#Muhammad rafi special on binaka geetmala Patch#
Initially, some music directors tried to get Lata to sing with Mahendra Kapoor, but the latter - a clone of Rafi - was no patch on the original. As it turned out, the loss was hers for while composers got them to sing solos, for duets they turned to Suman Kalyanpur, the Lata sound-alike, to keep pace with Rafi. She then decided not to record duets with him. The other day, during a phone conversation, crooner Nayyara Noor and I recalled Rafi's plaintive rendition of Dagh's ghazal 'Ghazab kiya tere waaday pe etbar kiya.' We compared it with Mehdi Hasan's version of the same poem and agreed, without being unjust to the ghazal king, that Rafi had infused his rendition with a depth of feeling and wistfulness that were nowhere to be found in Hasan' recording.Īs I think of Rafi, I am reminded of the period when on the issue of royalty for the singer, he disagreed with other singers led by Lata Mangeshkar and therefore incurred her wrath. One would have loved to listen to his wistful numbers live. He sang four numbers but my only regret is that they were all light numbers. But as bad luck would have it, death claimed Rafi before he reclaimed his crown.Īs one who had watched and heard him live way back in 1964 at a function in aid of the Anjuman-e-Islam School, organised by Dilip Kumar, a former student of the institution, I could see that the man sang effortlessly in the presence of a large audience at Bombay's Birla Hall (it wasn't Mumbai back then). In fact, he had staged a comeback and his songs outnumbered the ones recorded by Kishore in Binaca Geetmala, the most popular hit parade of the 1970s. Interestingly, Rafi's renditions never lost their charm.
From the time he dethroned the velvet-voiced Talat Mahmood in the second half of the 1950 to the early 1970s when Kumar became the numero uno singer, Rafi was at the peak of his popularity. That he has recorded more film songs than any other male singer in the subcontinent, even though he passed away early, is a tribute to his many-sided musical genius. It was recorded, however, in the well trained voice of Rafi. In film Ragni, the semi-classical number 'Man mora bawra' was picturised on Kumar, who was an in-demand actor at the time. Nayyar employed Rafi to lend his voice to Kishore more than once. While on the topic of Kishore Kumar, one cannot forget that no less a composer than maestro O.P. His voice also had the kind of verve which Kishore Kumar was the only film singer to have possessed. Likewise, he could render film songs based on ragas with the same degree of command over classical music as Manna De, but with a difference - his rendition was more supple than the senior singer's. He could warble ghazals as soulfully as Talat Mahmood could, but infuse more expression in his renditions. Mohammed Rafi, who passed away on July 31, 1980, was what a playback singer should ideally be - in one word, versatile. The legendary playback singer Mohammed Rafi.
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