Poetic justice!

Unlike his peers, Mohammed Rafi delivered a series of memorable songs with little known composers. As we observe his death anniversary this weekend, let’s rewind some of the gems.

July 28, 2016 09:30 pm | Updated October 18, 2016 12:38 pm IST

GIVING HIS BEST Mohammad Rafi.

GIVING HIS BEST Mohammad Rafi.

Transfixed by Mohammed Rafi’s “Wo Hum Na The Wo Tum Na The” playing at an Egyptian restaurant, an overseas friend phoned in to inquire the name of the song composer. A long standing fan of Rafi due to his interactions with Indian friends, food and films in the UK and the US, the query was not unexpected as he does have a fairly decent understanding of Hindi language and its film scene. When informed the music director for the “Cha Cha Cha” song was Iqbal Qureshi, he was amazed that despite his familiarity with “Subha Na Aayee Shaam Na Aaye” from the same film, he had been completely unaware of the composer’s name and credentials.

This is not surprising as many Indian listeners too credit several of Rafi’s celebrated melodies to better known music directors; all because Rafi’s immaculate singing makes listeners believe that the superb outpourings could not have been derived except by master craftsmen. However, what is overlooked is that Rafi poured forth his best incessantly for every composer irrespective of their success, stature or budget since “singing was an ibaadat (sacred homage)” for Rafi whereby “every music director was a teacher and every song a blessing” according to late M. C. Lilakar. For someone who oversaw hundreds of musical recordings as a senior executive with HMV, Lilakar’s statement is to be respected as there are several eternal gems by little known composers in the company of Rafi.

While Iqbal Qureshi’s name may still rekindle a few memories, most are probably unaware of Lachhiram even though everyone adores his “Tu Shokh Kali Main Mast Pawan” and “Sab Jawaan Sab Haseen Koi Tumsa Nahin” from “Main Suhaagan Hun”. Each nuance and inflection by Rafi in the four evergreen numbers noted above have been put across the musical maze as adroitly as in any Naushad, Sachin Dev Burman, Shankar Jaikishan or O.P. Nayyar composition. Not surprising since the genial giant always “gave small time composers / writers more encouragement, affection and respect than anyone else in the film industry”. Days before his death in 2014, Lilakar recounted how young Goan musician Chris Perry was floored by Rafi’s instant approval of Lilakar’s request to sing under Perry’s baton. “Thereafter, Rafi Sahab learnt Konkani pronunciations like a devout pupil while feeding us with his own hands,” said a beaming Lilakar. No wonder Perry’s Konkani creations like “Maria” and “Kalzaa” are great hits till date!

Anyone harbouring doubts that newcomers or unknown composers weren’t given equal due by Rafi is requested to listen to G. S. Kohli’s “Pyaar Ki Raah Dikha Duniya Ko” (“Lambe Haath”) and “Maana Mere Haseen Sanam” (“Adventures of Robin Hood”). Though the films bombed badly, Rafi’s vocals conquered hearts of even the most stone-hearted people and while Kohli’s arrangement is praiseworthy, it is Rafi’s outstanding rendition that provides each word its weight in gold!

Similarly, Sardar Malik may have been forgotten but not his songs that were given supersonic thrusts by Rafi’s magical throat. Hear Malik’s “Mujhe Tumse Mohabbat Hai” from “Bachpan” as well as “Dil Ki Bazi Jeet Ke Bhi Haare” (“Madan Manjari”) and you realise the enormous gulf between Rafi’s simple yet profoundly inventive singing and the rest of the singers with whom Malik hitched his band wagon quite unsuccessfully. Even in the decrepit “Naag Mohini”, the saving grace for Malik is the “soul feel” deliverance by Rafi of “Humne Kya Pyar Kiya, Pyar Ka Badla Na Mila”. Likewise, despite their vast body of work, if we do remember N. Dutta, Chitragupt and Duttaram with reverence, it is because of the mesmeric Rafi feel in “Chhun Chhun Karti Aayi Chidiya” (“Ab Dilli Door Nahin”), “Chal Udja Re Panchhi” (“Bhabhi”) and “Tu Hindu Banega Na Musalman Banega” (“Dhool Ka Phool”) respectively.

It isn’t that these above noted music directors were devoid of musical prowess as success is a fickle mistress. Yet it can be said unhesitatingly that barring Rafi, most of the singing fraternity did not put in the ‘soul stirring’ effort that is expected of the top rung talent. In other words, propelling ordinary compositions in to a stellar orbit was Rafi’s forte which could not be easily emulated by his other colleagues. That is why Manmohan Desai was not wrong when he said “Rafi was God’s Voice” since he could convert the most ordinary and mundane also in to an enchanting melody with his sublime deliverance! Listen in and you’ll understand how Rafi’s mesmeric renditions “Hazaaron Rang Badlega Ye Zamaana” (“Shirin Farhad”) and “Tera Kaam Hai Jalna Parwane” (“Paapi”) have kept S. Mohinder sailing majestically on the air waves.

If proof is needed, listen to “Pitu Maat Sahayak Swamy Sakha” bhajan from “Shiv Parvati” which makes eyes moisten by the sheer force of Rafi’s entreaty. So soulful, so heart wrenching is Rafi’s prayer that you thank S. N. Tripathi for entrusting the bhajan to Rafi for full justice just as he also did to Tripathi’s compositions in “Lal Qila”. Thank Tripathi for melody but do remember that if a finer and better version of “Lagta Nahin Hai Dil Mera Ujde Dayaar Mein” and “Na Kisi Ki Aankh Ka Noor Hun” has not been found till date, it is because only Rafi could bring alive the agony and hurt of the last emperor of Delhi, Bahadur Shah Zafar in such an altruistic manner.

Frankly, the list is far too long to do justice to the vast number of unfortunate composers who shone briefly but mostly in Rafi’s company! From Prem Dhawan, Nisaar Bazmi, Jamal Sen, Sajjad Hussain, Pandit Shivram, Babul, Amirbai Karnataki to Sapan Jagmohan, Hansraj Behl, and C. Arjun, Rafi was a saviour. That Rafi recorded many of their gems for free or minimal amount is another story but it is true that in the voice of Rafi, these music directors and their songs are still alive as well as venerated by the masses.

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