Happy birthday to melody-queen Lata Mangeshkar.

Happy birthday to melody-queen Lata Mangeshkar.

The listeners of music in India and abroad wish happy birthday to Lata Mangeshkar, the melody queen on 27th September, 2010. She had remained a sensation even in her 80s.

Starting her journey from the early 40s, Lataji created an impression with the songs “ayega anewala” in the film Mahal, composed by Khemchand Prakash. The songs of the horror film were picturised on Madhubala who later became a legendary star of bollywood films. Lata faced the competition from eminent singers Noorjahan, Suraiya, Shamshad Begum, Geeta Dutt, Asha Bhosle, Rajkumari, and others and emerged victorious in the 50s and 60s.

Her sweetness of voice compelled composers to give the best tunes ever created in Indian film history. Along with Rafi, Lata had the record of singing songs of almost all the composers of the golden age. Everlasting gems of Lata include “tu jaha jahan chalega” composed by Madanmohan, “duniya kare sawal” composed by Roshan, “hume tum mil gaye humdum” composed by Shankar Jaikishan, “phir teri kahani yaad aye” composed by Naushad, “ajare pardesi” composed by Salil Choudhury, “allah tero naam” composed by Jaidev, “piya tose naina lage re” composed by SD Burman, to name a few.

Lata had sung more than 30000 songs during her singing career which was more than 65 years long. She had sung for Madhubala, Meena Kumari, Nargis, Wahida Rehman, on one hand, and did sing for the new actresses of the 90s namely Madhuri Dixit, Juhi Chawla, etc. Her patriotic songs “aye mere watan ke logon” brought tears even in the eyes of Prime Minister Jawaharlal Nehru. Articles after articles can be devoted to the Indian nightingale, Lata who had remained an institution in different types of songs including Hindustani classical, folk songs, lift romantic songs, to name a few.

Lata Mangeshkar sung songs in more than 15 regional languages including Marathi, Bengali and others. She played a very significant role in Bengali film industry in the world of playback singing. Some of her hit songs included “jago” in Raj Kapoor’s film Ekdin Ratre, composed by Salil Choudhury, “aaj mon cheyeche ami hariye jabo” composed by Sudhin Dasgupta in Uttam Kumar’s film Shankhabela, to name a few.
Singers of the present age consider Lataji as their idol and try to emulate her style. Even reputed singers like Sonu Nigam feel privileged to get his son record his son at such tender age with evergreen legend Lata Mangeshkar.

The listeners of music all over the world expect Lataji to continue the great work that she started 70 years ago. Her works should be restored.

The filmfare award for best male singer should be renamed as Mohammad Rafi award.

The filmfare award for best male singer should be renamed as Mohammad Rafi award.

The nation remembers Mohammad Rafi on his death anniversary on 31st july, 2010. It was a very painful experience for most of the music lovers of India and abroad to recollect the experience of 31st July, 1980. 30 years had passed since his death and yet time could not heal the wound inflicted in the hearts of numerous music lovers of the country.

He is still alive in the hearts of millions of Indians with his 26000 songs. He had given expression to almost all the leading stars of bollywood and also the poets and composers of the golden age. He had created such an invaluable treasure of songs most of which can be termed as masterpieces, that the listeners can cherish his work for ever.

Rafi admirers all across the world feel that the filmfare award for the best playback singer can be renamed as Mohammad Rafi award. The reason is that he received the filmfare award for the best male playback singer 6 times, and also his songs helped the legendary composers to win the filmfare award many times. The awards ceremony looked incomplete without Rafi’s association in them during the 50s, 60s and 70s.

Rafi’s awards and nominations are hereby listed as follows.

Government Awards1948 - Rafi received a silver medal from the Indian Prime Minister Jawaharlal Nehru, on the first anniversary of the Indian Independence Day.1965 - Rafi was honoured with the Padmashri by the Government of India.National Film Awards Winner1977 - National Film Award for Best Male Playback Singer for Kya Hua Tera Wada song in the film Hum Kisi Se Kum Nahin), composed by RD Burman, lyrics by Majrooh Sultanpuri.
Filmfare Awards Winner1960 - Filmfare Best Male Playback Award for Chaudhvin Ka Chand Ho song in the film Chaudhvin Ka Chand1961 - Filmfare Best Male Playback Award for Teri Pyaari Pyaari Surat Ko song in the film Sasural1964 - Filmfare Best Male Playback Award for Chahunga Mein Tujhe song in the film Dosti1966 - Filmfare Best Male Playback Award for Baharon Phool Barsao song in the film Suraj1968 - Filmfare Best Male Playback Award for Dil Ke Jharoke Mein song in the film Brahmachari1977 - Filmfare Best Male Playback Award for Kya Hua Tera Vaada song in the film Hum Kisi Se Kum NahinNominated1961 - Husnwale Tera Jawaab Nahin song in the film Gharana1962 - Aye Gulbadan Aye Gulbadan song in the film Professor1963 - Mere Mehboob Tujhe song in the film Mere Mehboob1965 - Choo Lene Do Nazuk Hothon Ko song in the film Kaajal1968 - Mein Gaaon Tum Sojaao song in the film Brahmachari1968 - Babul Ki Duayein Leti Ja song in the film Neel Kamal1969 - Badi Mastani Hai song in the film Jeene Ki Raah1970 - Khilona Jaan Kar song in the film Khilona1973 - Hum Ko To Jaan Se Pyaari song in the film Naina1974 - Achha Hi Huva Dil Toot Gaya song in the film Maa Behen Aur Biwi1977 - Pardah Hai Pardah song in the film Amar Akbar Anthony1978 - Aadmi Musaafir Hai song in the film Apnapan1979 - Chalo Re Doli Uthao Kahaar song in the film Jani Dushman1980 - Mere Dost Kissa Yeh song in the film Dostana1980 - Dard-e-dil Dard-e-jigar song in the film Karz1980 - Maine Poocha Chand Se song in the film AbdullahBengal Film Journalists' Association Awards Winner1965 - Best Male Playback Singer for Dosti1966 - Best Male Playback Singer for Arzoo

Very significantly, Rafi’s immortal presence contributed to the composers’ awards won in the respective years. In 1953, Naushad won the filmfare award for the best music director for his contribution in the film Baiju Bawra. Rafi’s songs “tu ganga ki mauj”, “wo duniyake rakhwale”, “man tarapat hari darshan” were the backbone of Naushad’s legendary creation.

OP Nayyar won the filmfare award for the best music director for his contribution in the film Naya Daur in 1958. Rafi’s songs like “ure jab jab zulfen teri”, “saathi haath barana”, “mai bambai ka babu” glorified OP Nayyar’s melodious creations.

Salil Choudhury won the filmfare award for the best music director for his contribution in the film Madhumati in 1959. Rafi sang two landmark songs in varying moods including “jangal me mor nacha kisi ne na dekha” and “tute hue khwabon ne”.

Ravi won the filmfare award for the best music director for his contribution in the film Gharana in 1962. Rafi sang the landmark songs in the film including “husnwale tera jawab nahi” and “jab se tujhe dekha hai”.

Shankar Jaikishan won the filmfare award for the best music director for his contribution in the film Professor in 1963. Rafi was instrumental in most of the westernized songs like “awaz deke hume tum bulayo”, “ay gulbadan, ay gulbadan”, etc.

Roshan won the filmfare award for the best music director for his contribution in the film Taj Mahal in 1964. Rafi’s songs “payon chulene do phoolon ko inayat hogi”, “jo wada kiya hai”, “jo baat tujhme hai” had emerged as timeless classic and made Roshan immortal through Rafi’s brilliance.
Shankar Jaikishan won the filmfare award for the best music director again in the years 1966, 1968. In 1966, SJ’s efforts in the film Suraj was given adequate expression by Rafi. All the songs were super hit including “baharon phool barsao”, “gustaqi maaf”, “itna hai tujhse pyar mujhe”, “kaise samjhayun bari na samajh ho”, to name a few. In 1968, SJ won it for Brahmachari, where Rafi’s songs “mai gayun tum so jayo” “chakke pe chakka”, “dil ke jharoke mai”, “aajkal tere mere pyar ke charche” had made the viewers and listeners spell bound.

In the late 70s, when Laxmikant Pyarellal won filmfare award for best music director back to back in the 4 years, 1977, 1978, 1979, 1980, Rafi’s contribution was immense. In the film Amar Akbar Anthony, the film for which LP won the filmfare in 1978 Rafi sang landmark songs like “parda hai parda”, “shirdiwali saibaba”, “humko tumse ho gaya hai pyar kya Karen”. In the film Sargam, LP’s songs sung by Rafi including “dafliwale dafli baja”, “ramjiki nikli sawari”, “koel boli”, etc., stormed bollywood in the late 70s. LP won the filmfare once again in 1980, for Karz where Rafi’s song “darde dil darde jigar” created everlasting impact in the minds of youngstars for generations after generations.

There are no words to pay homage to the noble soul Mohammad Rafi, whom Raj Kapoor used to call Sufisahab. Neither awards can judge Rafi’s worth, nor praises can describe the godliness, of the giant singer whose down to earth nature had swept the world of music with peace, romance, love and friendship.

The listeners should revisit the songs of Rafi and restore the creations to pay homage to the noble soul who departed the music -lovers 30 years ago.

Classical songs sung by Rafi and Manna Dey together.

Classical songs sung by Rafi and Manna Dey together.

Music of bollywood films reached its zenith during the 50s and 60s. Composers, lyricists and singers of diversified cultures and came together and produced masterpieces. During that period the classical rendition of orthodox songs sung by Rafi and Manna Dey had made the listeners spellbound and still remain immortal more than 50 years after their creation.

Qawallies were composed in style during that period. In the film Barsaat Ki Raat in 1960, composer Roshan’s qawalli “na to karwan ki talash hai” started by Manna Dey and continued by Rafi with the lyrics “yeh ishq ishq hai ishq ishq”, was the major attraction in the film. Both Rafi and Manna Dey sang the qawalli in their own style and with their own harkats. Barsaat Ki Raat had other brilliant songs including the title song, but the qawalli stood as one of the superlative creations.

In the film Taj Mahal in 1963, the qawalli “chandi ka badan, sone ka nazar” composed by Roshan was another masterpiece. Rafi’s style of performance was as unique as Manna Dey’s one. The same was equally brilliant as the other songs like “jo wada kiya hai” sung by Rafi and Lata and “paon chu lene do” sung by Rafi.

In the film Bahu Begum in 1967, Rafi and Manna Dey probably competed against each other to prove their supremacy in the qawallies composed by Roshan. The song “dhoond ke layun kahan se mai” almost created an environment lying in a dargah. The individual classical touch given by Manna Dey was as brilliant as Rafi. The other song “waqib hoon khub ishq ke” sung by Rafi and Manna Dey made the audience speechless. Probably these songs were more difficult to sing than the solo songs like “hum intezar karenge” by Rafi or “duniya kare sawal” by Lata.

There were light songs sung by Rafi and Manna Dey together also. In Kalpana, their song “tu hai mera prem devta” composed by OP Nayyar was one example. In Parvarish, Dattaram composed the song “mama ho mama” for Rafi and Manna Dey. In the film Rustom Sohrab, Sajjad Hussain composed for Rafi and Manna Dey the song “phir tumhari yaad ayi”.

In the film Sachai, Shankar Jaikishan composed the song “ai dost mere” for Rafi and Manna Dey. Whenever Rafi sung duet with other playback singers the classical andaz could not be balanced by anyone. Whenever Manna Dey sang any duet with Rafi, whether a qawalli or any other semi-classical song, both the singers took their singing to a higher dimension, and the audience enjoyed the brilliant performances in the long run.

The songs and the films should be preserved.

Dharmender and Rafi combination in the 60s.

Dharmender and Rafi combination in the 60s.

Dharmender had a grand combination with musical maestro Mohammad Rafi which contributed the most in the major part of his acting career which glorified bollywood films for more than 40 years. Dharmender and Rafi’s combination was unique for a number of reasons. Firstly Dharmender was not attached to any big banner in the early part of his career like Dilip Kumar with Bimal Roy or Shammi Kapoor with Shakti Shamanta. Secondly Dharmender played prominent roles opposite senior actors in many films in the early part of his career like Balraj Sahani in Haqeekat, Rajender Kumar in Ayee Milan Ki Bela, Raj Kumar in Kajal, to name a few. For those reasons, different composers composed music in the films of Dharmender and most of them were sung by great Rafi Sahab.

In the film Shola Aur Shabnam, composer Khayyam’s soft passionate compositions for Rafi were given adequate expression by Dharmender, like “dhunti yeh ankhen mujhme”, “jeet hi lenge baazi hum tum”, “pehle to aankh milna”, “phool ko dhoonde pyaasa bhawra”. The lyrics of Kaifi Azmi touched the hearts of numerous film lovers. In the film Neela Akash, all the songs composed by Madan Mohan for Rafi were brilliant including “aakhri geet muhobbat ka sunalun”, “pyar who shaye hai aye mere yaaron” and “aapko pyaar chupane ki buri aadat hai”.

In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. In the film Yakeen, the title song “yakeen karlo”, “baharon ki baraat aa gayi” and “ghar tum bhula na doge” composed by Shankar Jaikishan for Rafi had all its romantic appeal embedded other than the melodious orchestration.

In the film Mere Humdum Mere Dost, all the songs of Rafi composed by LP for Dharmender including “hui sham unka”, “na jaa kabhi aab na ja” and “chalkaye jam” were masterpieces which became super hit in the mid-60s. All the songs composed by Shankar Jaikishan in the film Pyar Hi Pyar for Rafi became super hit including “mai kahin kavi na banjayun”, “abhi salaamat abhi hai zinda”, “dekha hai teri aankhon me”, “tu meri mai teri”, etc. Roshan’s composition for Dharmender in the film Mamta titled “in baharon me akela na phiro” also became super hit.
In the 70s, as RD Burman and SD Burman used other singers for Dharmender, the evergreen combination of Rafi with Dharmender was seen in lesser number of films. But the films and the songs of the hit combination should be preserved.

Rafi and Roshan created history with melody in 60s.

Rafi and Roshan created history with melody in 60s.

Roshan Lal Nagrath, better known as Roshan was born in Gujranwala on 14th July, 1917. His lessons from Ustad Allauddin and Sarangi King Bundu Khan transformed himself into regular composer of All India Radio in the 40s.

He started his career as composer in bollywood films with the film Neki Aur Badi in 1949. In the early 50s Mukesh and Talat Mehmood featured in most of the films of Roshan. Some of the hit songs included “khayalon me”, “sun bairi balam” from Bawre Nain, “tare toote duniya dekhe” from Malhar. Although he had success in the films Shisham, Anhonee, Malhar, etc., his immense talent did not get recognition until he used the man with the golden voice Mohammad Rafi.

Roshan stormed bollywood music with brilliant composition in the film Barsaat Ki Raat. The romantic film of Bharat Bhushan and Madhubala did fantastic business. Roshan’s brilliant use of sarangi was evident in Rafi’s song “zindagi bhar nahi bhulenge woh barsaat ki raat”. The song was sung by Rafi and Lata at different time in the film. Barsaat Ki Raat was also known for the famous qawalli “na to karwaki talash hai” and “yeh ishq ishq hai isqh ihqh” where Rafi and Manna Dey were equally brilliant. Sahir Ludhiyanvi also made brilliant use of words in the songs of the film.

In 1962 Roshan amazed the listeners with the brilliant composition in the film Aarti. Pradeep Kumar, Ashok Kumar and Meena Kumari played the lead roles in the film. The film had every type of song including folk song and ghazals. The song “baar baar mohe kya samjhaye” sung by Rafi and Lata had complete balance of melody and rhythm. The slow numbers in the film like “ab kya misaal doon mai tumhare shabab ki” sung by Rafi and “aapne yaad dilaaya to mujhe yaad aya” sung by Rafi and Lata can be considered to be some of the best ghazals in the entire 60s. Lata’s song “baharon ki manzil rahi” was equally brilliant.

Roshan used Mukesh and Manna Dey in Raj Kapoor’s film Dil Hi to Hai. The song “laga chunari me daag chupayun kaise” was a fine example of classical excellence in the film where Manna Dey showed his class.

Roshan received filmfare award for the best composer for his landmark creation in Pradeep Kumar’s Taj Mahal. All the songs of the film displayed the royal andaz of songs sung during the mughal period. Pradeep Kumar played the role of Shahjehan and Bina Roy played the role of Mumtaz Mahal. Rafi’s duet with Lata “jo wada kiya hai nibhana parega”, was as outstanding as Rafi’s song “paon chulenedo phoolon ko inaayat hogi”. The use of sarangi require special mention in the song “jo baat tujhme hai teri tasveer me nahi”.

The Rafi Roshan magic continued in the film Chitralekha in 1964. Rafi’s song “man re tu kahe na dhir dhare” is still considered to be one the most landmark bhajans of all times. Roshan was at his best in the film Bheegi Raat. Rafi made the audience stand up on their feet with the song “dil jo na keh saka”. The same song was sung by Lata too in the film. Rafi presented the other ghazal in the film in style titled “jane woh kaun hai kya naam hai in ankhoka”.

The Rafi Roshan combination continued to produce evergreen gems in the films Noorjahan and Bahu Begum. All the songs of Bahu Begum were masterpieces including Rafi’s “hum intezar karenge”, Lata’s “duniya kare sawal to hum kya jawab de”, Asha’s “niklete kahan janeke liye”, to mention a few. Roshan Rafi combination was also evident in the film Mamta. Rafi’s song “in baharon me akela na phiro” was as brilliant as “rahe na rahe hum” sung by Lata.

It is not possible to highlight the significance of Rafi Roshan combination of the 60s in a small article. Separate articles can be written on the music of the films Surat Aur Seerat, Dooj Ka Chand, Bedaag, etc. It was very amazing that Roshan had just received only one filmfare award in his illustrious career. The music of Taj Mahal, Bheegi Raat, Barsaat Ki Raat could qualify for national awards in the respective years. Roshan died in 1969 and the royal combination of Rafi and Roshan also ended with it.

The films and the songs require re-examination, restoration and preservation.

Aarti was a musical blockbuster of early 60s.

Aarti was a musical blockbuster of early 60s.

Bollywood films reached its zenith during the 60s. Director Phani Majumdar directed a classic film Aarti in the early 60s with Pradeep Kumar, Ashok Kumar and Meena Kumari.

Meena Kumari and Ashok Kumar became doctors together. Ashok Kumar went abroad for further studies and after return opened a clinic in West Bengal. Pradip Kumar saved Meena Kumari when she fell in a river in West Bengal while going to a relief camp after a natural calamity. From that time Meena Kumari was impressed with Pradeep Kumar.

Meena Kumari married Pradeep Kumar even after knowing that she had to live in a joint family along with Pradeep Kumar’s father played by Jagirdar and brother played by Ramesh Deo. Ashok Kumar wanted to marry Meena Kumari but due to disinclination showed by Meena Kumari the relationship did not mature.

At the end of the film Pradip Kumar met with a serious accident and required operation. Ashok Kumar was the only competent surgeon in the region to do the operation. Meena Kumari inspite of her differences relied on Ashok Kumar. Ashok Kumar had the scope of showing negligence and killing Pradeep Kumar. Instead he fulfilled the liabilities and responsibilities of a responsible doctor. As part of consideration she asked Meena Kumari to live happily with Pradeep Kumar and his family.

The most striking feature of the film included its superlative music. Roshan composed the tunes and Majrooh Sultanpuri wrote the lyrics. Rafi’s songs “ab kya missal doon mai tumhari shabab ki”, Rafi Lata’s duets like “baar baar mohe kya samjhaye” and “aapne yaad dilaya to mujhe yaad aya” stormed bollywood in the early 60s. Rafi was at his best and the lyrics were written by Majrooh Sultanpuri.

Pradeep Kumar was known for acting in historic films like Taj Mahal, Anarkali, Anandmath, etc. When he was cast in a social drama, Pradeep Kumar depicted the character of a middleclass Indian very well. He later got a job and showed his submissiveness before Meena Kumari. Meena Kumari was probably the most powerful actress of the classic age, that is the 50s and 60s. She as usual reached the depth of the character. Ashok Kumar was sublime in his individual role. The character artists in the film like Shashi Kala, Rajender Nath, Mehmood played their role in style. The film did great business. The film should be restored for its superlative music and powerful performances of the artists in the film.

Happy birthday to Rakesh Roshan.

Happy birthday to Rakesh Roshan.

The viewers of bollywood films wish happy birthday to Rakesh Roshan on 6th September, 2009. He had one the most successful producer and director in the last 10 years. Being born in a prestigious family and the son of legendary composer Roshan, Rakesh Roshan had to prove a lot when he started his career as an actor in the early 70s.

His film Paraya Dhan with Hema Malini and Balraj Sahani became very successful. The film was remembered for the melodious music composed by RD Burman. The songs “ayo jhume gayere”, “holi re holi” became super hit in the early 70s. After that, Rakesh Roshan acted in many films opposite Rishi Kapoor.

The combination of Rakesh Roshan and Rishi Kapoor gave super hit films like Khel Khel Me, Aap Ke Diwane, Yeh Wada Raha, etc. Rakesh Roshan even acted in middle-budget films like Kamchor with Jaya Prada.

From the time Rakesh Roshan launched himself as producer and director, he stormed bollywood. His film Karan Arjun with Salman Khan and Shahrukh Khan became super hit. It was an action block-buster where the music composed by Rajesh Roshan, the romance, the comedy everything entertained the viewers.

In the last 10 years whenever Rakesh Roshan had produced and directed film with his son Hrithik Roshan the films had become the greatest blockbusters of the year. Kahona Pyar Hai stormed bollywood in 2000. The other hit films of Hrithik Roshan directed by Rakesh Roshan included Koi Mil Gaya and Krissh. Rakesh Roshan chose different actresses like Amisha Patel, Preeti Zinta, Priyanka Chopra in his different films and all of them contributed to make the films successful.

Presently the viewers are awaiting the release of Rakesh Roshan’s new film Kites in 2009. With Hrithik Roshan and Barbara Mori in the film, the critics predict that it is going to be another blockbuster. Rakesh Roshan should continue his great work in the years to come.

The nation remembers Rafi on his death anniversary.

The nation remembers Rafi on his death anniversary.

The nation remembers Mohammad Rafi on his death anniversary on 31st july, 2009. It was a very painful experience for most of the music lovers of India and abroad to recollect the experience of 31st July, 1980. 29 years had passed since his death and yet time could not heal the wound inflicted in the hearts of numerous music lovers of the country.

He is still alive in the hearts of millions of Indians with his 26000 songs. He had given expression to almost all the leading stars of bollywood and also the poets and composers of the golden age. He had created such an invaluable treasure of songs most of which can be termed as masterpieces, that the listeners can cherish his work for ever.

Admirers of Naushad can hear Rafi’s “do sitaron ka zameen par hai Milan”, “man tarpat”, “koi sagar dil ko behlata nahi”, “ek shahenshahne banwake haseen tajmahal” thousand times, admirers of Shankar Jaikishan search Rafi in “o mere shahekhuba”, “chalke teri ankhose”, “ehsaan tera hoga mujhpar”, etc., admirers of Roshan find peace in Rafi’s “jo wada kiya ho”, “dil jo na keh saka”, “ab kya misaal doon”, “man re”, etc., admirers of Madan Mohan hear “tumhari zulfonki saye me”, “aap ke pehlu me”, “baad muddat key eh ghari aye”, etc., again and again. Besides Rafi had galvanized the fortunes of Laxmikant Pyarellal, OP Nayyar, SD Burman, Kalyanji Anandji, RD Burman and many other composers of the 50s, 60s, 70s. Articles after articles can be devoted to Rafi’s combination with the musical giants.

On the other hand Rafi had raised the standard of playback singing in the golden age which had become a benchmark which is difficult reach but can be followed by singers of the present day. Rafi had given different types of expressions for Dilip Kumar (madhuban me radhika, aaj purani rahon par), Shammi Kapoor (akele akele, diwana hua badal), Rajender Kumar (mere mehboob tujhe, o priya), Johnny Walker (ay dil mushkil, jangal me mor nacha), Pradeep Kumar (dil jo na keh saka, hum intezar karenge), Guru Dutt (chaudavi ka chand, yeh mahalon), Biswajeet (pukarta chala hoon mai, a gale lag ja) Bharat Bhushan (zindagi bhar nahi, kisiki yaad me), Joy Mukherjee (bahut shukriya, japan love in tokyo, Dharmender (naja kabhi ab na ja, gair tum bhula na doge), Jeetender (dhal gaya din, baar baar din yeh aye) and others. Rafi’s combination with these evergreen stars had been glorified and is still being revisited.

In respect of Rafi lovers all across the world, there is one big challenge to unearth many unheard songs including Rafi’s private albums. A number of songs sung in the regional languages had been preserved, including Bengali songs like songs of Nazrul Islam. Songs like “alga korogo khopar badhon”, “pakhitar buke”, “ekhono biday bolona”, “tomar nil dopati chok”, “e jibone mor”, amused the Bengali audience as well.

The playback singers of the present age like Sonu Nigam, Udit Narayan and others pay immense respect to Mohammad Rafi and still consider him as the legend of legends in the field of music. Sonu Nigam in the program Mohammad Rafi resurrected tried to sing Rafi’s classics in Europe. The listeners realized that the singing of versatile singer Sonu Nigam even could not match Rafi’s level of excellence and as such most of his songs can challenge the leading singers of India and Pakistan even today. With change in demands of music at this present moment with pop, rap, western collections becoming prevalent, Rafi is probably the only legend of the 50s, 60s, and 70s whose songs had still remained young.

The listeners should revisit the songs of Rafi and restore the creations to pay homage to the noble soul who departed the music -lovers 29 years ago.

Lata and Roshan.

Lata and Roshan.

The composition of certain composers had given a separate dimension to the existing skills of a legendary singer. It has happened with the combination of Roshan and Lata. Music lovers generally assess the contribution of composers in the success of playback singers on the basis of the number of songs given to the respective singer. But if the quality of the compositions are examined the actual contributors are identified.

Roshan could compose songs for Lata and Rafi only during the 50s and 60s as he died in 1969. But each of the compositions stand out as landmarks in the history of bollywood music. His song “zindagi bhar nahi bhulenge” remains one of the landmark creations where Lata had provided adequate expression for Madhubala in the film Barsaat ki Raat in 1960. Lata was brilliant in the film Aarti, picturised on Meena Kumari and Pradeep Kumar, with songs like “baar baar tohe”, “aapne yaad dilaya tha”, “baharon ki manzil rahi”, some of them being duets sung with Rafi. Similarly her duet with Rafi in the film Taj Mahal, 1963, titled “jo wada kiya ho nibhana parega” had been responsible for the infinite love and respect created for Shahjahan and Mumtaz Mahal over the years.

In the film Bheegi Raat, Lata’s song “dil jo na keh saka” was as outstanding as Rafi’s version of the same song. Lata ‘s song “duniya kare sawal to hum kya jwab de” in the film Bahu Begum, picturised on Meena Kumari, still haunts the music lovers even today. It almost tells the story of Meena Kumari in the film and the way the raga was used with adequate orchestration, including the use of sexaphone, only Roshan could have done it, the manner in which it was done.


Similarly, the them song in Suchitra Sen’s film Mamta, sung by Lata, titled “rahe na rahe hum” had acted as a bridge in the film. It had brought back memories of the past and had been played a number of times in the same film. Lata was also sublime in her songs in the film Dil Hi to hai, picturised on Nutan opposite Raj Kapoor. If 50 best songs of Rafi are shortlisted, at least 5 of Roshan’s creations will come automatically, similarly, if the best 100 songs of Lata are identified, at least 5 songs of Roshan can be classified as the most outstanding creations of all times. Had Roshan lived for a longer period, music lovers could have cherished even more number of immortal songs which could have got adequate expression by the brilliant voice of Lata.

Related Reading

• Lata Mangeshkar – the uncrowned queen of Indian playback singing
• Lata’s combination with RD Burman
• Lata and Shankar Jaikishan
• Lata and Naushad
• Lata and Madanmohan
• Lata and SD Burman
• Laxmikant Pyarelal and Lata
• Salil Chowdhury and Lata
• Lata and Roshan

Roshan and Rafi

Roshan's everlasting bond with Mohammad Rafi

Roshan galvanised the Indian horizon of film music with his excellent experiments on melody. He had created mujras, qawallis, ghazals, classical compositions which match the exact requirement of the theme of the films wherever he had worked.The earlier films like Bawre Nain was created at a time when recording was not modernised to that extent. Even then his songs in the 50s like "bade armano se rakha hai balam" were hits.

In the 60s Roshan utilized the Golden voice of Indian cinema, Mohammad Rafi in the most melodious manner that was possible. In the film Barsaat ki Raat,1960, the song "zindagi bhar nahin bhulenge woh barsaat ki raat" mesmerised the music lovers with the melody of the sarengi that was used so well. Rafi's voice floated like cirus clouds in the air and Bharatbhusan's performance in the film was well acclaimed by the Indian audience.The same film had a qawalli "yeh isq isq hai, isq isq" which was staretd by Manna Dey and completed by Rafi. The grammer of Qawalli was fully existant in the song.Besides Roshan created songs with a very serene dimension in the film Aarti, 1963, picturised on pradeepkumar.Most of the songs were on Raag Pahari. Rafi created an intoxicating appeal with the songs "Ab kya misal doon mai tumhare shabab ki" and "aapne yaad dilaya tha to mujhe yaad aya". Meenakumari's performace was matched with the background score in the song "baharon ki manzil rahi."



In the film Tajmahal,1963, the andaz of Pradeepkumar almost replicated the style of living of emperor Shahjahan that existed during the mughal period.The songs of Rafi namely "Jo wada kiya ho nibhana parega" and "payon chulene do phulon ko inayat hogi" had matched the badshahi andaz of the historical period.The lyrics were written by shari Ludhiyanvi.Besides other everlasting creations of Roshan include "laga chunri me daag chupayun kase" sung by Manna Dey in the film "Dil hi to hai" picturised on Raj Kapoor, and "Kya baat hai tujhme teri tasver me nahin" sung by Mohammad Rafi.In the film Chitralekha,1965, picturised on Pradeep Kumar, Roshan motivated Rafi to sing a legendary bhajan titled "man re to kahena dhir dhare, woh nir mohi moh na jane jinka moh kare". It was a blank verse with very little musical instruments being used. Rafi's performance was amazing.



In the film Bheegi Raat, 1965, Rafi made people spell bound with the songs "jane woh kaun hai kya naam hai in ankhoka," and "dil jo na keh saka, wohi raze dil".Pradeep kumar's scrreen presence was outstanding as Roshan's orchestration and the sensational performance of Rafi.Noted poet and music director Salil Chowdhury in his interview with Asha bhosle had said he admired Roshan the most because of his use of melody through the instruments used in the songs including sarengi, tabla, sexaphone, guitar and noted instruments. Asha Bhosle said that Rafi, Lata and others have worshipped Roshan like sage. The song in the film Bahubegum, titled "niklethe kahan jane ke liye pahunchethe kahan maloom nahi", almost told the story of Meenakumari who left home for not marrying pradeep kumar and ended up in a kotha.It was a mujra and the orchestration was outstanding by every means. The same film had one of the most immortal performance of Lata titled"Duniya kare sawal to hum kya jawab de." Rafi was outstanding with his final performance "hum intezer karenge tera qawamat tak, khuda karen ki qawamat ho aur tu aye." Viewers became speechless in the cinemahall with this song.



Besides Roshan's performance in the Film Mamta, 1967 is worth mentioning. Mamta was the hindi version of the Bengali film "Uttar Phalguni", which depicted the story of a tawaif who was victim of circumstances and shed blood to make her daughter a Barrister who ultimately pleads in the High Court of Calcutta in an alleged murder case of her mother.The performance of Suchitra Sen, the most versatile Actress of Bengali Cinema cannot be described in words.But the big challenge was matching the quality music composed by Robin chatterji in bengali film where the majority of the songs were sung by classical singer Sandhya Mukherjee.Roshan created the asme class of music in the film.the popular songs included "Rahe na rahen hum" sung by Lata and "in baharon me akela na phiro, rah me kaighata rok nale" sung by Rafi. But the type of Hindustani classical songs that used to be sung in the Class of singers called baijees in the late 18th century was displayed by Roshan.Roshan died in 1969 with his last film "anokhi raat." It is big loss for the Film industry because if aany composer had utilized the Royal style of Rafi's singing it was Roshan himself. Rafi's archive should contain the works of Roshan so that future generations can learn the grammer of Hindustani classical used under different moods.Article By Souvik Chatterji


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