That the potential of Mohammad Rafi’s voice was first noticed by none other than the most noticed, and popular, voice of Hindi cinema, K L Saigal, is now a folklore tale that does not any more repetition. Similarly, when we pick up Mohammad Rafi’s songs of ‘40s, it, too, is now not necessary to remind that it was Shyam Sundar who gave the first ever break to Mohammad Rafi in 1942 in a Punjabi film, Gul Baloch. Nor too is any more necessary to remind that his maiden song in a Hindi film – a chorus for Pehle Aap (1944) – recorded by Naushad was to be the seed that was to grow as great Banyan Tree of the future bond of Naushad – Mohammad Rafi.
Mohammad Rafi did sing for around 45-46 music directors during 1944 to 1950. However, when we scroll names of these music directors, we come across names of vintage era music directors like Hafeez Khan, Firoz Nizami, Pt. Govindram, Alla Rakha Queraishi, Bulo C Rani, Hanuman Prasad, Rashid Atre, Datta Devjekar, Khemchand Prakash, Shyam Sunder, Sajjad Hussain and the like more. In a way, that shows early acceptance of playback singing capabilities of Mohammad Rafi. Mohammad Rafi also seems to have developed good rapport with music directors like Hans Raj Behl and Husnlal Bhagatram who went on to contribute notably till well into mid-50s. Another music director, who himself was struggling to make his mark, C Ramchandra, seemed to have found Mohammad Rafi’s voice to suit his style of music compositions. The new stars like S D Burman, Shankar Jaikishan, Madan Mohan, who were to create the compositions styles that was to shape the Hindi film music of the Golden Era, seemed to have test-cased Mohammad rafi with a song or two. It was Mukesh who seemed to be their first-choice male playback singer, with Mohammad Rafi not being seen anywhere near being the automatic choice for the playback of lead actors.
Till 1950, Mohammad Rafi had just a few what can said to be universally popular songs, like YahaN Badla Wafa a Bewafai Ke Siva Kya Hai (Jugnu, 1947, with Noor Jehan – Music: Firoz Nizami), Ek Dil Ke Tukade Hazar Hue (Pyar Ki Jeet, 1948 – Music: Husnlal Bhagatram) and Suhani Raat Dhal Chuki Na Jaane Tum Kab Aaogi (Dulari, 1949 – Music: Naushad). Of course, two of the Hindi Cinema’s all-time great patriotic songs, Suno Suno Aye Duniyawalo Bapu Ki Ye Amar Kahani (NFS – Music: Husnlal Bhagatram) and Watan Ki Raah Mein Watan Ke NaujawaN Shaheed Ho (Shaheed, 1948 – Music: Ghulam Haider) do belong to this period.
There would be no doubt that recalling Mohammad Rafi’s happy, romantic, solo songs, for the years 1944 – 1950 should be a very unique experience.
Pyar Karana Padega Ek Din … Tum Ko Hansana Padega Ek Din – Sharabati Aankhein (1945) – Lyrics: Pt. Indra – Music: Firoz Nizami
The songs wherein one party takes offence and other tries to please has remained a very popular genre in Hindi films. It seems that when the song compositions were still under the shadow of traditional theatre-style music, Mohammad Rafi had already started carrving out his own style for this genre of songs.
Rahe To Kaise Rahe Dil Pe Ikhtyaar Mujhe …. Tum Is Nazar Se Na Dekho Baar Mujhe – Room No. 9 (1946) – Lyrics: Naqshab Zarachvi – Music: Rasheed Atre
The very big name of those years, Shyam, is singing the song on the screen. However, a relatively novice playback singer that Mohammad Rafi was does not seem to overawes by the occasion and seems to be laying the foundation of developing his unique modulation style to mime the acting style of actor enacting the song on the screen.
Ab Wo Hamaare Ho Gaye… Ikraar Karein Ya Na Kareien…. Humko Unhi Se Pyar Hai Wo Pyar Karein Ya Na Karein – Safar (1946) – Lyrics: Gopal Singh (G S) Nepali – Music: C Ramachandra
C Ramchandra belongs to that early class of music directors who arrived on the Hindi film music scene during the vintage era, but has different ideas about the way the would compose the music. His experimental streak did not whither away even after having undergone quite rough weather in the initial years of struggle,
As early as 1947, C Ramchandra seems all at ease creating western styled Aana Meri Jaan Meri Jaan Sunday Ke Sunday and Maari Katari Mar Jaana (Shehnai, 1947). Even in 1950, on one hand he could compose a light, foot-tapping western styled Gore Gore O Banke Chhore (Samadhi, 1950) while simultaneously composing a deeply emotional pathos melody, Mahefil Mein Jal Uthi Shama Parwane Ke Liye ( Nirala, 1950).
Even though C Ramachandra had started tasting success in films like Nadiya Ke Paar (1948, Dilip Kumar, Kamini Kaushal), Patanga, Saanwariya (1949), he can be said to have gained escape velocity only during his association with Master Bhagwan.
So, while C Ramachandra was trying to create a separate trail by experimenting with Mid-eastern, Arabic, Indian folk and Western styled compositions, Mohammad Rafi was also working on developing his own unique style. Songs like Humko Tumhara Hi Aasara (Saajan, 1947 – Lyrics: Moti), O Baabu Aji Baabu Gali Mein Teri Chand Chamka (Saajan, 1947 – Lyrics: Qamar Jalalabadi) or Kis Waade Ka Matlab Kya Karein (Duniya, 1949 – Lyrics: Arzoo Lakhanvi) easily validate this proposition.
Prem Ki Naiyya Dol Rahi Hai Bojh Hriday Ka Taul Rahi Hai – Utho Jago 1947 – Lyrics:? – Music: Azeez Khan
The lyrics of the song seem to deliver the message of changing winds to the traditional mind-set society, in satirical style.
prem mein aisi surat bigadi
sar par jute, paav mein pagdi
izzat ke pat khol rahi hai
aise dhanwalo ke laal
ud gaye jinke sar ke baal
sar ki taat bhi bol rahi hai
prem na aaya tumko raas
kahe ye tumse gappu daas
kya, niyat dawa dol rahi hai
Ham Apne Dil Ka Fasana Unhein Soona Na Sake, Lagi Hai Jo Aag Dil MeinWo Buza Na Sake – Acress (1948) – Lyrics: Naqshab Zarachvi – Music: Shyam Sundar
After a good four years, Shyam Sundar is able to call upon Mohammad Rafi for his compositions. Of course, he now has used Rafi as lead male playback singer,
We can see Rafi so deftly handling one and half octave singing in one line and easily sliding across high-low octaves in the song. Most of the actors found it so hard to match this singing style on the screen.
Nigahein Milane Ko Jee Chahta Hai – Pyar Ki Aag (1948) – Lyrics: Qamar Jalalabadi – Music: Ghulam Mohammad
The dice of Hind film music so mysteriously choosing to reject a song and place the other (from Dil Hi To Hai, 1963 – Asha Bhosle – Lyrics: Sahir Ludhianvi – Music: Roshan) on peak of popularity even when the lyrics of the initial lines are (almost) same.
Asides:
In the very next year, a twin song composition also was created in Karwat (1949 – Lyrics: Saifuddin Saif – Music: Hans Raj Behl) in the voices of Paro Devi and K L Saigal styled Satish Batra, to meet the fate of resounding failure.
Dil Lena Hai to Le Lo, Inkar Nahi Hai, KyuN Garm Sard Hote Ho Taqrar Nahi Hai – Chakori (1949) – Lyrics: Mukraj Bhakri – Music: Hans Raj Behl
Hans Raj Behl and Mohammad Rafi first teamed up in a successful failure-of-love solo Sab Kuchh Lutya Hamne Aa Kar Teri Gali Mein (Chunariya, 1948) to build up a very fruitful association.
As it happens, this film also marks another very successful combination of Mohammad Rafi and Bharat Bhushan.
Mehman Ban Ke Aaye The Armaan Ban Gaye – Shohrat (1949) – Lyrics: Khanwar Zamma – Music: Azeez Hindi
The variety and versatility of Mohammad Rafi’s voice can best be appreciated if the duet twin version, with Hamida Banu, of the song is also heard together.
Dil Jawani Ke Nashe Mein Choor Hai Kaun Kaheta Hai Ke Dilli Door Hai – Birha Ki Raat (1950 – Lyrics: Sarshar Shailani – Music: Husnlal Bhagatram
The association of Husnlal Bhagatram with Mohammad Rafi also was quite varied and fruitful, beginning with some best ever sad songs like, Ek Dil Ke Tukde Hazar Hue (Pyar Ki Jeet, 1948), Muhabbat Ke Dhokhe Mein Koi Na Aaye (Badi Behen, 1949).
Mohammad Rafi presents his innovatively embedded harkats style of singing the light mood song.
Akele Mein Wo Gabarate To Honge – Biwi (1950) – Lyrics: Wali Sahab – Music: Sharmaji (a.k.a. Khayyam)
Mohammad Rafi presents the lost-in-deep-thoughts-of-the-loved-one mood.
Asides:
Amin Sayani is reminding Mahendra Kapoor in some programme how the college functions of his time would not conclude till Mahendra Kapoor sings this song. Mahendra Kapoor, too, very fondly sings the opening lines, in his own way.
Recalling Mohammad Rafi;s sad romantic songs should also be such a rich experience. But that it is for some other time…..
Sahir Ludhianvi was one of those rare poets whodi di not mold his poetry to the dictates of the Hindi film music medium. In fact the medium had to come to the terms of his poetry. As such, whether it was his songs of rebellion, or sheer comedy, a qawwali or a mujra or a song of romance, he would rather use an Urdu word as easily as any other would have used a Hindustani word. It was also not necessary that the word he would use would be an easy one, at least for a common listener to understand. But if that was word that only could convey his feeling, he would use that word, with all disregards for the pressures or traditions
Ravi (Shankar Shrama) – 3 March 1926 | 7 March 2012 – was as unassuming as simple were his compositions. He developed a very lasting relationship with almost everyone he had occasion to be associated professionally. For example, he went onto compose music for Devendra Goel’s banner right from his maiden film Vachan (1955) to Aadmi Sadak Ka (1997); with almost all production houses of South who were into making of Hindi films, with several hits like Grihasthi, Nazarana, Gharana, Khandan etc. One such major, long, and very fruitful relationship was with B R Films where Sahir Ludhianvi was also strong link of the bond. Ravi has had as many as 21 films with the lyricist Rajendra Krishna, 15 films with Shakil Badayuni besides 19 films with Sahir Ludhianvi.
Sahir Ludhianvi, whether as a person (at least outwardly) or as a poet or as a lyricist, was known to the world for his bitterness (‘talkhi‘), his moodiness, his ego, his sharp tongue or his fierce belief for the equality of lyrics in the effect of any composition. might have made him intolerable. Maybe it was these inherent traits that came in the way to build a lasting relationship with equally strong-willed, outspoken and fiercely proud of his artistic skill (as a music director) O P Nayyar. But then, on the other hand, he had had a very long, fruitful and epochal relationship with equally (artistically) moody, choosy and fiercely accord supremacy of melody, S D Burman. As such, one would not be inclined to buy a very passing observation that Sahir Ludhianvi was more at ease with talented, but not so-strong personal traits music directors like Roshan or N Datta or Ravi. Of these relationships, Sahir Ludhianvi’s relationship seems to be quite different.
Whatever be the factors for N Datta (a.k.a. Dattaram Baburao Naik – B: 12 December 1927 – D: 30 December 1987) and Sahir Ludhianvi’s professional association, there cannot be any denying that it was special in more ways. After working for some time with Ghulam Haider, D Datta joined S D Burman as his assistant. It was during the making of Jaal (1952) that he met Raj Khosla, who immediately took him up as independent music director for his own maiden directorial film Milaap -– 
The much-needed nourishing touch that seeded-in-1948- career of poet-lyricist, Sahir Ludhianvi would have dreamt, and the equally much needed escape velocity providing boost that S D Burman’s seeming to be steadying career required came in the form of 
S D Burman (10 October 1901 | 31 October 1975) was known to refuse films where the filmmaker wanted ‘hit’ songs, he would firms stand by his motto, “I compose only good songs”. S. D. Burman won only a few ’popular’ awards – because he never cultivated them – but his greatest triumph lay in the fact that his choosiness made every score count. There was a time in Bombay when the lyrics were set to tune by the music directors. S D Burman changed that theory. The tune first, the lyrics later. How S D Burman and Sahir Ludhianvi would have worked together with their totally contrasting approach on this aspect is not known, there is no denying the fact that their 18 films association remains a golden chapter in the history of Hindi film music.
The poet in Sahir Ludhianvi never allowed his lyricist exterior to compromise with the poetry not being given status equal to music. Lyrics for film song normally require very easy words and the meaning for the lay listener to easily align with song. Sahir’s lyrics invariably had perianised urdu touch., That would be just the first hurdle. His poetry was always steeped in the bitter reality of world. The combination ought to be too formidable for lyricist to even stay put in the commercial world of Hindi film music. However, Sahir Laudhianvi could always get a music director who was able to give the structure of his poetical lyrics the wings of music. The end result was Sahir Ludhianvi’s highly successful journey as a Hindi film lyricist during the era which had stiff competition from lyricist of all hues with almost comparable literary competence.
Roshan (Lal Nagrath) -14 July 1917 – 16 November 1967 – was one such music director who had inherent command over the melody. Roshan’s career took off with success of his second film, Malhar (1950). He scored several popular and lasting scores during the ‘50s, and as such, was indeed recognised as a music director with lot of potential. Bu that latent energy had still not reached the stage of escape velocity that could take his career into the orbit of meritorious, versatile and commercially successful as well, music director.it was at that of his career that he was associated with Sahir Ludhianvi in 1960, with Babar and Barsaat Ki Raat. One was a period film, and the other was a sheer romance social. Sahir Ludhianvi also had seen break off with S D Burman after a hugely successful run in the ‘50s till Pyaasa (9157). The association with Roshan in 1960 also proved to be a booster dose to the till now successful run of his career. In the span of seven consecutive years, they did eight films together, with the exception of one (Chitralekha, 1964) all being, more or less, Muslim culture theme ones.
Sahir Laudhianvi’s poems of romance differed with those of that weave the soft, caring feelings of love. Sahir’s basic core being that of a rebel and humanist, his romanticism naturally reflected the shades of his basic nature and concerns.
Sahir and Laxmikant-Pyarelal teamed for the first time in Izzat (1968 – the only film which Jaylalitha has done in Hindi – then worked together for some big films like Dastan (1972) – a BR banner film and Daag (1973), the first ever film by Yash Chopra as independent director under his banner Yash Raj. Jaagriti (1977) does not have any song that can be classified as romantic.
Prem Dhawan. He had read Sahir’s poetic works too and had had occasions to hear him personally in some of the special meets. The like-mindedness of both the persons had brought them s0 much near that when Ramesh Saigal offered Phir Subah Hogi (1958) to Sahir, Sahir suggested, almost to the level of insistence, to take Khayyam as music director. Critically acclaimed music of Phir Subah Hogi also put Khayyam into the then big league of music directors.
By now in the present series, it is abundantly evident that Sahir Ludhianvi was easily able to blend his poetry with the demands of the situation-based lyrics of Hindi films. As a result, even what could best be described as ‘masala’ fillers situations, his songs retained the watermark of his style of poetry – use of simple but chaste Urdu lyrics from his broad range of vocabulary that his revolutionary thoughts and romantic emotions would call for. As such, he firmly believed that if his lyrics has enough power, the song will work.
Of the 122 films for which Sahir Ludhianvi penned lyrics, in a career spanning from 1948 to 1989, the decades of 50s and 60s account for 84 films – 44 films during 1950 to 1959 and 44 films during 1960 to 1979 – which statistically works out to a huge 69%. By the turn of ‘60s GenNext music directors were in the process of taking over the baton from music directors of the earlier generation. The character and importance of Hindi film songs too was undergoing a major shift. In such a transforming scenario of the decade of 1970 to 1979, Sahir Ludhianvi remained active and relevant, by penning songs for 26 films (~21%). His quantitative work during 1980 to 1989 did seem to have thinning out – 8 films (~6+%).
R D Burman, (June 27, 1939 – January 4, 1994) had yet not joined as assistant to his father in Pyasa (1957), the last film, that Sahir and S D Burman did together. However, RD was always part of SDB team, as an understudy of the father. However, when R D Burman teamed with Sahir Ludhianvi in 1973, R D Burman was firmly in his saddle with his own distinct style of rhythm composition, coupled with highly imaginative orchestration.
Sahir Ludhianvi was one lyricist who would not hesitate to take up cudgel with anyone when the matter was the pride of lyrics. He firmly believed in, and even demanded for, the primacy of lyrics, in comparison with a music composition of the song or the delivery of the song by way of singing by a singer. He was the only lyricist in those time, who demanded, and got, royalty for his lyrics. His fight for accepting royalty almost equal to Lata Mangeshkar is already a story laced with several colours in the annals of Hindi film music history. Many of his relationships broke down over this issue – the cases of those with Jaidev or S D Burman are the more known ones. It also remains an almost accepted fact that his association with a production banner or the music director turned out to be the most bankable instrument, as can be seen in the cases of Jaidev or N Dutta, whose careers could never reach the full potentials after their association with Sahir had ended.
Madan Mohan (B: 25—6-1924 | D: 14-7-1975) was another music director who did justice to the poetry of Sahir Ludhianvi, as can be seen in just one example of radiff
Sahir Ludhianvi is regarded as a poet whose poetry typically did not have the joy or colour in the traditional sense of a poem. His poems did follow the broad traditions of Urdu Nazm, or that of a Hind film song. If his poetry tended to ring a note of reality, his films songs sounded a very distinct note, that set Sahir’s film songs into a very different orbit. Here is a case in point:
The world is too small? or Is it? 