Showing posts with label MOHD RAFI SONGS HINDI. Show all posts
Showing posts with label MOHD RAFI SONGS HINDI. Show all posts
Wednesday, March 26, 2008
Monday, March 10, 2008
GREAT PERSONALITY
GREAT PERSONALITY AND GREAT RESPECT
BY SHASHANK CHICKERMANE
A great man is one who has a great following. Several names of great human beings come up in our mind and the sheer following that they command is a true testimony to their greatness.
Hindi film world and music has produced hundreds of such great men and women, who have been or are still household names and the country is proud of them all. And one such tall and towering personality is known by the name MOHAMMED RAFI SAHAB. Such is the aura attached to this great name that his name will rank first and foremost as long as music is discussed by all lovers of Hindi film music.
However, all ‘great’ people depart earlier than expected and Rafi Sahab suddenly bid adieu to the shock of millions of grief stricken and shell-shocked followers throughout the world. 31st July 1980. A black day indeed. It was on this day that we lost a great legend and a great playback singer Mohd Rafi Sahab.
However, we as a civilized society also continue to shower our respects to all our noble and great personalities by celebrating their birth anniversaries and mourn their death anniversaries. Although 27 years have elapsed since Rafi Sahab’s departure, fans throughout the length and breadth of the country as also overseas celebrate his birth anniversary and death anniversary paying floral tributes. At many centres, programmes are held in auditoriums by various groups remembering the beauty of Rafi Sahab’s songs. If at a centre the ‘evening’ is titled as “RAFI KI YADEIN”, it is aptly called “EK SHAM RAFI KE NAAM”.
I came across this wonderful news item that was published in the “Rajasthan Patrika” reporting news of the birthday celebration of Rafi Sahab at the Patliputra International Trade Fair organized by a school “The Miller”. They say a picture is worth a thousand words. Look for yourself at the photograph below -
In one of the school named “The Miller” one trade fair was organized in this school maiden called Patliputra International Trade Fair, they organized Mohdrafi’s anniversary. The school children and the teachers along with the authorities were seen feeding cake to the late singer mohdrafi’s photo and it was greatness to this legends respect from the school children.
Just by a fleeting glance at the picture I had a feeling that we should report such activities on the website for the benefit of all Rafians. And we should do similar activities in other cities too. I have earlier informed A S Murtyji and Shirish Kulkarniji about a procession in my native place – Dharwad - every year on the birth and death anniversary of Rafi Sahab with his photo sprinkled with flowers. What a great respect from the people of Dharwad. I wanted to express this with great respect that Mohd. Rafi Sahab is there with us and will be there forever till this world ends.
I request all the Rafians to report similar activities from their towns or cities so that we are benefitted with this kind of information and the Rafi Foundation should chronicle them for the forthcoming issues of their magazine.
BY SHASHANK CHICKERMANE
A great man is one who has a great following. Several names of great human beings come up in our mind and the sheer following that they command is a true testimony to their greatness.
Hindi film world and music has produced hundreds of such great men and women, who have been or are still household names and the country is proud of them all. And one such tall and towering personality is known by the name MOHAMMED RAFI SAHAB. Such is the aura attached to this great name that his name will rank first and foremost as long as music is discussed by all lovers of Hindi film music.
However, all ‘great’ people depart earlier than expected and Rafi Sahab suddenly bid adieu to the shock of millions of grief stricken and shell-shocked followers throughout the world. 31st July 1980. A black day indeed. It was on this day that we lost a great legend and a great playback singer Mohd Rafi Sahab.
However, we as a civilized society also continue to shower our respects to all our noble and great personalities by celebrating their birth anniversaries and mourn their death anniversaries. Although 27 years have elapsed since Rafi Sahab’s departure, fans throughout the length and breadth of the country as also overseas celebrate his birth anniversary and death anniversary paying floral tributes. At many centres, programmes are held in auditoriums by various groups remembering the beauty of Rafi Sahab’s songs. If at a centre the ‘evening’ is titled as “RAFI KI YADEIN”, it is aptly called “EK SHAM RAFI KE NAAM”.
I came across this wonderful news item that was published in the “Rajasthan Patrika” reporting news of the birthday celebration of Rafi Sahab at the Patliputra International Trade Fair organized by a school “The Miller”. They say a picture is worth a thousand words. Look for yourself at the photograph below -
In one of the school named “The Miller” one trade fair was organized in this school maiden called Patliputra International Trade Fair, they organized Mohdrafi’s anniversary. The school children and the teachers along with the authorities were seen feeding cake to the late singer mohdrafi’s photo and it was greatness to this legends respect from the school children.
Just by a fleeting glance at the picture I had a feeling that we should report such activities on the website for the benefit of all Rafians. And we should do similar activities in other cities too. I have earlier informed A S Murtyji and Shirish Kulkarniji about a procession in my native place – Dharwad - every year on the birth and death anniversary of Rafi Sahab with his photo sprinkled with flowers. What a great respect from the people of Dharwad. I wanted to express this with great respect that Mohd. Rafi Sahab is there with us and will be there forever till this world ends.
I request all the Rafians to report similar activities from their towns or cities so that we are benefitted with this kind of information and the Rafi Foundation should chronicle them for the forthcoming issues of their magazine.
Thursday, February 28, 2008
HIS MAJESTY'S VOICE
HIS MAJESTY’S VOICE
By A
Among the many boisterous fast songs sung by Mohd. Rafi Sahab, one song stands out as kingly as any can be. That song is the title song from the film RAAJKUMAR – Jaane Wale Zara Hoshiyar Yahan Ke Hum Hain Raajkumar. The song is picturised on the return of the prince to his kingdom from studies abroad and is so wonderfully picturised that one feels totally immersed in the sequence of events. Shammi Kapoor, the prince is atop a fully bedecked royal elephant, what with an entire band of trumpeteering band and scores of royal guards and aides in attendance. The setting is perfect for a royal entourage – the costumes, the glittering ornaments, the perfect lyrics and the fast paced music. The icing on the cake is once again the magical and shahanshahi rendering by Rafi Sahab. “Hoshiyaar, Hoshiyaar” echoes through the vast surroundings and through the entire route that the princely journey takes the viewers along. There is this ‘couldn’t care less’ attitude and a subtle message for the world that when a prince is taking a walk, the lesser beings beware. And lest anyone undermine the ‘king in the making’, he yells “Yahan Ke Hum Hain Raajkumar”. The subjects are reminded that the royalty affords him the centre-stage and that he has armies in front and at the back.
The first stanza proclaims that their ‘prince’ has toured the world and knows the “American” and “European” misdemeanors well enough. And dares anyone to come forward to test and be conquered. “Saari Duniya mein apni jaykaar” the prince emphatically declares. The second ‘antara’ gives the message that youthfulness and romanticism is with HIM alone and that HIS life story is fully colourful. The flow of masti and enjoyment is found in all the syllables and notations. The mood is of exuberance and celebration. One would notice that the frequent shouts of “OYE OYE” is there in all the three stanzas, but reaches a crescendo in the final stanza, where instead of these, the prince shouts it differently and in a reverberating fashion. The throwing of words in such ‘THHAT” and “DHOOM” cannot be found in any other song in such majestic manner. The prince has arrived and a future ‘KING’ is identified. LONG LIVE THE KING. LONG LIVE HIS MAJESTIC VOICE. That is Mohammed Rafi Sahab who cannot be replaced with anyone else when it comes to proclaiming one’s kingdom. The territory is well defined and he is the master of his subjects. And a king who is revered by his subjects, loved by the royalty and his royal army.
The song is therefore among the number one spot by all standards when it comes to boisterous and royal attitude. Take the other hits from the films of Shammi Kapoor – for instance the Junglee “Yahoo” (full throated yelling at the very best) and An Evening in Paris number – Aasman Se Aya Farishta (again the opening lines roaring from the sky above). They and many other songs are so highly placed songs that no singer would even dare to come near them, leave alone rendering them in such high voltage. But, this royale song from Rajkumar has the combination of all the high pitch and fast paced notes and the princely air around it that it cuts the winner’s tape easily, relegating many from such clan to be only ‘good competitors’.
I have often felt deeply distressed after Rafi Sahab’s departure in 1980 and could never relish the songs that came afterwards sans his voice. We have everything in life - a family, a source of income, children, friends - yet somewhere something was always missing. And that missing link is the unfathomable and the golden voice of Rafi Sahab. Often my thoughts brought me to a popular Urdu couplet : “TERE BAGAIR
Monday, February 18, 2008
RAFI FOUNDATION - HYDERABAD CHAPTER
THE RAFI FOUNDATION AT HYDERABAD
BY A.S. MURTY
(asmurty2@rediffmail.com)
Posted on www.mohdrafi.com and www.eternalrafi.com
and also available on my other blog:http://rafimurty.rediffiland.com/
Since the time the Rafi Foundation got going at Mumbai, followed by its Delhi Chapter’s birth, we at Hyderabad were mulling over the idea of forming the Hyderabad Chapter. Likeminded persons got to know one another through the pages of http://www.mohdrafi.com/ and also names of probable contacts were forwarded to us from Mumbai and Bangalore. It was by chance that I got to know first Mr. P. Narayanan from Bangalore on the website.
I had all along known only the songs of Rafi Sahab and was influenced since my own childhood by the uniqueness of this legendary singer. While I liked any good composition with good lyrics rendered in a class of its own by any singer, Rafi Sahab scored over the rest by his clarity, diction, softness and full of zeal and emotion in his songs. Such was the impact of his rendition that I had never the difficulty in understanding the mood of the song. Rafi Sahab conveyed it all through his voice. One need not see the movie from which a song was rendered. There it was for the entire world to relish the efforts put in by the producers, the directors, the story writers, the lyricists, the music directors and above all the actors. The entire picture is before our eyes – only the singer had to be Rafi Sahab.
It was through Mr. Narayanan Ji that I first got to know of the Rafi Foundation and its proposed activities. I was immediately drafted into this. I had no hesitation to announce my association with the Rafi Foundation. Slowly as we went about reading the various articles on the website and interacting with other “RAFIANS”, we got to know and understand more of our own tribe. Several notable names crop up in my mind – Mr. H.V. Gurumurthyji, Mr. B. Venkatadriji, Mr. Mohan Floraji, Mr. P. Haldarji, Mr. Hussein Sheikhji, Mr. Binu Nairji, etc. etc. It would take another twenty to twenty-five names if I were to name all the very active RAFIANS on the website. Mr. Narayanan introduced me to Mr. S. Ramakrishnaji, also from Hyderabad and we had a long conversation. Instantly we hit it off as I found to my pleasant surprise that Mr. Ramakrishna was not only an ardent fan of Rafi Sahab, but also a very vocal one. He is endowed with the best of musical knowledge. I started discussing these and other articles with my other two known RAFIAN friends Mr. R. Padmanabhan and Mr. A.V. Srinivasan who are my colleagues too. Then we learnt that another good friend of ours, Mr. N.R. Padmanabhan, too was a die-hard fan of Rafi Sahab. This was too good to be true. In my own backyard, I suddenly found an avalanche of Rafi Sahab’s fans – all with equal or more knowledge of Hindi film world, Rafi Sahab’s songs, etc. The first thing that we five did was to subscribe to the SARGAM magazine published by the Rafi Foundation from Mumbai. It was during the publication of the magazine’s first issue last year that we came in contact with Mr. Shirish Kulkarni. Again, the very first phone conversation that I had with Mr. Shirish Kulkarni, I knew that we had discovered a new friend who is equally devoted to the one name that we all adore – Mohammed Rafi Sahab.
We continued our socializing on the website and also through regular emails and phone calls between Hyderabad on one side and Bangalore, Mumbai, Chennai, New Delhi and other places on the other. I personally have made the best of friends in the recent times and all with a common agenda – that of propagating the works of Rafi Sahab. Though on the wrong side of the 50s, we decided not to let go of this wonderful phase in our lives and we began organizing our own meetings in Hyderabad. If on one Sunday all my other Hyderabadi “RAFIANS” would come to my house, we would all assemble at Mr. Ramakrishna’s house the next Sunday. We would spend a few hours singing songs of Rafi Sahab and also discussing how to expand our horizon. Again our friends Mr. Narayanan and Mr. Shirish Kulkarni gave us several “leads” of “Rafians” and we were on the phone the next moment contacting them, often with success. Most of the other “Rafians” may not be very active, but it does not dwarf their commitment to the common agenda that we have ahead of us.
And then came one of the best moments in our path so far, in the form of visit to Hyderabad by Mr. Shirish Kulkarni alongwith his friend from Mumbai Mr. Joseph D’Souza on a personal visit. They had however kept one full day for us before they left for a remote area on their personal work for the next two days. 25th January, 2008 was a day we will remember for all time to come. That day we had decided to assemble in the hotel room occupied by Mr. Shirish and Mr. Joseph. We rang up to other friends and we were also joined in by Mr. Mir Hasan Ali and Mr. Raghavendra Rao. It would be a record of sorts if I state here that we were all huddled up in that room on that day from 2.00 p.m. to 11.00 p.m. and all through we were singing Rafi Sahab’s songs and discussing the Rafi Foundation, the Bharat Ratna Award and other “RAFIANS” known to us. No one bothered about food, we were only interested in Rafi Sahab’s songs and his style of singing. Just an occasional cup of tea every few hours would suffice. No one bothered that each one of us had to go very long distances to reach our homes. Only one topic was central in our minds – RAFI SAHAB. Our families too did not ‘disturb’ us enquiring when we will return home. They all knew only Rafi Sahab will let us go and at an appropriate time. During the time we spent at the hotel room, Mr. Narayanan from Bangalore, Mr. Shashank Chickermane from Mumbai, Mr. Zareef Ahmed from New Delhi and others spoke to each of us. Names that were not known to one another only a few months back seemed so familiar and from within the family. This is the magic of Rafi Sahab. Bonds were created for eternity from the one and only – THE ETERNAL RAFI SAHAB.
And just as Rafi Sahab would have said “Ek Akela Thhak Jayega, Milkar Haath Baddhana, Saathi Haath Baddhana, Saathi Haath Baddhana”, we all took the solemn oath of working together to form the HYDERABAD CHAPTER of the RAFI FOUNDATION. A suitable name for this organization would be discussed shortly.
I and Mr. Ramakrishna have been contacting many more RAFIANS here in Hyderabad and the strength is swelling. Mr. Samarjeet Acharjee (just 27 years of age) is the latest entry into our fold (he has been a RAFIAN all his life and has even posted an article on http://www.eternalrafi.com/). There are several other plans in our mind and the following months will unfold them all.
TOHFA WOH MILA MUJHE, JISPAR DUNIYA KO NAAZ HAI
SAARE JAHAN SE KHOOBSORAT, RAFI TERA ANDAAZ HAI
BY A.S. MURTY
(asmurty2@rediffmail.com)
Posted on www.mohdrafi.com and www.eternalrafi.com
and also available on my other blog:http://rafimurty.rediffiland.com/
Since the time the Rafi Foundation got going at Mumbai, followed by its Delhi Chapter’s birth, we at Hyderabad were mulling over the idea of forming the Hyderabad Chapter. Likeminded persons got to know one another through the pages of http://www.mohdrafi.com/ and also names of probable contacts were forwarded to us from Mumbai and Bangalore. It was by chance that I got to know first Mr. P. Narayanan from Bangalore on the website.
I had all along known only the songs of Rafi Sahab and was influenced since my own childhood by the uniqueness of this legendary singer. While I liked any good composition with good lyrics rendered in a class of its own by any singer, Rafi Sahab scored over the rest by his clarity, diction, softness and full of zeal and emotion in his songs. Such was the impact of his rendition that I had never the difficulty in understanding the mood of the song. Rafi Sahab conveyed it all through his voice. One need not see the movie from which a song was rendered. There it was for the entire world to relish the efforts put in by the producers, the directors, the story writers, the lyricists, the music directors and above all the actors. The entire picture is before our eyes – only the singer had to be Rafi Sahab.
It was through Mr. Narayanan Ji that I first got to know of the Rafi Foundation and its proposed activities. I was immediately drafted into this. I had no hesitation to announce my association with the Rafi Foundation. Slowly as we went about reading the various articles on the website and interacting with other “RAFIANS”, we got to know and understand more of our own tribe. Several notable names crop up in my mind – Mr. H.V. Gurumurthyji, Mr. B. Venkatadriji, Mr. Mohan Floraji, Mr. P. Haldarji, Mr. Hussein Sheikhji, Mr. Binu Nairji, etc. etc. It would take another twenty to twenty-five names if I were to name all the very active RAFIANS on the website. Mr. Narayanan introduced me to Mr. S. Ramakrishnaji, also from Hyderabad and we had a long conversation. Instantly we hit it off as I found to my pleasant surprise that Mr. Ramakrishna was not only an ardent fan of Rafi Sahab, but also a very vocal one. He is endowed with the best of musical knowledge. I started discussing these and other articles with my other two known RAFIAN friends Mr. R. Padmanabhan and Mr. A.V. Srinivasan who are my colleagues too. Then we learnt that another good friend of ours, Mr. N.R. Padmanabhan, too was a die-hard fan of Rafi Sahab. This was too good to be true. In my own backyard, I suddenly found an avalanche of Rafi Sahab’s fans – all with equal or more knowledge of Hindi film world, Rafi Sahab’s songs, etc. The first thing that we five did was to subscribe to the SARGAM magazine published by the Rafi Foundation from Mumbai. It was during the publication of the magazine’s first issue last year that we came in contact with Mr. Shirish Kulkarni. Again, the very first phone conversation that I had with Mr. Shirish Kulkarni, I knew that we had discovered a new friend who is equally devoted to the one name that we all adore – Mohammed Rafi Sahab.
We continued our socializing on the website and also through regular emails and phone calls between Hyderabad on one side and Bangalore, Mumbai, Chennai, New Delhi and other places on the other. I personally have made the best of friends in the recent times and all with a common agenda – that of propagating the works of Rafi Sahab. Though on the wrong side of the 50s, we decided not to let go of this wonderful phase in our lives and we began organizing our own meetings in Hyderabad. If on one Sunday all my other Hyderabadi “RAFIANS” would come to my house, we would all assemble at Mr. Ramakrishna’s house the next Sunday. We would spend a few hours singing songs of Rafi Sahab and also discussing how to expand our horizon. Again our friends Mr. Narayanan and Mr. Shirish Kulkarni gave us several “leads” of “Rafians” and we were on the phone the next moment contacting them, often with success. Most of the other “Rafians” may not be very active, but it does not dwarf their commitment to the common agenda that we have ahead of us.
And then came one of the best moments in our path so far, in the form of visit to Hyderabad by Mr. Shirish Kulkarni alongwith his friend from Mumbai Mr. Joseph D’Souza on a personal visit. They had however kept one full day for us before they left for a remote area on their personal work for the next two days. 25th January, 2008 was a day we will remember for all time to come. That day we had decided to assemble in the hotel room occupied by Mr. Shirish and Mr. Joseph. We rang up to other friends and we were also joined in by Mr. Mir Hasan Ali and Mr. Raghavendra Rao. It would be a record of sorts if I state here that we were all huddled up in that room on that day from 2.00 p.m. to 11.00 p.m. and all through we were singing Rafi Sahab’s songs and discussing the Rafi Foundation, the Bharat Ratna Award and other “RAFIANS” known to us. No one bothered about food, we were only interested in Rafi Sahab’s songs and his style of singing. Just an occasional cup of tea every few hours would suffice. No one bothered that each one of us had to go very long distances to reach our homes. Only one topic was central in our minds – RAFI SAHAB. Our families too did not ‘disturb’ us enquiring when we will return home. They all knew only Rafi Sahab will let us go and at an appropriate time. During the time we spent at the hotel room, Mr. Narayanan from Bangalore, Mr. Shashank Chickermane from Mumbai, Mr. Zareef Ahmed from New Delhi and others spoke to each of us. Names that were not known to one another only a few months back seemed so familiar and from within the family. This is the magic of Rafi Sahab. Bonds were created for eternity from the one and only – THE ETERNAL RAFI SAHAB.
And just as Rafi Sahab would have said “Ek Akela Thhak Jayega, Milkar Haath Baddhana, Saathi Haath Baddhana, Saathi Haath Baddhana”, we all took the solemn oath of working together to form the HYDERABAD CHAPTER of the RAFI FOUNDATION. A suitable name for this organization would be discussed shortly.
I and Mr. Ramakrishna have been contacting many more RAFIANS here in Hyderabad and the strength is swelling. Mr. Samarjeet Acharjee (just 27 years of age) is the latest entry into our fold (he has been a RAFIAN all his life and has even posted an article on http://www.eternalrafi.com/). There are several other plans in our mind and the following months will unfold them all.
TOHFA WOH MILA MUJHE, JISPAR DUNIYA KO NAAZ HAI
SAARE JAHAN SE KHOOBSORAT, RAFI TERA ANDAAZ HAI
Tuesday, January 29, 2008
Khush Rao Ahale Chaman...
Khush Raho Ahle Chaman...
By Administrator, on 21-01-2008 12:48
Views : 90
Favoured : 2
Published in : About Rafi Sahab, Media Talks
The following article was published in Filmi Kaliyaan in October 1980 edition, it has some rare photographs from Rafi sahab's last journey to the heavens above. Can't thank Samarjit Acharjee (from Hyderabad) enough for providing the scanned copy of the article and Aseer bhai for taking so much pain to transliterate (convert from devnagri script to english script) the entire article which is in Hindi. Read the article with a pinch of salt, because it may not be factually correct, we have not modified its content and hence any error in the reported facts or incidence is soul responsibility of the original author for the Fimli Kaliyan Magazine, and by publishing the same we do not endorse any of the discrepancies in the article.
Playback Singing ke Sehenshah
Mohammed Rafi ki mrityu 31st july ko raat ke 10 bajkar 25 min par Bombay hospital me hui. Ussse pahle jab unke dil me dard utha tha to unhe Mahim par National Hospital laya gaya. Jab unka dil puuri tarah se block ho gaya to unhe pace making ke liye Bombay hospital le aaya gaya jahan doctor ki koshish unhe bacha na saka.
Mrityu ke samay unke 3 ladke, ek ladki aur damad London me the. Unki patni, ek anya ladki aur damad aur kuchh anya rishtedar mrityu ke samay unke bistar ke paas maojud the.
Jaise hi 10 bajkar 25 min ke baad unki mrityu ka samachar aaya to badi badi filmi hastiyan hospital ke or daud pade. Jahan se unka shab unke nibassthan bandra laya gaya aur subah Mohammed Rafi ke bandra niwas par hazaron log jama ho chuke the. Jinme raj kapoor, dharmendra, vinod mehra, randhir kapoor saira banu; gayikaon me lata mangeshkar, asha bhosle, usha mangeshkar, kishore kumar, sulakshana pandit aur sangeet karon me naushad , kalian ji anand ji, laxmikant pyareal ullekhniya hain.
Lata mangeshkar, asha bhosle aur usha mangeshkar ne unke shab malayein chadhakar unhe antim samman diya. Saira banu ke saath unki maa nasima ne bhi mohammed rafi ke shab par mala chadhai. Mohammed Rafi ke niwas par jo filmi hastiyan nazar aa rahe theunme Bombay ka sheriff dilip kumar aur manoj kumar ka naam ullekhniya hai.
Yojna ke anusar unki shab yatra London se unki 3 bete, ek beti aur damad ke aane ke baad shuru hona tha- lekin woh chuki shukrabar ko pahuch nahi sakte aur ramzaan ka shukrbaar shubh samjha jata hai isliye agle agle roz tak unka intezaar karne ka soch chhod diya gaya. Unka janaza jiske saath rishtedaron aur filmi hastiyan ke atirikt hazaron logon ki bhi bhid this pahle unhe unke niwas se bandra ki jama masjid tak le aaya gaya. Jahan shukrabar dopahar ke namaaz ke baad namaz a janaza ada ki gayi. Barish ke bawajud masjid par hazaron logon ki bhid thi. Wahan se janaza do baje nikala gaya aur unka safar juhu ke kabristanki taraf shuru hua. Kabristan se masjid koyi 6 kilometer hai. Mohammed rafi ka shab truck me rakha hua tha jiske saath saath hazaron log chal rahe the. Aakhir unki shab yatara 4 baje wahan pahuchi. Ek baar to bhid itni badh gayi ke police ko halka lathhi charge karna pada. Bahut sare log pedon par aur chaton par khade hue the taaki wahan se mohammed rafi ka antim darshan achchi taah se kar paye. Bhid us waqt niyantran ke baha hui jab filmi hastiyan kabristan me aana shuru kiya. Kabrstan me maujood hastiyon me jasraj, dilip kumar, raj kapoor, sunil dutt, rajendra kumar, sanjib kumar, , amitabh bachchan, binod khanna, randhir kapoor, amjad khan, kader khan, rakesh oshan; music directo naushad, salil chowdhury, sudhir phadke, rabindra jain, kalian ji –anand ji, rajesh roshan, laxmikant pyarelal, S mohinder, gulshan bahl, sardul kwarta; gayak mahendra kapoor, nitin mukesh; geetkaar rajendra krishan, qamar jalalbadi, anjaan, hasrat jaipuri, bharat vyas; nirmata OP ralan, yash chopra, ramanand sagar, subhas desai, manohan desai, prakash mehra, nasir hussain, SM rahi aur ved rahi nazar aa rahe the.
Mohammed Rafi ke mrityu ke baad lata mangesgkar ne kaha ki kundan lal sehgal ki mrtiyu ke baad Mohammed Rafi ne unki jagah bhar diya tha, woh ghazal, geet, qawali,bhajan,lokgeet har prakar ke geet ga sakte the.
Yeh this hai , KL sahgal ki jagah Mohammed Rafi jaise gayak ne bhar diya. Kyunki jab kundan lal sahgal ki mrityu hui thi to Mohammed Rafi jaisa gayak tha jo har prakar ki geet ga sakta tha lekin Mohammed rafi ki mrityu ke saath lagta hai ki filmon se sangeet ka yug hi samapt ho gaya hai. Aaj ek bhi gayak aisa nazar nahi aata jo unki jagah le sake.
Unpar kundan lal sahgal zikr aaya hai to mujhe ek ghatna yaad aa gayi. Lahore me George the 6th ke tajposhi ke khushiyan manayi ja rahi thi, us awsar par wahan eke k sangeet samaroh ayojit kiya gaya tha, jiska incharge pyarelal sood the. Us samaroh me kundan lal sahgal aanewale the. Mohammed rafi ke bhai ne pyarelal sood ko kaha tha ki unka bhai Mohammed Rafi bahut achcha gata hai use bhi us samaroh me gane ka maoka diya jaye. Pyarelal sood ne ne kaha main wada nahi karta lekin tum use lekar aa jana.
Mohammed Rafi itni si baat se hi khush the ki chalo mahaan gayak sahgal ko dekhne ka awsar milega. Pahle geet sunkar sahgal ne kaha, ladka achcha gar aha hai,gaane do. Dusra geet sunkar sahgal ne kaha fir milenge aur unka fir milne ka wada bhi jaldi hi pura ho gaya. Uske baad woh film shahjahan me mile jisme Rafi aur sahgal ne saath gaya tha.
Mohammed rafi ko bachpan se hi gane ka sauk tha.lekin unhe gane ka shauk kaise hua tha ye bhi dilchasp kahani hai aur jiska zikr ab tak Hindustan ke kisi newspaper me nahi hua. Ya aap sarv pratham filmi kaliyan me padhenge. Yeh baat mohammed Rafi ne bahat pahle ek interview me bataya tha.
Yahan hum aapko ye bhi bata de ke unka janm 24 dec 1924 ko Amritsar ke kotla sultan singh me hua tha. Jis muhalle me wo rahte the wahan ek faqir bhikh mangne aaya karta tha aur gaa kar bhikh manga karta tha. Mohammed Rafi uskiawaz sunkar hi ghar se bahar aa jate the. Ab tak wo faqirwahan bhikh mangta tha, woh unke saath rahte the. Bas wohi se unhe gane ka shauk hua.
Us faqir ki sangat me hiunhe gane ka shauk hua. Nahi to unke pariwr me gane ki koi riyayat nahi thi. Mohammed Rafi ki pratibhak ko prtosahan me unke bhai hamid ka bahut bada haath raha, jinhone unhe ustad wahid khan aur ustad jawahar lal matto se milwaya. Mohammed Rafi ne unki shagirdi ki. Badi lagan se sangeet ka addhyan kiya.
Yeh us jamane ki baat hai, jab mook filme bana karti thi, lekin! Jab rafi kishor avastha mein hi the to filmone bolna bhi suru kar diya. Aalamara san 31 me bani aur usme pahla geet dablu am khan ne gaya gaya tha, dey dey khuda ke naam par. Mohammed rafi ko film ke liye gane ka pahla avsar Punjabi film ‘gul baloch’ me mila. Gana tha, sohniye ni hiriye ni.
Un dino rafi apne bhai ko lekar sangeet karyakramo me jate rahte the. Jaaladhar ke ek mele me wah muhammad rafi ko le gaye jo kundan lal sahgal ka sahar tha. Us sehar ke log us mele me mohammed rafi ki awaz par mugdh ho gaye. Vahin abhineta Nazir jo swarnalata lata wali laila majnu ke hero the ne unhe suna aur rafi ki awaz se itne prabhawit huye ki unhe bambai ane ka nimantran de diya. Yun sangeetkar naushad ka kahna hai ki mohammed rafi unke naam luckhnow se unke rishtedaar ki chitthi lekar aaye the. Vah yeh baat san 31-32 ki batate hain. Ho sakta hai rafi ke bhai hashim ne naushad ke sambandhi ka patra prapta kar liya ho, lekin 31-32 mein 24 ke paida huye rafi ki umr kya hogi. Ho sakta hai naushad sahib ko san theek se yaad na raha ho. Kyonki un dino talki shuru hi hui thi aur 31-32 me naushad sahib ka koi khash mukaam nahi tha. Haan san 41 ke lagbhag unhone rafi ko ‘pahle aap’ me gane ka avsar diya tha. Yah film kardar ne banayi thi. Kardar ko lahore se bhagkar bambai aana pada tha, kyonki unhone wohaan bahaar akhtar ko lekar ek film banayi thi. Bahar akhtar ke ghar walon ne kardar par ladki bhagane ka ilzam lagaya tha aur woh film ke negative jalakar bambai aa gaye the. Bahar akhtar aur sardar akhtar do bahnein thi, jinme bahar kardar ki patni bani aur sardar ne mehboob khan se vivah kiya tha.
’Pahle Aap’ se pahle rafi ne film ’laila majnu’ me koras gaya tha. Us film ke sangeetkar the pandit govind ram. Us korus me mohammed rafi saadharan gaayak the aur mukhya gaayak the mastan. Om shivpuri ke bhai. Ab kudrat ka khel dekhiye, jab ke. Aasif ne ’laila majnu’ par love and god shusu ki to usmein bhi ek korus rakha gaya aur us koras me mohammed rafi mukhya gaayak the aur mastan saadharan gaayak. Shuru-shuru me mohammed rafi ko saadharan gaayak ke roop me bhi gana pada. Bombay talkies ki film majdoor ke korus me mohammed rafi ne gaaya tha. Iska rahasyodghatan sangeetkar chitragupt ne kiya tha. Kyonki majdoor ke us geet me woh mohamemd rafi ke saath the.
Mohammed rafi ko pahli baar lokpriyata mili film ‘jugnu’ se. Is film me unhone ’woh apni yaad dilane ko rumaal purana chhod gaye.’ Wale geet me dilip kumar ke saath abhinay bhi kiya tha. Yehaan badla wafa ka bewafai ke siwa kya hai aur muhabbat karke bhi dekha muhabbat me bhi dhokha hai, geet ke saath unki prasiddhi pure desh me phail gayi thi.
Yehaan yah batana bhi ullekhniye hoga kee jis film mein Mohammed rafi ne pahli baar sehgal ke saath gaya tha, usi film mein naushad ke liye sehgal ne bhi pahli baar gaya tha. Uske baad naushad ke sangeet nirdeshan mein rafi lagaatar gate rahe. Yehaan mujhe film ’shaheed’ yaad ati hai. Is film mein mohammed rafi ne ek geet gaya thaa, watan ki raah mein watan ke naujawaan shaheed ho.
Jab dilip kumar ki bahen ne woh geet suna tha to woh hichkiyaan le kar rone lagee thi.
Mohammed rafi apne geeton me apni bhavnayein bhar dete they.
Yehaan mujhe film ‘baiju bawra’ yaad aati hai. Us film ka ek geet tha, ‘oh dunia ke rakhwale sun dard bhare mere nale’, is geet me praan dalne ke liye mohammed rafi ne apne prano ki parwaah nahi ki thi.
Shaayad aaj bahut kam log jante hain kee yeh geet gaate huye mohammed rafi ke gale se khoon aa gaya tha, us ek udahran se yah pata chalta hai kee woh kisi bhi geet ko gane ke liye kitni mehnat karte the. Jo bhi gate they, uski ‘perfection’ ke liye jaan ki baazi laga dete they.
Aisi he ek ghatna mughale aazam ke gete ki recording par hui thi. Aye muhabbat zindabad mein unhone apni aawaz ko jitna uncha uthaya hai kya koi utha sakta hai, lekin us aawaz ko itna uncha uthate-uthate woh swayam behosh ho gaye they.
Aaj kla ke prati aisa samarpan kya kisi gaayak mein hai?
Kya dunia ke itihaash me koi aisa gaayak milega. Jisne apne 35 varsha ke filmi jeevan me 26000 geet gaye hon. Woh hindi fimlo ka ek house hold naam ban gaye the. woh bhaarat ke sangeetmay jeevan ka ek atoot hissa ban chuke the. jo 26000 geet unhone gaye hain. Woh shaadi-vyaah, maut, such-dukh, har avsar par logon ko mohammed rafi ki yaad dilate rahenge. Shaadi me ladki ki vidayi ke samay babul ki duaayein leti ja, ja tujhko sukhu sansar mile, sunkar kiska dil nahi bhar aayega. Jeevan ka aisa koi bhi avsar nahi jiske liye mohammed rafi ka record na ho. Koi bhi aisi bhavna baaki nahi bachi jisse unhone apni aawaz se abhivyakt na kiya ho.
Sabse badi vidambana to yah hai kee aaj hindi filmon me ek bhi aisa gaayak nahin hai jo mohammed rafi ki jagah le sake aur aaj har darshak ek hi sawaal puchhta hai kee mohammed rafi ke baad kaun? Ek zamane me mahendra kapoor ne unki jagah lene ki koshish ki thi, lekin mohammed rafi se milti-julti aawaz hone ke baavjood use na sahir ke geet aur na hi ravi ka sangeet aur na lata ka saath hi mohammed rafi bana paya aur na hi anwar hi mohammed rafi ban sakta hai. Kyonki mohammed rafi se milti-julti aawaz se hi koi mohammed rafi nahi ban sakta, uske liye saadhna ki jaroorat hai. Kya koi gaayak itni mehnat kar sakta hai kee woh dunia ke rakhwale, gaate-gaate woh apne mohammed rafi ki tarah apne gale ka khoob bhi baha de. Kya koi aawaz ko upar uthane ke liye mohammed rafi ki tarah behosh hua hai.
Kya aaz koi aisa gaayak hai jo mohammed rafi ki tarah sada aur paak jeevan jee sake. Filmi dunia mein rah kar bhi vivadon se door rah sake. Jab woh is dunia se gaye to unka daaman paak thaa. Unke charitra par ek bhi daag aur dhabba nahi tha.
Yah mohammed rafi ki saadhna hi thi kee woh jeevan bhar lokpriya rahe. Nahi to talat mahmood jitney achhe gaayak they. Unhe ghazalon ka badshah kaha jata hai, lekin unki lokpriyata unke jeevan mein hi khatm ho gayi, kyonki woh mohammed rafi ki tarah har prakar ke gaane nahi gaa sakte the. mukhesh bhi mrityu se pahle ek baar gumnami ke daur me chale gaye the. raha kishore kumar to uska shor bhi mohammed rafi ki jagah nahi le sakta. Us kai baar khud apne liye mohammed rafi ki aawaz udhaar leni padi.
Ab to aisa lagta hai, sehgal aur mohammed rafi jaise gaayakon ka daur ab nahi aa sakta.
Dilip Kumar
Mohammed rafi aadmiyon me ek heera the, jinki vinamrata aatma-prabhavit vaiyavhaar ne unhe desh videsh me lokpriya bana diya tha.
Naushad
Main yah dawa nahi karunga kee maine mohammed rafi ke career mein uski sahayata ki, balki mohammad rafi ne meri aise bahut se geet gaakar meri khyati ko padhava diya jo sirf wahi ga sakte the.
Lata Mangeshkar
sangeet ka ek yug ke. Al. Sehgal ki mrityu ke baad samapt hua aur ek mohammed rafi ki mrityu ke saath samapt ho gaya. Yah mera saubhagya hai kee mujhe 33 varsha tak unka saath mila. Gaayak aate rahenge, jate rahenge lekin mohammed rafi ko humesha yaad kiya jayega.
Talat Mahmood
mohammed rafi ramzan ke dino me khuda ko pyare huye, woh bhi satrahvein rojey ko, jisse yah siddha hota hai ki woh insano ko hi nahi khuda ko bhi pyare they.
Manna Dey
jis taraf mohammed rafi geeton ko apni bhaavnaon se bhar dete they, uska koi muqabla nahi.
Mahendra Kapoor
jab mere pita ki prityu hui thi to maine mehsoosh kiya tha kee rafi saahab hi mere pita hain, kamsekam sangeet mein. Lekin ab unki mrityu ke saath main apne aapko anaath mahsoosh kar raha hoon.
R. Kaushik
woh mahaan gaayak hi nahi mahaan insaan bhi the. Unhone kabhi jindagi me kisi ko ’na’ nahi ki. Main aise bahut sare chhote nirmataon aur sangeetkaron ko janta hoon, jinke geet woh naam maatra ki rashi lekar gaa dete they, balki kai baar muft bhi.
Manoj Kumar
mohammed rafi ki mrityu par yah baarish dekhkar mujhe lag raha hai, ki yah baarish nahi devi saraswati ke aansoon hain.
By Administrator, on 21-01-2008 12:48
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Published in : About Rafi Sahab, Media Talks
The following article was published in Filmi Kaliyaan in October 1980 edition, it has some rare photographs from Rafi sahab's last journey to the heavens above. Can't thank Samarjit Acharjee (from Hyderabad) enough for providing the scanned copy of the article and Aseer bhai for taking so much pain to transliterate (convert from devnagri script to english script) the entire article which is in Hindi. Read the article with a pinch of salt, because it may not be factually correct, we have not modified its content and hence any error in the reported facts or incidence is soul responsibility of the original author for the Fimli Kaliyan Magazine, and by publishing the same we do not endorse any of the discrepancies in the article.
Playback Singing ke Sehenshah
Mohammed Rafi ki mrityu 31st july ko raat ke 10 bajkar 25 min par Bombay hospital me hui. Ussse pahle jab unke dil me dard utha tha to unhe Mahim par National Hospital laya gaya. Jab unka dil puuri tarah se block ho gaya to unhe pace making ke liye Bombay hospital le aaya gaya jahan doctor ki koshish unhe bacha na saka.
Mrityu ke samay unke 3 ladke, ek ladki aur damad London me the. Unki patni, ek anya ladki aur damad aur kuchh anya rishtedar mrityu ke samay unke bistar ke paas maojud the.
Jaise hi 10 bajkar 25 min ke baad unki mrityu ka samachar aaya to badi badi filmi hastiyan hospital ke or daud pade. Jahan se unka shab unke nibassthan bandra laya gaya aur subah Mohammed Rafi ke bandra niwas par hazaron log jama ho chuke the. Jinme raj kapoor, dharmendra, vinod mehra, randhir kapoor saira banu; gayikaon me lata mangeshkar, asha bhosle, usha mangeshkar, kishore kumar, sulakshana pandit aur sangeet karon me naushad , kalian ji anand ji, laxmikant pyareal ullekhniya hain.
Lata mangeshkar, asha bhosle aur usha mangeshkar ne unke shab malayein chadhakar unhe antim samman diya. Saira banu ke saath unki maa nasima ne bhi mohammed rafi ke shab par mala chadhai. Mohammed Rafi ke niwas par jo filmi hastiyan nazar aa rahe theunme Bombay ka sheriff dilip kumar aur manoj kumar ka naam ullekhniya hai.
Yojna ke anusar unki shab yatra London se unki 3 bete, ek beti aur damad ke aane ke baad shuru hona tha- lekin woh chuki shukrabar ko pahuch nahi sakte aur ramzaan ka shukrbaar shubh samjha jata hai isliye agle agle roz tak unka intezaar karne ka soch chhod diya gaya. Unka janaza jiske saath rishtedaron aur filmi hastiyan ke atirikt hazaron logon ki bhi bhid this pahle unhe unke niwas se bandra ki jama masjid tak le aaya gaya. Jahan shukrabar dopahar ke namaaz ke baad namaz a janaza ada ki gayi. Barish ke bawajud masjid par hazaron logon ki bhid thi. Wahan se janaza do baje nikala gaya aur unka safar juhu ke kabristanki taraf shuru hua. Kabristan se masjid koyi 6 kilometer hai. Mohammed rafi ka shab truck me rakha hua tha jiske saath saath hazaron log chal rahe the. Aakhir unki shab yatara 4 baje wahan pahuchi. Ek baar to bhid itni badh gayi ke police ko halka lathhi charge karna pada. Bahut sare log pedon par aur chaton par khade hue the taaki wahan se mohammed rafi ka antim darshan achchi taah se kar paye. Bhid us waqt niyantran ke baha hui jab filmi hastiyan kabristan me aana shuru kiya. Kabrstan me maujood hastiyon me jasraj, dilip kumar, raj kapoor, sunil dutt, rajendra kumar, sanjib kumar, , amitabh bachchan, binod khanna, randhir kapoor, amjad khan, kader khan, rakesh oshan; music directo naushad, salil chowdhury, sudhir phadke, rabindra jain, kalian ji –anand ji, rajesh roshan, laxmikant pyarelal, S mohinder, gulshan bahl, sardul kwarta; gayak mahendra kapoor, nitin mukesh; geetkaar rajendra krishan, qamar jalalbadi, anjaan, hasrat jaipuri, bharat vyas; nirmata OP ralan, yash chopra, ramanand sagar, subhas desai, manohan desai, prakash mehra, nasir hussain, SM rahi aur ved rahi nazar aa rahe the.
Mohammed Rafi ke mrityu ke baad lata mangesgkar ne kaha ki kundan lal sehgal ki mrtiyu ke baad Mohammed Rafi ne unki jagah bhar diya tha, woh ghazal, geet, qawali,bhajan,lokgeet har prakar ke geet ga sakte the.
Yeh this hai , KL sahgal ki jagah Mohammed Rafi jaise gayak ne bhar diya. Kyunki jab kundan lal sahgal ki mrityu hui thi to Mohammed Rafi jaisa gayak tha jo har prakar ki geet ga sakta tha lekin Mohammed rafi ki mrityu ke saath lagta hai ki filmon se sangeet ka yug hi samapt ho gaya hai. Aaj ek bhi gayak aisa nazar nahi aata jo unki jagah le sake.
Unpar kundan lal sahgal zikr aaya hai to mujhe ek ghatna yaad aa gayi. Lahore me George the 6th ke tajposhi ke khushiyan manayi ja rahi thi, us awsar par wahan eke k sangeet samaroh ayojit kiya gaya tha, jiska incharge pyarelal sood the. Us samaroh me kundan lal sahgal aanewale the. Mohammed rafi ke bhai ne pyarelal sood ko kaha tha ki unka bhai Mohammed Rafi bahut achcha gata hai use bhi us samaroh me gane ka maoka diya jaye. Pyarelal sood ne ne kaha main wada nahi karta lekin tum use lekar aa jana.
Mohammed Rafi itni si baat se hi khush the ki chalo mahaan gayak sahgal ko dekhne ka awsar milega. Pahle geet sunkar sahgal ne kaha, ladka achcha gar aha hai,gaane do. Dusra geet sunkar sahgal ne kaha fir milenge aur unka fir milne ka wada bhi jaldi hi pura ho gaya. Uske baad woh film shahjahan me mile jisme Rafi aur sahgal ne saath gaya tha.
Mohammed rafi ko bachpan se hi gane ka sauk tha.lekin unhe gane ka shauk kaise hua tha ye bhi dilchasp kahani hai aur jiska zikr ab tak Hindustan ke kisi newspaper me nahi hua. Ya aap sarv pratham filmi kaliyan me padhenge. Yeh baat mohammed Rafi ne bahat pahle ek interview me bataya tha.
Yahan hum aapko ye bhi bata de ke unka janm 24 dec 1924 ko Amritsar ke kotla sultan singh me hua tha. Jis muhalle me wo rahte the wahan ek faqir bhikh mangne aaya karta tha aur gaa kar bhikh manga karta tha. Mohammed Rafi uskiawaz sunkar hi ghar se bahar aa jate the. Ab tak wo faqirwahan bhikh mangta tha, woh unke saath rahte the. Bas wohi se unhe gane ka shauk hua.
Us faqir ki sangat me hiunhe gane ka shauk hua. Nahi to unke pariwr me gane ki koi riyayat nahi thi. Mohammed Rafi ki pratibhak ko prtosahan me unke bhai hamid ka bahut bada haath raha, jinhone unhe ustad wahid khan aur ustad jawahar lal matto se milwaya. Mohammed Rafi ne unki shagirdi ki. Badi lagan se sangeet ka addhyan kiya.
Yeh us jamane ki baat hai, jab mook filme bana karti thi, lekin! Jab rafi kishor avastha mein hi the to filmone bolna bhi suru kar diya. Aalamara san 31 me bani aur usme pahla geet dablu am khan ne gaya gaya tha, dey dey khuda ke naam par. Mohammed rafi ko film ke liye gane ka pahla avsar Punjabi film ‘gul baloch’ me mila. Gana tha, sohniye ni hiriye ni.
Un dino rafi apne bhai ko lekar sangeet karyakramo me jate rahte the. Jaaladhar ke ek mele me wah muhammad rafi ko le gaye jo kundan lal sahgal ka sahar tha. Us sehar ke log us mele me mohammed rafi ki awaz par mugdh ho gaye. Vahin abhineta Nazir jo swarnalata lata wali laila majnu ke hero the ne unhe suna aur rafi ki awaz se itne prabhawit huye ki unhe bambai ane ka nimantran de diya. Yun sangeetkar naushad ka kahna hai ki mohammed rafi unke naam luckhnow se unke rishtedaar ki chitthi lekar aaye the. Vah yeh baat san 31-32 ki batate hain. Ho sakta hai rafi ke bhai hashim ne naushad ke sambandhi ka patra prapta kar liya ho, lekin 31-32 mein 24 ke paida huye rafi ki umr kya hogi. Ho sakta hai naushad sahib ko san theek se yaad na raha ho. Kyonki un dino talki shuru hi hui thi aur 31-32 me naushad sahib ka koi khash mukaam nahi tha. Haan san 41 ke lagbhag unhone rafi ko ‘pahle aap’ me gane ka avsar diya tha. Yah film kardar ne banayi thi. Kardar ko lahore se bhagkar bambai aana pada tha, kyonki unhone wohaan bahaar akhtar ko lekar ek film banayi thi. Bahar akhtar ke ghar walon ne kardar par ladki bhagane ka ilzam lagaya tha aur woh film ke negative jalakar bambai aa gaye the. Bahar akhtar aur sardar akhtar do bahnein thi, jinme bahar kardar ki patni bani aur sardar ne mehboob khan se vivah kiya tha.
’Pahle Aap’ se pahle rafi ne film ’laila majnu’ me koras gaya tha. Us film ke sangeetkar the pandit govind ram. Us korus me mohammed rafi saadharan gaayak the aur mukhya gaayak the mastan. Om shivpuri ke bhai. Ab kudrat ka khel dekhiye, jab ke. Aasif ne ’laila majnu’ par love and god shusu ki to usmein bhi ek korus rakha gaya aur us koras me mohammed rafi mukhya gaayak the aur mastan saadharan gaayak. Shuru-shuru me mohammed rafi ko saadharan gaayak ke roop me bhi gana pada. Bombay talkies ki film majdoor ke korus me mohammed rafi ne gaaya tha. Iska rahasyodghatan sangeetkar chitragupt ne kiya tha. Kyonki majdoor ke us geet me woh mohamemd rafi ke saath the.
Mohammed rafi ko pahli baar lokpriyata mili film ‘jugnu’ se. Is film me unhone ’woh apni yaad dilane ko rumaal purana chhod gaye.’ Wale geet me dilip kumar ke saath abhinay bhi kiya tha. Yehaan badla wafa ka bewafai ke siwa kya hai aur muhabbat karke bhi dekha muhabbat me bhi dhokha hai, geet ke saath unki prasiddhi pure desh me phail gayi thi.
Yehaan yah batana bhi ullekhniye hoga kee jis film mein Mohammed rafi ne pahli baar sehgal ke saath gaya tha, usi film mein naushad ke liye sehgal ne bhi pahli baar gaya tha. Uske baad naushad ke sangeet nirdeshan mein rafi lagaatar gate rahe. Yehaan mujhe film ’shaheed’ yaad ati hai. Is film mein mohammed rafi ne ek geet gaya thaa, watan ki raah mein watan ke naujawaan shaheed ho.
Jab dilip kumar ki bahen ne woh geet suna tha to woh hichkiyaan le kar rone lagee thi.
Mohammed rafi apne geeton me apni bhavnayein bhar dete they.
Yehaan mujhe film ‘baiju bawra’ yaad aati hai. Us film ka ek geet tha, ‘oh dunia ke rakhwale sun dard bhare mere nale’, is geet me praan dalne ke liye mohammed rafi ne apne prano ki parwaah nahi ki thi.
Shaayad aaj bahut kam log jante hain kee yeh geet gaate huye mohammed rafi ke gale se khoon aa gaya tha, us ek udahran se yah pata chalta hai kee woh kisi bhi geet ko gane ke liye kitni mehnat karte the. Jo bhi gate they, uski ‘perfection’ ke liye jaan ki baazi laga dete they.
Aisi he ek ghatna mughale aazam ke gete ki recording par hui thi. Aye muhabbat zindabad mein unhone apni aawaz ko jitna uncha uthaya hai kya koi utha sakta hai, lekin us aawaz ko itna uncha uthate-uthate woh swayam behosh ho gaye they.
Aaj kla ke prati aisa samarpan kya kisi gaayak mein hai?
Kya dunia ke itihaash me koi aisa gaayak milega. Jisne apne 35 varsha ke filmi jeevan me 26000 geet gaye hon. Woh hindi fimlo ka ek house hold naam ban gaye the. woh bhaarat ke sangeetmay jeevan ka ek atoot hissa ban chuke the. jo 26000 geet unhone gaye hain. Woh shaadi-vyaah, maut, such-dukh, har avsar par logon ko mohammed rafi ki yaad dilate rahenge. Shaadi me ladki ki vidayi ke samay babul ki duaayein leti ja, ja tujhko sukhu sansar mile, sunkar kiska dil nahi bhar aayega. Jeevan ka aisa koi bhi avsar nahi jiske liye mohammed rafi ka record na ho. Koi bhi aisi bhavna baaki nahi bachi jisse unhone apni aawaz se abhivyakt na kiya ho.
Sabse badi vidambana to yah hai kee aaj hindi filmon me ek bhi aisa gaayak nahin hai jo mohammed rafi ki jagah le sake aur aaj har darshak ek hi sawaal puchhta hai kee mohammed rafi ke baad kaun? Ek zamane me mahendra kapoor ne unki jagah lene ki koshish ki thi, lekin mohammed rafi se milti-julti aawaz hone ke baavjood use na sahir ke geet aur na hi ravi ka sangeet aur na lata ka saath hi mohammed rafi bana paya aur na hi anwar hi mohammed rafi ban sakta hai. Kyonki mohammed rafi se milti-julti aawaz se hi koi mohammed rafi nahi ban sakta, uske liye saadhna ki jaroorat hai. Kya koi gaayak itni mehnat kar sakta hai kee woh dunia ke rakhwale, gaate-gaate woh apne mohammed rafi ki tarah apne gale ka khoob bhi baha de. Kya koi aawaz ko upar uthane ke liye mohammed rafi ki tarah behosh hua hai.
Kya aaz koi aisa gaayak hai jo mohammed rafi ki tarah sada aur paak jeevan jee sake. Filmi dunia mein rah kar bhi vivadon se door rah sake. Jab woh is dunia se gaye to unka daaman paak thaa. Unke charitra par ek bhi daag aur dhabba nahi tha.
Yah mohammed rafi ki saadhna hi thi kee woh jeevan bhar lokpriya rahe. Nahi to talat mahmood jitney achhe gaayak they. Unhe ghazalon ka badshah kaha jata hai, lekin unki lokpriyata unke jeevan mein hi khatm ho gayi, kyonki woh mohammed rafi ki tarah har prakar ke gaane nahi gaa sakte the. mukhesh bhi mrityu se pahle ek baar gumnami ke daur me chale gaye the. raha kishore kumar to uska shor bhi mohammed rafi ki jagah nahi le sakta. Us kai baar khud apne liye mohammed rafi ki aawaz udhaar leni padi.
Ab to aisa lagta hai, sehgal aur mohammed rafi jaise gaayakon ka daur ab nahi aa sakta.
Dilip Kumar
Mohammed rafi aadmiyon me ek heera the, jinki vinamrata aatma-prabhavit vaiyavhaar ne unhe desh videsh me lokpriya bana diya tha.
Naushad
Main yah dawa nahi karunga kee maine mohammed rafi ke career mein uski sahayata ki, balki mohammad rafi ne meri aise bahut se geet gaakar meri khyati ko padhava diya jo sirf wahi ga sakte the.
Lata Mangeshkar
sangeet ka ek yug ke. Al. Sehgal ki mrityu ke baad samapt hua aur ek mohammed rafi ki mrityu ke saath samapt ho gaya. Yah mera saubhagya hai kee mujhe 33 varsha tak unka saath mila. Gaayak aate rahenge, jate rahenge lekin mohammed rafi ko humesha yaad kiya jayega.
Talat Mahmood
mohammed rafi ramzan ke dino me khuda ko pyare huye, woh bhi satrahvein rojey ko, jisse yah siddha hota hai ki woh insano ko hi nahi khuda ko bhi pyare they.
Manna Dey
jis taraf mohammed rafi geeton ko apni bhaavnaon se bhar dete they, uska koi muqabla nahi.
Mahendra Kapoor
jab mere pita ki prityu hui thi to maine mehsoosh kiya tha kee rafi saahab hi mere pita hain, kamsekam sangeet mein. Lekin ab unki mrityu ke saath main apne aapko anaath mahsoosh kar raha hoon.
R. Kaushik
woh mahaan gaayak hi nahi mahaan insaan bhi the. Unhone kabhi jindagi me kisi ko ’na’ nahi ki. Main aise bahut sare chhote nirmataon aur sangeetkaron ko janta hoon, jinke geet woh naam maatra ki rashi lekar gaa dete they, balki kai baar muft bhi.
Manoj Kumar
mohammed rafi ki mrityu par yah baarish dekhkar mujhe lag raha hai, ki yah baarish nahi devi saraswati ke aansoon hain.
Saturday, December 29, 2007
DEVANAND SAHAB'S APPEAL
देवानंद ने पूछा-रफी को 'भारत रत्न' क्यों नहीं
विशेष
मीडिया डेस्क
Monday, 24 December 2007
सदाबहार अभिनेता देवानंद ने स्वर्गीय मोहम्मद रफी को भारत रत्न से सम्मानित किए जाने की मांग की है। आवाज के जादूगर मोहम्मद रफी के 83 वें जन्म दिन पर दिल्ली में रफी फाउंडेशन की ओर से भारतीय विद्या भवन में आयोजित समारोह के लिए टेली कॉंफ्रेंसिंग के जरिए दिए गए अपने संदेश में कहा कि उन्हें भारत रत्न दिलाने के लिए देश भर में चलाए जा रहे आंदोलन के साथ हैं। भारतीय सिनेमा के पहले रोमांटिक नायक देवानंद ने कहा कि उन पर फिल्माए गए सबसे अच्छे गीत वही हैं, जो मोहम्मद रफी ने गाए हैं। इस अवसर पर रफी फाउंडेशन के राष्ट्रीय अध्यक्ष बिन्नू नैयर ने कहा कि मोहम्मद रफी का मूल्यांकन केवल एक गायक के रूप में नहीं किया जाना चाहिए बल्कि उस शख्सियत के रूप में किया जाना चाहिए, जिसका राष्ट्रीय एकता एवं अखंडता तथा साम्प्रदायिक सद्भाव में उल्लेखनीय योगदान है। विभिन्न सम्प्रदायों एवं धर्मों को जोड़ने में जितना योगदान मोहम्मद रफी के गीतों का अहम योगदान है। उनके गीत सूफी फकीरों की दरगाह से से लेकर मंदिरों में होने वाली आरतियों तक में गूंजते हैं।
विशेष
मीडिया डेस्क
Monday, 24 December 2007
सदाबहार अभिनेता देवानंद ने स्वर्गीय मोहम्मद रफी को भारत रत्न से सम्मानित किए जाने की मांग की है। आवाज के जादूगर मोहम्मद रफी के 83 वें जन्म दिन पर दिल्ली में रफी फाउंडेशन की ओर से भारतीय विद्या भवन में आयोजित समारोह के लिए टेली कॉंफ्रेंसिंग के जरिए दिए गए अपने संदेश में कहा कि उन्हें भारत रत्न दिलाने के लिए देश भर में चलाए जा रहे आंदोलन के साथ हैं। भारतीय सिनेमा के पहले रोमांटिक नायक देवानंद ने कहा कि उन पर फिल्माए गए सबसे अच्छे गीत वही हैं, जो मोहम्मद रफी ने गाए हैं। इस अवसर पर रफी फाउंडेशन के राष्ट्रीय अध्यक्ष बिन्नू नैयर ने कहा कि मोहम्मद रफी का मूल्यांकन केवल एक गायक के रूप में नहीं किया जाना चाहिए बल्कि उस शख्सियत के रूप में किया जाना चाहिए, जिसका राष्ट्रीय एकता एवं अखंडता तथा साम्प्रदायिक सद्भाव में उल्लेखनीय योगदान है। विभिन्न सम्प्रदायों एवं धर्मों को जोड़ने में जितना योगदान मोहम्मद रफी के गीतों का अहम योगदान है। उनके गीत सूफी फकीरों की दरगाह से से लेकर मंदिरों में होने वाली आरतियों तक में गूंजते हैं।
Thursday, December 27, 2007
Mohammed Rafi & Filmi Ghazals
This article is written by A.S.Murty
asmurty2@rediffmail.com/rafimurty@gmail.com
asmurty2@rediffmail.com/rafimurty@gmail.com
For Mohd. Rafi, ghazal singing must have come naturally. Having come from an Urdu background, he must have been influenced early in life with Urdu couplets and Ghazals, just like any other boy of his background. Hindi film music has produced many great Ghazal exponents and Mohd. Rafi is one of these greats. His added gift of clarity in voice, pronunciation and diction went a long way in presenting to the Hindi film music many a great ghazal composition. Some of the very best that come instantly to mind are (1) Mujhe Dard-e-dil ka pata na tha, mujhe aap kisliye mil gaye, (2) Na kisi ki aankh ka noor hun, na kisike dil ka karar hun, (3) Lagta Nahir Hai dil mera ujade dayar mein (4) Tujhe Kya Sunaun Mein Dilruba Tere Saamne Mera Haal hai, (5) Zara Sun Hasina-e-naznin Mera Dil Tujhi Pe Nissar hai (6) Bhari Duniya Mein Aakhir dil ko samjhane kahan jayen, (7) Gujre Hain aaj ishq mein hum is makam se, (8) Naseeb Mein Jiske jo Likha Tha (9) Zindagi Aaj mere naam se sharmati hai, (10) Door Rah Kar Na Karo Baat Karib Aa jao. There are many more which readers may like to point out.
From the film GHAZAL, the evergreen – Rang Aur Noor Ki Baraat Kise Pesh Karun – is one Ghazal for all seasons. The song was not only popular in the 60s but is hummed by all Ghazal lovers and Urdu poetry followers even to this day. Other two variations of the same Ghazal one each by Rafi himself and by Lata Mangeshkar from the same film – Ishq Ki Garmiyen Zajbaat Kise Pesh Karun and Nagma our Sher Ki Saugat Kise Pesh Karun were also equally well rendered. But the soul of that film and indeed of that era was the first song from this film.
Mohd. Rafi sang many duets which are Ghazals and with all female singers alike. Notable among them were with Lata Mangeshkar, Asha Bhonsle and Suman Kalyanpur. While he never tried to dominate, his superior singing always put him ahead of his female singers. Not that these three ladies did not justify themselves, they did splendidly. But they were left a notch too short when compared to Mohd. Rafi. Dile-e-betab ko seene se lagana hoga , Mijaze Garami Duwa hai aapki, Humsafar Saath Apna Chhod Chale are all examples of the highest standards of Ghazal singing by Rafi and the female singers mentioned above.
I sometimes wonder whether there will be music of any kind left in the Hindi film world after a few years. The way things are going – all noise and no sense of lyrics or compositions – leave alone any sensible singing – the doomsday is not further than a few years for the Hindi film music. The film industry must think about it seriously. They lyricists should write beautiful and meaningful poetry. The Music directors should revive the old magic of the yesteryears and the singers, for whatever they are worth, should learn from the great masters who have left behind them troves of treasurers in the form of tens of thousands of the best of music. Music companies would reap rich dividends if they compile the various moods of Mohd. Rafi life Bhajans, Romantic Songs, Sad songs, Ghazals, Patriotic songs, Qawwalis, etc. and release fresh volumes in each style.. These would sell like hot cakes and would also benefit millions of new generation music lovers who are desperately seeking to enjoy music where there is none these days.
Other notable Ghazals from the Rafi stable include – Tum Ek Baar Muhobbat Ka Intehan Toh Lo, Kal Raat Zindagi Se Mulaqat ho Gayi, Maana mere Hasin Sanam Tu Rashke Maahtab hai, Koi Nazarana Lekar Aaya Hun Main Diwana Tere Liye, etc. The list is certainly endless and I could add many more to it. But I would like Rafians out there to respond and interact by sending their comments and complete the list of Ghazals sung by the greatest singer of all times - MOHD RAFI.
TERE SAAZ SE NAHIN MILTI KISIKI BHI AWAAZ,
PHIR BHI HUM JAHAN MEIN TERE TARANE LIYE PHIRTE HAIN
THE SEXIEST VOICE EVER
The Sexiest Voice Ever
This article is written by Mr.A.S.Murty.
asmurty2@rediffmail.com, rafimurty@gmail.com
Each one of us must have heard close to a 100,000 songs in various languages, rendered by various artistes of all hues. Many great singers have entertained us with their thousands of songs over the last several decades and many more will continue to do so in the coming eras. We may not be familiar with singers of yore or the distant lands and how best they are comparable with the singers of the sub-continent. But even as we listen to Arabic songs or the Spanish ones, music lovers can differentiate between a good composition and a bad one. Or for that matter, the Gayaki of the singers is perceptible. Close to home, again we have had hundreds of exponents of all types of music – from Hindustani to Persian to Folk to Carnatic ultimately to the filmi HINDI-URDU mixture of Bollywood. Each one of them had their own distinctive style of singing. But all could not sing all the types of songs. Just imagine K L Saigal (god bless his soul) singing for e.g. TUM KAMSIN HO, NAADAN HO, NAZUK HO or a Mukesh rendering TUMSE KAHUN IK BAAT PARO SE HALKE HALKE. The head starts spinning isn’t it ?? Something jarringly is missing out there. One can imagine a Rafi singing DIL JALTA HAI TO JALNE DE but certainly not the first two examples.
For most people the world over a sexy thing easily is a woman. For most women, it could mean either of the two sexes. But when it boils down to mere GAYIKI or simply the voice, there will be no divided opinion as to who was the sexiest singer of all times. MOHAMMED RAFI indeed. Take the following songs for instance :
1. AAJA RE AA ZARA, LEHARA KE AA ZARA
2. AAJ KI RAAT YEH KAISI RAAT KE HUMKO NEEND NAHI AATI
3. PAAS BAITHO TABIYAT BEHEL JAYEGI, MOUT BHI AA GAYI HO TO TAL JAYEGI
4. MERI MUHABBAT PAAK MUHOBBAT, AUR JAHAN KI KHAK MUHOBBAT
5. NAZAR NA LAG JAYE KISI KI RAHON MEIN, CHHUPA KE RAKHDUN MEIN TUJHE NIGAHON MEIN
6. AISE TO NA DEKHO KE HUMKO NASHA HO JAAYE
7. TU MERE SAAMNE HAI, TERI ZULFEIN HAI KHULI
The above are only a few of hundreds of the very sexy songs rendered by Mohammed Rafi in his inimitable style.
Yeah Kishore Kumar too sang a few good songs in some sexy voice for e.g. ROOP TERA MASTANA, PYAR MERA DEEWANA but they are few and far between. Rafi on the other hand was at his sexiest best both in solo as well as duet songs. I remember when the song HAI RE HAI NEEND NAHI AYE from Humjoli was at the top, the girls of that era simply swooned at the voice of Rafi. While he sings Dil Ne Dil Se Kya Kaha, the emphasis that he lays on KYA KAHA was simply marvelous. Then again, in the song - Thahariye Hosh Mein Aa Lun, Toh Chale Jaiyega – the paragraph - KAB TALAK RAHIYEGA YUN NOOR KI CHAAHAT BANKAR, PAAS AANE BHI DO IKRARE MUHOBBAT BANKAR – was not just pure magic but also something that takes us into a dreamland of our own. Then there was YEH DIL DIWANA HAI, DIL TO DIWANA HAI, DIWANA DIL HAI YEH, DIL DIWANA, a duet with Lata Mangeshkar. Here again the subtle difference in the way every stanza is rendered, every word is pronounced, Rafi excelled to the hilt. His part of the song was very sexy when compared to Lata’s portion in the song.
Well. I hope I have not created yet another furore of Rafi versus the other singers. That was not my intention at all. Readers would therefore be advised to highlight similar songs by Rafi – solo or duets – which exhibit his sexy voice. We were lucky indeed to have been born in the same era as Mohd. Rafi and will cherish his songs until the end. Generations before him have missed out on the very best in music, but generations to come will continue to listen to songs of Mohd. Rafi again and again. For, the magic that he wove with his GAYIKI was mesmerizing indeed.
asmurty2@rediffmail.com, rafimurty@gmail.com
Each one of us must have heard close to a 100,000 songs in various languages, rendered by various artistes of all hues. Many great singers have entertained us with their thousands of songs over the last several decades and many more will continue to do so in the coming eras. We may not be familiar with singers of yore or the distant lands and how best they are comparable with the singers of the sub-continent. But even as we listen to Arabic songs or the Spanish ones, music lovers can differentiate between a good composition and a bad one. Or for that matter, the Gayaki of the singers is perceptible. Close to home, again we have had hundreds of exponents of all types of music – from Hindustani to Persian to Folk to Carnatic ultimately to the filmi HINDI-URDU mixture of Bollywood. Each one of them had their own distinctive style of singing. But all could not sing all the types of songs. Just imagine K L Saigal (god bless his soul) singing for e.g. TUM KAMSIN HO, NAADAN HO, NAZUK HO or a Mukesh rendering TUMSE KAHUN IK BAAT PARO SE HALKE HALKE. The head starts spinning isn’t it ?? Something jarringly is missing out there. One can imagine a Rafi singing DIL JALTA HAI TO JALNE DE but certainly not the first two examples.
For most people the world over a sexy thing easily is a woman. For most women, it could mean either of the two sexes. But when it boils down to mere GAYIKI or simply the voice, there will be no divided opinion as to who was the sexiest singer of all times. MOHAMMED RAFI indeed. Take the following songs for instance :
1. AAJA RE AA ZARA, LEHARA KE AA ZARA
2. AAJ KI RAAT YEH KAISI RAAT KE HUMKO NEEND NAHI AATI
3. PAAS BAITHO TABIYAT BEHEL JAYEGI, MOUT BHI AA GAYI HO TO TAL JAYEGI
4. MERI MUHABBAT PAAK MUHOBBAT, AUR JAHAN KI KHAK MUHOBBAT
5. NAZAR NA LAG JAYE KISI KI RAHON MEIN, CHHUPA KE RAKHDUN MEIN TUJHE NIGAHON MEIN
6. AISE TO NA DEKHO KE HUMKO NASHA HO JAAYE
7. TU MERE SAAMNE HAI, TERI ZULFEIN HAI KHULI
The above are only a few of hundreds of the very sexy songs rendered by Mohammed Rafi in his inimitable style.
Yeah Kishore Kumar too sang a few good songs in some sexy voice for e.g. ROOP TERA MASTANA, PYAR MERA DEEWANA but they are few and far between. Rafi on the other hand was at his sexiest best both in solo as well as duet songs. I remember when the song HAI RE HAI NEEND NAHI AYE from Humjoli was at the top, the girls of that era simply swooned at the voice of Rafi. While he sings Dil Ne Dil Se Kya Kaha, the emphasis that he lays on KYA KAHA was simply marvelous. Then again, in the song - Thahariye Hosh Mein Aa Lun, Toh Chale Jaiyega – the paragraph - KAB TALAK RAHIYEGA YUN NOOR KI CHAAHAT BANKAR, PAAS AANE BHI DO IKRARE MUHOBBAT BANKAR – was not just pure magic but also something that takes us into a dreamland of our own. Then there was YEH DIL DIWANA HAI, DIL TO DIWANA HAI, DIWANA DIL HAI YEH, DIL DIWANA, a duet with Lata Mangeshkar. Here again the subtle difference in the way every stanza is rendered, every word is pronounced, Rafi excelled to the hilt. His part of the song was very sexy when compared to Lata’s portion in the song.
Well. I hope I have not created yet another furore of Rafi versus the other singers. That was not my intention at all. Readers would therefore be advised to highlight similar songs by Rafi – solo or duets – which exhibit his sexy voice. We were lucky indeed to have been born in the same era as Mohd. Rafi and will cherish his songs until the end. Generations before him have missed out on the very best in music, but generations to come will continue to listen to songs of Mohd. Rafi again and again. For, the magic that he wove with his GAYIKI was mesmerizing indeed.
31ST JULY - SHRADDHANJALI
मोहम्मद रफी - एक शब्दांजलि
दिल की कलम से
दीपक महान
Wednesday, the 25th July 2007
31 जुलाईः रफ़ी साहब की पुण्य तिथि पर एक शब्दांजलि
यह आवाज़ यूँ ही फिज़ाओं में गूंजती रहे
२७ साल हो गए रफ़ी साहब को हम से बिछड़े हुए पर अब भी यक़ीन नहीं होता कि वो दुनिया के इस मेले को छोड़ कहीं दूर, बहुत दूर चले गए हैं। ३१ जुलाई १९८० की वो मनहूस शाम मुझे आज भी अच्छी तरह याद है। शाम से ही माहौल कुछ ग़मगीन सा लग रहा था, हवा सहमी-सहमी सी थी मानों कुछ अप्रत्याशित घटने की आशंका से भयभीत हो। न जाने क्यों मेरे हाथ सज़दे में उठ, रफ़ी साहब की सुख शांति के लिए दुआ मांगने लगे। पर मुझे क्या पता था कि जिस वक्त मैं दुआ माँग रहा था, उसी वक्त ईश्वर उन्हें चिर शान्ति का आशीर्वाद दे रहा था। दूसरे दिन, जिस किसी ने रफ़ी साहब के इंतकाल की खबर सुनी, वो स्तब्ध रह गया, प्रकृति का बांध टूट गया और भारतवासी तन्हा हो गए क्योंकि रफ़ी साहब की आवाज़, एक इंसान की नहीं, बल्कि हिन्दुस्तान की आत्मा की आवाज़ थी। अचानक ऐसी आवाज़ खामोश हो गई जो मंदिरों में भजनों के रूप में, शादियों में बेटी की बिदाई में और सूफी संतों की मजारों पर कव्वाली के रूप में आने वाली कई सदियों तक गूंजती रहेगी।
रफ़ी साहब की शख़्सियत हमारी जिंदगी का इस कदर हिस्सा बन चुकी थी कि उनके जुदा होने का कभी ख्याल भीहमारे मन में नहीं आया। उनकी पुरज़ोर आवाज़ की नर्म छाँव और थपकियों के सहारे हमने बचपन से जवानी की दहलीज पर कदम रखा, नग्मों की समझ उन्हीं की आवाज़ के साथ उजागर हुई और वो मीठी आवाज़, बचपन से कब जवानी के खून में घुलमिल गई, हमे पता ही नहीं चला।
रफ़ी साहब हमेशा संगीत आकाश में सूरज की तरह जगमगाते रहें, उनकी आवाज़ में जो लोच था, जो सोज और क़शिश थी वो अपने आप में बेमिसाल थी। कठिन से कठिन तान, बारीक़ से बारीक़ मुर्की या अन्य गले की हरकत को वो बड़ी आसानी से पेश कर, श्रोताओं का दिल जीत लेते थे। लफ्ज़ों की अदायगी में भी रफ़ी साहब बेजोड़ थे और शब्दों के भावों को संगीतमय अभिव्यक्ति देने में वो अपनी तरह के अकेले गायक थे। उन्हें गायकी का बेताज बादशाह इसीलिए कहा जाता था क्योंकि उनकी आवाज़ का अदांजे बयाँ ही और था। भजन हो या गीत, गज़ल हो या कव्वाली, रोमांटिक गीत हो या पाश्चात्य संगीत की लय, रफ़ी साहब का कोई सानी नहीं था।
"तुझे नग्मों की जाँ, अहले नजर, यूहीं नहीं कहते,
तेरे गीतों को दिल का हमसफ़र, यूहीं नहीं कहते,
सुनी सबने मोहब्बत की जबाँ, आवाज़ में तेरी,
धड़कता है दिले हिन्दोस्ताँ, आवाज़ में तेरी
सच, उनकी आवाज़ में ईश्वर का प्यार बरसता था। रफ़ी साहब जितने अच्छे गायक कलाकार थे उससे कहीं ज्यादा अच्छे इंसान भी थे। प्रसिद्धि के शिखर पर पहुँचने के बावजूद वे इन्सानियत की मिसाल रहे दिलीप कुमार साहब फरमाते हैं कि "रफ़ी साहब स्टूडियो के बाहर सिर्फ मंद्र सप्तक में बात करते थे। ४० वर्षो के फिल्मी जीवन में कभी किसी ने उन्हें किसी से अभद्र व्यवहार करते नहीं देखा, न ऊँची आवाज़ में बात करते सुना"। उनके बड़प्पन के किस्से हर उस शख़्स की याद में बसे हैं जो उनसे एक बार मिला होगा।
गरीबों, अपंगो, समाज-सेवी संस्थाओं के लिए वे जीवन पर्यन्त अपना योगदान देते रहे। कितने ही जरूरत मंद निर्माताओं, गीतकारों, संगीतकारों के लिए उन्होंने मुफ्त या नगण्य कीमत पर गीत गा दिए ताकि उनका कैरियर बन जाए। सच्चाई और ख़ुदाई हमेशा उनके व्यक्त्तित्व का हिस्सा रहे और यही पवित्रता उनकी आवाज़ में भी दिखलाई देती थी।
शोहरत की बुलंदियों पे बैठे लोगों की शान में कई बार झूठी तारीफें भी की जाती हैं लेकिन असली तारीफ वो होती है जो आपके प्रतिद्वंदियों, सह-कर्मियों या सेवकों द्वारा की जाए और इस मामले में रफ़ी साहब खुशनसीब थे। उनकी मृत्यु पर मशहूर गायक तलत मेहमूद ने रून्धे गले से कहा था, "रफ़ी साहब, बहुत ही नेक इंसान थे, दुनिया को उनकी अभी बहुत जरूरत थी। काश, अल्लाह-ताला मेरी जान ले लेता और रफ़ी साहब की जान बख्श देता"। शायद किसी भी इंसान को इससे बड़ा सम्मान नहीं दिया जा सकता।
हिन्दुस्तानी फिल्म संगीत में शंकर- जयकिशन की जोड़ी का अपना एक मुकाम है और उनकी सफलता में रफ़ी साहब का भी भरपूर योगदान रहा है। रफ़ी साहब के निधन के बाद एक बार इत्तेफाक से मेरी मुलाकात शंकर जी से बम्बई के क्रिकेट क्लब ऑफ इंड़िया में हुई और हमने फिल्म संगीत पर विस्तृत चर्चा की। बातचीत के दौरान रफ़ी साहब के बारे में बात करते-करते शंकर भावुक हो उठे और बोले "व्यक्तिगत जीवन में रफ़ी इंसान नहीं देवता थे। इस फिल्मी दुनिया में जहाँ हर कोई किसी का बुरा चाहता है, अहित करता है, रफ़ी साहब ने किसी का बुरा नहीं सोचा, कभी बुरा नहीं किया" । शंकर ने आगे बताया कि कैसे जयकिशन और शंकर के बीच उपजे मतभेदों को, रफ़ी साहब ने प्यार से सुलझाया था और मरते दम तक जोड़ी को कायम रखने का वायदा भी लिया था। शंकर कहने लगे कि उसके बाद जब भी कोई बहस या टकराव होता तो रफ़ी साहब ही हमारे बीच में जज होते थे और उनकी बात हमने कभी नहीं टाली। रफ़ी साहब को याद करते करते वे इतने भावुक हो गए कि हम बहुत देर तक निस्तब्ध, मौन बैठे एक दूसरे से संवाद करते रहे, ऐसा लगा मानो रफ़ी साहब हमारे आसपास ही कहीं मौन बैठे हैं और हमको भी अब बोलकर उनके मौन को भंग नहीं करना चाहिए।
पर ऐसी कितनी ही बातें उनके चौकीदार शेर सिंह से लेकर बम्बई के टैक्सी वाले करते नही थकते। बिना किसी को बताए, लोगो की मदद करना उनकी आदत में शुमार था। मुझे याद है गुरू नानक पार्क, बान्द्रा के उनके घर में एक सूक्ति लटकी थी जिसपर लिखा था
"जितना झुकेगा जो, उतना उरोज पाएगा
इमाँ है जिस दिल में, वो बुलन्दी पे जाएगा,"
गुरू नानक जैसी संतो सी जीवन शैली को रफ़ी साहब ने जिंदगी में आत्मसात् कर लिया था और कोई अचरज नहीं कि कुछ वर्ष पूर्व एक सिने पत्रिका द्वारा कराए गए सर्वेक्षण में रफ़ी साहब को फिल्म उद्योग का सबसे प्रिय कलाकार चुना गया था।
रफ़ी साहब की आवाज़ में गायकी ही नहीं बल्कि गज़ब की अभिनय क्षमता भी थी। उनकी आवाज़ में हर रंग, हर अदा, हर भाव छलकता था और इसीलिए किसी भी चरित्र पर उनकी आवाज़ थोपी हुई नहीं लगती थी। रफ़ी साहब से पहले ज्य़ादातर गाने एक सप्तक तक सीमित रहते थे लेकिन रफ़ी साहब की आवाज़ की विविधता, व्यापकता, मिठास और लोच के कारण, उनके लिए संगीतकारों ने दो से तीन सप्तक तक के गीत सृजित किए क्योंकि उनकी आवाज़ संगीत के हर सुर को अपने में समा लेती थी.
मुकेश जहाँ दर्दीले गीतों के गायक थे वहीं तलत महमूद नर्मो नाजुक गजलों के माहिर। मन्ना ड़े जहाँ शास्त्रीय संगीत पर आधारित गीतों से जुड़े रहे तो किशोर कुमार हल्के-फुल्के चंचल गीतों के लिए ही जाने गए। लेकिन इसके विपरीत, रफ़ी साहब ने हर अंदाज़ के गीत गाए और गायकी के बेताज बादशाह कहलाए। हकीकत यह है कि मुकेश, तलत और किशोर ने शायद ही शास्त्रीय संगीत में निबद्ध कोई विशुद्ध भजन, गीत या फिर कोई जोशीली देश प्रेम की रचना गाई हो, ठीक जैसे मन्ना ड़े पाश्चात्य स्वर लहरियों और गज़ल की रूमानियत से कोसों दूर रहे। बहुत कम लोग जानते है कि जब तलत मेहमूद और किशोर कुमार हीरो बने तो उन्हें भी लाला रूख, शरारत, रागिनी आदि फिल्मों के कई गानों में रफ़ी साहब की आवाज़ उधार लेनी पड़ी। खैय्याम, शंकर जयकिशन और ओ पी नैय्यर जैसे गुणीजनों ने तलत और किशोर के पीछे से रफ़ी साहब का इस्तेमाल तब किया जब उनकी रचनाओं के साथ तलत और किशोर काफी रिहर्सलों के बाद भी न्याय ना कर सके। संगीत जगत बेशक रफ़ी साहब के बिना वीरान हो गया है।
गाना रूमानी हो या दर्दीला, मिलन का हो या विछोह का; घुमावदार कठिन तान हो या गज़ल की कोमलता; कव्वाली का जोश या प्रणय का उन्माद; परमेशवर की उपासना हो या देश प्रेम की सुलगती ज्वाला, रफ़ी साहब, शायर-गीतकार के तसव्वुरात को अपने पुरक़शिश अंदाज में रूह बख़्श देते थे। संगीतकार जयदेव ने एक बार बातों ही बातों में हमसे जिक्र किया कि नौशाद, एस. डी. बर्मन, शंकर जयकिशन और ओ पी नैय्यर, रफ़ी साहब को रैंज, सोज़, विविधता और भाव
अभिव्यक्ति के मामले में सभी गायक-गायिकाओं में सर्वोच्च कलाकार मानते थे। पण्डित श्यामदास मिश्र और उस्ताद अमीर खाँ का मानना था कि लोग घंटो की गायकी में जो प्रभाव पैदा नहीं कर सकते थे, वो रफ़ी साहब तीन मिनट में कर दिखाते थे, क्योंकि रफ़ी साहब उच्च कोटि के इन्सान थे और गायकी उनका धर्म, उनका ईमान थी और हर सुर उनके गले से ऐसा बहता था मानो किसी झरने से साफ, निर्मल और मीठा पानी बह निकला हो।
उनके कृतित्व और व्यक्तित्व के बारे में सब कुछ कहना असंभव सा है। सच सिर्फ इतना हैं कि मानव हृदय की गहराईयों को सुरों के द्वारा श्रोताओं के दिलों में तस्वीर की तरह उतार देने की कला सिर्फ रफ़ी साहब ही जानते थे। आज जब कि लोग राजनैतिक गलियारों में राग अलाप कर पद और सम्मान हासिल कर रहे हैं, रफ़ी साहब धर्म, जाति, भाषा से परे, लोगों के दिलों पर राज कर रहे हैं। २७ वर्ष के लंबें अंतराल के बावजूद आज भी रफ़ी साहब की लोकप्रियता बरकरार है और क्यूँ ना हो आखिर उस कलाकार ने अपना सर्वस्व अपनी गायकी को समार्पित कर दिया।
कहते हैं, हर वक्त दुनिया में किसी ना किसी जगह पर रफ़ी साहब का गीत बजता रहता हैं । हमें तो फख़्र है कि ऐसा शख्स भारत भूमि पर पैदा हुआ और इसने हमारे देश का नाम दुनिया भर में रोशन कर दिया। बहुत कम लोग जानते है कि बैजू बावरा के "ओ दुनिया के रखवाले" भजन गाते-गाते, रफ़ी साहब के गले से खून निकल आया था और वो कई दिन तक गा नहीं सके थे। ईश्वर को समर्पित एक सच्चा इंसान ही ऐसी कर्णप्रिय वन्दना गा सकता है।
"गूंजते हैं तेरे नग्मों से अमीरों के महल, झोपड़ो में भी तेरी आवाज़ का जादू है
अपनी मौसिक़ी पे सबको नाज है, मगर मौसिक़ी को खुद तुझ पे नाज है"
कितनी ही बाते हैं, कितने ही गीत, किस किस का जिक्र करें। सच तो यह दोस्तों कि जो मनुष्य खुद में शान्त हैं और आनन्द से तरंगित है, वही प्रकृति से एक हो जाता है। ईश्वर कोई नहीं, बस परम आनन्द की अनुभूति है और हमारा तो ए मानना हे कि रफ़ी साहब की आवाज़ परम आनन्द की अनुभूति है, ईश्वर स्वरूप की अनुभूति है। वो आवाज़ हमेशा अमर रहेगी, अजय रहेगी। शरीर भले ही हम से जुदा हो गया हो पर ए आवाज़ सदियों तक फिज़ाओं में गूंजती रहेगी।
मैं समझता हूँ हम सब, जिन्होंने उनकी आवाज़ सुनी है और वो आने वाली नस्लें जिनके लिए उनकी आवाज़ का जादू रिकार्डो में कैद है, खुशनसीब हैं क्योंकि हम को ऐसी बेहतरीन आवाज़ सुनने को मिली। ईश्वर से यही प्रार्थना हैं कि उनकी पुण्य आत्मा को निर्वाण दे, मोक्ष दे।
दिल की कलम से
दीपक महान
Wednesday, the 25th July 2007
31 जुलाईः रफ़ी साहब की पुण्य तिथि पर एक शब्दांजलि
यह आवाज़ यूँ ही फिज़ाओं में गूंजती रहे
२७ साल हो गए रफ़ी साहब को हम से बिछड़े हुए पर अब भी यक़ीन नहीं होता कि वो दुनिया के इस मेले को छोड़ कहीं दूर, बहुत दूर चले गए हैं। ३१ जुलाई १९८० की वो मनहूस शाम मुझे आज भी अच्छी तरह याद है। शाम से ही माहौल कुछ ग़मगीन सा लग रहा था, हवा सहमी-सहमी सी थी मानों कुछ अप्रत्याशित घटने की आशंका से भयभीत हो। न जाने क्यों मेरे हाथ सज़दे में उठ, रफ़ी साहब की सुख शांति के लिए दुआ मांगने लगे। पर मुझे क्या पता था कि जिस वक्त मैं दुआ माँग रहा था, उसी वक्त ईश्वर उन्हें चिर शान्ति का आशीर्वाद दे रहा था। दूसरे दिन, जिस किसी ने रफ़ी साहब के इंतकाल की खबर सुनी, वो स्तब्ध रह गया, प्रकृति का बांध टूट गया और भारतवासी तन्हा हो गए क्योंकि रफ़ी साहब की आवाज़, एक इंसान की नहीं, बल्कि हिन्दुस्तान की आत्मा की आवाज़ थी। अचानक ऐसी आवाज़ खामोश हो गई जो मंदिरों में भजनों के रूप में, शादियों में बेटी की बिदाई में और सूफी संतों की मजारों पर कव्वाली के रूप में आने वाली कई सदियों तक गूंजती रहेगी।
रफ़ी साहब की शख़्सियत हमारी जिंदगी का इस कदर हिस्सा बन चुकी थी कि उनके जुदा होने का कभी ख्याल भीहमारे मन में नहीं आया। उनकी पुरज़ोर आवाज़ की नर्म छाँव और थपकियों के सहारे हमने बचपन से जवानी की दहलीज पर कदम रखा, नग्मों की समझ उन्हीं की आवाज़ के साथ उजागर हुई और वो मीठी आवाज़, बचपन से कब जवानी के खून में घुलमिल गई, हमे पता ही नहीं चला।
रफ़ी साहब हमेशा संगीत आकाश में सूरज की तरह जगमगाते रहें, उनकी आवाज़ में जो लोच था, जो सोज और क़शिश थी वो अपने आप में बेमिसाल थी। कठिन से कठिन तान, बारीक़ से बारीक़ मुर्की या अन्य गले की हरकत को वो बड़ी आसानी से पेश कर, श्रोताओं का दिल जीत लेते थे। लफ्ज़ों की अदायगी में भी रफ़ी साहब बेजोड़ थे और शब्दों के भावों को संगीतमय अभिव्यक्ति देने में वो अपनी तरह के अकेले गायक थे। उन्हें गायकी का बेताज बादशाह इसीलिए कहा जाता था क्योंकि उनकी आवाज़ का अदांजे बयाँ ही और था। भजन हो या गीत, गज़ल हो या कव्वाली, रोमांटिक गीत हो या पाश्चात्य संगीत की लय, रफ़ी साहब का कोई सानी नहीं था।
"तुझे नग्मों की जाँ, अहले नजर, यूहीं नहीं कहते,
तेरे गीतों को दिल का हमसफ़र, यूहीं नहीं कहते,
सुनी सबने मोहब्बत की जबाँ, आवाज़ में तेरी,
धड़कता है दिले हिन्दोस्ताँ, आवाज़ में तेरी
सच, उनकी आवाज़ में ईश्वर का प्यार बरसता था। रफ़ी साहब जितने अच्छे गायक कलाकार थे उससे कहीं ज्यादा अच्छे इंसान भी थे। प्रसिद्धि के शिखर पर पहुँचने के बावजूद वे इन्सानियत की मिसाल रहे दिलीप कुमार साहब फरमाते हैं कि "रफ़ी साहब स्टूडियो के बाहर सिर्फ मंद्र सप्तक में बात करते थे। ४० वर्षो के फिल्मी जीवन में कभी किसी ने उन्हें किसी से अभद्र व्यवहार करते नहीं देखा, न ऊँची आवाज़ में बात करते सुना"। उनके बड़प्पन के किस्से हर उस शख़्स की याद में बसे हैं जो उनसे एक बार मिला होगा।
गरीबों, अपंगो, समाज-सेवी संस्थाओं के लिए वे जीवन पर्यन्त अपना योगदान देते रहे। कितने ही जरूरत मंद निर्माताओं, गीतकारों, संगीतकारों के लिए उन्होंने मुफ्त या नगण्य कीमत पर गीत गा दिए ताकि उनका कैरियर बन जाए। सच्चाई और ख़ुदाई हमेशा उनके व्यक्त्तित्व का हिस्सा रहे और यही पवित्रता उनकी आवाज़ में भी दिखलाई देती थी।
शोहरत की बुलंदियों पे बैठे लोगों की शान में कई बार झूठी तारीफें भी की जाती हैं लेकिन असली तारीफ वो होती है जो आपके प्रतिद्वंदियों, सह-कर्मियों या सेवकों द्वारा की जाए और इस मामले में रफ़ी साहब खुशनसीब थे। उनकी मृत्यु पर मशहूर गायक तलत मेहमूद ने रून्धे गले से कहा था, "रफ़ी साहब, बहुत ही नेक इंसान थे, दुनिया को उनकी अभी बहुत जरूरत थी। काश, अल्लाह-ताला मेरी जान ले लेता और रफ़ी साहब की जान बख्श देता"। शायद किसी भी इंसान को इससे बड़ा सम्मान नहीं दिया जा सकता।
हिन्दुस्तानी फिल्म संगीत में शंकर- जयकिशन की जोड़ी का अपना एक मुकाम है और उनकी सफलता में रफ़ी साहब का भी भरपूर योगदान रहा है। रफ़ी साहब के निधन के बाद एक बार इत्तेफाक से मेरी मुलाकात शंकर जी से बम्बई के क्रिकेट क्लब ऑफ इंड़िया में हुई और हमने फिल्म संगीत पर विस्तृत चर्चा की। बातचीत के दौरान रफ़ी साहब के बारे में बात करते-करते शंकर भावुक हो उठे और बोले "व्यक्तिगत जीवन में रफ़ी इंसान नहीं देवता थे। इस फिल्मी दुनिया में जहाँ हर कोई किसी का बुरा चाहता है, अहित करता है, रफ़ी साहब ने किसी का बुरा नहीं सोचा, कभी बुरा नहीं किया" । शंकर ने आगे बताया कि कैसे जयकिशन और शंकर के बीच उपजे मतभेदों को, रफ़ी साहब ने प्यार से सुलझाया था और मरते दम तक जोड़ी को कायम रखने का वायदा भी लिया था। शंकर कहने लगे कि उसके बाद जब भी कोई बहस या टकराव होता तो रफ़ी साहब ही हमारे बीच में जज होते थे और उनकी बात हमने कभी नहीं टाली। रफ़ी साहब को याद करते करते वे इतने भावुक हो गए कि हम बहुत देर तक निस्तब्ध, मौन बैठे एक दूसरे से संवाद करते रहे, ऐसा लगा मानो रफ़ी साहब हमारे आसपास ही कहीं मौन बैठे हैं और हमको भी अब बोलकर उनके मौन को भंग नहीं करना चाहिए।
पर ऐसी कितनी ही बातें उनके चौकीदार शेर सिंह से लेकर बम्बई के टैक्सी वाले करते नही थकते। बिना किसी को बताए, लोगो की मदद करना उनकी आदत में शुमार था। मुझे याद है गुरू नानक पार्क, बान्द्रा के उनके घर में एक सूक्ति लटकी थी जिसपर लिखा था
"जितना झुकेगा जो, उतना उरोज पाएगा
इमाँ है जिस दिल में, वो बुलन्दी पे जाएगा,"
गुरू नानक जैसी संतो सी जीवन शैली को रफ़ी साहब ने जिंदगी में आत्मसात् कर लिया था और कोई अचरज नहीं कि कुछ वर्ष पूर्व एक सिने पत्रिका द्वारा कराए गए सर्वेक्षण में रफ़ी साहब को फिल्म उद्योग का सबसे प्रिय कलाकार चुना गया था।
रफ़ी साहब की आवाज़ में गायकी ही नहीं बल्कि गज़ब की अभिनय क्षमता भी थी। उनकी आवाज़ में हर रंग, हर अदा, हर भाव छलकता था और इसीलिए किसी भी चरित्र पर उनकी आवाज़ थोपी हुई नहीं लगती थी। रफ़ी साहब से पहले ज्य़ादातर गाने एक सप्तक तक सीमित रहते थे लेकिन रफ़ी साहब की आवाज़ की विविधता, व्यापकता, मिठास और लोच के कारण, उनके लिए संगीतकारों ने दो से तीन सप्तक तक के गीत सृजित किए क्योंकि उनकी आवाज़ संगीत के हर सुर को अपने में समा लेती थी.
मुकेश जहाँ दर्दीले गीतों के गायक थे वहीं तलत महमूद नर्मो नाजुक गजलों के माहिर। मन्ना ड़े जहाँ शास्त्रीय संगीत पर आधारित गीतों से जुड़े रहे तो किशोर कुमार हल्के-फुल्के चंचल गीतों के लिए ही जाने गए। लेकिन इसके विपरीत, रफ़ी साहब ने हर अंदाज़ के गीत गाए और गायकी के बेताज बादशाह कहलाए। हकीकत यह है कि मुकेश, तलत और किशोर ने शायद ही शास्त्रीय संगीत में निबद्ध कोई विशुद्ध भजन, गीत या फिर कोई जोशीली देश प्रेम की रचना गाई हो, ठीक जैसे मन्ना ड़े पाश्चात्य स्वर लहरियों और गज़ल की रूमानियत से कोसों दूर रहे। बहुत कम लोग जानते है कि जब तलत मेहमूद और किशोर कुमार हीरो बने तो उन्हें भी लाला रूख, शरारत, रागिनी आदि फिल्मों के कई गानों में रफ़ी साहब की आवाज़ उधार लेनी पड़ी। खैय्याम, शंकर जयकिशन और ओ पी नैय्यर जैसे गुणीजनों ने तलत और किशोर के पीछे से रफ़ी साहब का इस्तेमाल तब किया जब उनकी रचनाओं के साथ तलत और किशोर काफी रिहर्सलों के बाद भी न्याय ना कर सके। संगीत जगत बेशक रफ़ी साहब के बिना वीरान हो गया है।
गाना रूमानी हो या दर्दीला, मिलन का हो या विछोह का; घुमावदार कठिन तान हो या गज़ल की कोमलता; कव्वाली का जोश या प्रणय का उन्माद; परमेशवर की उपासना हो या देश प्रेम की सुलगती ज्वाला, रफ़ी साहब, शायर-गीतकार के तसव्वुरात को अपने पुरक़शिश अंदाज में रूह बख़्श देते थे। संगीतकार जयदेव ने एक बार बातों ही बातों में हमसे जिक्र किया कि नौशाद, एस. डी. बर्मन, शंकर जयकिशन और ओ पी नैय्यर, रफ़ी साहब को रैंज, सोज़, विविधता और भाव
अभिव्यक्ति के मामले में सभी गायक-गायिकाओं में सर्वोच्च कलाकार मानते थे। पण्डित श्यामदास मिश्र और उस्ताद अमीर खाँ का मानना था कि लोग घंटो की गायकी में जो प्रभाव पैदा नहीं कर सकते थे, वो रफ़ी साहब तीन मिनट में कर दिखाते थे, क्योंकि रफ़ी साहब उच्च कोटि के इन्सान थे और गायकी उनका धर्म, उनका ईमान थी और हर सुर उनके गले से ऐसा बहता था मानो किसी झरने से साफ, निर्मल और मीठा पानी बह निकला हो।
उनके कृतित्व और व्यक्तित्व के बारे में सब कुछ कहना असंभव सा है। सच सिर्फ इतना हैं कि मानव हृदय की गहराईयों को सुरों के द्वारा श्रोताओं के दिलों में तस्वीर की तरह उतार देने की कला सिर्फ रफ़ी साहब ही जानते थे। आज जब कि लोग राजनैतिक गलियारों में राग अलाप कर पद और सम्मान हासिल कर रहे हैं, रफ़ी साहब धर्म, जाति, भाषा से परे, लोगों के दिलों पर राज कर रहे हैं। २७ वर्ष के लंबें अंतराल के बावजूद आज भी रफ़ी साहब की लोकप्रियता बरकरार है और क्यूँ ना हो आखिर उस कलाकार ने अपना सर्वस्व अपनी गायकी को समार्पित कर दिया।
कहते हैं, हर वक्त दुनिया में किसी ना किसी जगह पर रफ़ी साहब का गीत बजता रहता हैं । हमें तो फख़्र है कि ऐसा शख्स भारत भूमि पर पैदा हुआ और इसने हमारे देश का नाम दुनिया भर में रोशन कर दिया। बहुत कम लोग जानते है कि बैजू बावरा के "ओ दुनिया के रखवाले" भजन गाते-गाते, रफ़ी साहब के गले से खून निकल आया था और वो कई दिन तक गा नहीं सके थे। ईश्वर को समर्पित एक सच्चा इंसान ही ऐसी कर्णप्रिय वन्दना गा सकता है।
"गूंजते हैं तेरे नग्मों से अमीरों के महल, झोपड़ो में भी तेरी आवाज़ का जादू है
अपनी मौसिक़ी पे सबको नाज है, मगर मौसिक़ी को खुद तुझ पे नाज है"
कितनी ही बाते हैं, कितने ही गीत, किस किस का जिक्र करें। सच तो यह दोस्तों कि जो मनुष्य खुद में शान्त हैं और आनन्द से तरंगित है, वही प्रकृति से एक हो जाता है। ईश्वर कोई नहीं, बस परम आनन्द की अनुभूति है और हमारा तो ए मानना हे कि रफ़ी साहब की आवाज़ परम आनन्द की अनुभूति है, ईश्वर स्वरूप की अनुभूति है। वो आवाज़ हमेशा अमर रहेगी, अजय रहेगी। शरीर भले ही हम से जुदा हो गया हो पर ए आवाज़ सदियों तक फिज़ाओं में गूंजती रहेगी।
मैं समझता हूँ हम सब, जिन्होंने उनकी आवाज़ सुनी है और वो आने वाली नस्लें जिनके लिए उनकी आवाज़ का जादू रिकार्डो में कैद है, खुशनसीब हैं क्योंकि हम को ऐसी बेहतरीन आवाज़ सुनने को मिली। ईश्वर से यही प्रार्थना हैं कि उनकी पुण्य आत्मा को निर्वाण दे, मोक्ष दे।
Friday, December 21, 2007
CLARION CALL TO BOLLYWOOD
CLARION CALL TO
B O L L Y W O O D
By A.S. Murty - asmurty2@rediffmail.com,
rafimurty@gmail.com
Mohammed Rafi , the Numero Uno among all the singers that our country has produced, ruled over Bollywood for close to four decades. He sang over 27000 songs and in many languages and he sang all types of songs. Be it ghazals, geets, qawwallis, bhajans, romantic or tragic, patriotic or plain MESSAGE BOARD songs, Mohd. Rafi rendered them all with such subtle ease and passion that he has no parallels in the music industry. He worked with all the top film producers, directors, music directors, female lead singers, male lead singers and a host of chorus artistes. Many a Music Directors owe their success to Mohd. Rafi sahib, for HE not just sang for them but raised the class of their compositions many times over. Mohd. Rafi was the soul of many all-time mega movies in the four decades that he was sitting at the altar of Bollywood’s music industry. Several hundreds of movies became instant hits and went on to celebrate Silver Jubilees and many a actor made their day by becoming romantic heroes. Such was the aura of the phenomenon called Mohd. Rafi that none could choose to find alternate singers. Producers, Directors, Heroes, Music Directors and even Female playback singers all made a beeline to the residence of Mohd. Rafi sahib – all because their individual and collective future depended on the greatest singer of our times. He shaped the destiny of several hundred artistes, music directors, actors, singers and many more in the industry. Mohd. Rafi saheb did not disappoint anyone of them. Each got more than what they had bargained for in the form of the best music rendering that Bollywood would offer to a cinema-crazy nation. Such was the impact of his magic that his fan following soon spread across nations – from the sub-continent to the great Americas and the Europe. The mid-1950s to late 1970s saw the versatility and the range that this humble and shy human being could produce – not only outsmarting the very best in the Indian film industry but also the likes of which has not been seen in any other part of the world. This arrangement continued until it came to a grinding and abrupt halt on that fateful day of July 1980. A whole nation was shell shocked to hear the unbelievable news that Mohd. Rafi was no more. People travelled from all corners of the country to Bombay (now Mumbai) to pay their last respects to a superlative artiste. Thousands braved the rains to attend the funeral of a man they had loved and respected. Radio stations broadcast the gloomy information and TV channels telecast the funeral procession and the musical sway that the great son of India had generated through his immortal songs. I had just then settled in Hyderabad after a long innings at Ahmedabad where we had a core-Rafi group. There were no mobiles then and no emails either. My Rafian-friends collected all the newspaper and magazine reports on the untimely death and the works of Mohd. Rafi saheb and mailed them to me. The tinge of grief and gloom loomed over our lives for many months to come.
Rafi sahib worked with several hundreds of artistes from the film industry. Many a film critics and film journalists had known him from close quarters having studied his music and his life-style. Several of them had interviewed him too. Many of those artistes and media personnel are still alive reminiscing the times they had spent knowing the magic of Mohd. Rafi saheb. Musicians would know how they felt after the recording sessions and so too the Music Directors would be able to label Mohd. Rafi saheb as the top most singer. Film heroes of yesteryears for whom Rafi Saheb was an integral part of their careers would be able to tell us the impact that his songs had on their rise in the industry. Rafi saheb had contributed to the rise of each one of them. While many notable artistes, including many legendary music directors are no more, there are still quite a sizeable of them and their orchestra members who could shed light on the phenomenal presence of Mohd. Rafi saheb in the industry. Film critics and journalists can dig out their archives and present to the world the legacy Mohd. Rafi saheb by way of fresh articles. Today is the age of the internet and websites. Younger generation today does not read periodicals and newspapers. We Rafians have adapted to the changing times and made the internet our daily staple food. Let those in the Bollywood spare their memories and anecdotes and experiences with all music lovers through their columns – regular or occasional. It is the call of the hour that Bollywood pays back Mohd. Rafi saheb, in equal measure, in return for all that Mohd Rafi saheb had done in such a short span. Bollywood must also take the lead in the march for glorification of Mohd. Rafi saheb with the Bharat Ratna. Let this become the one-point agenda for all those who were associated with a great humnan being and the greatest singer of all times - MOHAMMED RAFI. Generations to come would thank Bollywood for their contribution to this most reasonable and justified cause. The media also should play a positive part in portraying the works of this wonderful artiste – both in the print and visual sectors – for HE remains an inseparable part of lives of millions of people still swearing by his name. Come one BOLLYWOOD. Your turn to do a noble duty.
महफिल-ए-मुशैरा आज भी हो कल भी हो, रफी साहेब आपकी आवाज़ का जादू भी हो कल भी हो.
येही अरमान लिए जीते हैं, बस तीनो जहाँ में आपकी छाया आज भी हो कल भी हो.
B O L L Y W O O D
By A.S. Murty - asmurty2@rediffmail.com,
rafimurty@gmail.com
Mohammed Rafi , the Numero Uno among all the singers that our country has produced, ruled over Bollywood for close to four decades. He sang over 27000 songs and in many languages and he sang all types of songs. Be it ghazals, geets, qawwallis, bhajans, romantic or tragic, patriotic or plain MESSAGE BOARD songs, Mohd. Rafi rendered them all with such subtle ease and passion that he has no parallels in the music industry. He worked with all the top film producers, directors, music directors, female lead singers, male lead singers and a host of chorus artistes. Many a Music Directors owe their success to Mohd. Rafi sahib, for HE not just sang for them but raised the class of their compositions many times over. Mohd. Rafi was the soul of many all-time mega movies in the four decades that he was sitting at the altar of Bollywood’s music industry. Several hundreds of movies became instant hits and went on to celebrate Silver Jubilees and many a actor made their day by becoming romantic heroes. Such was the aura of the phenomenon called Mohd. Rafi that none could choose to find alternate singers. Producers, Directors, Heroes, Music Directors and even Female playback singers all made a beeline to the residence of Mohd. Rafi sahib – all because their individual and collective future depended on the greatest singer of our times. He shaped the destiny of several hundred artistes, music directors, actors, singers and many more in the industry. Mohd. Rafi saheb did not disappoint anyone of them. Each got more than what they had bargained for in the form of the best music rendering that Bollywood would offer to a cinema-crazy nation. Such was the impact of his magic that his fan following soon spread across nations – from the sub-continent to the great Americas and the Europe. The mid-1950s to late 1970s saw the versatility and the range that this humble and shy human being could produce – not only outsmarting the very best in the Indian film industry but also the likes of which has not been seen in any other part of the world. This arrangement continued until it came to a grinding and abrupt halt on that fateful day of July 1980. A whole nation was shell shocked to hear the unbelievable news that Mohd. Rafi was no more. People travelled from all corners of the country to Bombay (now Mumbai) to pay their last respects to a superlative artiste. Thousands braved the rains to attend the funeral of a man they had loved and respected. Radio stations broadcast the gloomy information and TV channels telecast the funeral procession and the musical sway that the great son of India had generated through his immortal songs. I had just then settled in Hyderabad after a long innings at Ahmedabad where we had a core-Rafi group. There were no mobiles then and no emails either. My Rafian-friends collected all the newspaper and magazine reports on the untimely death and the works of Mohd. Rafi saheb and mailed them to me. The tinge of grief and gloom loomed over our lives for many months to come.
Rafi sahib worked with several hundreds of artistes from the film industry. Many a film critics and film journalists had known him from close quarters having studied his music and his life-style. Several of them had interviewed him too. Many of those artistes and media personnel are still alive reminiscing the times they had spent knowing the magic of Mohd. Rafi saheb. Musicians would know how they felt after the recording sessions and so too the Music Directors would be able to label Mohd. Rafi saheb as the top most singer. Film heroes of yesteryears for whom Rafi Saheb was an integral part of their careers would be able to tell us the impact that his songs had on their rise in the industry. Rafi saheb had contributed to the rise of each one of them. While many notable artistes, including many legendary music directors are no more, there are still quite a sizeable of them and their orchestra members who could shed light on the phenomenal presence of Mohd. Rafi saheb in the industry. Film critics and journalists can dig out their archives and present to the world the legacy Mohd. Rafi saheb by way of fresh articles. Today is the age of the internet and websites. Younger generation today does not read periodicals and newspapers. We Rafians have adapted to the changing times and made the internet our daily staple food. Let those in the Bollywood spare their memories and anecdotes and experiences with all music lovers through their columns – regular or occasional. It is the call of the hour that Bollywood pays back Mohd. Rafi saheb, in equal measure, in return for all that Mohd Rafi saheb had done in such a short span. Bollywood must also take the lead in the march for glorification of Mohd. Rafi saheb with the Bharat Ratna. Let this become the one-point agenda for all those who were associated with a great humnan being and the greatest singer of all times - MOHAMMED RAFI. Generations to come would thank Bollywood for their contribution to this most reasonable and justified cause. The media also should play a positive part in portraying the works of this wonderful artiste – both in the print and visual sectors – for HE remains an inseparable part of lives of millions of people still swearing by his name. Come one BOLLYWOOD. Your turn to do a noble duty.
महफिल-ए-मुशैरा आज भी हो कल भी हो, रफी साहेब आपकी आवाज़ का जादू भी हो कल भी हो.
येही अरमान लिए जीते हैं, बस तीनो जहाँ में आपकी छाया आज भी हो कल भी हो.
HALAAT KA MAARA, BEBAS INSAAN AUR.....
HAALAT KA MAARA, BEBAS INSAN AUR USKE BIKHARE HUYE SAPNE
HALAAT KA MARA, BEBAS INSAAN AUR USKE BIKHARE HUYE SAPNE
article by A.S. Murty - rafimurty@gmail.com/asmurty2@rediffmail.com
One of the finest compositions and perhaps one of the most difficult ones – this piece of a song is a story of plight. Desperation pouring out from the bottom of the heart, the composition takes the listener on a different plane. Helplessness, loneliness and pathos all keep flowing from the start. The song is MAIN TOOTI HUI IK NAYYA HOON from the film AADMI. I have listened to the song several times again in recent times and am totally baffled by the sheer uniqueness of rendition. How can anyone sing it to such perfection? Each line, each paragraph and almost every word comes out from different angles and directions. No tune is repeated in the paragraphs and there is no knowing on what note the paragraph will end, until it actually does. How did Naushad compose such a difficult tune? Did he actually visualize the result that finally came out in the form of the voice of Mohammed Rafi? Did he leave it to the genius of Mohd. Rafi to present it in the form that the song was finally rendered? Several questions crop up my mind when I listen to the song again and again and frankly I have no answers. Alas! Both Naushad Sahab and Mohd. Rafi Sahab are no more with us. It continues to bewilder and baffle me repeatedly and each time with much more impact than the previous one. I can only visualize Mohd. Rafi Sahab, instead of Naushad Sahab directing the orchestra that was used while singing. There are several songs of Mohd. Rafi that many good singers can sing. They will however never come anywhere near him. That has been an acknowledged fact and may be an understatement by itself. But there are some songs which even established exponents of Hindi film music or the best of singers can never even attempt. This song is one such rare and unique blend of music that has Mohd. Rafi’s name written all over it. At the beginning of the song itself, the sadness of the song is evidently exposed by this great singer who has rendered it from his heart. I once came upon a small Urdu phrase – NAGMA WAHI HAI NAGMA KE JISE, ROOH SUNE AUR ROOH SUNAYE. Mohd. Rafi, like in thousands of other songs, has given such a soulful rendition. One can feel the heaviness in his throat and the flow of tears from his eyes. Maybe sad songs can best be forgotten and they do not appeal to the masses. But true connoisseurs of music will spot a good composition and rendition. I am not listing the several thousands of songs that Mohd. Rafi sahab has recorded with equal aplomb and which are unmatched. The other songs of the same film – AADMI – were more acclaimed. This song did not play on the radio too often and may not be a prized collection of many of the Rafi fans. But it is to be listened again and again to know the depth to understand it. The composition is different from the usual run-of-the-mill songs and the smooth flow of music from the voice of Mohd. Rafi Sahab unfolds newer dimensions as one immerses oneself into the song. I have on several occasions wondered if any other singer of that era – 1960s – male or female – can sing this song. Manna De, Mahender Kapoor, Kishore Kumar, Mukesh, Lata Mangeshkar and Asha Bhosle and several other good but small time singers who had pitched in every now and then. The song is not gender-specific. I tried to visualize the song in the voice of the above singers. The song has no set pattern which would have been helpful to any of them. But more than this, I found that the song could not have been sung in a better form had it been composed in a set pattern, and certainly not by any other singer. Every bit of bitterness, sadness and helplessness would have vanished. “JEE CHAAHE DUBODO MOUJON MEIN YA SAHIL PAR LE JAO” depicts the total dependence of one human being on another and tells the untold story of the dark phases in a destitute life. In the second paragraph Mohd. Rafi says – BEETE HUYE DIN MIL JAYE JAHAN MUJHE AISI DAGAR LE JAYO . There can be no more pathos than a young man, a prince only a short time ago, is reduced to pleading. The entire gamut of hollowness in his life is beautifully narrated in the four lines in this paragraph. And there is neither any semblance of strain nor extra effort that Mohd. Rafi Sahab seems to putting into it. He has sung it with such ease to look a very simple composition. On the contrary, it is one of the difficult songs that cannot easily be learnt by most singers. Mohd. Rafi Sahab seems to have entered the soul of the character while rendering the song. Songs of this genre will be enshrined the list of the golden compositions for all time to come. I feel proud to be part of a generation that could create music of the tallest order and this song, like many more from Mohd. Rafi Sahab’s stable is a piece of art crafted to perfection by the singer and the composer Naushad Sahab.
Let songs of this kind be the yardstick in various talent hunt shows doing the rounds these days. If the song is forgotten by most RAFIANS, then they will yearn to listen to it once again and those who do, will find the depth that the song presents and rediscover the genius of a great saint and singer – a phenomenon called MOHAMMED RAFI. In recent times, Lata Mangeshkar has remarked that these so-called talent hunt shows are not the medium to discover the real singers as they are SMS based. Paradoxically and inexplicably, she was silent when the first ever such talent hunt produced a young man from Mumbai as the undisputed true singer, who was also chosen on similar lines. But then, she should have elaborated more and given examples of many songs sung by her and other peers like Mohammed Rafi Sahab and should have dared the singers and the organizers to make these gems of songs as the benchmark for determination and elimination.
Coming back to this song’s composition, the opening music is itself haunting and prods one to listen to the song in full and in total reverence. One would realize that the song is here to make a bold statement. If the song is not appealing to the masses for the sadness it depicts, then I am compelled to repeat the last lines in song and console myself - TOOTE NA TUMHARA NAZUK DIL, YEH DARD MUJHI TAK RAHNE DO. AB CHHOD DO MUJHKO RAHON MEIN YA DOOR NAGAR LE JAO.
Come on RAFIANS, there is a lot of bliss even in the saddest of songs and this one could give the pep that is badly required by all of us in this otherwise make-belief world of noisy stuff churned by movies after movies and by MDs of all ilk labeling them as music. Enough is enough, Let us revive and propagate the real music.
HALAAT KA MARA, BEBAS INSAAN AUR USKE BIKHARE HUYE SAPNE
article by A.S. Murty - rafimurty@gmail.com/asmurty2@rediffmail.com
One of the finest compositions and perhaps one of the most difficult ones – this piece of a song is a story of plight. Desperation pouring out from the bottom of the heart, the composition takes the listener on a different plane. Helplessness, loneliness and pathos all keep flowing from the start. The song is MAIN TOOTI HUI IK NAYYA HOON from the film AADMI. I have listened to the song several times again in recent times and am totally baffled by the sheer uniqueness of rendition. How can anyone sing it to such perfection? Each line, each paragraph and almost every word comes out from different angles and directions. No tune is repeated in the paragraphs and there is no knowing on what note the paragraph will end, until it actually does. How did Naushad compose such a difficult tune? Did he actually visualize the result that finally came out in the form of the voice of Mohammed Rafi? Did he leave it to the genius of Mohd. Rafi to present it in the form that the song was finally rendered? Several questions crop up my mind when I listen to the song again and again and frankly I have no answers. Alas! Both Naushad Sahab and Mohd. Rafi Sahab are no more with us. It continues to bewilder and baffle me repeatedly and each time with much more impact than the previous one. I can only visualize Mohd. Rafi Sahab, instead of Naushad Sahab directing the orchestra that was used while singing. There are several songs of Mohd. Rafi that many good singers can sing. They will however never come anywhere near him. That has been an acknowledged fact and may be an understatement by itself. But there are some songs which even established exponents of Hindi film music or the best of singers can never even attempt. This song is one such rare and unique blend of music that has Mohd. Rafi’s name written all over it. At the beginning of the song itself, the sadness of the song is evidently exposed by this great singer who has rendered it from his heart. I once came upon a small Urdu phrase – NAGMA WAHI HAI NAGMA KE JISE, ROOH SUNE AUR ROOH SUNAYE. Mohd. Rafi, like in thousands of other songs, has given such a soulful rendition. One can feel the heaviness in his throat and the flow of tears from his eyes. Maybe sad songs can best be forgotten and they do not appeal to the masses. But true connoisseurs of music will spot a good composition and rendition. I am not listing the several thousands of songs that Mohd. Rafi sahab has recorded with equal aplomb and which are unmatched. The other songs of the same film – AADMI – were more acclaimed. This song did not play on the radio too often and may not be a prized collection of many of the Rafi fans. But it is to be listened again and again to know the depth to understand it. The composition is different from the usual run-of-the-mill songs and the smooth flow of music from the voice of Mohd. Rafi Sahab unfolds newer dimensions as one immerses oneself into the song. I have on several occasions wondered if any other singer of that era – 1960s – male or female – can sing this song. Manna De, Mahender Kapoor, Kishore Kumar, Mukesh, Lata Mangeshkar and Asha Bhosle and several other good but small time singers who had pitched in every now and then. The song is not gender-specific. I tried to visualize the song in the voice of the above singers. The song has no set pattern which would have been helpful to any of them. But more than this, I found that the song could not have been sung in a better form had it been composed in a set pattern, and certainly not by any other singer. Every bit of bitterness, sadness and helplessness would have vanished. “JEE CHAAHE DUBODO MOUJON MEIN YA SAHIL PAR LE JAO” depicts the total dependence of one human being on another and tells the untold story of the dark phases in a destitute life. In the second paragraph Mohd. Rafi says – BEETE HUYE DIN MIL JAYE JAHAN MUJHE AISI DAGAR LE JAYO . There can be no more pathos than a young man, a prince only a short time ago, is reduced to pleading. The entire gamut of hollowness in his life is beautifully narrated in the four lines in this paragraph. And there is neither any semblance of strain nor extra effort that Mohd. Rafi Sahab seems to putting into it. He has sung it with such ease to look a very simple composition. On the contrary, it is one of the difficult songs that cannot easily be learnt by most singers. Mohd. Rafi Sahab seems to have entered the soul of the character while rendering the song. Songs of this genre will be enshrined the list of the golden compositions for all time to come. I feel proud to be part of a generation that could create music of the tallest order and this song, like many more from Mohd. Rafi Sahab’s stable is a piece of art crafted to perfection by the singer and the composer Naushad Sahab.
Let songs of this kind be the yardstick in various talent hunt shows doing the rounds these days. If the song is forgotten by most RAFIANS, then they will yearn to listen to it once again and those who do, will find the depth that the song presents and rediscover the genius of a great saint and singer – a phenomenon called MOHAMMED RAFI. In recent times, Lata Mangeshkar has remarked that these so-called talent hunt shows are not the medium to discover the real singers as they are SMS based. Paradoxically and inexplicably, she was silent when the first ever such talent hunt produced a young man from Mumbai as the undisputed true singer, who was also chosen on similar lines. But then, she should have elaborated more and given examples of many songs sung by her and other peers like Mohammed Rafi Sahab and should have dared the singers and the organizers to make these gems of songs as the benchmark for determination and elimination.
Coming back to this song’s composition, the opening music is itself haunting and prods one to listen to the song in full and in total reverence. One would realize that the song is here to make a bold statement. If the song is not appealing to the masses for the sadness it depicts, then I am compelled to repeat the last lines in song and console myself - TOOTE NA TUMHARA NAZUK DIL, YEH DARD MUJHI TAK RAHNE DO. AB CHHOD DO MUJHKO RAHON MEIN YA DOOR NAGAR LE JAO.
Come on RAFIANS, there is a lot of bliss even in the saddest of songs and this one could give the pep that is badly required by all of us in this otherwise make-belief world of noisy stuff churned by movies after movies and by MDs of all ilk labeling them as music. Enough is enough, Let us revive and propagate the real music.
Wednesday, December 12, 2007
Tuesday, December 11, 2007
SHAYARI RAAS AA GAYI
(१) तेरे नग्मों से महज़, मिल जाता है जन्नत-ए-सुकून,
अब ज़िंदगी भर की खुशियाँ लेकर, रफिमुर्ति, क्या कीजियेगा
(२) मुमकिन है मेरे बाद भी आएंगे कई दीवाने,
मलाल इस बात का है, रफिमुर्ति बेखबर होगा
(३) वैसे तो ज़माने में लाखों है रफी के शागिर्द,
एक तू, रफिमुर्ति, बस दीवानों का शहजादा है
(४) बोहुत समझाया दिल-ए-नादान को कुछ और भी है ज़िंदगी में ,
कम्बखत को रफी के तरानों से फुरसत ही नही मिलती
(५) मेरे दिल की गहराइयोंमें झांक कर देख मेरे दोस्त,
कहीं यह वोह सुरूर टोह नही मोहम्मद रफी कहें जिसे
(६) ज़िंदगी में यौन भी भटकता रहा था रफिमुर्ति,
चंद परिंदों की खातिर शायरी रास आ गयी
(७) ज़माने आये ज़माने चले गए,
तेरे नग्मों के सुबह की शाम न आई
(८) ज़िंदगी बार बार नही आती रफिमुर्ति,
गर कुछ कहना है तो वक्त जाया नही करते
(९) फरिश्तों की महफिल में हो रही थी बात
यह रफी साहब इंसानियत पर जोर क्यों दे रहें हैं
(१०) तेरे जिस्म में जो खून था रफी साहब, वोह लाल नही,
हर इक कतरे से मौसुकी की महक, शरबत-ए-सतरंगी का जाम था
(११) झूमकर खुशी से जब लौटकर आ राहे थे हम,
लोगों ने कहा ज़रूर बज्म-ए-रफी से होकर आया होगा
(१२) नगमा वाही है नगमा के जिसे,
रूह सुने और रफी साहब सुनाएँ
अब ज़िंदगी भर की खुशियाँ लेकर, रफिमुर्ति, क्या कीजियेगा
(२) मुमकिन है मेरे बाद भी आएंगे कई दीवाने,
मलाल इस बात का है, रफिमुर्ति बेखबर होगा
(३) वैसे तो ज़माने में लाखों है रफी के शागिर्द,
एक तू, रफिमुर्ति, बस दीवानों का शहजादा है
(४) बोहुत समझाया दिल-ए-नादान को कुछ और भी है ज़िंदगी में ,
कम्बखत को रफी के तरानों से फुरसत ही नही मिलती
(५) मेरे दिल की गहराइयोंमें झांक कर देख मेरे दोस्त,
कहीं यह वोह सुरूर टोह नही मोहम्मद रफी कहें जिसे
(६) ज़िंदगी में यौन भी भटकता रहा था रफिमुर्ति,
चंद परिंदों की खातिर शायरी रास आ गयी
(७) ज़माने आये ज़माने चले गए,
तेरे नग्मों के सुबह की शाम न आई
(८) ज़िंदगी बार बार नही आती रफिमुर्ति,
गर कुछ कहना है तो वक्त जाया नही करते
(९) फरिश्तों की महफिल में हो रही थी बात
यह रफी साहब इंसानियत पर जोर क्यों दे रहें हैं
(१०) तेरे जिस्म में जो खून था रफी साहब, वोह लाल नही,
हर इक कतरे से मौसुकी की महक, शरबत-ए-सतरंगी का जाम था
(११) झूमकर खुशी से जब लौटकर आ राहे थे हम,
लोगों ने कहा ज़रूर बज्म-ए-रफी से होकर आया होगा
(१२) नगमा वाही है नगमा के जिसे,
रूह सुने और रफी साहब सुनाएँ
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