Mohammed Rafi: An Unfathomable Musical Journey from ‘Ravi’ to ‘Arabian Sea’

 

Tributes on his 42nd Death Anniversary

The angel of music, Mohammed Rafi with unique tonal voice, with versatility and crystal clear intonations rendered thousands of heart-warming songs. These varied from fast peppy numbers to classical songs, lamenting melodies to highly romantic songs, qawwalis to ghazals and bhajans to patriotic songs. He poignantly brought out emotions with his exquisite melodious and mellifluous voice for over seven decades. Goddess Saraswati’s abode was in his sublime divine voice. In Baiju Bawra, he demonstrated his virtuosity while in ‘Pyasa’ he gave the evocative power to the lyrics. Though he did make a partial transition to a more playful style as in Junglee, he was too closely wedded to the classical tradition to wander too far from it. Celebrities have fans but Mohammed Rafi had worshippers, who have built “Temples” in his sweet remembrance.

Mohammed Rafi was born as Pheeku to Hajji Ali Mohammed and Allah Rakhi on 24 December, 1924, in the village Kotla Sultan Singh (Amritsar). A wanderer saint used to chant ‘Maaye Ni Khedan De Din Char’ while seeking alms in his locality. The little child, mesmerised by the melodious tune, used to trail the fakir. Pheeku grew up in an orthodox household where music and singing was frowned upon. But his elder brother Hamid encouraged him to exhibit his latent talent. At the age of nine, he moved to Lahore and started working in the family owned hair-salon. His singing prowess was luckily noticed by the renowned musician Jiwan Lal Mattoo of All India Radio, Lahore. Master Jiwan Lal took him under his wings and trained him in classical music and Punjabi folk music. Rafi also learnt the intricacies of music from well-known vocalists and instrumentalists like Abdul Waheed Khan and Chotte Ghulam Ali Khan. 

His singing talent was first recognised on a grander scale in 1937, when he unexpectedly performed at the All-India Music Exhibition, Lahore. Music director Shyam Sunder caught fancy for Mohammed Rafi and introduced him to filmdom through the song “Pardesi…Sohneya Oye Heeriye Oye” (Gul Baloch-1945).  In this film, Rafi sang two more songs ‘Aa Chann Ve’ under the baton of Lachhi Ram and ‘Sun Sun Nikki Jehi Gall’ under the music direction of Pt. Amar Nath. These songs became very popular and the rest as they say is history.

Mohammed Rafi moved to Bombay on invitation of actor-producer Nazeer, who paid him one hundred Rupees and a rail ticket to the city of dreams. In Bombay, Naushad gave him a chance to sing in chorus “Hindustan Ke Hum Hain” (Pehle Aap-1944). However, some sources claim that his first Hindi film song was “Jab Dil Ho Kaabu Mein” (Gaon Ki Gori-1945). Then he sang “Roohi Roohi Mere Sapnon Ki Rani” with his ideal K.L. Saigal in ‘Shahjahan’ (1946). However, his duet with Noor Jehan ‘Yahan Badla Wafa Ka’ (Jugnu-1947), catapulted him as a serious contender to fill the vacant slot of the leading male vocalist.

 

Rafi also gave cameo performances in movies like Laila Majnu (1945), Shahjehan (1946), Jugnu (1947), Samaj Ko Badal Dalo (1947) and Shaheed (1948). His initial singing style was heavily influenced by G.M. Durrani. His career really took off with the all-time hit ‘Suhani Raat Dhal Chuki’ (Dulari-1949). After the assassination of Mahatma Gandhi, the team of Husanlal-Bhagatram, Rajendra Krishan and Mohammed Rafi created the moving eulogy 'Suno Suno Ae Duniya Walo'. The year 1949 was the undisputed hinge over which the floodgates of Mohammad Rafi’s melodies opened. Naushad switched over to Rafi as main playback singer for Dilip Kumar in ‘Deedar’ (1951) and continued with Aan, Amar, Udan Khatola, Kohinoor, Ganga-Jamuna, Leader, Aadmi, Dil Diya Dard Liya and Sanghursh etc. Rafi revered Naushad as his Guru, mentor and guide while Naushad considered him as God’s gift to film music. Rafi established fairly wide base of association with music directors ranging from the legendary Shyam Sunder to Bappi Lahiri.

His voice had unique feature of screen adaptability and Rafi could mould his voice to the persona and style of the actor on screen. Rafi-Dilip Kumar and Rafi-Dev Anand combos undeniably scaled the greater heights. He could always capture Shammi’s grace, energy and ‘Yahoo’ style. Rafi was the king of romantic songs and his evergreen numbers like ‘Chaudhvin Ka Chand Ho’, ‘Bahaaron Phool Barsaao’, ‘Mere Mehboob Tujhe Meri Mohabbat’, and ‘Husnwale Tera Jawab Nahi’ etc. still entice the lovers. Rafi even gave playback for actor-singer Kishore Kumar in movies like Ragini (1958), Shararat (1959) and Bhagam Bhag (1958). In Lal Patthar (1970) singer G.M. Durrani had the voice of Rafi in the song “Unke Khyaal Aaye to Aate Chale Gaye”.

Rafi brought radical change to the Hindi film music by introducing the concept of singing to one and a half “Saptaks” (scales) rather than the usual one Saptak. He possessed such a wide range that he could easily sing in three octaves without veering out of control. From the classical ‘Madhuban Mein Radhika Nachi Re’ to the swinging ‘Aaja Aaja Main Hoon Pyar Tera’, from the soulful ‘Hum Bekhudi Mein’ to the comic ‘Sar Jo Tera Chakraye’, from the philosophical ‘Dekhi Zamane Ki Yaari’ to the frivolous ‘Aiaiya Karoon Main Kya Sukoo Sukoo’, he could sing anything. His voice suited any genre of music be it a moving ghazal ‘Aap Ke Pehlu Mein’, a plaintive bhajan ‘O Duniya Ke Rakhawale’, or a wild and whacky composition ‘Chahe Koi Mujhe Junglee Kahe’. A classically trained singer whose finesse glorified complex compositions like ‘Man Tadpat Hari Darshan Ko’ (Baiju Bawra) had absolutely no problem turning into a Yahoo-screaming maniac to complement Shammi Kapoor’s on-screen energy.

Mohammed Rafi, an altruist, was known for charging no fees or just a minuscule amount for singing songs in the films of producers and music directors who could not afford his regular fees. When composer Nisar Bazmi didn't have enough money to pay him for the song ‘Chanda Ka Dil Toot Gaya’ (Khoj-1953), Rafi charged token fee of one rupee only. Rafi charged only Rupees fifty from Pandit Shivram for the chartbuster ‘Daulat Ke Jhoote Nashe Mein’ of a shoestring-budget starrer ‘Oonchi Haveli’ (1955). But for the instinctually generous way in which Rafi charged the small composers like Iqbal Quraishi, Sonik-Omi and Prem Dhavan, we would have not got nuggets like ‘Subah Na Aaye’ (Cha Cha Cha), ‘Dono Ne Kiya Tha Pyar’ (Mahua) and ‘Teri Duniya Se Hoke Majboor Chala’ (Pavitra Papi).

Rafi was extremely nostalgic about his Punjabi roots. He made significant contribution to Punjabi cinema by rendering 262 songs in 105 Punjabi movies. After his debut in Punjabi movie 'Gul Baloch', Rafi rendered five songs in ‘Lachhi’ (1949) and his solo 'Jag Wala Mela Yaaro' became immensely popular on both sides of the border. Thereafter, Mohammed Rafi became the most sought after playback singer in the Punjabi Cinema. Rafi continue to enthral the audience for another three decades with his renderings in Punjabi films like Madari, Bhangra, Do Lachhian, Billo, Guddi, Khedan De Din Char, Laajo, Pind Di Kuri, Dharti Veeran Di, Kankan De Ohle, Morni, Guru Manio Granth, Ladlee, Mahi Munda and Sassi Punnu etc. His repertoire of Punjabi melodies included Aji O Munda Moh Leya (Chhai); Darh Vatt Zamana Katt (Jugni); Daana-Paani Khich Ke Liaunda (Guddi); Jatt Kudiyaan Ton Darda (Bhangra); Teri Kanak Di Raakhi (Do Lachhian); Ji Karda Ae Is Duniya Nu (Geet Baharaan De); Mitter Pyare Nu (Nanak Nam Jahaj Hai); Russke Tu Challi Gayiyon (Papi Tarey Anek); Sanu Bukk Naal Paani (Ladlee); Eh Mor Kiyon Pailaan (Mahi Munda); Mera Wichhdeya Yaar (Sohni Mahiwal) and many more.

Apart from Punjabi film music, Rafi cut many records of non-film Punjabi folk songs, Shabads, Naats etc. The super hit private album ‘Har Ko Naam Sada Sukhdai’ and ‘Jis Sar Upar Tu Swami’ was regularly played from the community loudspeakers of the Gurudwaras. Rafi had also recorded many Punjabi folk songs like ‘Saadi Russ Gayi Jhanjran Wali’ and Punjabi musical opera ‘Heer Ranjha’ became immensely popular. Having excelled in playback, Rafi composed music for eight non film songs including four songs written by a Punjabi poet Mohinder Singh Bedi.

Even as Rafi ruled the sixties, but the Rajesh Khanna wave and western disco-style electronic music taking over the screen, his dominance waned. However, he bounced back with the musical ‘Hum Kisi Se Kum Nahin’ (1977). Rafi rendered his last song ‘Tu Kahin Aas Paas Hai Dost” (Aas Paas-1980) under the baton of Laxmikant-Pyarelal. He performed in live concerts at over 30 venues across the globe, reaching out to millions of fans in United States, U.K., Canada, Africa, West Indies etc. He sang approximately 6,000 songs in almost all the Indian languages and in many foreign languages like English, Persian, Arabic, Sinhalese, Creole and Dutch etc.

At thirteen, Rafi got married to his cousin Bashiran Biwi and they were blessed with a son Saeed and a daughter Zakia. However, after a few years, the two got separated. In 1944, he married Bilquis Bano, from whom he had three daughters and three sons.

He won numerous Awards and accolades, starting with a Silver Medal on the first anniversary of Indian Independence. In 1965, he was decorated with the Padma Shri. In 1977, he won both the coveted National Award and Filmfare Award for the song 'Kya Hua Tera Wada' (HKSKN). He won Filmfare Award for the Best Male Playback Singer six times: 'Chaudvin Ka Chand Ho' (Chaudvin Ka Chand-1961); 'Teri Pyari Pyari Surat Ko' (Sasural- 1961); 'Chahunga Main Tujhe' (Dosti-1964), 'Baharon Phool Barsao (Suraj-1966) and 'Dil Ke Jharokhe Mein' (Brahmachari-1968). 

On the fateful morning, Rafi did rehearsal for the Bengali album ‘Kaali Pooja’ and around noon, he suffered a major heart-attack. Bollywood lost one of its brightest luminaries on 31 July, 1980 but Mohammed Rafi continues to shine like a Polaris on Indian film music horizon.