Tag: Mohammad Rafi’s First Duet with a Music Director

Fading Memories…. Unforgettable Songs : December 2022

Mohammad Rafi’s First Duet Song With The Music Director: 2nd Five-Year Period: Year 1949 – Part II

To commemorate the birth and death anniversaries of Mohamad Rafi [B: 24-12-1924 – D: 31-71980], we have commenced a series on Mohammad Rafi’s first duet with a music director.  We take up the Male-Male or Triad as well as a regular Male-Female duet in the present series because our main purpose to revisit maximum possible duets of Mohammad Rafi.

Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We then commenced the 2nd Five-Year Period of 1949-1953 with Part I of the year 1949 in July 2022.

Presently we will take up Part II of the year 1949.

1949 had as many as 16 music directors who had Mohammad Rafi for the first time for a duet. We have covered six music directors – Naushad, Husnlal Bhagatram, Shyam Sundar, Hanuman Prasad, and Snehal Bhatkar – in Part I. Vasant Desai is one of the highly respected music directors who has given innumerable songs to remember forever. However, the two Mohammad Rafi- Lata Mangeshkar duets that seem to have been composed by him for the film Narsimha Avatar are not traceable on internet. Similarly, I could not find the song – Na Thehar Sake, Na Tadap Sake (with Zohrabai Ambalewali; Film – Aakhari Paigam) composed by Abid Hussain Khan)

Presently, we will take up the rest of the eight music directors.

Vinod (a.k.a. Eric Roberts) was known for his catchy tunes one end and melodious compositions on the end had had a very wide creative range. For the year 1949, for Ek Thi Ladki, he has used Mohammad Rafi and Lata Mangeshkar in three duets and two triads(+). Of the triads, Lara Lappa-… Laai Rakhada, Aadi Tappa …. (Lata Mangeshkar, Mohammad Rafi, G M Durrani; Lyrics: Aziz Kashmiri) was an instant raze and continues to remain so even now. The other triad(+) was Hum Chale Door …  Dil Hua Choor (Lata Mangeshkar, Mohammad Rafi, Satish Batra; Lyrics: Aziz Kashmiri)

Ab Hal-e-Dil Ya Hal-e-Jigar Na Puchhiye – Ek Thi Ladki – with Lata Mageshkar – Lyrics: Aziz Kashmiri

Rafi and Lata are so at ease in the conversational tone of this romantic duet. Introduction of catchy yodeling in the first interlude is typical of Vinod’s style of mixing catchy part in a serious composition or vice versa

The other two Rafi- Lata duets were:

Mohammad Shafi was a highly talented and musically trained music director. Two noteworthy records that stand on his name are – Suman Kalyanpur (Hemadi, then) sang her maiden Hindi film song, Koi Pukaare Dheere Se Tujhe (Mangu, 1954) and Hemlata debuted either with Main Jaan Ke Badale Mein or  SadiyoN Ki Nishani Main Ankahi Kahani in Iraada (1971) under his baton.

Fariyaad Na Karna Haye Kahin Fariyaad Na Karna – Gharana – with Shyama Bai – Lyrics: Alam Syahaposh

The song so effectively epitomizes Mohammad Shafi’s musical prowess – soothing opening notes, Shyama’s opening in slightly higher scale and then to settle to pathos, rounding up by Mohammad Rafi in soulful climbing up the scale and reverting to the normal scale, and ending the song with Shyama joining Rafi.

Mohammad Shafi goes onto pair Paro Devi with Mohammad Rafi in the second duet – Tu Kahan Hai Baalam Mere Aaja (Lyrics: Bahzad Lakhnavi).

S Mohinder (a.k.a. Bakshi Mohinder Singh Sarna) composed music for some 50 films, but many of his compositions have achieved the status of evergreen classics. Even though he came from a very strong classical background, he was at ease while composing easy songs that the films demanded.

Chanda Ki God Mein TaaroN Ki Chaanv Mein Ruthe Hue Hum Manaye Re – Jeevan Sathi – with Chand Wirk – Lyrics: Hamid Khumar

S Mohinder has presented with such a lilting melody, even when he has used an almost unknown Chand Wirk to pair Mohammad Rafi in this duet.

The film had one more duet with Amirbai Karanataki – Main Kaise Keh Doon (Lyrics: Surjeet Sethi) and two with Shamshad Begum – Mil Kar Jaayen Hum Preet Ke Deewane and Muhabbat Rog Bankar Dil Ki Har Dhadkan Mein Rehti Hai (Lyrics: Hamid Khumar)

Krishna Dayal is not a well-known name, but he had composed music for five films. Many keen followers of old films songs may well remember Mukesh and Suraiya duet – Badra Ki Chhaon Tale Nanhi Nanhi BundiyaN (Lekh, 1949) – that was composed by Krishna Dayal.

Kar Le Kisi Se Pyar Jawani Do Din Ki – Lekh – with Asha Bhosle – Qamar Jalalabadi

I have heard this song for the first time. The duet is set to lower scale and is difficult to sing.

We have had a triad – Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya (with Shamshad Begum, Zohrabai) – composed by Pt. Govindram for the film Hamara Sansar (1945) earlier. For the year 1949, he gives a duet of Mohammad Rafi with Shamshad Begum

Taaron Ka Ye Khazana Ye Chaandani Suhani – Nisbat – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Here is one more song that I got to listen first time. Govindram has presented both singers in quite different than the normal style we are familiar with.

Khemchand Prakash can be attributed to giving a big push to the opening up the space for the Golden Era to get into the center stage, replacing the vintage era, through Lata Mangeshkar’ Ayega Aanewala (Mahal, 1949). We have seen Khemchand Praksh using Mohammad Rafi first time, in a triad, Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli, for Samaj Ko Badal Dalo (1947).

Hawa Tu Unse Jaakar Keh De Ek Deewana Aaya Hai – Rim Jhim – with Ramola – Lyrics: Moti B A

Khemchand Prakash composing such a light-toned song should stand up as more noteworthy part of the song.

1949 had one more Mohammad Rafi duet- with Shamshad Begum- under the baton of Khemchand Prakash – Ae Dil Na Mujhe Yaad Dila Baaten Purani (Sawan Aaya Re; Lyrics: Bharat Vyas) – which was heard often on radio at least till ‘60s, when I had  taken up listening to Hindi Film Songs as a conscious hobby.

Khan Mastana was another highly respected music director as well as playback singer of the 40s period.

Tum Ho Jaao Hamare Hum Ho Jaaye Tumhaare – Roop Lekha – with Surinder Kaur – Lyrics: Khumar Barabanqvi

We have here a path breaking composition from Khan Mastana whom we know as a music director steeped in vintage era style music compositions.

Sudhir Phadke brought in Marathi folk composition styles to Hindi Film Music,

Hari Hari Mere To Shri Hari Naahi Dooja – Sant Janabai – with Lalita Deulkar – Lyrics: Narendra Sharma

Mohammad Rafi is all persona dignified as a committed devotee in the duet.

https://youtu.be/Yma4vmzDVzM

Azeez (Khan) Hindvi has had a few films in ‘40s.

Mehaman Banke Aaye The .. Armaan Ban Gaye – Shoharat – with Hamida Banu – Lyrics: Gulshan Zama / Madhup Sharma

The duet also seems to follow the composition style of the solo version. Both versions can be heard in the clip here.

We will continue with listening to Mohammad Rafi’s First Duet Song With The Music Director for the year 1950 of the 2nd Five-Year Time Period of 1949-1953 in the next episode of the series.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

All episodes of the series Fading Memories …  Unforgettable Songs – Volume VII – 2022 can be read /downloaded by clicking on the hype link.

Fading Memories…. Unforgettable Songs : July 2022

Mohammad Rafi’s First Duet Song With The Music Director

Second Five-Year Period: 1949 -1953

Many historians of Hindi Film Music consider the year 1949 as the transition year when HFM can be positively seen to be entering era of Golden Period, with Lata Mangeshkar and Mohammad Rafi, the two major singers of Golden Era, occupying the undisputed center stage. One indicator which perhaps validates this hypothesis is presence of more and more music directors who remained active during the Golden period in so far as the duets of Mohammad Rafi during the presently under consideration 5-year period of 1949 to 1953.

To commemorate the birth and death anniversaries of Mohamad Rafi, we have commenced a series on Mohammad Rafi’s first duet with a music director.  Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We take up the Male-Male or Triad as well as a regular Male-Female duet in the present series because our main purpose to revisit maximum possible duets of Mohammad Rafi.

Presently we will take up the 2nd Five-Year Period of 1949 to 1953.

1949

The year has Mohammad Rafi’s duets, almost, in the proportion of 2: 1 as compared the solos. Even with the Mohammad Rafi duets with two music directors for the year 1949 not available for these two music directors, we have been able to cover 14 music directors in 1949!

As such, we will cover the year 1949 in two parts, to be able to relish the songs thoroughly.

[1]

Naushad had composed first two duets for Mohammad Rafi in 1944 for the film Pahele Aap. Both were Male-Male duets. Naushad has since then deployed Mohaamad Rafi for the male-female duet only during 1949.  Even then, in the year 1949, for Andaz, Mohammad Rafi still was not the playback voice for major lead, Dilip Kumar, of the triangle Raj Kapoor and Nargis. However, the film did have two duets wherein Rafi plays back for Raj Kapoor. Of the two Yun To Apas Mein Bigadate Hain Khafa Hote Hain is a light composition, and is retained in the film

Sun To Dil Ka Afsana – Andaz – with Lata Mangeshkar – Naushad – Majarooh Sultanpuri

This song was finally not included in the film

Naushad had two more films in 1949 Chadani Raat and Dulari. Chandani Raat had three Rafi-Shamshad Begum duets – Chhin Ke Dil KyuN Pher Li Aankhein, Kaise Baje Dil Ki Sitar and Khabar Kya Thi Ki Gham Khana Padega whereas Dulari has two Rafi -Lata duets Mil Mil Ke Gayenge Do Dil Yahaan and Raat Rangili Mast Nazare Geet Sunaye Chand Sitare. The first two duets of Chandani Rat and both the Dulari duets had become quite popular.

Husnlal Bhagatram had as many as five duets and five triads for Rafi 1949 over. Of these we have picked up one duet with Suraiya, and one triad with Lata Mangeshkar and Geeta Dutt, so that we get as many duets  / duets+ songs different the co-singers.

Aataa Hai Zindgi Mein Bhala Pyar Kis Tarha – Baalam – with Suraiya – Lyrics: Qamar Jalalabadi

I had not heard this song before, but once I did, I liked it even though it has many strapping of vintage era. Of course, Rafi sounds his normal – what we get to hear in the 50s and Suraiya is, as always, so sweet to listen to.

Husnlal Bhagatram have two more duets with Suraiya, for the film Naach – Ae Ishq Hamein Barbad Na Kar (Lyrics: Sharshar Sailani) and Chhaya Sama Suhana (Lyrics: Kaif Irfani).

‘Jaltarang’ had one duet with Lata Mangeshkar – Zara Tumne Dekha To Pyar Ho Gaya (Lyrics: Kaif Irfani) and one with Shamshad Begum – Musafir Sada Geet Gaye Chala Chal (Lyrics: Sudarshan Faakir)

And now triads:

Lab Pe Fariyad Hai Dil Barbad Hai – Naach – with Lata Mangeshkar, Geeta Dutt – Lyrics: Mulk Raj Bhakri

It may not be inaccurate to assume that the dancing singers may be performing a street dance, because in (only) Hindi films these people can so accurately read the thought of the protagonist’s mind and put them in words on his /her behalf. The hero sems to perform the soliloquy of spelling out his mind, perhaps on the push by the force of the line these dancers sing. Even as hero is in pensive mood and the two female actresses sing in a very energetic mood, the song was well received in those days. Rafi goes in hyper-drive tone at the end!

It would be interesting to see the way the song would have been filmed.

Two other triads in the film were Kyun Karata Maan Jawani Ka (with Lata and Geeta Dutt; Lyrics: Mulk Raj Bhakri) and Namaste Ji Namaste Ji Hamara Tumhara Jeevan Beete Hansate (with Shamshad Begum and Zohrabai Ambalewali; Lyrics: Nazim Panipati).

For the songs of Hamari Manzil, HFGK mentions Geeta Dutt and Mohammad Rafi and chorus as singers for Badla Hua Duniya Mein Ulfat Ka Zamana Hai, Woh Aur Zamana Tha Ye Aur Zamana Hai and Geeta Dutt, Mohammad Rafi and other voice for Andhere Se Na Dar Kaante Banegi KaliyaN, but both these songs have S D Batish as third singer.

Shyam Sundar is widely credited with offering Mohammad Rafi his first ever song, a triad, in the Hindi films, that for Gaon Ki Gori (1945). Presently we have Shyam Sundar composing two duets for Rafi, both with Lata Mangeshkar, a triad – Chhalla De Ja Nishani Teri Meharbani (with Shamshad Begum and Satish Batra: Lyrics Qamar Jalalabadi) for Bazaar.

Ae Mohabbat Unse Milne Ka Bahana Ban Gaya – Bazar – Lyrics: Qamar Jalabadi

This as well as the other duet Apni Nazar Se Door Woh should rank among the finest duets by Rafi and Lata.

Haaye Yeh Bholi Suratwale – Chaar Din – with S D Batish, Iqbal, Rajkumari, Lata Mangeskar, Johrabai Ambalewali – Lyrics: Shakeel Badayuni

This hexad is essentially composed in qawwali style.

Hanuman Prasad is also well-known music director vintage era.

Jale Jalaane Wale Humko Jaise Mombatti – Chilman – with Mukesh – Lyrics: P L Santoshi

Two friends merrily laugh away the world’s critical view of their carefree way of living.

What a coincidence! 1949 has one more Mohammad Rafi, Mukesh duet

Snehal Bhatkar is the music director who has composed that Mohammad Rafi – Mukesh duet.

Baat To Kuchh Bhi Nahin Dil Hai Ki Bhar Aaya Hai – Thes – with Mukesh – Lyrics: Kedar Sharma

Mukesh is assigned the pathos part of the song and Rafi with the role of counseling him!

We will take up the rest of 1949’s Mohammad Rafi’s First Duet Song with eight other Music Directors in our December 2022 episode.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Fading Memories…. Unforgettable Songs: December 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1947-1948

1947-1948

The Google Doodle by Mumbai-based illustrator Sajid Shaikh, on Mohammad Rafi’s 93rd birthday [B: 24-12-1924 | D: 31-7-1980] depicted Mohammad Rafi as the king of playback singing in Bollywood. It shows the journeys of famous Rafi songs as they progressed from the studio, onto the silver screen and into the hearts of fans forever.

The second part of the First Five-Year Period of Mohammad Rafi’s career, covering the years 1947 and1948, that we presently take up for our series Mohammad Rafi’s First Duet Song with Music Director can be said to be period when he was still in the music recording rooms. As we have seen in the first part covering years 1944 to 1946, Mohammad Rafi was at the initial phase of ‘being under test’. More and more music directors were giving him a solo here or a duet there.

As we shall presently see, the definite trend of Mohammad Rafi trying to create his own space by discovering his own style to the confident delivery of his lines against more experienced female singers of vintage era under the batons of wider range of music directors has started emerging by the end of First- Five Year Period.

1947

Six more music directors have offered Mohammad Rafi diets with as many as eight different singers – three of which are the male singers – in the year 1947.

In so far as Mohammad Rafi’s career is concerned, the year 1947 had opened the door – in the form of the solo, Duniya Mein Meri Aaj Andhera Hi Andhera (Do Bhai- Music: S D Burman – Lyrics: Raja Mahendi Ali Khan) – that led to a strong association with S D Burman.. 1947 had also Mohammad Rafi singing his first, and the only duet with Noor Jehan – YahaN Badala Wafa Ka Bewafai Ke Siwa Kya Hai (Jugnu – Music Firoz Nizami – Lyrics: Azhar Sarhadi). This also was Mohammad Rafi’s first ever playback for Dilip Kumar.

Datta Davjekar, (15-11-1917 | 19-9-2007) a fairly known name in the then Marathi films, debuts with Aap Ki Sewan Mein in Hindi Films. He composed music for 5 Hindi films, 51 Marathi and around 500 documentary films. The film, Aap Ki Sewa Mein, has other record, in the form of. Lata Mangeshkar’s maiden songs as a playback singer with the song Paa Laagoon Kar Joree Re, to its account.

Desh Mein Sankat Aaya Hai, Ab Kuchh Kar Ke Dikhalana Hai – Aap Ki Sewa Mein – with G M Sajan – Lyrics: Mahipal

The song reflects the mood of pre-independance era, as it ends with “Chheen lo , chheen lo ……..” hinting  ‘Azaadi chheen lo”. Otherwise, the lyrics are mainly about food shortages, or maybe it is talking about famine, in Bihar or Bengal, that rampaged India in that period..

There is a male-female duet son too.

Main Teri Tu Mera Dono Ka Sang Sang Basera – Aap Ki Sewa Mein – with Mohantara – Lyrics: Mahipal

Mohammad Rafi has handled the eagerness of a longing lover on his way to meet his beloved in a controlled high-octave scale rendition. The beauty of the composition is in its vibrant freshness after so many years.

Aside Trivia:

Datta Dawjekar worked as an assistant to C Ramchandra from 1952 to 1961. As such, the source of inspiration for C Ramchandra’s popular song Eenaa Meena Deekaa. . . (Aasha, 1957) is originally created for the Marathi song “Ina Mina Mona Baass” from a children’s play for Marathi stage, by Datta Dawjekar, who also wrote the lyrics for the Marathi song.

Source Credit: Shishir Krishna Shrama’s post on Datta Dawjekar

Prakash Nath Sharma does not seem to be a known name as a music director. The only film for which he seems to have composed music, Ek Kadam, does have one Mohammad Rafi – Shamshad Begum duet. Tu Bhi Rah Main Bhi (Lyrics: Avtar Visharad), that does not seem to have a digital presence on net.

C(hitalkar Narhar) Ramchandra (12 January 1918 – 5 January 1982), is another music director who went on to have a strong presence in the subsequent period of Golden Era.

Kisko SunauN Hal-e-Dil. Ham ko Tumhara Hi Aasra Tum Hamare Ho Na Ho – Saajan – with Lalita Deulkar – Lyrics: Moti B A

The duet, and Mohammad Rafi’s solo version, were immensely popular and the both has the future imprint of Mohammad Rafi’s singing style that was later identified as his unique style during his post vintage-era career of ‘50s..

The film has one more duet Main HuN Jaipur Ki Banajaran, Chanchal Mera Naam, with Lalita Deulkar (Lyrics: Qamar Jalalabadi) and two triads, Hum Banjare Sang Hamare Dhoom Macha Le Duniya (Lyrics: Moti B A) and Sambhal Sambhal Ke Jaiyo Banjare, Dilli Door Hai (Lyrics: Ram Murti Chaturvedi) with Lalita Deulkar and Geeta Dutt (Roy).

Khemchand Prakash, a doyen of ‘40s, made two most significant contributions for which the Golden Era remains indebted. One was introduction of Kishore Kumar in Ziddi (1948) – Jeene Ki Tamanna Kaun Karein …….  Marne Ki Duaein KyoN Maangein  . and gave Lata Mangeshkar a defining identity in Aayega Anewala (Mahal, 1949).

Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli – Samaj Ko Badal Dalo – with Arunkumar and Manna Dey – Lyrics: ?

We have only audio clips here, but the knowledgeable bloggers note that Mohammad Rafi has sung his own lines on the screen.

Part 1:

Part 2

Pt. Ramakant Paingankar-Karnad, one more of those unknown names., except that Ramakant Paigankar was known to be a part of C Ramchandra orchestra team.

Chalo Ho Gayi Taiyyar.. Thehro Jee…. – Shaadi Se Pehle – with Lata Mangeshakar – Lyrics: Pt. Mukhram Sharma

This is a simple fun song that shows the lady making a big shopping list that her beloved readily agrees to buy for her with all the strapping. The song has the distinction of being the first ever Rafi Lata duet.

K(oregaonkar) Datta is said to have given Lata Mangeshkar and Asha Bhosle a chance to sing with the then reigning queen Noor Jehan. He scored music for 17 Hindi films

Nainon Se Naina Milaake Sota Prem Jagaate – Shahkar – with Rajkumari – Lyrics: Arzoo Lakhanavi

HFGK does not mention singers for the song. The song seems to be composed as a tong-song. The singing by both the singers rhymes exactly with rhythm of the song.

Ye Duniya Sab Prem Ki Tu Prem Kiye Jaa – Shahkar – with Shamshad Begum – Lyrics: Arzoo Lakhanavi

HFGK mentions the song as Parody song (record no. GE 3729 /31), though I must confess that I could not make it why it was so. However, the song has experimented with one singer overlapping the main singer on a different scale  in the mukhada, which must have called for some very innovative recording skills on the part of the sound recordist as well the music arranger.

1948

In 1948, on the first anniversary of Indian Independence, he was awarded a Silver Medal by Jawaharlal Nehru for his, a marathon 4-part, song on Mahatma Gandhi, Suno Suno Ae Duniyawaalon Bapu Ki Amar Kahani (Music: Husnlal Bhagatram – Lyrics: Rajinder Krishna)

1948 has once again a very rich crop in so far as our present subject goes, with eight music directors and as many as ten co-singers, Except for Shamshad Begum and Ameerbai Karnataki, in the female singer section, GM Durrani in the male singer section, and Geeta Dutt and Beenapani Mukherjee one triad earlier, all other singers have partnered Mohammad Rafi first time.

Ram Ganguly (1928-1983) was part of Prithvi Theatre team. His choice of music director for Raj Kapoor’s maiden film Aag was thus a natural choice. However, because of some misunderstanding during the days when Barsaat was being planned, Aag remained the only film RK and Ram Ganguly di together,

Solah Baras Ki Bhayee Umariya – Aag – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Mohammad Rafi gets his chance in the maiden Raj Kapoor film Aag,. Since then, even if he has not been a main singer for RK films, he has always got a song or two in almost every film, some of which have become most notable songs of Rafi’s entire career.

The visuals of the song can be seen with a typical Raj Kapoor touch.

Hans Raj Behl has used Mohmmad Rafi for duets in two films in 1948 – Chunariya and Satyanarayan.

Phool Ko Bhul Le Ke Baitha Khar, Tera Kaanto Se Hai Pyar – Chunariya – with Geeta Dutt – Lyrics: Mulk Raj Bhakhari

The song seems to be some type of beggar or a fakir song.

Dilliwale Sahab Gajhab Kar Daala Re – Satyanarayana – with Beenapani Mukherjee – Lyrics: Pt. Indra

This is a thoroughly enjoyable fun song.

The film had two more duets of Mohammad Rafi and Beenpani Mukherjee – Kya Yaad Hai Tumko Wo Din Ji (Lyrics: Sewak) and Mera Dil Ghayal Karke Bairi Jag Se Dar Ke (Lyrics: Surjeet Sethi).

Ghulam Mohammad has paired Mohammad Rafi to sing with Suraiya, one of the top actress-singing star of that time. The pair then went on to sing 24 duets, some of which remain the most memorable duets, which can be a subject for a separate article in the future.

TaaroN Bhari Raat Hai Par Tu Nahi – Kajal – with Suraiya – Lyrics: D N Madhok

On the face of it the lyrics seem to express pain of the two being away from each other. However, the song runs on a fast pace, normally used for happy songs. In the absence of this dichotomy remains unresolved. However, listening to Mohammad Rafi as if he were singing a song almost after half a decade later in the time in the style of ‘40s and matching Suraiya’s exhortations for clearly expressing the love is such a pleasant surprise.

Gyan Dutt is also a very respected ‘40s name in music direction arena. We have two duets here. Of the two, Chalo Jamuna Ke Paar  … Dil Ki Dukanein Lagi JahaN Par NainoN Ke Bajar (Lal Dupatta – with Shamshad Begum, Sulochana Kadam, Chorus- Lyrics: Shewan Rzvi (?))being a very sweet-to-listen-to triad with chorus, Rafi does no get much exposure. So, I have opted for the other one for the present article.

Ari O Albeli Naar Kyon Chhupakar Kare Vaar – Lal Dupatta – with Shamshad Begum, Chorus – Manohar Khanna

This is a chhed-chhad-cum-appeasement light mood duet, the first line of the mukhada and each interlude representing chhed chhad. Mohammad Rafi seems to enjoy seriously matching Shamshad begum’s mischievous tone

Dhumi Khan, is one more of an unknown music director, even though he is shown as ‘supporting actor, music director’. YT has an interesting video clip on Dhumi Khan, that gives some more vital pieces of information. The famous duet song Ambuwa Ki Daali Daali Jhoom Rahi Hai Ali (Vidyapati, 1937- Music: R C Boral) has Dhaumi Khan as co-singer with Kanan Devi. Hopefully, the Dhumi Khan is same person.

Ek Abr-e-Siyah Chhaya Aaja Mere Saathi – Rahnuma – with Shamashad Begum- Lyrics: Dhumi Khan

The song is a simple love song, Mohammad Rafi expressing the sincere intent of the lover for his loved one.

Ek Aisa MahaL Banayenge (with Rekharani- – Lyrics: Habib Sarhadi) from the same film is not traceable on net.

Ameerbai Karnataki, a renowned playback singer, has composed songs for ‘Shahnaz’,  wherein Mohammad Rafi had two solos and three duets in the film.

Mujhe Tumse Mohabbat Hai, Ye Meri Chak Damani – Lyrics: Fiza Kausari Banaglori

Mohammad Rafi very deftly handles a medium spaced composition.

Nazaaron Se Kheloon Bahaaron Se KhelooN, Mera Bas Chale To Chand TaaroN Se KhelooN, Yahi Chahta Hai BaharoN Se KhelooN Machalatae Hue AabsaaroN Se KhelooN – Lyrics: Akhtar Pilibhiti

In response to Amirbai’s high scale singing, Mohammad Rafi comes up with a lower scale singing.in this very small clip that is available.

Tere Nazdeek Jaate Hein Na Tujhse Door Hote Hain, Mohabbat Karanewale.. Is Tarah Mazboor Hote HaiN – with Ameerbai Karnataki – Lyrics: Akhtar Pilibhiti

Mohammad Rafi gets to sing a qawwali composition early in his career.

Rasheed Attre was one of the music directors who went on to hit immense popularity even after migrating Pakistan. His composition of Faiz Mohamamd Faiz’s ghazal Mujh Se Pahale Si Muhabbat Mere Maheboob Na Mang remains the hallmark of Noor Jehan’s career.

Koltaar Mein Rang De Piya Mori Chundariya – Shikayat – Khan Mastana, G M Durrani, Aslam, Chorus – Lyrics: Ibrahim Khan ‘Momin’

Mohammad Rafi is a minor partner in this MM triad.

Statically speaking, the first Five-year-period of 1944-48 has seen Mohammad Rafi working with 26 music directors for first time for a duet song.  Each of the song has given Mohammad Rafi a different experience of singing. That perspective apart, the fact remains that the journey had taken off well and was gaining the required velocity.

We will end 1944-48 five-year-period with what I consider as Mohammad Rafi’s most iconic song, which also happens to be my most favorite among Mohammad Rafi’s songs…

Vatan Ki Raah Mein Vatan Ke Naujawan Shaheed Ho – Shaheed – with Khan Mastana, chorus – Music: Ghulam Haider – Lyrics: Raja Mahendi Ali Khan

Mohammad Rafi’s finely controlled delivery of so high passion would be hallmark of his sing style in the future.

Our journey of Mohammad Rafi’s first duet with a music director continues……

Both episodes of the 1st Five-Year Period of Mohammad Rafi’s First Duet with a Music director – 1944-1948 can be downloaded as one file by clicking on the link.

All 12 episodes from January to December 2021 of the series Fading Memories, Unfading Songs-2021 can be read /downloaded by clicking on the hyperlink.

 

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Fading Memories…. Unforgettable Songs: July 2021

Mohammad Rafi’s First Duet Song With The Music Director: 1944-1946

To commemorate the memory of Mohammad Rafi on his birth anniversary, December 24, 1924, @ Kotla Sultan, Sindh and death anniversary, July 31, 1980 @ Mumba, we have had taken up Mohammad Rafi’s first solo song with a music director, from December 2016 till 2020. The present series of Mohammad Rafi’s First Duet Song with the Music Director is the natural follow-on series.

The series is quite simple at its core. Mohammad Rafi’s exceptionally long career is divided in five-year periods, pick up the first ever association with music director(s) in the chronological order in that five-year slot and then pick up the first film which has the first duet song of the music-director – Rafi combination. If the film has more than one duets, then we take up the least heard one for a closer look and take note of the others. The primary focus would be male-female duet, but we will take due note of first male-male duet or even triads from that combination if and as and when they come up in later years. We will limit the scope of the present series till the year 1969.

I do not have any pretense of evaluating influence of different music director on Mohammad Rafi’s singing style or the contribution of each other to the furtherance of each other’s careers Our goal is quite simple: refresh our memories of Mohammad Rafi’s fading-from-the-memory-duet-songs and bring them on one page and enjoy them on the call.

1st Five-Year Period: 1944 -1948

That Mohammad Rafi’s talent was first taken note of in 1937 in public function whereat he sang for K L Saigal, his initial introduction with music director Shyam Sundar are now a matter of folklore. Shyam Sundar recorded the first ever film song of Mohammad Rafi in Punjabi film Gul Baloch (which was released in 1944) in 1942. As is well-known now, that was a duet, with Zeenat Begum – Pardesi…Sohneys Oye Heeriye Oye. The song had become an instant hit, well before the film was released. The records also show that that film had one more duet, composed by Dhani Ram, with Munnavar Sultana – Achhanve – too.  

1944

Once Mohammad Rafi reached Bombay (as it was then known) from Lahore, after Shyam Sundar gave him an introduction letter, the way Mohammad Rafi could meet Naushad are the events very vividly covered in Mohammad Rafi’s biographies. For the purpose of our present series, the story begins after Mohammad Rafi got his first break in Hindi films under Naushad, which happened to be a chorus song – Hindustan Ke Hai Hum, Hai Hindustan Hamara; record # GE3416 – in the company of Shyamkumar, Allauddin Naved and B. M. Vyas in the film Pahele Aap.

The year 1944 has one more landmark in Mohammad Rafi’s personal life- his marriage with Bilquis Bano.

Naushad’s association with Mohammad Rafi took some time before it turned into a Fevicol bond. Naushad–Mohammad Rafi combination has yielded around 149 songs to the Hindi film industry.

Tum Dilli Main Agre, Mere Dil Se Nikale Haye Fasla Sau Kos Ka, Humane Sawan Bito Jaaye – Pahle Aap– with Shyam Kumar – Lyrics: D N Madhok – Music: Naushad Ali [Record # GE3419]

A close listening to the lyrics indicates that Mohammad Rafi seems to be singing for an actor who plays a female role in this nautanki song.

We will make an exception here and listen to another duet from this film –

Ek Bar Unhein Mila De, Phir Meri Tauba Maula… Ab To Lagi Booja De, Phir Meri Tauba Maula – Pahele Aap– with Shyam Kumar – Lyrics: D N Madhok – Music: Naushad Ali [Record # GE3417/19]

Mohammad Rafi seems to have been given a second fiddle in comparison to more experience Shyam Kumar, but that has not deterred the budding singer a bit.

1945

We have four music directors opening their relationships of duets with Mohammad Rafi in the year 1945.

Shyam Sundar is always remembered for his meticulous choices of instruments (Kis Tarah Bhoolega Dil; Gaon Ki Gori, 1945), wonderful composition (Mausam Aaya Hai Rangeen; Dholak, 1951) and choice of singers (Saajan Ki GaliyaN Chhod Chale; Bazar, 1949).

Jab Dil Ho Kaabu Mein to Dildar Ki Aisi Taisi… Tauba Tauba Husn Ke Sarkar Ki Aisi Taisi.. – Gaon Ki Gori, a.k.a. Village Girl – with G M Durrani, an unknown male singer – Lyrics:  – Wali Sahab – Music: Shyam Sundar

This song is on record number GE3596, i.e. later in then the Pahle Aap songs here above,  but is widely considered as Mohammad Rafi’s first Hindi film song.

Incidentally, during his very initial years, G M Durrani was Mohammad Rafi’s role model for singing. As fate would have it, it was Mohammad Rafi who played back to GM Durrani  in Unke Khayal Aaye To Aate Chale Gaye (Lal Paththar, 1971; Lyrics:  Hasrat Jaipuri; Music – Shanker Jaikishan)!

H P Das (1905 – 1989) was one of the leading Bangla music directors who was successful in Hindi films as well.

Dil Diye Chalein… Hum Jiye Chalein Aise – Begum – with Mohantara Ajinkya – Lyrics: G S Nepali – Music – H P Das

We have a very pleasant, fast-paced song. Mohammad Rafi sounds so young.

Gobind Ram was a versatile music director of 40s. He is considered to have great influence in shaping the Hindi film music of 40s.

Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya – Hamara Sansar – with Shamshad Begum, Zohrabai – Lyrics: Ramesh Gupta – Music: Govind Ram

Mohammad Rafi sings in lower scale to begin with then raises the scale to higher octave.

Asides: Mohammad Rafi acted in a cameo role in Laila Majnu song Tera Jalwa Jisne Dekha (with S D Batish and chorus; Lyrics: Tanvir Naqvi- Music: Gobind Ram)

Alla Rakha (a.k.a. A R Qureshi) would need any introduction to those who have even rudimentary exposure to the classical music. He was basically the famous tabla player, who composed music for around 30 films between 1943 and 1958.

Topi Wale Babu Ne Dil Chheena Re Mora Man – Kul Kalank – with Amirbai Karnataki – Lyrics: Roopbani – Music: A R Qureshi

For relatively new entrant, Mohammad Rafi exudes fair amount of confidence.

1946

Mohammad Rafi’s career wagon seems to be picking up the momentum, wih 8 muisc directors using his voice for the duets.

Firoz Nizami was the first music director who gave Rafi popularity in Lahore by offering him a chance to sing for AIR at its Lahore radio station.

Main Jab Chhedun Prem Tarana Naache Mere Saath Jhamana– Amar Raj – with Mohantara Ajinkya – Lyrics: Pandit Fani – Music : Firoz Nizami

Interestingly HFGK mentions ‘other singer’ to accompany Mohantara Ajinkya.  Shri Sudhir Kapur explored the matter in details and what comes out is truly unbelievable. The details can be read@ Main jab gaaun geet suhaanaa

Asides: It would be opportune to enlist the song on the side 2 of that fateful record GE3795 – a solo by Mohammad Rafi

S Quereshi is not a familiar name among the music directors.

Macha Di Dhoom Duniya Mein Islaam Ke Deewanon Ne – Arab Ka Sitara – with Ameerbai Karanataki – Lyrics: Shewan Rizvi – Music: S Quereshi

HFGK does not have names of the singers identified for the songs of the film. I have selected the song from one of the highly authentic-considered spreadsheet compilations of Mohammad Rafi’s filmography by Mauveen. However, when we listen to the song, female voice is accompanying in mukhada and then is part of the chorus, only. So, for all practical purposes, the song is a Mohammad Rafi solo only.

Shankar Rao Vyas was a classically trained vocalist and musician. He had 35 Hindi, 5 Marathi and 3 Gujarati films to his credit in the career spanning 1937 to 1955.

Naino Se Mad Madira Pilaakar Tumne Humein Deewana – Ghunghat – with Nirmala – Lyrics: Ramesh Gupta – Music: Shankar Rao Vyas 

We have here a romantic song that begins in form of exchange of dialogue that is acceptance of mutual love.

S N Tripathi[1] who worked under the baton of legendary Saraswati Devi was a versatile artist a music director, director, and actor.

Jai Hind…Ye Hind Ki Kahaniyan… Sansar Ke Itihas Ki Ye Hai Amar Kahaniya – Mansarovar – with Geeta Dutt, Binapani Mukhrjee – Lyrics: Saraswati Kumar Dipak – Music: SA N Tripathi

HFGK lists the singers as ‘Chorus’ only. However, Geetadutt.com and other reliable sites mention Geeta Dutt and Beenapani Mukherjee as co-singers along with chorus.

Premnath has had formal training of music in his formative years. Rangbhoomi is his maiden film as an independent music director. He has given four songs to Mohammad Rafi, one with chorus and three duets with Shamshad Begum.

Khud Samajh Lo Iletajha Kya Hai, Hum Hi Keh De To Phir Maza Kya Hai – Rangbhoomi – with Shamshad Begum – Lyrics: Arzoo  Lakhanavi – Music Premnath

Mohammad Rafi sings in a typical vintage era style here.

Other duets are: Aag Lagi Tan Man Dhan Sab Mein Narak Bhayo Sansaar (with Shamshad Begum – Lyrics: Arzoo Lakhanvi) does not seem to be available on YT and Jo Aage Badhe Use Peechhe Hata Do with Shamshad Begum – Lyrics: Pandit Fani) – a second part of the Rafi and Chorus song Sue Manzil Badhaye Chala Chal. – is available together in one clip@ https://youtu.be/KHAk87nu8w8

Hanuman Prasad is known mostly for the discovery of Geeta Roy, when she was 16, and gave her few lines in foiur songs of film Bhakta Prahlad (1946). He is also director of the present film, Raseeli.

Dil Mujhko Jalaata Hai Main Dil Ko Jalaati Hun – Raseeli – with Shamshad Begum- Lyrics: Hanuman Prasad – Music: Hanuman Prasad

Here is the song that is inherently poignant, as Rafi and Shamashad render it in low octaves. It must have been quite an experience to the budding Rafi!

The film has another Shamshad – Rafi duet, Yah Nayan Kyun Sharma Gaye (Lyrics: Gaafil Harnaalvi) where Rafi can be heard in early raw tone.

Bulo C Rani is a leading vintage era music director.

Jaao Jaao Na Bolungi Main Accha Ji Hato Hato – Saalgirah – with Kaumudini Deekshit , an unknow female singer – Lyrics: Wali Sahab – Music: Bulo C Rani

This a mischievous mood romantic song, where Mohammad Rafi indulges in music-director guided ‘harkats’ of interrupting with Aisa Kya and all. In the later years, Mohammad Rafi was known to do so spontaneously to make the songs lively.

Taufil Farooqi (1916-1988) is fondly recalled as creator of the original Zumka Gira Re (Dekhoji, 1947 – Shamsahd Begum).

Baithe Hain Tere Dar Par Kuchh Karke Uthenge – Sona Chandi – with Shamshad Begum – Wali Sahab – Music: Taufil Farooqui

This can be considered maiden Chhed Chaad song for Mohammad Rafi.

We will make an exception to include another duet –

Man Ki Suni Nagariya Suhani Bani – Sona Chandi – with Amirbai Karnataki – Lyrics: Khawar JamaN – Music: Taufil Farooqui

Here we have a totally romantic duet. Mohammad Rafi quite easily matches sur-by-sur with experienced Amirbai.

We will take up Mohammad Rafi’s First Duet with a Music Director for the years 1947 and 1948, of the First Five-Year Period: 1944-1948, in our December 2021 episode.

[1] S N Tripathi’s Unremembered Songs from 1941 to 1968