How Mohammed Rafi regained his confidence - az-links.info Movies
Mohd. Rafi heard Kishore Kumar rendering Mere Nidon Mein Tum with Shamshad Begum in Naya Andaz in the middle 50s and was moved to. Yasmin Rafi in her book 'My Abba- Mohammed Rafi' reflects on the reclusive legendary singer. August 4 saw the birth of Kishore Kumar, who was many things in films, but July 31 was the death anniversary of Mohammed Rafi. . even if the world becomes our foe) illustrates their relationship almost as much as that of.
A baton-wielding Dada Burman was even viewed to pat Rafi on the back as that singer put over this SD gem at Bombay's premier hockey ground facing Marine Drive! If only because Rafi here has to keep Bhairavi pace with the virtuoso tabla of Samta Prasad in my view, a wizard even superior to Alla Rakha. In fact, Dada Burman had all but settled for Rafi, as his main singer, when Aradhana happened. The supreme irony here lay in the fact that, even in Aradhana, Rafi had been Dada's first choice, as playback, for Rajesh Khanna!
As should be manifest from the fact that the first two duets recorded for the film, Baaghon Mein Bahaar Hai and Gunguna Rahen Hain Bhanwre, are in the caressing voice of Rafi. Lucklessly for Rafi, after these two recordings, S D Burman fell seriously ill.
That left the field free for R D Burman -- as Dada's chief assistant still. The rest is song history! Actually Dada Burman viewed this development with mixed feelings as he returned from his sickbed. Kishore Kumar had been SD's pet for long, so that there was no reason to query Pancham's choice of singer. Yet there had been no reason whatsoever to jettison Rafi either -- after the way this singer, under SD's bountiful baton, had vocally come across in Goldie Vijay Anand's Guide Without taking away anything from the Pahadi impact made by Kishore and Lata on Dev Anand and Waheeda Rehman via Gaata Rahe Mera Dil, Dada Burman frankly acknowledged that he could not have come up with his lifetime-best score, in Guide, sans the vibrant vocals of Rafi.
It therefore was on the tip of my tongue to ask Dada Burman as to why then Kishore Kumar had taken over so pre-eminently from Mohammed Rafi on Rajesh Khanna in Aradhana. The frugal Dada Burman had thrown one of his rare parties, at his The Jet Bandra bungalow, on the eve of Aradhana's release.
The central idea of the party was to announce that S D Burman was back with a bang after his debilitating illness. At that point, neither SD nor I could know that Aradhana would prove such a pathbreaker.
Also, it would have been unfair to question SD on the Kishore point here, since it was RD who had played a signal role in the ultimate dropping of Rafi from Aradhana. This industry is all about luck. It was sheer bad luck, therefore, that Rafi began losing out with Aradhana, considering that this singer, originally, was still SD's prime pick for that musical trend-setter. Yet you also make your own luck in this industry.
When Kishore Kumar was paid more than Mohammed Rafi | Catch flashback | Catch News
Here is where Rafi, I feel, failed to respond with all his seasoning when the Aradhana challenge came. Maybe Rafi had become a trifle laidback by then, as all vocal competition stood eliminated by end As Talat Mahmood, Mukesh, Hemant Kumar and Manna Dey had been impelled -- gradually by the turn of circumstances -- to concede that Rafi's was the universal voice that the industry recognised as the one with the spot box-office pull.
As Shanker-Jaikishan, then Laxmikant-Pyarelal and Kalyanji-Anandji, dominated the turnstiles, there could be no doubt about Rafi's being number one.
Indeed, Rafi had grown so bold by that he had fought, by then, a running royalty battle with diva Lata Mangeshkar -- before the Aradhana body-blow came to be delivered. Lata, recognising Rafi's peer No 1 position byhad wanted this singer to back her in demanding a half-share from the 5 percent song royalty that the film's producer conceded to select composers.
Lata's contention was that, once Rafi joined her in the battle, there was no way producers and music directors could deny this singing duo, reigning supreme by then, one-half share in that 5 percent song royalty to the composer. But Rafi -- by this point charging the same Rs 5, for a song as Lata -- took a diametrically opposite view.
Rafi, following the sensational turn his career took, with his emerging as the classical voice of Bharat Bhushan with Naushad's Baiju Bawrahad risen from the ranks on the humble principle that his claim on the film's maker ended with his being paid his agreed fee for the song.
#CatchFlashBack: When Kishore Kumar was paid more than Mohammad Rafi
After that, if the film proved a hit, good luck to the movie's maker, he was welcome to keep the Gramco HMV royalty he earned from it. If the song failed to click -- argued Rafi -- he had already been paid his fee for rendering it, so that the film's maker and he were quits. There was deadly logic in Rafi's reasoning running as: We sing, they pay, so there the commitment of both sides ends. Lata dramatically said she would no longer sing with Rafi. Whereupon Rafi, greatly daring, observed that he, from thereon, was only so keen to sing with Lata as she was with him.
Rafi perhaps nursed the sneaking feeling that Lata, in reality, was not prepared to acknowledge his late-earned suzerainty.
Rafi here felt belittled upon seeing Salil Chowdhury siding with Lata. Certain composers were not all out for Rafi and Lata knew it. For years after that royalty ruckus, therefore, Lata-Rafi refused to compose their dueting differences. Even when they finally made up, it was only a professional reunion. After all, why let Mahendra Kapoor and Suman Kalyanpur advance further, when producers still wanted Lata-Rafi as the supremo duo?
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This is the norm in the industry. Even a line by Rafi in the duet and the charge became Rs 5, for the male -- as for the female. A payment of Rs 5, might sound peanuts today. But it was a lot of many when colour had still to gain a firm foothold in the industry. If Lata's price rose to Rs 15, for song with colour taking root in our cinema byRafi too now commanded a matching fee. Rafi therefore saw no reason to submit to Lata any longer. For years he had played second fiddle. Now that his hour had come, Rafi was no longer prepared to undervalue himself.
He held firmly to his royalty conviction and the industry -- especially the big music-director brigade in it -- was with Rafi! That the same industry ditched the same Rafi afterin the post-Aradhana era, is the way of the film world.
Thus far, Rafi had been the voice of one and all. When therefore Dada Burman's own Aradhana overnight swung the industry tide against him, Rafi just did know what to do. Where Kishore Kumar could mentally 'act' the song, Rafi was left to react.
His stalwart heroes having failed him one by one, for the first time in his life, Rafi felt confusion to be entering his vocalising mind. For all that, if R D Burman was emerging as the new wave-maker, Laxmikant-Pyarelal rooting for Rafi still never yielded the palm to Pancham. Maybe Pancham set the neo-music trend, but Laxmikant-Pyarelal still ruled the juke-box office.
Indeed the maximum number of songs rendered by Mohammed Rafi was to be for Laxmikant-Pyarelal -- a phenomenal total of numbers, of them being solos. Compare this with Rafi's aggregate of numbers solo for Shanker-Jaikishan and a total of numbers only 56 solo for O P Nayyar.
So long as Laxmikant-Pyarelal were predominant, Rafi could hope and cope. But even L-P could not indefinitely sail against the Kishore-Pancham wind. Still Rafi, by dint of sheer effort, had staged a comeback without parallel in the annals of the industry. At a subsequent Usha Khanna recording, Rafi thought he had done full justice to this gracious lady composer's song. But Usha Khanna could not summon the gumption to tell a giant like Rafi that she had wanted 'a certain vocal effect' that she had not quite got in the song.
When Rafi later came to know of this, he asked Usha Khanna point-blank: Remember, you, as the music director, have the right to order me to this day. Even Lata had been taken on by Rafi only after continuing provocation. He would firmly maintain that singing and Bollywood was his profession and he preferred to keep them at a distance from his home… In fact, after I got engaged to Khalid he once took my paternal family to watch a recording. I, however, was forbidden from attending it.
Was there something he resented about the film industry that he wanted to keep you people away from it? He came from a world, very different from Bollywood — sort of old school. He used to tell us, how he would be beaten up in his village in Punjab for singing and wanting to sing. His family was shocked that he wanted to do the job of miraasis singer-performers. They relented when they realised how passionate he was about music and his eldest brother took it upon himself to train him with the masters in Hindustani classical music.
Mohd Rafi had been singing in the industry for over three decades. Music and how you approach it, change with time… Given he was schooled in classical music and flourished when the mainstay of Bollywood was melody, did he ever get frustrated with the influences that came into Hindi film music later in his career? Yes, in a career spanning 39 years, such things are bound to happen.
He used to get frustrated at the kind of music directors would be churning out later in the seventies. He used to be disappointed with music at times, later in his life.
How Mohammed Rafi regained his confidence
But he would also never turn away from trying new things, he liked them or not. But he still went ahead and we all know, what a big hit it turned out to be! Did he tell you people how he felt after that? In fact, despite the fact the film fraternity and music directors seem to have suddenly started obsessing with Kishore Kumar, who by the way had been singing for very long before Aradhana also, Rafi-saab encouraged Kishore Kumar-saab to do live performances.
Once Kishore Kumar was visiting our home in London, when Abba was here. You should do more live shows! However, once Rajesh Khanna's reign in Bollywood came to an end, Abba was back to work and he recorded a few of his best songs in the late seventies alongside Kishore Kumar.
An excerpt from the book says: The media had raised a hue and cry after the release of Aradhana, and their misplaced allegations did hurt Abba.