Happy birthday to Mahendra Kapoor.

Happy birthday to Mahendra Kapoor.

The listeners of music all over the world wish happy birthday to Mahendra Kapoor on 9th January, 2011. Few years ago the great singer had left the listeners. But he is alive in his numerous brilliant basic discs and film songs.

He came to limelight in bollywood music with the resemblance of classical singer Mohammad Rafi. In fact Rafi is the idol and guru and Mahendra Kapoor learned singing from the musical giant. Mahendra Kapoor became a big contributor in BR Chopra’s films in the 50s and 60s. In Rajender Kumar’s film Dhool Ka Phool Mahendra Kapoor’s songs were very successful.

During that period, Mahendra Kapoor sang a brilliant Bengali modern song “ekti e raat katena” which made viewers spellbound. The song had pathos feeling, romantic appeal, classical touch everything embedded in it. He was unblemish in Sunil Dutt’s film Gumraah. His song “chalo ek baar bhir se” became super hit in the early 60s. Composer Ravi had composed many brilliant tunes for Mahendra Kapoor in his illustrious career which included the songs “neele gagan ki tale” in the film Humraaz for which he received filmfare award for the best singer, “in baharon me in ghatayon me tujhko mera dil pukare” in the film Gumraah to name a few.

Mahendra Kapoor also sang many songs under composition of OP Nayyar which included “one two three” in Biswajeet’s film Kismat, “lakhon hai mera dilwala” in Biswajeet’s film Kismat, “baharen phir bhi ayegi” in Dharmender’s film Baharen Phir Bhi Ayegi.

Mahendra Kapoor started a new innings with Manoj Kumar’s film Upkaar. He sang numerous number of patriotic songs for Manoj Kumar including “rang de basanti chola” in the film Shahid, “mere desh ki dharti “ in the film Upkaar, etc. He contributed in films like Purab Aur Paschim, Roti Kapda Aur Makaan, Kranti, etc.
It is not possible to highlight the contribution of Mahendra Kapoor who had contributed in bollywood films for more than 40 years in a small article. Numerous listeners miss Mahendra Kapoor but remember him in his melodious songs. His songs and films should be restored.

The music of Gumraah stormed bollywood in 1963.

The music of Gumraah stormed bollywood in 1963.

Many films in the 60s were known for their everlasting music. The tunes had remained immortal in the minds of the viewers and for those reason the film also did brilliant business. Gumrah was one of those films released in 1963 whose music had remaining evergreen.

It was a film of BR Chopra who had given thoughtful films like Kanoon and Dhool Ka Phool before. His films used to have very strong social messages. In this film Sunil Dutt, Mala Sinha and Ashok Kumar played the lead roles.

Although Sunil Dutt loved Mala Sinha and both met each other in hill station, their relationship did not end up in marriage. Mala Sinha married a famous lawyer played by Ashok Kumar in the film. Sunil Dutt was a painter in the film.

Shashikala approached Mala sinha and said that she was the wife of Sunil Dutt. She wanted to inform Ashok Kumar about the intimacy of Sunil Dutt and Mala Sinha. On that issue she blackmailed Mala Sinha. At the end of the film Mala Sinha came to know that Shashi Kala was Ashok Kumar’s secretary and Ashok Kumar did the act to convince Mala Sinha to restore matrimonial home. He did not like her intimacy with Sunil Dutt.

The music composed by Ravi in the film was of very high class. His soft romantic tunes were given adequate expression by Mahendra Kapoor. The landmark songs included “chalo ekbaar phir se ajnabee ban jaye humdono”, “in hawawo me in fizayon me tujhko mera pyar pukare”, “ yeh hawa yeh hawa ye hawa”, etc.

Probably Mahendra Kapoor sang the best songs of his life in the films of BR Chopra including Gumrah, Humraaz and Waqt. Almost all those songs were composed by Ravi who received a number of filmfare awards for his excellent music during the 60s. The film did excellent business too. The film and the songs should be restored.

Happy birthday to Sunil Dutt.

Happy birthday to Sunil Dutt.

The viewers wish happy birthday to Sunil Dutt on 6th June, 2010. He died few years back, but yet his impressive work is still alive in the minds of the viewers.

Sunil Dutt rose to stardom after his brilliant performance in Mehboob Khan’s classic film Mother India in 1957. He played the role of the son of Nargis Dutt who struggled to rear up her two sons after her husband Raj Kumar’s death. Nargis Dutt married Sunil Dutt in real life after the film. In the 60s Sunil Dutt acted in musical blockbusters like Hindustani. All the songs in the film became hit including Mukesh’s song “hum Hindustani”. He acted in Bimal Roy’s film Sujata opposite Nutan and gave good lips in Talat Mehmood’s song “jalte hai jiske liye”.

His film Mera Saya directed by Raj Khosla bewildered the viewers in the mid-60s. His wife Sadhna died and her sister was used by Prem Chopra to frighten Sunil Dutt. Sunil Dutt gave good lips in Rafi’s song “aapke pehlu me aakar” composed by Madanmohan. In the film Chirag, Rafi’s song “teri aankhon ke siva duniya me rakha kya hai” composed by Madanmohan had flabbergasted the audience in the late 60s and added popularity for Sunil Dutt. Madanmohan’s music in Sunil Dutt’s film Ghazal was equally impressive. Rafi’s song “rang aur nor ki barat” was one of the most landmark ghazals of the 60s.

Sunil Dutt did a great in BR Chopra’s films like Gumraah, Humraaz and Waqt. In all these films the music was composed by Ravi and Mahendra Kapoor sung landmark songs for Sunil Dutt including “chalo ekbar phir se”. From the early 70s, Sunil Dutt switched on to action films like Zakhmee, Pran Jaye Par Vachan Na Jaye, Nagin, etc., most of which were successful.

In the 80s, Sunil Dutt acted in the role of the elder brother of Shashi Kapoor and Big B in Ramesh Sippy’s film Shaan. He was an honest police officer, who was killed by Kulbhushan Kharbanda in the film. His other successful films during that time included Dard Ka Rishta which was related to cancer, the disease with which Nargis Dutt died in early 80s.

Sunil Dutt became MP a number of times and done a lot of social work for India. He was shocked when his son Sanjay Dutt got arrested in TADA case and ill-treated in prison. He produced films for his son like Rockey. He acted in the successful film of his son Lage Raho Munnabhai in a guest role.

The viewers remember Sunil Dutt and expect restoration of his great works that spread over 50s years.

The nation remembers Guru Dutt on his birthday.

The nation remembers Guru Dutt on his birthday.

The nation remembers Guru Dutt on his birthday on 9th July, 2009. He had died more than 40 years ago, yet his reference comes whenever history relating to thoughtful films is revisited. Guru Dutt was innovative as a director and from the time he created Baazi with Dev Anand in 1951, he showed his spark. As an actor his films Aarpar with Shyama gave a new team in bollywood films with OP Nayyar, Rafi, Geeta Dutt, Johny Walker and others. The song in the “kabhi aar kabhi paar” became super hit.

From that time onwards Guru Dutt created his identity in picturising song sequences and was regarded by the film community after Raj Kapoor. In CID, all the songs of the film like “ay dil mushkil jeena yahan”, “ankhon hi ankho me ishara ho gaya”, “leke pehla pehla pyar” became super hit. Johnny Walker became a leading comedian in the 50s, due to his brilliant relationship with Guru Dutt and Mohammad Rafi and their combination gave numerous hits for the next ten years.

Mr and Mrs 55 was Guru Dutt’s super hit project opposite Madhubala. All the songs in the film became successful including “thandi hawa kali ghata”, “jaane kahan mera jigar gaya ji”, etc. Rafi’s songs for Johnny Walker and Guru Dutt like “sun sun sun sun zalima”, “muhobbat karlo aji karlo”, “dil pe kiya aisa jadu” remained everlasting hits and still is considered as some of the most innovative creations of OP Nayyar. The songs of the film 12 O Clock were also hit including “mai kho gaya” sung by Rafi.

From 1957, the viewers saw thoughtful Guru Dutt in films like Pyaasa and Kagaz Ka Phool. Both the films were based on eternal truth. Pyasa was related to recognition of a poet in a materialistic world. Kagaz Ka Phool was related to story of directors and performers in celluloid, their rise and their fall due to ungratefulness of opportunists in society. The music composed by SD Burman in both these films were of high standard. Also the lyrics of Sahir Ludhiyanvi were very meaningful. The notable songs included “yeh mahalon yeh takhton yeh tajon ki duniya”, “sar jo tera”, “bichar gaya bari bari” sung by Rafi, “waqt ne kiya kya haseen sitam” sung by Geeta Dutt, to name a few.

Guru Dutt and Wahida Rehman’s onscreen chemistry was accepted by viewers in the film Chaudavi Ka Chand. The title song “chaudavi ka chand ho, ya aaftab ho” sung by Rafi and composed by Ravi can be considered as one of the ten best ghazals composed in the history of bollywood music. Guru Dutt bought colour in the song sequence. The film did great business. Guru Dutt as an actor did great job in films like Bharosa, Saheb Bibi Aur Ghulam, Saanz Aur Sawera, etc. His early demise in the mid-60s led to huge loss in the film industry as his works were filled with deep thoughts. The viewers pay respect to the departed soul on his birthday and want the restoration of his works to acknowledge his creativity as a director, producer and actor.

Rafi and Guru Dutt.

Rafi and Gurudutt.

Rafi became a living legend in the mid-50s after dominating bollywood films over ten years and singing for nearly all the giant productions and leading actors of bollywood. He had very strong combination with thinking actor Guru Dutt.

Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s include the brilliant songs sung by Rafi during the golden age.

Rafi’s songs in Guru Dutt’s Aar Paar, composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time.

The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. When Guru Dutt used SD Burman for composing songs in the film Pyaasa and Kaagaz Ka Phool, Rafi was used brilliantly for the legendary music of those films. Both the films won national and international awards and remain a landmark in the field of story-telling. Rafi’s songs “sar jot era chakrae” picturised on Johnny Walker and “hum aapke aankho me” and “yeh mahalon yeh takhton yeh taajon ki duniya” picturised on Guru Dutt had emotions, passions, comedy, tragedy everything embedded in them. Rafi’s duet combination with Geeta Dutt was bolstered in the film. The lyrics were outstanding as well. The films marked the best music given by SD Burman in his entire lifetime.

Guru Dutt can boast himself to have given lips in one of Rafi’s best ghazals sung in the history of bollywood films titled “chaudavi ka chaand”. Guru Dutt picturised the song sequence with colour, showing his passionate relationship with Wahida Rehman in the film Chaudavi Ka Chand. Ravi’s music in the film showed the pardanashin culture of muslims in India during the early 60s.

Rafi also sang songs for Guru Dutt in the film Saanjh Aur Sawera, composed by Shankar Jaikishan. The title song “yehi hai who saanjh aur sawera” sung by Rafi became very popular. Meena Kumari balanced the powerful performance of Guru Dutt in the film. The other films where Rafi had contributed for Guru Dutt include Bharosa where Ravi composed melodious tunes including “yeh jhuki jhuki naina” picturised on Guru Dutt and Asha Parekh.

Guru Dutt’s music in the film Baharen Phir Bhi Aayegi composed by OP Nayyar, created sensation in the mid -60s. It was a tragedy, that Guru Dutt died before the release of the film and could not see the success of the film. The songs sung by Rafi and picturised on Dharmender mesmerized the audience and still haunts people all over the world. One of those brilliant songs include “aap ki haseen rukh me aaj naya nur hai, mera dil machal gaya to mera kya kasoor hai”.

The uniqueness of Guru Dutt’s relationship with Rafi lies in the fact that whether the composer was OP Nayyar or Shankar Jaikishan or SD Burman or Ravi, the music composed for whom had philosophical thoughts embedded in them and Rafi gave expression to the mesmerizing lyrics of evergreen tunes which had become immortal over a period of time. The films and the songs should be preserved and restored.

Concepts of China Town have been used in later bollywood films.

Concepts of China Town have been used in later bollywood films.

Shakti Shamanta’s film China Town in the early 60s, had created a trend for following bollywood directors to make films on similar story lines. Shakti Shamanta banked his resources on the underworld activities in China Town in Kolkata at that time.

Shammi Kapoor had a double role in the film. He played the role of a smuggler in China Town who was arrested by the police after he met with an accident. But while he was kept in custody, another Shammi Kapoor was used by the police for extraction of information from China Town.

The law-abiding citizen played by Shammi Kapoor, was asked to pretend as the don of China Town and gather information about the other associates working in that area including the activity of Madan Puri in the film. This person was the twin brother of the don played by the other Shammi Kapoor.

Due to similarity in get up, most of the group members could not recognize the law-abiding citizen. Shammi Kapoor became successful in giving details of the associates of Smuggling Don of China Town to the police. Ravi gave very attractive music in the film with Rafi’s song “bar bar dekho” becoming a landmark hit. Shakila the heroine of the film did well opposite Shammi Kapoor. Helen also complimented the group members with her villainish performance.

In the 70s, bollywood films were made with similar storyline like that of China Town. The film Don made in the late 70s, also had double role of Big B. One of them was a smuggling don whereas the other person was an ordinary middle-class person. There also Iftekar, the police officer used the middle-class person to pretend as don and give information about the rest of the members of the underworld group. The film also became superhit.

Again the concept was used with modifications in Farhan Akhtar’s film Don made in the recent years. In this case Shahrukh Khan played the double role, with one of them playing the role of don, while the other pretending to be don. The story ended differently for keeping an option open for making a sequel of the film Don –The Chase Begins.

Shakti Shamanta’s trend had inspired the modern directors to make bollywood films with similar ideas. For those reason the black and white crime thriller should be restored.

Ravi and Rafi

Ravi’s memorable combination with Rafi.

Ravi, better known as Ravi Shankar Sharma, emerged in the film arena in the 1950s when success of most of the movies were dependant on strong story base and everlasting music composed for those films. Even more significantly the composers like Shankar Jaikishan, Roshan, Naushad, Madanmohan and lyricists like Shakeel Badayani, Shailendra, Majrooh Sultanpuri, Hasrat Jaipuri, never compromised with the producers in respect of compositions. Further Directors like Bimal Roy, Raj Kapoor, Guru Dutt, Hrishikesh Mukherjee, had tried to built in realistic approach in respect of picturisation of song sequences.

It was difficult for any new composer to create his identity in that scenario. Ravi began his journey by composing music in the film Wachan in 1955, but got acclamation of music lovers with his landmark composition in the film Chaudavi ka Chand in 1960. Mohammad Rafi, the man with the golden voice, had galvanized the destiny of many composers, lyricists and instrumentalists. The Title song “Chaudavi ka Chand ho, ya aftab ho, job bhi ho tum khuda ki kasam, lajawab ho,” picturised on Guru Dutt became the greatest hit in a year when Roshan had composed “Zindagi bhar Nahi Bhulenge woh barsaat ki raat” in the film Barsaat ki Raat, 1960, and Naushad had composed “Do sitaron ka zami par hai Milan aaj ki raat”, Kohinoor, 1960. Only the song in the film had a coloured picturisation. It was a challenge of Mohammad Rafi excelling himself in one song or the other.

In the next year, Ravi had been successful to create his identity with the film Gharana, 1961.[1] Most of the songs were picturised on Rajender Kumar, prominent among them being “yeh jhuki jhuki naina”. The best song was “Husnwale tera jawab nahi”. Ravi concentrated on the sweetness of melody, and the softness of his use of instruments had created an intoxicating appeal for the listeners. Rafi was probably at the peak of his career, and the sweetness of his voice added colour in the black and white classic.

The combination of Ravi and Rafi continued in the films that followed after that period of time. In films like China Town, 1962, Ravi produced the rock and roll andaz of Shammi Kapoor in the song Baar Baar Dekho. Even better songs were composed in Guru Dutt’s film Bharosa, 1963, with songs like “aaj ki mulakat bus itni,” where all the songs were sung by Mohammad Rafi. Ravi also composed songs for Mukesh in the film Nazrana, 1961, directed by Hrishikesh Mukherjee, as it was picturised on Raj Kapoor, as his voice suited him the most.

The following films in that period include Ravi’s compositions with tunes relating hills of India, where some of the songs of Rafi like “yeh wadiyan yeh nazare” becoming big hits. There were successful compositions for Mahendra Kapoor also in the films Gumrah, 1963, Waqt, 1965, Humraaz, 1967. But some of Ravi’s best Ghazals were composed in the film Kaajal, 1965 where Rafi’s song “Chulene do nazuk hoto ko” and “yeh zulf agar khulke bikhar jaye to accha ho” picturised on Raj Kumar was outstanding by every musical standard. The use of Sarengi in those songs were simply brilliant. Other than Roshan, no other composer had used Sarengi the way it was used in the film Kaajal.

Ravi composed very impressive songs in the film Shehnai, 1964, picturised on Biswajeet where most of the songs were sung by Rafi. Songs like “na jhatko zulfse pani” were big hits. Also the songs in Biswajeet’s film Do Kaliyan, 1968, like “yeh sama yeh rut yeh nazare”, “tumhari nazar kyon khafa ho gayi”, were successful. Within all types of creations of Ravi, the songs with tragic notes identify his class. The best examples include “Bhari Duniya me akhir dil ko samjhana kahan jaye” written by Shakeel Badayani and picturised on Manoj Kumar in the film Do Badan, 1966, and “Aaja Tujhko pukare mera pyar” written by Sahir Ludhianvi and picturised on Raj Kumar in the film Neel Kamal, 1968. Rafi was brilliant in all these songs where the pathos of the characters were displayed through his voice. Rafi's song in 1968 titled “Babul ki duwayen leti ja” in the film Neel Kamal, received critic's acclamation which was composed by Ravi.

Due to strong dominance of Shankar Jaikishan in the 50s, 60s and early 70s, Ravi did not get the recognition which he deserved as some of his tunes even had similarity with them, specially in films of Raj Kapoor, Rajender Kumar, Raj Kumar and Shammi Kapoor who were identified with SJ tunes. In the 70s Ravi composed music for lesser number of films but again came into limelight with his classic composition of music in the film Nikah, 1982. Ravi’s creations should adorn the archive of Mohammad Rafi to remember their relationship and the soft compositions and hilly tunes composed by the legendary composer.

[1] Ravi won his first filmfare award for composing music in the film Gharana, 1961.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.

Ravi and Rafi

Ravi’s memorable combination with Rafi.

Ravi, better known as Ravi Shankar Sharma, emerged in the film arena in the 1950s when success of most of the movies were dependant on strong story base and everlasting music composed for those films. Even more significantly the composers like Shankar Jaikishan, Roshan, Naushad, Madanmohan and lyricists like Shakeel Badayani, Shailendra, Majrooh Sultanpuri, Hasrat Jaipuri, never compromised with the producers in respect of compositions. Further Directors like Bimal Roy, Raj Kapoor, Guru Dutt, Hrishikesh Mukherjee, had tried to built in realistic approach in respect of picturisation of song sequences.


It was difficult for any new composer to create his identity in that scenario. Ravi began his journey by composing music in the film Wachan in 1955, but got acclamation of music lovers with his landmark composition in the film Chaudavi ka Chand in 1960. Mohammad Rafi, the man with the golden voice, had galvanized the destiny of many composers, lyricists and instrumentalists. The Title song “Chaudavi ka Chand ho, ya aftab ho, job bhi ho tum khuda ki kasam, lajawab ho,” picturised on Guru Dutt became the greatest hit in a year when Roshan had composed “Zindagi bhar Nahi Bhulenge woh barsaat ki raat” in the film Barsaat ki Raat, 1960, and Naushad had composed “Do sitaron ka zami par hai Milan aaj ki raat”, Kohinoor, 1960. Only the song in the film had a coloured picturisation. It was a challenge of Mohammad Rafi excelling himself in one song or the other.

In the next year, Ravi had been successful to create his identity with the film Gharana, 1961.[1] Most of the songs were picturised on Rajender Kumar, prominent among them being “yeh jhuki jhuki naina”. The best song was “Husnwale tera jawab nahi”. Ravi concentrated on the sweetness of melody, and the softness of his use of instruments had created an intoxicating appeal for the listeners. Rafi was probably at the peak of his career, and the sweetness of his voice added colour in the black and white classic.

The combination of Ravi and Rafi continued in the films that followed after that period of time. In films like China Town, 1962, Ravi produced the rock and roll andaz of Shammi Kapoor in the song Baar Baar Dekho. Even better songs were composed in Guru Dutt’s film Bharosa, 1963, with songs like “aaj ki mulakat bus itni,” where all the songs were sung by Mohammad Rafi. Ravi also composed songs for Mukesh in the film Nazrana, 1961, directed by Hrishikesh Mukherjee, as it was picturised on Raj Kapoor, as his voice suited him the most.



The following films in that period include Ravi’s compositions with tunes relating hills of India, where some of the songs of Rafi like “yeh wadiyan yeh nazare” becoming big hits. There were successful compositions for Mahendra Kapoor also in the films Gumrah, 1963, Waqt, 1965, Humraaz, 1967. But some of Ravi’s best Ghazals were composed in the film Kaajal, 1965 where Rafi’s song “Chulene do nazuk hoto ko” and “yeh zulf agar khulke bikhar jaye to accha ho” picturised on Raj Kumar was outstanding by every musical standard. The use of Sarengi in those songs were simply brilliant. Other than Roshan, no other composer had used Sarengi the way it was used in the film Kaajal.

Ravi composed very impressive songs in the film Shehnai, 1964, picturised on Biswajeet where most of the songs were sung by Rafi. Songs like “na jhatko zulfse pani” were big hits. Also the songs in Biswajeet’s film Do Kaliyan, 1968, like “yeh sama yeh rut yeh nazare”, “tumhari nazar kyon khafa ho gayi”, were successful. Within all types of creations of Ravi, the songs with tragic notes identify his class. The best examples include “Bhari Duniya me akhir dil ko samjhana kahan jaye” written by Shakeel Badayani and picturised on Manoj Kumar in the film Do Badan, 1966, and “Aaja Tujhko pukare mera pyar” written by Sahir Ludhianvi and picturised on Raj Kumar in the film Neel Kamal, 1968. Rafi was brilliant in all these songs where the pathos of the characters were displayed through his voice. Rafi's song in 1968 titled “Babul ki duwayen leti ja” in the film Neel Kamal, received critic's acclamation which was composed by Ravi.

Due to strong dominance of Shankar Jaikishan in the 50s, 60s and early 70s, Ravi did not get the recognition which he deserved as some of his tunes even had similarity with them, specially in films of Raj Kapoor, Rajender Kumar, Raj Kumar and Shammi Kapoor who were identified with SJ tunes. In the 70s Ravi composed music for lesser number of films but again came into limelight with his classic composition of music in the film Nikah, 1982. Ravi’s creations should adorn the archive of Mohammad Rafi to remember their relationship and the soft compositions and hilly tunes composed by the legendary composer.

[1] Ravi won his first filmfare award for composing music in the film Gharana, 1961.


Related Reading

• Immortal Ghazals sung by Mohammad Rafi.
• Awards received by Mohammad Rafi in his illustrious career.
• Mohammad Rafi- the greatest voice of the last century.
• Rahul Dev Burman’s immense respect for Mohammad Rafi.
• Laxmikant Pyarellal’s immortal relationship with Mohamand Rafi.
• OP Nayyar’s immortal relationship with Mohammad Rafi.
• Salil Chowdhury’s relationship with Mohammad Rafi.
• Ravi’s memorable combination with Rafi.
• Roshan's everlasting bond with Mohammad Rafi.
• SD Burman and Mohammad Rafi.
• Rafi’s pleasant memories with Madanmohan.
• Khayyam and Jaidev’s relationship with Mohammad Rafi.
• Kalyanji Anandji’s association with Mohammad Rafi.
• Naushad’s association with Rafi.