RMIM Archive Article "188".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM Archives..
# Subject: Mohd. Rafi - A Tribute
#
# Posted by: Harish Suvarna sundu@mti.sgi.com
# Arvind Agarwalla arvind@fact.com.sg
# Source: The Asian Age (Calcutta) and India News Network.
# Author: Pradyot Lal
#
The following is an article appeared in The Asian age 31st July
1996. This appeared in India News Network Digest Thu,1 Aug
Volume 2 Issue:976.
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India News Network.
Arvind Agarwalla - Vedika/FACT Singapore arvind@fact.com.sg
Subject: "Maen zindagi ka saath nibhata chala gaya"
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Mohd. Rafi - "Maen zindagi ka saath nibhata chala gaya"
by
Pradyot Lal - New Delhi - The Asian Age - 31st July 1996
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Sixteen years back, he fell silent forever. But his golden voice
still reverberates. For his hardcore fans, Mohammed Rafi, or
Rafisaab, is still alive. A tribute to the legendary playback
sinnger on his death anniversary.
There is just that overwhelming feeling of gratitude when you
hear Mohammad Rafi sing Aise To Na Dekho; or Ahbi Naa Jao Chhod
Kar; or, Maine Shaayad Tumhein Pahle Bhi Kahin Dekha Hai. And
hundreds of such other melodies. One is just plain grateful to
have been alive to listen to such magic. What voice, and what
range! Everything came so easy to him; the most intricate raag
or taan, or whatever else music directors could think of through
a musical journey lasting four decades, Certain aspects of the
Rafi saga brook on debate: that, for instance, he was perhaps the
only genuine or real playback singer films have had.
You listen to Rafi and you instantly identify the face to go with
the song. In fact, Rafi has been one of the greatest actors we
have had, in the sense that he could effortlessly shift from one
mood to another. Just recall that incomparable ghazal - Hum
Bekhudi Mein Unko Pukaare Chale Gaye; or, Madhuban Mein Radhika
Naache Re; or, Lal Lal Gaal Jaan Pe Hai Laagoo. This was real
versatility; and I unhesitatingly say this in spite of being a
known Kishore Kumar fan. Of course, my idol could also sing
everything with equal felicity. But it does seem hard, even for
a die - hard Kishore fan like this writer, to associate a song
like Tu Ganga Ki Mauj Maen with the vocals of Kishore Kumar.
Rafi was born to sing that memorable number - no one else could
have done better than him. Of course, during the latter part of
his career, Rafi was unable to stand up to the scorching pace set
by Kishore Kumar; but throughout the Fifties and Sixties, he
almost singlehandedly dominated film music. It is not that he
had no competition: Talat, Hemant, Manna Dey, Mukesh and of
course, Kishore were all there. All of them were fine singers,
but Rafi was still the best because he was more complete than any
of them. Talat, Mukesh and Hemant, in fact, were basically
singers with a limited range. Kishore was too busy acting in
films to give much thought or attention to his singing, while
Manna Dey, as he himself has graciously acknowledged on numerous
occasions, was no match to Rafi even in the pukka numbers he
specialised in.
Just before he died, I had the privilege of a longish meeting
with that prince among composers, Salil Choudhury. Salilda, but
of course, was a remarkably articulate man. One asked him why,
over his musical years, he had used Rafi so sparingly. Salilda
readily agreed that Talat and Mukesh were the two singers he most
easily identified with, but hastened to add: "But Rafisaab was
Rafisaab. For that Maya number, Koi Sone Ke Dil Waala, Koi
Chaandi Ke Dil Waala, I could not have even thought of using any
other singer." He illustrated his point by referring to the S D
Burman number from Meri Soorat Teri Aankhen: Tere Bin Soone,
Nayan Hamaare. Salilda said that after one has heard Rafi sing
the song, it becomes impossible to associate it with any other
singer. Such was the complete identification between the singer
and the song. One can think of so many songs - especially songs
sung by unabashed Rafi clones like Mahendra Kapoor (please don't
you dare compare the two singers though!) which Rafi would have
certainly sung much better. But there are few, if any, songs
Rafi sang that could have been better sung by another singer ...
that much is for sure. No. This is no hagiography; after all,
who could have sung Zindagi Bhar Nahin Bhulegi Who Barsaat Ki
Raat; or Aaj Ki Raat Badi Shokh Badi Natkhat Hai as Rafi did?
Or, even songs like Pukaarta Chala Hoon Maen and Deewana Mastana
Hua Dil. Unlike, say, Kishore who was patronised mainly by the
two Burmans, Rafi got along musically with every music director,
with the possible exception of Anil Biswas, who once created a
totally avoidable furore by asserting that Rafi was no singer!
Even Kishore Kumar, who had received the great maestro's
blessings at the expense of Rafi, was forced to send a letter to
the editor of Filmfare in which he admitted that "I am a Rafi
fan!"
Sterile controversies like who sang more songs - Lata or Rafi, or
whose contribution to popular film music is greater are just that
- sterile, and a waste of time. Similarly, to try and compare
Rafi with any other singer is also a meaningless pastime.
After all, we must thank our stars that we have had a succession
of fine singers from K L Saigal down to say, Kishore Kumar, and
Rafi was quite the prince among them. The moon among stars, so
to speak. In a manner of speaking, Rafi bade a timely musical
adieu from the scene; for, the kind of music that has happened
from the late Saventies onwards would have made it very difficult
for Rafi to retain his musical sanity. It may be a harsh thing
to say; but there is no harm in stating the objective truth.
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From the RMIM Article Archive maintained by Satish Subramanian