Chahunga Main Tujhe Saanjh Savere

Chahunga Main Tujhe Saanjh Savere

Many songs of Rafi Saab are ceaseless but some have achieved the status of immortality, means it can be heard million of times even though it does sound fresh and vibrant.  You may call it the miracle of the singer’s voice or the marvelous composition or the magical words embedded in the lyrics that suited the mood of the song.  Rafi saab had sung thousands of songs which are considered now as milestones in film singing profession.  Some have   achieved the status of evergreen and all time greats, in which some are solos and some are duets (sang with both male and female singers).  During the 50’s and 60’s Rafi saab ruled the Hindi film industry as the most sought-after playback singer, 70-80 percent of songs composed by the music directors during those years were sung by Rafi saab along with two major female singers  – Lata Mangeshkar and Asha Bhosle.  The songs had sung in maximum genres with colorful versatility which was the lion’s share of Rafi saab, no other singer even comes closer in that range. Mohammed Rafi’s songs ranged from traditional classical melodies to patriotic songs, artistic Ghazals, sad and romantic melodies, traditional qawwalis, ghazals and bhajans… like that you may go on counting various genres and what not? Rafi saab bagged 6 Filmfare Awards in his lifetime for his excellent and magnificent singing and had 22 nominations between 1960 -1980.

Dosti (1964)  a classic Hindi film was a story focused on the friendship between two boys, one blind (singer) and one crippled (Mouth Organ Player). While both boys realize that they are lonely in this world and they had no choice other than to help each other in order to survive in this cruel world. Thus the true bond of their friendship surfaces. While the blind boy is also looking for his sister (Baby Farida), his friendship with crippled boy gets stronger each passing day. Dosti fetched the Filmfare award for best picture; and almost all the songs in that movie were super duper hits.  There was a song Chahoonga main tujhe which bagged the Filmfare Best Male Playback Singer award to Rafi Saab.  Now I speculate that the Mukhda (opening line) of that song Chahoonga main tujhe sanjh savere has become the anthem of all Rafi lovers, they proudly pronounce that line Chahoonga main tujhe sanjh savere to express their immense love & passion towards Rafi Saab.

The Filmfare award in 1965 went to Dosti for five categories including three categories namely – music director, singer and lyricist gone to Dosti for the song Chahoonga main tujhe sanj savere –

Best singer – Mohammad  Rafi

Best music directors – Laxmikant Pyarelal

Best lyricist – Majrooh sultanpuri

Chahoonga main tujhe evokes lots of emotions to the listener. Touchy lyrics were penned by great Lyricist Majrooh Sultanpuri. Most importantly, this song was brilliantly rendered by Melody King Mohd. Rafi Saab and was composed by Laxmikant-Pyarelal.

The music is exceptional with Rafi Saab at his very best with as many as five great solos to his credit.  This movie gave a lot of boost to the careers of the Music directors – Laxmikant  & Pyarelal who did take a lot of credit for the brilliant music. The songs were the best part of movie depicting various shades of life (mood and emotions). I consider the five songs are the marvelous and precious gems in Hindi film music which will be heard many many years to come.

• Chahoonga Main Tujhe Saanj Savere
• Mera To Jo Bhi Kadam Hai
• Jaane Walon Zara
• Rahi Manwa Dukh Ki Chinta
• Meri Dosti Mera Pyar

No wonder the film won all five best Filmfare awards of 1965. There couldn’t be a better lyrics – Majrooh Sultanpuri and better voice – Mohd. Rafi . What is best about Dosti is the music — just mesmerizing — even after forty five years since it was heard first time. Once one hear those songs can understand very well the mood of the each song that was sung in the best mood and superb emotions  applied  to the situation in the film. Rafi Saab had given his golden voice to many unknown actors, even in Dosti two boys played the part of friends were Sudhir Kumar and Sushil Kumar. All of the songs lip-synced by Sudhir Kumar (Mohan), the blind boy.  Even as a unique coincidence Dosti is the only  movie in Hindi Cinema which made a record for the biggest hit without heroine. The song – Chahoonga main tujhe sanjh savere was picturised on the blind boy played by Sudhir kumar as Mohan.  The emotions he portrays and the feeling of comradeship which it brings out are simply a work of pure class. It’s a story about friendship and in many ways dignity and self-respect. It is one of the best movies because of  the classic music by Laxmikant Pyarelal with the soaring voice of  Rafi  Saab make this movie a top classic hit. The strange fact about the movie was that, it was low-budget and no major actor was ready to act in the movie. It was expected to undergo a huge flop, but due to the soulful songs rendered by Rafi Saab and its brilliant acting and awesome story it went a major hit.

When both Laxmikant Pyarelal and Majrooh Sultanpuri sat together to compose the songs and the result was history. Rafi Saab song “Chahoonga main tujhe saanj savere“, and other songs  moved the hearts  of  the audience.  Rafi Saab was very much impressed with the compositions of Laxmikant Pyarelal that he had taken just one rupee for singing the song because it was the custom of a singer to take something in return for a professional song and the rest of the money he handed over to Pyarelal ji to share with Laxmikant ji. This one example shows the generosity of Rafi Saab.

In fact, all songs of Dosti were very melodious and were brilliantly composed by Laxmikant Pyarelal. In fact, the music was so good that Laxmikant Pyarelal won the  most coveted Filmfare Award for Best Music for 1965 against the stiff competition from the Film : Sangam composed by Shankar-Jaikishen and another Film :Woh Kaun Thi composed by Madan Mohan. All 3 films were nominated for the year 1964 for the Best Music and finally “Dosti” music edged out to win Filmfare award beating both Shankar-Jaikishen and Madan Mohan. It was a shocker to Shankar-Jaikishen. Laxmikant-Pyarelal won their first Filmfare award for Best Music and they deserved it.


The song Chahoonga main tujhe sanj savere tune was composed much earlier than any Parasmani song by the duo. Many of the films that they signed before Parasmani failed to be made and they were dejected with the hindi film industry. They could not find a situation in their early films to use the song properly.

The song was composed with Lata Mangeshkar in mind. They had such reverence for her that they wanted all their songs sung by Lata. During the musical sitting of Dosti, Laxmikant sang this song out for Rafi at the very tail end of their session before departing Rafi’s house  as a song they kept in their pocket as a reserve. Majrooh Sultanpuri and Pyarelal were present. They were very apprehensive when they drove to Rafi’s mansion early that day not knowing if the great singer would agree to sing for a low-budget movie and for such young, struggling music directors such as LP. As soon as they entered, Rafi put them at ease and was very cordial.  Having already been blown away by the Dosti numbers he had just heard, Mohd Rafi who was thrilled that he had three full solos that he agreed to sing for a small fee was completely bowled over by  Chahoonga  main tujhe. He took this song and superbly rendered it for LP and told them that this song would be a big hit in Dosti. LP replied that there was no situation in the movie for this song. They did not want to use it. Rafi insisted persistently (while making the song greater every time he rendered it) and said that he would sing all the songs for free  if Chahoonga main tujhe was included in the film.  LP returned back and had to make the writer, producer, director re-write the story to include Chahoonga  main tujhe as a primary song in the film.

R.D. Burman played all the mouth organ pieces for Dosti. For playing mouth organ in the interlude of the song “Jaanewalon Zara”, Laxmikant-Pyarelal invited R. D. Burman who did full justice to the song by playing very beautifully his most favorite instrument that is mouth organ. R.D.Burman also played mouth organ in few other songs of Dosti. R.D.Burman came to play only because of his friendship with Laxmikant Pyarelal.

The songs of Dosti were recorded including  Chahoonga  main Tujhe. LP concentrated on all their other numbers in Dosti and did not give any special care for this song. As we all know Rafi sang all these songs superbly, and Dosti is considered to be a landmark in Hindi Film music.


When Rafi Saab was told that he has to give playback to two young teen-aged boys, he was confused on how to match his rich voice to suite two young boys. With other heroes, he always knew how to modulate his voice to suit a particular hero say Dilip Kumar, Dev Anand or Shammi Kapoor so as to be in sync with their style. So Rafi had to work very hard before rehearsals of Dosti Songs so as to match his voice match those two young boys. As we all can see, Rafi succeeded in his efforts and whenever we listen to any of Dosti songs picturized on those two young boys, it fits them very well as if they are singing themselves.

The movie was released and took India by storm in 1964. It was not just Mumbai (Bombay), but all across the country the songs of Dosti swept and swayed the masses. All the way from East-to-West and North-to-South, people would stand by radios just to hear the songs of this film. During the same year, Raj Kapoor’s prestigious Sangam was released with music by Shankar Jaiksihan. People liked the Sangam songs, but the songs of Dosti overtook every other film. Rafi Saab’s prediction had come true. He moved even higher up in popularity and Laxmikant Pyarelal where catapulted to the forefront of popular Hindi film music and never looked back.

LP won Filmfare Best Music Director Award for Dosti in 1965. Mohd Rafi won the best singer award. The award was conveyed to them during the early morning hours on announcement day by music director C. Ramachandra (one of their gurus) who banged on their door and called out get up you donkeys. You have won !!!. They were bewildered! won which award and from whom ? When they were told, they could not believe their ears. Shankar Jaikishan was their favourite MD and they had won over SJ. They had really arrived in the music scene.  Laxmikant emulated Jaikishan in every way. He was in awe of Jaikishan for many years. He dressed like Jaikishan (flashy expensive shirts, tight pants, collar up all the time), talked like Jaikishan and wore his watch on his right wrist.

It is a coincidence that in the same year 1965, Rafi Saab was honored by the Government of India with the coveted Padmashri Award as well as National Film Award for the Best Male Playback Singer for this song “Chahooga main Tujhe“. I believe this great song will never be outdated even after forty five years it sounds fresh and melodious it is because of sheer magical voice of Rafi Saab and beautiful composition of LP and wonderful lyrics of Majrooh Saab.

The Last Journey - Mohammad Rafi Sahab

The Last Journey - Mohammad Rafi Sahab

Mrs. Mohd Rafi on Mohd Rafi Sahab

Today, when I look back I am grateful for the children we have borne. They have been wonderful sons and daughters, and have been my strength for the last /// years, after his passing away. But yet there are moments when I wish I was 13 years old and Rafi saab was 19. There are times when I wish he would come to me like he would nearly every evening, sit beside me and ask me, What is troubling you? Tell me your troubles and they will all go away.

The next day, he sat for rehearsal from 9:30am and was in pain, but he refused to tell us anything till 12:30 in the afternoon. We scoulded him about it, but he told us,ËœThose who come to the Rafi residence, should never return empty-handed. These were his last words.

He was in a lot of pain and was sweating profusely. It was also in the month of Ramzan, so he was hungry. His hands and feet were yellow. The doctors asked us to shift him to a hospital, explaining that Rafi saab had suffered a very major heart attack. The end came soon after that.

"Tu kahin aas paas hai dost" (You are some where around, my friend) -

the last song sung by Mohammed Rafi sums up what millions of music lovers feel about the legendary playback singer even 26 years after his death.

 As the shocking news of Rafi Sahab's demise was redeived. The sad news spread like wild fire throughout the country. Songs turned into a dirge. The angels wept in the sky and tears were shed in the form of raindrops over his namaaz-e-janaza (funeral prayer), His funeral procession started amid heavy

rain and thunder, people gathered on the top of buildings, trees and in windows to catch a last glimpse of their favourite singer. The procession reached the Juhu graveyard.

A LEGEND IN HIS LIFETIME, THE MASTER WAS NO MORE

MOHAMMAD RAFI (1924 - 1980)

The date of his passing away was perhaps

divinely pre-ordained, for it is said that one who dies in the

holy month goes to heaven. There was no person more deserving of that status than the pious and God-fearing Rafi, who never touched a drop of alcohol, who never told a lie, who never had a harsh word for anyone, and who worshipped his work. A man whose songs wiped away many a sorrowful tear from the eyes of those who were struggling under the burden of life and brought tears of ecstatic joy to many more.

Although 32 years since our Legend Singer has passed away but he is still in everyone's hearts with his songs generations by generations.. I just don't feel that Rafi Saab is no longer with us, because i listen to him all the time ! ..... 

My Prayer be with him - May His Soul Rest In Peace...Ameen..

Needless to confess that among singers no one has left such an indelible mark on the consciousness and hearts of millions of his fans around the world and I’m one of them. Mohd Rafi is an institution of play back singing, an icon for generations of music lovers who have happened to listened to him during his lifespan and even right now his legion of fans are spread right across the globe where ever the Urdu/Hindi speaking communities of the sub continent resides.

My personal love for Mohd Rafi Sahab has dated back to the early days of 1993 when I had the honour of listening to his remarkable and soul shaking songs in an audio cassette format and ever since then I have become his die hard fan till this day. 

A Tribute Song For Rafi Saab...

Mohammad Rafi Sahab, means the golden voice that the human race will never ever get to hear again, in the lifetime to come. But we are so much blessed to listen to his multi-various renditions – so soothing, human, emotional with that magical, mesmerizing vocal delivery, even after many years of his demise.

It is often said that Mohammad Rafi sang with a full force, delivering not only his golden voice but the much needed emotion, depth, feel, shruthi laya, range and a totally satisfying rendition, over and beyond the expectation of the music directors. He sang from his chest, entire body and soul and not merely from his throat. When there was song in a movie which meant challenge, the music directors often, invariably, fell back on Rafi Saab. One such song, which comes to my mind, is Sadpe Heer from Mera Naam Joker. Rafi Saab sang this song for Raj Kapoor in this movie, when most of the songs in the movie were obviously sung by Mukesh Saab for Raj Kapoor. There are many such songs of Rafi Saab and I am not here to list down the songs, which would only mean listing down the countless stars in the sky!

There are many singers, including the highly accomplished living (and even past) legends, trying to imitate his style and renditions, but no one is still able to conquer the unexplainable blend of the voice qualities and more importantly the “delivery” that Rafi Saab ensured in his renditions. It would not be an exaggeration, if we say that there would be no one, in times to come, to even, in the least, match his quality of singing.

It is also often said that the goodness of a human being is shown in their act and behaviour and in our Rafi Saab’s case; it was shown, in no uncertain terms, in his singing. A singer par excellence and no one, I am sure, can explain, in its entirety, the goodness of the human being called “Rafi Saab”!! He was truly a “Prodigy of God”.

After almost three decades of his demise, our hunger and desire to unearth his unique renditions, maintains a rapid pace, year after year and this momentum and growing speed would never end, for a lifetime.

Quotes said by Rafi Sahab

"Film-making wasn't merely a business proposition during those days when institutions reigned supreme and free-lancing hadn't become popular in the film industry. Believe it or not, I used to be paid a meager amount of Rs. 75/- in those days for one song!"

"Though I insist on being paid my price by commercial film-makers who can afford it, I sing for small budget films, including regional films, for a much lower price. Money isn't the only criterion for me to accept a film. Out of my earnings, I keep aside a sizable amount for charitable purposes but I prefer not to tom tom it because I do not want to seek publicity for those acts."

Rafi Sahab with Family

Rare Footages of Rafi Sahab's Life Moments

1. Documentary on Rafi Sahab

2. Rafi Sahab with Family

3. Rafi Sahab's last Interview

4. Rafi Sahab speaking about his earlier days

Golden Era of Music

Mohammad Rafi Sahab : Golden Era of Music

If ever there was a saint in human form in Indian cinema, it was the late Mohammed Rafi Sahab. No one spoke ill of him - ever, which is a kind of a record in an industry.

And who could sing everything to perfection, like Rafi-sahab did? You could never guess that the pristine voice that sang a bhajan was not a devout Hindu, but make him sing a devout qawwali or naat and he would sound no less than a paighambar, the Islamic messenger of God! He was urban lover-boy as easily as a rustic, full-throated farmer. When his dedication saw him blend the needs of a song and the preferences of its composer with the persona of from Dilip Kumar to Rishi Kapoor with Johnny Walker and lesser-known names, it was as if the actor himself was singing.

Rafi Sahab lived for his art, and never succumbed to the mart - he was the busiest singer for decades only on merit, the demand being as much for Rafi sahab the simple man as for the fact that he was our most versatile singer. But while his associations with top actors and composers are well-documented, it is a fact that Rafi Sahab put in his 200 per cent not just for them but for every small-time composer, whether their films had a known actor or not.

Rafi Sahab would charge the less-affording producers and composers less - if at all he did take money from them. Frequently, if he loved the song, he would smilingly wave (and waive) away the payment. 'Paas Baitho Tabiyat Machal Jaayegi' from Punar Milan (1964) was one such song, composed by newcomer C.Arjun, who was to be best known later for the chartbusting score of Jai Santoshi Maa. 

Lavish in his words of praise and encouragement to such newbies, strugglers and humbler talents, he never realized what he had achieved himself in such songs, and how he often changed the very fortunes of the compositions, the films, and the men behind them. Like when he lead four other singers (Asha Bhosle, Shailendra Singh, Bhupinder and Sapan Chakravorty) in the song that is Raamlaxman's signature tune a decade before Maine Pyar Kiya and Hum Aapke Hain Koun…! - the rousing 'Deva O Deva Ganpati Deva' from Humse Badhkar Kaun? Even today, the song is a must-play track at every Ganesh Festival.

For years after his death, Rafi sahab songs kept coming in various films and albums. Two beauties that we must single out here are the title-track of Mera Salaam, a Muslim social composed by Rajkamal (later to doChashme Buddoor and B.R.Chopra's epic serialMahabharat) and Jugal Kishore-Tilak Raj's duet inBheegi Palkein, 'Janam Janam Ka Saath Hai', with Lata, as filmed on Raj Babbar and Smita Patil.

In 1972, Rafi sahab sang the deceptively-simple 'Kaisi Shaam Suhani Aayi Re' from Pasand Apni Apni composed by Vishnu Khanna, never heard of again, with its quick change in octaves at the cross-line (the transition fromantara back to the mukhda). The song was filmed on Sameer, younger brother of Feroz and Sanjay Khan. In the same steeply melodious mould were Shatrughan Sinha's twin towers, 'Dil Ka Soona Saaz' (Ek Nari Do Roop) composed by Ganesh, (Laxmikant-) Pyarelal's brother and 'Kahin Aisa Na Ho' (Milap) , with Brij Bhushan as composer. Ganesh's title-track from 'Ek Nanhi Munni Ladki Thi' was another high-point. 

Lyricist Prem Dhawan's limited but sparkling career as composer is strobe-lit by Rafi sahab's stunners, led by 'Ae Watan Ae Watan' from Shaheed (1965) and 'Agar Bewafa Tujhko Pehchan Jaate' (Raat Ke Andhere Mein/ 1970). Very few know that occasional composer Vijay Singh was Maine Pyar Kiya heroine Bhagyashree's dad. What a song he created for Rafi sahab in Khoon Khoon, a 1973 rehash of Hollywood's classic Dirty Harry - 'Maati ke jalte deepak ki jyot to ek din bujh jaani hai! It was nothing less than a melodious oasis in a cacophony of action! 

N.Dutta, a hugely-talented Hindi-Marathi composer, owes Rafi sahab his signature tune in Hindi films, 'Tu Hindu Banega Na Mussalman Banega' from Yash Chopra's debut film Dhool Ka Phool. A name often confused with him is of fellow Goan genius Dattaram, Shankar-Jaikishan's key assistant for decades - and Rafi sahab rollicked his way through the latter's Mama ho mama with Manna Dey in the 1959 Parvarish. 

Rafi sahab and Manna Dey together always proved a lethal combo, and the raag-rich 'Sudh Bisar Gayi Aaj' by freedom fighter-actor-composer S.N.Tripathi from Sangeet Samrat Tansen also proved it. Tripathi it was for whom Rafi sahab's 'Zaraa Saamne To Aa O Chhaliye' in the 1957 Janam Janam Ke Phere and 'Na Kisiki Aankh Ka Noor Hoon' (Lal Quila/1960) also became raging hits. Rafi sahab gave another classicist composer, Pt.Shivram, his career biggest hit in 'Daulat Ke Jhoote Nashe Mein' in the 1955 Oonchi Haveli. 

When Pandit Ravi Shankar stepped in to compose Godaan, it was Rafi sahab to the fore again with the superbly rustic 'Pipra Ke Patwa Sarikhe Dole Manwa'. Also a giant in his field but a 'smallie' on the Hindi scene was Marathi cinema's biggest composer, Sudhir Phadke in whose Hindi debut in 1947, Aage Badho starring Dev Anand, Rafi sahab sang the quaint hit, Saawan ki ghataaon (with Khursheed). 

'Apni Aankhon Mein Basaakar' from Thokar, composed by Shamji Ghanashamji, Madan Mohan's assistant, is virtually the only aspect of the film that endures. Another film that remains alive, like Thokar, only because of the music, was My Love (1970), including its passionate Anand Bakshi-written title-track composed by Daan Singh, who never got his due in Hindi films. And speaking of Bakshi, let us recall his early hit 'Dhalti Jaaye Raat' from Razia Sultana in 1963 composed by Lacchiram as well as Nisar Bazmi, Bakshi's first-ever composer. Rafi sahab, it is said, was apologetically told that Bazmi could only afford to pay him Rs 50 for the song 'Mohabbat Aur Wafaa Ki Kis Qadar Tauheen' in his debut film Khoj (1953), but after recording it, an impressed Rafi sahab only took a rupee! In the same year came 'Tera Kaam Hai Jalna Parwane' composed by S.Mohinder for Paap and filmed on none other than Raj Kapoor. Both were huge hits. 

In his time, Hansraj Behl may have introduced Asha Bhosle, but he remained a small-timer, yet Rafi sahab gave this man both the songs that have immortalized him - 'Jahaan Daal Daal Par Sone Ki Chidiya' in Sikander-E-Azam and the love litany 'Mohabbat Zinda Rehti Hai' from Changez Khan. Another such composer Iqbal Qureshi, owes Rafi sahab the popular 'Main Apne Aap Se' from Bindiya (1960) and the chartbuster 'Subah Na Aayi Shaam Na Aayi' from Cha Cha Cha (1960). 

Anu Malik's father, the late Sardar Malik, could never make the top grade, but Rafi sahab's memorabilia for him include 'Mujhe Tumse Mohabbat Hai' from Bachpan and 'Piya Kaise Miloon', the Saranga duet with Lata Mangeshkar. And speaking of Lata duets, who can forget the classic and 'Kuhu Kuhu Bole Koyaliya' that classical stunner composed by Adi Narayan Rao for Suvarna Sundari and Ramlal's Sehra beauty for V.Shantaram, 'Tum To Pyar Ho'? 

Such is Rafii sahab's charisma and the magic of our singing legends that they dwarf even the famous creators of the songs. And so, while everyone even today recalls and sings 'Sai Baba Bolo' (Rafi sahab with Anuradha Paudwal, Anup Jalota and Jani Babu) and 'Sainath Tere Hazaaron Haath' (with Usha Mangeshkar) from Manoj Kumar's Shirdi Ke Sai Baba (Manoj even wrote these songs), no one knows the Marathi composer who created them - Pandurang Dikshit. 

In a field where talent and success are independent of each other, we must mention Sapan-Jagmohan, who began very promisingly but remained choices for small films. In their debut film, Begana (1963), we had a Rafi sahab classic, 'Phir Woh Bhooli Si Yaad Aayi Hai'. 

Let us also not forget that Rafi sahab also was an integral and 'hit' part of so many debuts of composers who went on to hit big-time, from Shankar-Jaikishan in Barsaat to Anu Malik in Poonam, with Ravi, Usha Khanna, Kalyanji-Anandji, R.D.Burman, Laxmikant-Pyarelal, Sonik-Omi, Ravindra Jain, Rajesh Roshan and Nadeem-Shravan (in the Bhojpuri Dangal) in between. We mention this only to emphasize that Rafi sahab never knew which way their careers would head when he blessed them, so to speak, by doing his vocal best for their firt films. 

We wrap up with six more names to show that for Rafi sahab, the song as a composition and a musical exercise and tapasya was the only thing that mattered, not mundane material things like money or the stature of those involved in the songs or the film. 

It was Rafi sahab who sang singer Sharda's biggest hit as a composer, 'Accha Hi Hua Dil Toot Gaya' from Maa Bahen Aur Biwi and Robin Banerjee's popular 'Iraada Na Tha' with Suman Kalyanpur (Aandhi Aur Toofan / 1964). The very talented Nashad may have just a letter missing from Naushad, but that seemed to change his fortunes! However, his classic 'Bhula Nahin Dena Jee' (with Lata/Baradari in 1955) was a raging hit not to be forgotten even today. 

And speaking of Naushad, who gave Rafi sahab his first Hindi break in the 1944 Pahele Aap, the legendary composer famous assistant Ghulam Mohammed could only achieve limited success as an independent composer, but Rafi sahab's lustrous Lata duets 'Hum Tum Yeh Bahaar' (Amber/1952 for Raj Kapoor-Nargis) and 'Chalo Dildaar Chalo' (Pakeezah/ 1972 for Raaj Kumar and Meena Kumari) still stands tall in his work. Naushad's other assistant Mohammed Shafi recorded 'O Bichhade Hue Saathi' with Rafi-Lata as early as 1951 in Hulchul. And finally, we cannot ignore one of Rafi sahab's finest Muslim devotional songs in this month of Ramzan, Shafi's stunner 'Madad Kijiye Tajdar-E-Madina' from the 1975 Dayar-E-Madina.

The Man with Golden Heart

Even though Rafi Sahab’s father was against Rafi taking up music and singing as his career, he gave some teaching to him at the time when he was leaving home:

a)     Beta aadmi chahe jitna hi ooncha kyon na ud le use apne paaon (feet) zameen pe hi rakhne padte hain, isliye kabhi ghamand(proud) mat karna, kisi gareeb ka dil na dukhana aur ho sake to koshish karna dusron ka sahara banne ki…

b)     Tumhari nazren(sight) hamesha jhuki rahen, kisi ke saamne uthen nahi…

c)      Aur beta sab se zaroori hai CHARITRA (character), is par kabhi koi aanch na aane dena…

And Rafi saheb followed these teachings of his father all through his life; he never hurt anybody, never taken bad wishes from anybody and never became obstinate for money & accepted happily whatever he got.

During the initial days of his career, Rafi Sahab used to walk-up to the studio and there were times wherein he had to spend time at the railway station, in case the recording got cancelled.

Once Naushad Sahib due to some reasons cancelled the recording of his song in which Rafi Saheb was a chorus singer. All the other artists left the studio one by one but Rafi Saheb was still standing there silently by holding his hands together. Seeing Rafi, Naushad Saheb asked him- “Aap abhi tak yahan kyon khade hain?” Then Rafi Saheb saw here & there and replied with lots of hesitation- “Janab mere paas keval ek hi rupiya tha jisse main yahan taka a to gaya, lekin wapas jaane ke liye mere paas kuchh bhi nahi..”  On hearing this, Naushad Saheb gave him a rupee for returning, but Rafi Saheb did not spend that rupee and returned again on his feet.

After few years when Mohd Rafi became “thee Mohd Rafi” he kept that rupee in a golden frame in his drawing room. Thus, he never forgot his past.

Naushad Speaks on Depart of Rafi Saheb -

Hindustan to kya puri dunia ke karoron logon ke liye Rafi Saheb ki Aawaz unki zindagi ka ek hissa ban gayi thi. Unki aawaz se hi logon ka din shuru hota tha aur unki aawaz par raat dhalti thi. Aaj unka hamare beech na hona hamare, aapke aur sab ke liye ek na-kabile-talafi nuksaan hai, aur mai samajhta hoon ki unki jagah hamesha khali rahegi….

“Tujhe nagmo ki jaan ahle-nazar yun hi nahi kahte,

Tere geeton ko dil ka humsafar yun hi nahi kahte.

Dukhi the laakh phir bhi, mutmain the dard ke maare,

Teri aawaz ki shabnam se dhul jaate the gam saare.

Teri taanon me husn-e-zindagi leta tha angdai,

Tujhe allah ne baksha tha andaze masihaai.

Tu hi tha pyaar ka ek saaz is nafrat ki dunia me,

Are ganimat thi teri aawaz is nafrat ki  dunia me…”

How true was Naushad Saheb! Really The golden voice of Rafi saheb is a gift of GOD for us. Rafi Saheb is not only known for his song but also for his great character & humility.

Rafi Saheb was a great human being and a great singer. He believed in donations & charity. He was a very soft hearted person. Once, while he was returning from his regular morning walk with his friend, a strange person came to him and asked for some money. Rafi sahib inserted his hand in his pocket & gave him some rupees without counting and went forward. Seeing this, his friend asked- “Kya aap yun kisi ko bhi bina gine hi rupaye de dete hain?” The reply of Rafi Saheb was dignified which only he could give – he said with innocence – “Jab khuda mujhe bina gine rupaye de raha hai to main uske kuchh zaruratmand bandon ko bhala gin kar rupaye kyon doon?” This was the greatness of Rafi Saheb.

He has also said in his songs-

a)     Gareebon ki suno wo tumhari sunega, Tum ek paisa doge wo das laakh dega….

b)     Kar de madad gareeb ki tera sukhi rahe sansaar, Bacchon ki kilkari se gunje sara ghar baar….

c) Insan bano kar lo bhalai ka koi kaam insan bano… dunia se chale jaaoge rah jaaega bas naam insaan bano……

During the seven day celebration of first Republic day, Rafi Saheb was also invited. But, he was listed for the last day of the programme. When Pandit Jawaharlal Nehru saw Rafi Sahab, he announced – “Mohd. Rafi ko bulwaiye, unka bhi gana sunenge.” Rafi was happy – “Chalo Pandit ji ke saamne gaane ka mauka to mila”. Since all the programmes were already set, the organizers could only squeeze 5 minutes for Rafi Sahab. Once after he took up the microphone, due to heavy audience requests he was there for 30 minutes.

Since food can influence the quality of voice and tone, Rafi Sahab was apprehensive about his intakes. During one occasion when Rafi Sahab was invited by Pandit Nehru, he offered him Chat (Pani Puri wala chat). Rafi Sahab refused very softly – “Maaf kijiyega main ye nahi le sakta.” Pandit ji in return said, “Are main aap ko kuchh khilaunga nahin, le lijiye.” Then Rafi Saheb said- “Pandit ji agar meri aawaz sirf meri hoti to main zaroor  kha leta lekin ab meri aawz  sirf meri nahi rah gayi hai, ab ye pure Hindustan ki ho gayi hai, jiska khyal mujhe rakhna hi padta hai.” On hearing this, Nehru patted him on back and hugged him very affectionately.

Mohd. Rafi Saheb loved children very much. He sent few gifts for them daily in his locality and also played with them whenever he could. At the time of singing a children song he also looked like a child. The song “choon-2 karti aayi chidia, daal ka dana laayi chidia…” Of the film “Ab dilli door nahi” is the live example of the same.

Rafi Sahib’s daily routine was clear and simple. In spite of his great stature, he would ensure his time for his family. He would wake up early and go for a morning walk, after which he would play badminton and then proceed for recordings. He used always dedicate minimum of 4 hours for his daily riyaaz.

Color white was Rafi Sahab’s favourite color and in perfumes he would prefer Yardley. Khemchand, Naushad, C. Ramchand, Jaya Dutt and O.P.Nayyar were few of his favourite MDs.

Rafi Sahab’s own favourite songs were:

a)     Suhani  raat dhal chuki from Dulari

b)     O Dunia ke rakhwale from Baiju Bawra

c)      Man re tu kahe na dheer dhare from Chitralekha

d)     Madhuban me radhika nache re from Kohinoor

Mohd Rafi Sahab & Kishore Da were very dear and close friends. Inspite of being a great singer, Kishore da was also an ardent fan of Rafi Saheb. There was only a single picture in Kishore da’s drawing room and that was of Mohd. Rafi Saheb. According to Manna Dey – “Dono ek dusre ke dil me rahte hain“.

Rafi Saheb is not only known for his songs but also for his great character & humility. His golden voice is a gift of GOD for us.

Unki aawaz ka koi sani nahi. wo insan ke roop me ek FARISTA the aur un jaise insaan roz-roz nahi aate, kabhi sadiyon me janm lete hain. unki aawaz khuda ki kisi NEMAT se kam nahi.

“Sabhi se zuda jiska andaaz hai,

Zami-Ta-Falak jiski parwaaz hai.

Wohi jis per sangeet ko naaz hai,

Mohd. Rafi saheb ki wo aawaz hai.”

According to Naushad Saheb 

“Mahfilon ke daamno me sahilon ke aas- paas, Sadiyon tak ye sada goonjegi dilon ke  aas- paas .. MOHAMMED RAFI .. MOHAMMED RAFI .. MOHAMMED RAFI “

Rafi Sahab - The True Maestro

Rafi Sahab received his training from prominent  classical Ustads like Abdul Wahid Khan,  Pandit Jiwanlal Matto,  Ghulam Ali Khan and Firoz Nizami  -  all doyens and devotees of music.

'Bapu ki Amar Kahani',  a poignant song dedicated to the Mahatma Gandhi,  recorded just a month after Gandhi-ji's assassination in January of 1948,  had Nehru-ji shedding tears at the emotion in Rafi Sahab's voice.  Rafi Sahab sang over 26,000 songs in all the national languages of India in his fourty year career. He was the master of all forms of songs  -  he could sing ghazals,  qawwalis and bhajans with the same ease and greatness.    There came a time in the sixties when Rafi Sahab was the permanent voice of Shammi Kapoor,  Dilip Kumar,  Rajendra Kumar,  Dev Anand,  Dharmendra,  Shashi Kapoor and Raj Kumar.    In fact,  Shammi Kapoor's films were mainly popular because of the songs,  which were sung by Rafi Sahab in a very distinct style.    Rafi Sahab's voice personified the rebellious image of  'Yahoo' star,  Shammi Kapoor  ;   made Rajendra Kumar a 'Jubilee Star'  and Jeetendra a 'Jumping Jack'.    

The great Rafi Sahab even sang for singer-actor Kishore Kumar in movies such as Raagini,  Baaghi,  Shehzaada and Shararat. In 1965 he was honoured with the Padma Shree,  a coveted award of which any Indian citizen would justly be proud. In 1977,  Rafi Sahab received the 'Rajat Kamal' award from then Indian State President, Sri Sanjiva Reddy at the 25th National Film Festival Awards. Humble, unostentatious and soft spoken,  and yet a giant among musicians,  he was a man of tremendous integrity and very often sang without charging a fee for struggling music directors. Words cannot do justice to comprehend what this artist was about. Alas,  there is no substitute today to listening to his voice. His style truly reflected the man's character. The purity of his voice reflected the purity of his ideals and his mind. He was not affected by his greatness and material values never superceded human and social ethics for this spiritual and unassuming maestro.

Rafi Sahab scaled heights of fame and popularity that no other Indian singer ever has or ever will with his haunting melodies that enchanted lovers of music all over the world.     He had an unblemished illustrious career and retained an untarnished and highly dignified reputation in an industry which at times is more known for its vices than the good it produces. Humble in the extreme,  soft spoken,  a gentleman like no other and an embodiment of refinement, he was deeply religious and in a rare interview with Abu Parker in 1979 in Cape Town, South Africa,  Rafi Sahab declared that he held all religions in high esteem. He went on to say that he believed that we are all separate seeds that bloom into one single flower. A veritable king at heart,  he was a true friend of the poor,  ensuring that he regularly paid his zakaat (charity).

Rafi Sahab was the sort of genius who appears once in a life-time ;  unique,  his golden voice continues to flow like essence drawn from several jewels,  a constellation which enriches,  in a mystical way,  the firmanent of music,  the spiritual peak of eternal silence and of the celestial world that listens to itself through the voice of cherubic Mohammed Rafi,  the immortal singer who is interpreter of that very sublime silence.

Not only the nation,  but Indians the world over were stunned on 31st July 1980 when Rafi Sahab left this world to indulge the heavens with his silky voice. His 'last journey'  commenced from 'Rafi Villa'  in Bandra on that sad and wet day as tears from heaven fell on earth,  but The Voice never left us.     To his ardent fans Rafi Sahab will always be immortal,  for The Voice will always remain with us.