Skip to main content

Mohammed Rafi: Golden voice of the silver screen – Book tribute to great Singer


Mohammed Rafi: Golden voice of the silver screen – Book tribute to great Singer

Many Scholars and critics go beyond the camera and penned on Bollywood stars to provide the best and worst details of their life. Recently many biographies and autobiographies have been published to tell Untold stories of Bollywood stars in analytical way.  Even after this, stories of many big personalities have yet to be told and popular playback singer Mohammed Rafi was one of them.  Sujata Dev, an entrepreneur with a background in Mathematics, Statistics and economics, has penned the life of legendary singer Mohammed Rafi and name of the book is Mohammed Rafi: Golden voice of the silver screen. This book is the story of musical journey of Mohammed Rafi with his music composer, with his co singers and with film actors to whom he had lent his voice as playback singer

From Yogesh Gogwekar

Sujata Dev has worked more than two decades in the Media and entertainment Industry. She also served as a speaker at several seminars and forum on M & E, Telecom and Economics worldwide. Her research work on telecom and Entertainment has been appreciated across the Asia, Europe and USA.  Music is her passion whether it is Indian or western. She has done the research on musical life of such legendary singer who has been fascinated her from Childhood. And that singer is Mohammed Rafi. It is captivating book which chronicles the life of Mohammed Rafi. This book throws light on early life of Mohammed Rafi, his life in Kolta Sultan Singh village near Amritsar, his life in Lahore, musical life in Mumbai and his contributions to the music world through the Cinema. This book tells us the ability of Mohammed Rafi to mould his vocals according to the given situations in the film and mood of the character. Due to this, he has become voice of all leading men of Bollywood.

Mohammed Rafi born on 24th December 1924 at Kolta Sultan Sing village near Amritsar. His early career in music started by the Punjabi song “Khedan de din chaar’ which was sung by faqir in his village. In 1920 , he shifted to Lahore where he learnt Hindustani classical music from Ustad Abdul Wahid Khan, Pandit Jiwanlal Mattoo and Firoze Nizami. In 1941, he started his performance on stage and given his first performance as playback singer in Punjabi film GUL BALOCH. He was also invited in All India radio in 1944 to sing under the music direction of Shyam Sunder.

Rafi came to Mumbai in 1944 with poet Tanvir Naqvi who introduced him to film producers. Again Shyam Sunder provided him the opportunity to sing duet song with G M Durrani in the Hindi film Gaon Ki Gori, but Rafi’s career as a playback singer started after his association with Naushad. Rafi came to Naushad with a letter recommended by Naushad’s father. This association started from Anmol Ghadi in 1946 and ended up with total 149 songs out of which 81 songs were solo for Naushad.  After establishing as Playback singer, Rafi worked with almost all music composers and established himself as versatile playback singer. His songs ranged from Classical to Patriotic songs , Sad lamentation to highly Romantic , Qawwalis , Ghazals and Bhajans. He was known for his ability by adapting his voice with the reflection of unique style of acting. He was most sought-after singer from 1946 to 1980.

According to this book ,  no music directors have created any composition especially for him. Other than Naushad , he sung  with S D Burman , Shankar Jaikisan , Laxmikant Pyarelal  , O P Nayyar , Roshan , Ravi and Madan Mohan. Major contribution of Rafi was creating the super stars out of ordinary actors. Many heroes were not ready to work without Rafi. He was an ideal choice for them. Rafi sang for all to actors like Shammi Kappor , Shashi Kapoor , Devanand ,Dilip Kumar , Dharmendra ,Jeetendra , Rajesh Khanna , Guru Dutt , Jonny Walker , etc. this book has also mentioned the unfortunate discord between Mohammed Rafi and Lata Mangeshkar over the royalty issue. Lata Mangeshkar asked the support of Rafi regarding the payment of royalty to singers and Rafi did not agree. Therefore, they did not sing together for  three  years. Even after three years , patched up was done but tuning between them was not proper.

Such a great versatile singer died on 31st July 1980 in Mumbai. His voice was synonymous with melody and brought success to Indian film music. Even after his death, we enjoy his songs with same enthusiastic manner. This book is not only a great tribute to prolific singer but also providing good musical information to the younger generations



Mumbai

26.09.2019.




Comments

Popular posts from this blog

The Unheard Architects of a Golden Era: Contribution of Goan Christians to Hindi Film Music

  Subject: The Unheard Architects of a Golden Era: Contribution of Goan Christians to Hindi Film Music Written by: Yogesh Gogwekar Address: Mahim, Mumbai  While reading Hindi Film Songs: Music Beyond Boundaries , the seminal work of Dr. Ashok D. Ranade, an ethnomusicologist and pioneer of cultural musicology, encounters a striking idea: though cinema is a visual medium, Indian cinema has for decades functioned as a dream factory where the song is its chief currency. According to Dr. Ranade, the Hindi film song is both deeply embedded in the cinematic narrative and yet capable of living a life entirely beyond it. As a cultural-musical unit, it transcends the film, the language, and even the region that produced it. Hindi film music, he observes, flows “here, there, and everywhere”—a truth every Indian instinctively recognizes. These songs are not merely entertainment; they are collective memory, cultural identity, and a shared national soundtrack. This is especially evide...

मी कशाला बंधनात राहू?

  शुभंकरोती साहित्य परिवार सप्ताह क्रमांक .: १९८ विषय क्रमांक .: ३ विषय : * ' मी कशाला बंधनात राहू ?'* शब्दांकन : योगेश गोगवेकर परीक्षक : मा . राधिकाताई भांडारकर संकेतस्थळ : जेव्हा एखादी स्त्री ठामपणे म्हणते , “ मी स्वतंत्र आहे ”, तेव्हा ते वाक्य केवळ आत्मविश्वासाचे नाही , तर संपूर्ण व्यवस्थेला दिलेले आव्हान असते . मात्र आपल्या समाजाने या वाक्याचा अर्थ नेहमीच सोयीस्करपणे लावला आहे . स्वतंत्र स्त्री म्हणजे पुरुषद्वेषी , कुटुंबविरोधी , बंडखोर किंवा ‘ मर्यादा न पाळणारी ’ अशी लेबले तिच्यावर पटकन चिकटवली जातात . प्र त्यक्षात स्त्रीचे स्वातंत्र्य म्हणजे पुरुषांचे अस्तित्व नाकारणे नव्हे , तर पुरुषप्रधान सत्ताकेंद्रांना प्रश्न विचारण्याचे धैर्य आहे . स्वतंत्र स्त्री असणे म्हणजे सूड नव्हे ; तो स्वतःच्या आयुष्यावर हक्क आहे . स्वातंत्र्य म्हणजे काय ? आपल्या विचारांना शब्द देण्याचे स्वातंत्र्य , निर्णय स्वतः घेण्याची मुभा , आयुष्य स्वतःच्या अटींवर जगण्याचा आत्मविश्वास हेच खरे स्वातंत्र्य . त्यासाठी केवळ आर्थिक आत्मनिर्भरता पुरेशी नसते ; तर मतभिन्नता मांडण्याचे धैर्य आणि ‘ नाही ’ ...

इंग्रजीच्या सावलीतली मला समजलेली मराठी भाषा आणि आजची वास्तवता

  विषय :  इंग्रजीच्या सावलीतली मला समजलेली मराठी भाषा आणि आजची वास्तवता  शब्दांकन : योगेश गोगवेकर आज २७ फेब्रुवारी २०२६. मराठी भाषेचे आधुनिक कवी, नाटककार आणि कादंबरीकार वि. वा. शिरवाडकर यांचा आज जन्मदिन; आणि हाच दिवस आपण मराठी भाषा दिन म्हणून साजरा करतो. दरवर्षी हा दिवस साजरा करताना मला एक प्रश्न नेहमी पडतो, आज मराठीचे मराठी माणसांमध्ये नेमके स्थान काय आहे? आजची मराठी पिढी कितपत शुद्ध आणि आत्मीयतेने मराठी बोलते किंवा मराठी साहित्य किती वाचते? आजच्या पिढीला कवी कुसुमाग्रज कोण आहेत हे तरी माहिती आहे का? असे अनेक प्रश्न मनात उभे राहतात. हल्लीच आमच्या परिसरातील एका विशीतल्या तरुणीने पु. ल. देशपांडे यांच्याबद्दल बोलताना, “ते आमच्या वडिलांच्या काळातील विनोद करणारे गृहस्थ होते,” असे म्हटले. पण पु. ल. देशपांड्यांनी मराठीत अत्यंत दर्जेदार साहित्य निर्माण केले आहे, हे तिला माहिती नव्हते; कारण तिच्या आई-वडिलांनीसुद्धा त्यांची पुस्तके वाचलेली नव्हती. मग कुसुमाग्रजांच्या कवितांची ओळख असण्याचा प्रश्नच दूर राहतो. माझ्या एका नातेवाईकाच्या मुलाने तर “सोपे मराठी समजते, पण वाचता येत नाही,” ...