The genius of Mohammed Rafi
Lata Mangeshkar, Asha Bhosle, Mohammad Rafi, Kishore Kumar, and stronger relationship with the fans through their voices than Dev, Dilip. There were a few super brands — Lata Mangeshkar, Asha Bhosle, Mohammad Rafi and Kishore Kumar — followed by a host of Grade 2 and. Mohd. Rafi heard Kishore Kumar rendering Mere Nidon Mein Tum with Shamshad Begum in Naya Andaz in the middle 50s and was moved to.
Apart from running a WhatsApp group with around members, who meet in the Capital regularly, he also visits fans in other cities whenever possible.
Shahid, meanwhile, has not taken too kindly either to the remarks made in ADHM and has demanded a public apology from Johar. He also wanted the scene removed from the film.
The genius of Mohammed Rafi
However, Johar is yet to respond to these demands. Shahid, who performs regularly on the stage, has sung for only one Bollywood film, Gautam says. Trivia like this about the late singer and those associated with him is what he revels in narrating. Gautam works in the human resources department at the Delhi headquarters of a public sector unit.
His love for Rafi spills over into his workplace too. Pictures of the singer adorn his desk.
At his home, there are pictures of Rafi covering the walls of his living room as he holds forth on the maestro. Behind him, a plaque hangs on the wall.
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Two record players flank the room — one of them plays the rare 78 RPM records. The room also contains almost everything Rafi sang, be they in records, tapes or CDs, along with rare film magazines and other memorabilia featuring the singer. However, Rafi maintained his friendship with Kumar and played a crucial role in getting his ban imposed on the latter by All India Radio during the Emergency revoked by speaking to Indira Gandhi. Life for him was limited, from home to the studios and back to home.
He had an impeccable reputation in the industry and people swore by his name. He was known to sing for a token amount of one rupee for the producers who could not afford to pay his fees. Rafi was a happily married man with beautiful children in whose company he spent all the time outside of the studios. If Rafi and Kishore were the Lions of the music industry, they behaved like ones. Both were versatile and there were no limitations to their range and ability. While the producers and music directors did have their preferences for a particular singer, neither of them was ever accused of lobbying with them for work.
Interestingly, Mohd Rafi sang many songs for Kishore Kumar the actor. The song which had two versions in the film became a huge hit and it once again underscored the superb control that Rafi had when he suddenly moved from the low to the high pitch. On a number of occasions he is said to have remarked that only Rafi could sing the song.
So the song went to Rafi and it turned out to be the outstanding song of the film. In fact it was this climax song that gave the story line a meaning and offered Rajesh Khanna the opportunity to test his histrionics. The gentleman Mohd Rafi on his part, did not bother to know as to why only one song was given to him. Rafi, the Yodeler Kishore Kumar was a natural yodeler, having picked up the art as a growing-up boy, by listening to the Austrian records owned by his brother Anup Kumar.
When he entered the arena of playback singing the music directors were quick to discover his potential and utilized it to the hilt. Kishore went overboard with his yodeling in another of his home production Jhumroofor which he was the lyricist and music director and his fans loved it.
By this time he was established as the official yodeler of Bollywood not only because he was very good at it but because in most cases the songs were picturised on himself and he had no problems giving perfect lip service to his own songs, both comical and romantic.
It is unlikely that any other established actor would have risked this much of yodeling lest he got typed. But Kishore was Kishore and he did what he liked. Yet again, and as it would come as a surprise to many, if there was any competition to Kishore Kumar at yodeling, it was from Mohd Rafi.
If yodeling was an art, Rafi had a perfect hold on it.
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Many more songs of Rafi in the same mood would follow in the next two decades but this was a very special song. Rafi does a wonderful yodeling in the song and when he ends the song with the yodel he sounds exactly like Kishore Kumar. The natural ease with which Rafi has yodeled in this song is marvellous.
It is strange indeed, that Rafi did not choose to yodel in more of his songs which had plenty of scope and situation to do so. Whether it was his own decision or the restraint put by the music directors, his fans definitely were deprived of a very interesting facet of this endlessly versatile singer.
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The inimitable Rafi had a hundred different shades to add to the colour of his songs and yodeling was only one such shade which he used with brevity. With Rafi opting not to, Kishore made yodeling his second nature and his fans loved it. The result was magical and the fans were eating out of his hand. If Rafi gave up some ground to Kishore Kumar in yodeling, he more than made up else where.
From the word go, Rafi is all magic in this quawwali and the energetic and dashing Rishi Kapoor takes it to greater heights with his splendid performance on screen. Kishore Kumar was a complete entertainer. He had a persona that the media loved to write about.Kishore Kumar Exclusive Interview - With Lata Mangeshkar before death - Mohd. Rafi - LynkusTV - HD
He was a hit with his stage shows, not just for his songs but for his witty manners and the way he interacted with the audience. Rafi too drew huge crowds wherever he went.
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Only in his case, the greater reason for which people flocked from all over the place was slightly different. Sri Pervez, the son-in-law of Mohd Rafi Sahab, narrated an interesting incident that occurred at a stage show of Rafi in Lucknow in the late sixties. Rafi was put up in the Clarke hotel there and when he came on stage, the crowd went berserk. One song after the other, and yet the appetite of the crowd was only growing.