohan that Rafi had worked with all of them. There was a music composer name Nisar Bazmi who did not have enough money to pay Mohd. Rafi as a singer, but the Rafi charged him only a fee of One Rupee and sang for him. It shows how Mohd. Rafi was a kind hearted person and never ever gives importance to money as today's singers did.

Ups and Downs

Till 1970, Mohd. Rafi was undesputed and demanded singer in Bollywood music industry. But after 1970, Kishore Kumar came into lime light and his popularity increases after he sang super hit songs for the movie Aradhana (1969). The songs composed by the music director S. D. Burman, and he had used Mohd. Rafi as male playback singer for the first two songs "Baagon Main Bahar Hai" and "Gunguna Rahe Hain Bhanwre". Actually all songs of this movie has assigned to Rafi. But after these two records, S. D. Burman fell ill and his son R. D. Burman took over the recordings and he used Kishore kumar to sang other super hit songs like "Roop Tera Mastana Pyar Mera Deewana" and "Mere Sapno Ki Rani Kab Aaye Gi Tu". Which led to Kishore Kumar's popularity. With this change, the actor Rajesh Khanna emerge as the Super Star of seventies era and he remained Super Star for 10 years. During the 1971 to 1973, Rafi's populalrity got decreased. However, Rafi still deliver some super hits like " Yeh Duniya Yeh Mehfil Mere Kaam Ki Nahi" from the movie Heer Ranjha, Jilmil Sitaro Ka Aangan Hoga" a duet with Lata Mangeshkar from the movie "Jeevan Mrityu", Gulabi Aankhe Jo Teri Dekhi Sharabi Yeh Dil Ho Gaya" from the movie The Burning Train, "Yeh Jo Chilman Hain Dushman Hai Hamari" and "Itna To Yaad Hai Muje" from the movie Mehboob Ki Mehndi, "Churaliya Hai Tum Ne Jo Dil Ko" a duet with Asha Bhosle" from the movie Yadon ki Bharat, "Tum Jo Mil Gaye Ho To Aisa Lagta Hai" from the movie Hasten Zakham and "Aaj Mausam Bada Beiman Hai" from the movie Loafer. But things does't stop here, later R. D. Burman used Mohd. Rafi as a main Singer for the rest of his movies. He uses Rafi-Kishore combination to deliver all time hits in the Bollywood music film industry. In the movie Shaan, Mohd. Rafi and R. D. Burman sung together "Yamma Yamma Yeh Khubsorat Sama", Which was the major hit at that time.

Rafi - Lata behind the Scene

In the bollywood music film industry, Mohd. Rafi and Lata Mangeshkar have sung the maximum number of duets as compared to any other Singers, which was even admitted by Lata Mangeshkar in her SHRADDANJALI. Those days the Music Directors used to get the complete Royalty for any record sold. In the mid sixties, those two great Singers had a rift due to which they did not sing together for about 3 years. It was said that Lata wanted a higher Royalty for the Singers and she wanted Rafi should support this demand as he was the most popular, famous, and demanded Singer at that time. But Mohd. Rafi's contention was that once the song is recorded and money paid to the Singer, the Singer does not have any further business to claim Royalty. Well, there can be arguments against both the stands, but both Singers stuck to their principal stand.

When asking Lata ji in an interview how did you patch up ?

Lata: It was because of composers Shankar-Jaikishan. They approached both of us and complained that their duets were getting spoilt because of our differences. I asked them to get a letter from Rafi Sahab retracting what he had said during the meeting. That's how it ended.

In fact, Lata in her SHRADDANJALI has adimitted to this fact, though she appreciated the stand taken by the Rafi. I personally feel that both are right in their views. At that time Lata sung maximum number of songs with Mukesh, Koshore and Mahendra Kapoor. But the real gainers were Asha Bhonsle and Suman Kalyanpur who got the opportunity to sing maximum number of duets with Rafi. It was the music director O. P. Nayar who used Asha and Rafi duets in his songs. During this period no body felt the absece of Lata. One of the most remarkable Rafi-Asha super-hit song was "Chura Liya Hai Tum Ne Jo Dil Ko" and it is totally impossible here to count the Rafi-Asha duets. At that time Suman Kalyanpur was counted as 3rd topmost playback singer after Lata and Asha. In fact, Suman also got some good solos during that period and some of them are "Paradesiyon se na" from the movie Jab Jab Phol Khile, "Dil Jo Na Keh Sakha" from the movie Bhegi Raat and many more songs. Even 0ther singers who got a chance to sing with Rafi were Sharda and Arti Mukherjee. At that time music directors completely forgot the famous singer Geeta Dutt with whom Rafi had given so many super hit duets especially under O. P. Nayar and S. D. Burman. In the absence of Lata, Rafi-Asha duets were increased and most of the people love Rafi-Asha duets.

It is true that Lata Ji is too good in her divine voice but I feel that there is somethig in her too, and we all did not accept that Rafi sahab have even said anything wrong about Lata ji. Rafi Sahab was a "Messaih" and used to go out in night to help the poor people. In an interview where he told how in the movie Zanjeer, the song "Deewane hai deewano ko na ghar chahyee" a duet by Rafi-Lata was to be recorded again as the song was not of music directors liking and Rafi Sahab though Asthamatic agreed silently to record again without a murmur though his health never permitted.

Also Naushad's interview where he told how in a public performance Rafi Sahab sang song from the movie Baiju Bhawra in octaves higher than he sang in the movie shows the genious of Rafi Sahab. Any faith song he could sing...be in "Shridi wale Sai baba", "Nam re sab se bada tera nam" from the movie Suhag, "Ram ji ki nikli sawari" from the movie Sargam, many song on Lord Krishna, and even of his faith. His pertoitic songs "Ee Watan Ee Watan hum ko teri kasam" from the movie Shaheed left all of us tears in eyes. No one could reach even up to his feet.

Huge Comeback of Mohd. Rafi

Mohd. Rafi made a huge comeback as a leading male singer in the mid of 1970. In the year 1974, Rafi won the Film World magazine Best Singer Award for the song "Teere Galiyo Mai Na Rakhe Ge Kadam Aaj ke Baad" from the movie Hawas composed by the music director " Usha Khanna". But things doesn't stop here, in the year 1977, Mohd. Rafi won both Filmfare Award and National Award for the song "Kya Huva Tera Wada" from the movie "Hum Kisi Se kam Nahi" composed by the music director R. D. Burman. At that time Rafi sang for "Rishi Kapoor" in movies like Amar Akbar Anthony in 1977, Sargam in 1979, and Karz in 1980. The uper duper hit qwali "Parda hai Parda" from the movie Amar Akbar Anthony. Other super hit movies in the late 1970 and early 1980 includes Laila Majlu in 1976, Apnapan in 1978, Qurbani, Dostana in 1980, The Burning Train in 1980, Naseeb in 1981, Abdullah in 1980, Shaan in 1980, and Asha in 1980. His last song was "Sham Fir Udhaas Kyu Hai Dost" from the movie Aas Pass composed by the music director "Laxmikant Pyarelal" which he recorded few hours before his death.

Awards and Achievements

Here are the complete list of Awards and Achievements of Mohd. Rafi.

Rafi has honored with the "Best Singer of the millennium" by Hero Honda and Stardust magazine in Mumbai January 07, 2001. Rafi won the 70% of the votes.

Government Awards

1948: Rafi received a silver medal from the Indian Prime Minister Jawhar Lal Nehru, on the

1965: Honored with the Padmashri by the Govt of India.

National Awards

1964: National Film Award for the Best Male Playback Singer for the song "Chahuga Mai Tuje"

1966: National Film Award for Best Male Playback Singer for the song "Bharo Phool Barsao"

1967: National Film Award for the Best Male Playback Singer for the song "Babul Ki Duaa Leti

1977: National Fil Award for the song "Kya huva Tera Waada" from the movie Hum Kisi Se

Filmfare Awards

1960: Filmfare Best Male Playback Singer for the song "Chaudhvi Ka Chaand Ho".

1961: Filmfare Best Male Playback Singer for the song "Teri Pyari Pyari Surat ko".

1964: Filmfare Best Male Playback Singer for the song "Chahuga Mai Tuje".

1966: Filmfare Best Male Playback Singer for the song "Bharo Phool Barsao".

1967: Filmare Best Male Playback Singer for the song "Babul Ki Duaae".

1968: Filmfare Best Male Playback Singer for the song "Dil Ke Jarokhe Mail".

1977: Filmfare Best Male Playback Singer for the song "Kya Huva Tera Wada".

Nominations

1961: Nominated for the song "Husn Wale Tera Jawab Nahi" from the movie Gharana.

1962: Nominated for the song "Aye Gulbadan Aye Gulbadan" from the movie Professor.

1963: Nominated for the song "Mere Mehboob Tuje Meri Mohabat Ki Kasam" from the movie

1965: Nominated for the song "Chu Lene Do Nazuk Honto Ko" from the movie Kajal.

1968: Nominated for the song "Mai Gao Tum So Jao" from the movie Brhamchari.

1969: Nominated for the song "Badi Mastani Hai Meri Mehbooba" from the movie Jeene Ki Rah.

1970: Nominated for the song "Khilona Jaan kar Tum To Mera Dil" from the movie Khilona.

1973: Nominated for the song "Humko To Jaan Se Pyari Hai Tumhari Aankhe" from the movie

1974: Nominated for the song "Achha Huva Dil Toot Gaya" from the movie Behan Aur Biwi.

1977: Nominated for the song "Parda Hai Parda" from the movie Karz.

1978: Nominated for the song "Aadmi Musafir Hai" from the movie Apnapan.

1979: Nominated for the song "Chalo Re Dooli Uthao" from the movie Jani Dushman.

1980: Nominated for the song "Mere Dost Kissa Yeh Kya Huva" from the movie Dostana.

1980: Nominated for the song "Dard-e-Dil Dard-e-Jigar" from the movie Karz.

1980: Nominated for the song "Maine Pucha Chaand Se" from the movie Abdullah.

1982: Nominated for the song "Aap Hamare Paas" from the movie The Legends of Kaini.

Bengal Film Journalists Association Awards

1965: Best Male Playback Singer for Disti.

1966: Best Male Playback Singer for Arzoo.

1957: Best Male Playback Singer for Tusa Nahi Dekha.

What Others Say About Mohd. Rafi Sahab

Naushad Sahab says: "Tujay nagmo ki jaan, ehl-e-nazar yun hi nahi kehte. Tere geeto ko dil ka hamsafar yun hi nahi kahte. Dukhi thee lakh, phir bhi mutmayeen thee dard ke mare. Teri awaz ki shabnam se dhul jate thee gum sare. Teri taano mai husn-e-zindagi leti thee angadai. Tuje Aalah ne baksha tha andaz-e-maseehai. Tu hi tha pyar ka ik saaz is nafrat ki duniya mai. Aray ganemat thi teri awaz is nafrat ki duniya mai.

Rafi sahab ki awaz ta Kayamat hamare dilo mai mehfooz rahe gi.

Mehfilo ki daman mai, sahilo ke as pas ye sada goonje gi sadiyo tak dilo ke aas paas.

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

(Naushad said all this when Rafi sahab left us all alone)

Lata Mangeshkar ji Says: Rafi bhaiya was not only India's greatest playback singer but also a wonderful person. I am yet to come across another artist so modest, dignified and unassuming. The blessings of Goddess Saraswati were with him and this was responsible to a great extent for his iconic success and he believed in true sadhna. Every morning he practised his riyaz like a devoted singer and rehearsed before recording each song.

Suhani raat dhal chuki in “Dulari”, tuned by Naushad saab, made him a household name in the late 1940s.Since then there was no looking back for Mohd. Rafi.He went from strength to strength as a singer never conscious of his amazing abilities. While raising his voice to the highest octave for O Duniya Ke Rakhwale in “Baiju Bawra”, he was so involved that he was not even aware that his vocal chord was disturbed and blood oozed out. Naushad saab had to compel his musicians and the sound recordist to stop the recording with immediate effect.

He was not only cordial but affectionate and cooperative with his colleagues. I consider myself very lucky for having sung the maximum number of duets with him under Naushad, C. Ramchandra, S.D. Burman, Shanker-Jaikishan, Salil Chowdhury, Madan Mohan, R.D. Burman, Laxmikant-Pyarelal and Kalyanji-Anandji. Even other talented composers like Hemant Kumar, Ravi and Khayyam worked with us with resounding success. We sang so many memorable duets together. I remember Do Sitaron Ka Milan, Sau Saal Pehle, Dil Pukare, Yeh Dil Tum Bin...He was one singer whose vocal range could outclass any other singer, whether it was me, Asha, Mannada or Kishore bhaiya. Yet, he never believed in dominating the scene.

Rafi Bhaiya was very particular about lyrics. He was dead against obscenity. Salil Chowdhury, who generally did not use Rafi bhaiya, composed the haunting Tasveer teri dil mein, which we sang for “Maya”. It was the Hindi version of his Bengali master piece, Ogo aar kichu to noi. Rafi bhaiya was not getting the antara, phirun tujhe sang leke, accurately. Salilda grew impatient and showed flashes of anger, but Rafi bhaiya would not react. He politely asked Salilda to explain it to him and ultimately delivered it even better than what Salilda expected.

For top heroes

Dilip Kumar, Dev Anand, Guru Dutt, Shammi Kapoor, Manoj Kumar, Sanjeev Kumar, even Rajesh Khanna... Rafi bhaiya sang for top actors with equal ability and resounding success. The way he rendered Aye chand jise, Na mukhda mor ke and Tujhe dekha for Uttam Kumar in “Choti Si Mulakat” was mind-blowing. He was at his best rendering Teri bindya re for Amitabh Bachhan and Dard e dil for Rishi Kapoor.No wonder even music directors of the 1970s, like Bappi Lahiri and Rajesh Roshan, used his voice very effectively. I still remember him singing Dil ki kali tuned by Rajesh Roshan for “Inkar” in 1978.The female voice simply paled in comparison.

It is very wrong to say that Kishore Kumar overtook Rafi bhaiya in the early 1970s.Kishore was no doubt at his peak, but Rafi bhaiya was equally effective with Tere naam ka diwana, Gulabi aankhen, Yeh duniya yeh mehfiland Tum jo mil gaye ho. Even Kishore bhaiya never felt he was ahead of Rafi.

It's been three decades since he left us but his melodies are alive not only in my heart but in that of countless music lovers. Rafi bhaiya, Yaad na jaye beete dino ki.

Maherdra Kapoor says: "In simple terms we shared a guru-chela (teacher-student) relationship. I often used to play the tanpura for Rafi saab during his performances. I used to call him Paaji (elder brother in Punjabi) and we used to speak in Punjabi mostly. Once when we were stepping out of the All India Radio building after a performance and I was holding the tanpura behind him a group of school kids approached him for autograph. He did not understand and asked me what the fuss was all about. When I told him what the kids wanted he, in a matter of fact manner, asked me to oblige them! And I signed their autographs as Mohammed Rafi! (Laughs) That shows the simplicity of the man. No airs, no arrogance. Just simple human being.

From an early age in Amritsar, Mahendraji would sing in Rafi Saheb’s style. When the family moved to Mumbai, he would write Rafi, Rafi, Rafi in his School Notebooks. One day he was caught by his teacher and scolded, then one of his Classmates gave him Rafi Saheb’s Bhindi Bazaar address. So he went there alone and seeing his love and devotion, Rafi Saheb took him as his disciple, and would teach him on the Harmonium, take him to his recordings and also to his shows. After this they would go to have Rafi Saheb’s favourite Lassi.

As time passed, Mahendra Kapoor Saheb blossomed and was amongst a handfull of playback singers of that period who made it. However, all this fame and success did not change him. In fact he had many things common with Rafi saheb. Did not smoke or drink alcohol. Was soft spoken, gentle, kind and smiling. Lived a simple life, white was his favourite colour. Moved residence to Bandra, Both died in the month of Ramzan.

Veteran Actor Shammi Kapoor says: Some of whose most memorable songs like `Chahe Koi Mujhe Junglee Kahe` were in the voice of Mohammad Rafi, Saturday remembered the legendary singer on his 30th death anniversary and admits he is incomplete without Rafi.

"I am incomplete without Mohammad Rafi. I used to often go for the recoding of my song, which was sung by Mohammad Rafi, only because I used to like telling him how I would perform on this song on screen so that he can sing it that way. Even he liked my involvement," Shammi told reporters at launch of Mohammad Rafi Music Academy at Novotel Hotel here. Rafi died July 31, 1980 of a heart attack.

"When I got to know about his demise, I was in tears. The person who actually came to me to give the news said that Shammiji, you have lost your voice," he added.

Music composers Pyarelal of music director duo Laxmikant-Pyarelal, Kalyanji of Kalyanji-Anandji duo, Ravinder Jain, Udit Narayan, Bappi Lahiri, Adnan Sami, actor Dara Singh, Jagdeep, Jackie Shroff and Rakesh Roshan were present in the occasion among others.

Actor Rishi Kapoor, who was also present on the occasion, said: "From the time of Shammi and Shashi uncle, I also had the good fortune to have him sing for me in films from `Laila Majnu`, `Amar Akbar Antony` to `Katilon Ke Katil`. I would like to quote (director) Manmohan Desai`s line for Mohammad Rafi: `If God had a voice, it would be Rafi`s voice`."

Mohammad Rafi Music Academy is opened by Rafi`s son Shahid Rafi and his wife Firdaus Shahid Rafi.

Representatives of families of legends from the Indian music industry like Raju Naushad (composer Naushad`s son), Andalib Majrooh Sultanpuri (lyricist Majrooh Sultanpuri`s son) and Ruhan Mahendra Kapoor (singers Mahendra Kapoor`s son) are on the academy`s governing body.

"I am very happy to see that such an academy has been formed in his (Rafi`s) name. There should be many academies made like this. If they need any help from me, I am always there to support them in whichever way possible," Pyarelal told reporters.

Veteran Actor OM Puri says: Mohd Rafi didn't realize his greatness. His kindness is clearly reflected through his heart touching songs and that is the reason for being such a greatest singer instead a filmy singer. His singing star will never ever fade due to his adaptibility and it doesn't matter if he sings for Dilip Kumar or Dev Anand, his voice is automatically fits in these personalities. Such kind of God gifted adaptability is rare and impossible to find now.

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

Anand Ji (of Kalyan Ji - Anand Ji) says: Mohd Rafi His God-fearing nature was so obvious in every song he sang – and Mohammed Rafi could sing and justify every kind of song. He was extremely versatile and very fast at pick-up. Of so many famous songs he sang for us my personal favorite is a Yahaan main ajnabi hoon from "Jab Jab Phool Khile".

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

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

Anup Jalota says: I recorded a live with him for my first film Shirdi Ka Sai Baba. The year was 1975 and the song was Sai Baba bolo. He was truly a man of God, simple, devoted to his work, and devoid of any vices. He taught me so much on that single occasion, like what should be my posture in front of the microphone, and how I should throw my voice into it. He would tell Manoj (Kumar)ji, who was the lyricist as well as the man behind the film, Dekho, Punjab se ek aur sher aaya hai! I attended so many recordings just to observe him at work. I have always emulated his distinct way of enunciating each and every word with the clarity of a polished pearl. Earlier, singing his songs on shows was like a part of my training! There was no dividing line between his singing and his persona, and thatâ€™s what makes an artiste immortal. We needed him to be around for many years. Today, singers who follow his style – Udit Narayan and Sonu Nigam – are at the top, proof that Rafi would have still been a topper if he was alive!

Gulshan Bawra says: Bada hi bhola insaan that Rafi, aur badaa hi mehnati gaayak! He has sung so many songs of mine, but to me Deewane hai deewanon ko na ghar chahiye…(Zanjeer) will always remain extra special. I remember that Rafi sahab ke roze the. Because of the fasting and the restrictions, he was a shade irritable. One take of the song had been okayed by the music directors, but co-singer Lataji wanted a retake for some reason. Uncharacteristically, he refused, and said, Main jaa raha hoon. I followed him out of the studio and told him, Paaji, do you know who is going to enact this song on screen? Its me. He turned round and asked why I had not told him so before. He came back and gave not one but two takes, and sang in such a way that it would suit my persona!

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

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

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

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

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

Nida Fazli says: Every mega-talent is blessed by God, and it is up to the artiste to preserve and develop it further. Rafi sahab did that. His voice reflected his spiritual, pure nature. That golden voice was like the breeze that ripples during a puja or the holy atmosphere that pervades the namaaz. He sang few but great songs written by me, like Tu jis tarah se meri zindagi mein shaamil hai (Aap To Aise Na The). I remember he wept and said that artistes lived to sing such beautiful songs.

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

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

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

OMI (of Sonik-OMI) says: I have nothing but praise for Mohammed Rafi as a singer and as a man. He has sung the out-and-out majority of Sonik-Omi songs right from our first film Dil Ne Phir Yaad Kiya till his death. I could tell you enough anecdotes about him to make a book. If ever there was a perfect human being in this world, it was Rafi. In his last days, most of the active music directors were non-Punjabis and whenever he came for our recording he would say, Aisa lagtaa hai ke main apne ghar aaya hoonâ€ because he too was from Punjab. How sublime was that experience where we would sing out and teach the song, and he would learn it! His fondness for punctuality and self-discipline was amazing: one day we had a rehearsal at nine in the morning, and so at 8:15 I decided to go down and have a paan. To my amazement, he was strolling in my compound! His secretary had to go somewhere so he had dropped him early, and Rafisaab did not want to disturb us before time! Tomorrow there just might be another singer as great as him,par aisa insaan phir se nahin aayega!

Music Director - Usha Khanna: Usha Khanna was associated with Mohammed Rafi sahab from very beginning of her career as a composer and association of Usha Khanna, Mohammed Rafi sahab and Asha Bhosle ji fabricated some innumerable hit songs of Indian cinema during 1960s,1970s,and 1980s....She was always a Mohammed Rafi devotee composer who supported him all the time during his lean phase 1970 to 1974 as well,,, In the male dominated Film Industry..Many of songs sung by Mohammed Rafi under composition of Usha Khanna are still very popular and will be everlasting forever. Though Usha Khanna was a very good composer, it remains a secret why she did not get many chances which would had contributes more for a big treasure of Music for this composer-singer combinations.

Lyricist Shailendra and Music Director Shankar Jaikishan:The voice of Mohammed Rafi Sahab encompassed a tremendous range, which is unparalleled. The peculiar trait that separates a playback singer from a classical vocalist is not the range or ability as a singer but the voice quality. With Rafi Sahab it was the ultimate combination that helped him reign supreme in the field of playback singing. His voice quality combined with his unsurpassed range made him stand apart from his contemporaries.

The famous poet and lyricist Shailendra sahab had glorified the world of bollywood with his romantic words. He had tremendous combination with legendary composer Shankar Jaikishan. Both of them in turn had magical relationship with immortal singer Mohammed Rafi Sahab..

In the mid-50s, all of them Shailendra, SJ and Rafi became superstars and icons in their individual departments.They had composed music in almost 200 films in a tenure of around 22 years.2 So great was the impact of their creative genius that it had a lasting impact on the music of the Hindi films. Shankar-Jaikishan understood the taste of the masses, were able to cater to them, as well as moulded their tastes. No wonder then that during their tenure as music directors, they were exceedingly popular and 75 per cent of the films for which their scores were everlasting hits – many have celebrated silver jubilees.

Here by i am uploading of Rafi sahab's stupendous solo song from the movie SEEMA 1955 released,picturized on Balraj sahni and Nutan,,, Music composed by Shankar Jaikishan and Lyrics authored by Shailendra,,,

KAHAN JAA RAHA HAI -- TU AE JAANE WALE
ANDHERA HAI MANN KA-- DIYA TO JALAA LE...