Rafi and kumar

B.Com, CA Final, CS




Rafi Sahab was one of the greatest forces in the history of the Indian sub-continent culture.    His Immortal Golden Voice still rules the hearts of millions of Indian music lovers the world over.    In his music circles he was simply known as 'The Voice',  because he was so famous for the way he put his heart and soul into every rendition.    Rafi Sahab was the greatest and it is impossible to conceive of another singer ever attaining the range,  the versatility and the awesome emotion that his golden voice always contained.
Rafi Sahab was born on 24th December 1924 in Kotla Sultansingh village in Punjab,  near Amritsar.    Although music was not a part of his family background,  there is no doubt that he was born with a gift for music in his heart.   His father certainly did not look favourably upon his singing.    Rafi Sahab's elder brother Mohammed Deen had a barber shop when Rafi Sahab was still a young lad,  and he spent many of his childhood days in his brothers barber shop.     One day,  when Rafi Sahab was about seven years of age,  his brother noticed him following a fakir who was walking the streets singing while playing on his Ektara (a one-stringed instrument).    Ignoring the regular reprimands of his parents,  the young boy continued to follow the fakir to his abode - a huge tree - on a regular basis.   Then one day, some of the patrons at the barber shop heard him sing the songs of the fakir with such perfect sur (pitch) that they immediately recognised the immense musical gift that the boy possessed,  and were convinced that this young genius-in-the-making was destined for greater things in life.     The elders,  and the patrons,  then used to regularly ask the young Mohammed Rafi to visit the barber shop and sing for them,  for he had a truly sureely awaaz.    Rafi Sahab had picked up the rudiments of music from a fakir while already possessing a God-gifted voice.
When Rafi Sahab,  at a tender age of about fifteen decided to become a singer,  his father,  a village landlord,  was dead against the idea.     His brother, Mohammed Deen, though,   having recognised that this young boy had a God-given talent which he simply could not see go to waste,  decided to help his little brother realise his dreams,  for the young Mohammed Rafi ejoyed nothing as much as he did to sing all day long.   When a was barely seventeen years old,  and sang his first playback song for a Punjabi film,  'Gul Baloch' under the music direction of the late Shyam Sunder in 1941,  Rafi Sahab was illiterate and had to commit the words to memory before he could go before the microphone.      When it came to remembering any melody though,  there never was a problem.   The young genius in the making needed only to hear a melody once to not only commit it to memory,  but also suggest improvements to the tune.    Following the popularity of his Punjabi song,  Rafi Sahab took the final big step in his life and ventured off to Bombay to realise his dreams of making singing his career.    
In 1942 he arrived in Bombay to sing,  again under the music direction of Shyam Sunder for the movie 'Gaon ki Gauri'.  After this successful debut in Bombay,  Rafi Sahab approached the renowned music director Naushad,  confiding in him his admiration for the great Kundan Lal. Saigal,  and how his ambition was to sing with Saigal Sahab.     Naushad did not disappoint him,  giving him two lines (Ruhi Ruhi Mere Sapnon ki Rani) with K.L Saigal for a song in the movie 'Shahjehan'.     Although Rafi Sahab had several 'hit' songs during these early years,  he never-the-less had tough competition from respected singers like  Manna Dey,  Talat Mahmood,  Hemant Kumar and Mukesh.    The real recognition for Rafi Sahab,  though,  which never saw him looking back again,  was his incomparable effort for his songs in 'Baiju Bawra' under the music direction of Naushad Sahab.    O Duniya ke Rakhwale (which you're listening to right now) together with 'Man Tarpat Hari Darshan' left Rafi Sahab in a league all of his own.    He continued over the years to lend his magnificent golden voice to such great music directors as Sachin Dev Burman,  C. Ramachandra,  Roshan,  Shankar-Jaikishen,  Madan Mohan,  O.P. Nayyar,  Kalyanji-Aanadji,  Laxmikant Pyarelal,  Jaidev,  Salil Chowdhury,  Ravindra Jain,  Iqbal Qureshi,  Usha Khanna,  Ravi,  Chitragupta and Rahul Dev Burman,  to name a few.
'Bapu ki Amar Kahani',  a poignant song dedicated to the Mahatma Gandhi,  recorded just a month after Gandhi-ji's assassination in January of 1948,  had Nehru-ji shedding tears at the emotion in Rafi Sahab's voice.    Rafi Sahab sang over 26,000 songs in all the national languages of India in his fourty year career.    He was the master of all forms of songs  -  he could sing ghazals,  qawwalis and bhajans with the same ease and greatness.    There came a time in the sixties when Rafi Sahab was the permanent voice of Shammi Kapoor,  Dilip Kumar,  Rajendra Kumar,  Dev Anand,  Dharmendra,  Shashi Kapoor and Raj Kumar.    In fact,  Shammi Kapoor's films were mainly popular because of the songs,  which were sung by Rafi Sahab in a very distinct style.    Rafi Sahab's voice personified the rebellious image of  'Yahoo' star,  Shammi Kapoor  ;   made Rajendra Kumar a 'Jubilee Star'  and Jeetendra a 'Jumping Jack'.    
The great Rafi Sahab even sang for singer-actor Kishore Kumar in movies such as Raagini,  Baaghi,  Shehzaada and Shararat.     In 1965 he was honoured with the Padma Shree,  a coveted award of which any Indian citizen would justly be proud.    In 1977,  Rafi Sahab received the 'Rajat Kamal' award from then Indian State President,  Sri Sanjiva Reddy at the 25th National Film Festival Awards.     Humble,  unostentatious and soft spoken,  and yet a giant among musicians,  he was a man of tremendous integrity and very often sang without charging a fee for struggling music directors.     Words cannot do justice to comprehend what this artist was about.     Alas,  there is no substitute today to listening to his voice.     His style truly reflected the man's character.     The purity of his voice reflected the purity of his ideals and his mind.    He was not affected by his greatness and material values never superceded human and social ethics for this spiritual and unassuming maestro.
Rafi Sahab received his training from prominent  classical Ustads like Abdul Wahid Khan,  Pandit Jiwanlal Matto,  Ghulam Ali Khan and Firoz Nizami  -  all doyens and devotees of music.
Rafi Sahab scaled heights of fame and popularity that no other Indian singer ever has or ever will with his haunting melodies that enchanted lovers of music all over the world.     He had an unblemished illustrious career and retained an untarnished and highly dignified reputation in an industry which at times is more known for its vices than the good it produces.     Humble in the extreme,  soft spoken,  a gentleman like no other and an embodiment of refinement,  he was deeply religious and in a rare interview with Abu Parker in 1979 in Cape Town, South Africa,  Rafi Sahab declared that he held all religions in high esteem.    He went on to say that he believed that we are all separate seeds that bloom into one single flower.    A veritable king at heart,  he was a true friend of the poor,  ensuring that he regularly paid his zakaat (charity).
Rafi Sahab was the sort of genius who appears once in a life-time ;  unique,  his golden voice continues to flow like essence drawn from several jewels,  a constellation which enriches,  in a mystical way,  the firmanent of music,  the spiritual peak of eternal silence and of the celestial world that listens to itself through the voice of cherubic Mohammed Rafi,  the immortal singer who is interpreter of that very sublime silence.
Not only the nation,  but Indians the world over were stunned on 31st July 1980 when Rafi Sahab left this world to indulge the heavens with his silky voice.    His 'last journey'  commenced from 'Rafi Villa'  in Bandra on that sad and wet day as tears from heaven fell on earth,  but The Voice never left us.     To his ardent fans Rafi Sahab will always be immortal,  for The Voice will always remain with us.
Siddharth Bumb
sidbumbhelp @ gmail.com


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B.Com, CA Final, CS


Kishore Kumar

Kishore Kumar was an actor, and playback singer in Bollywood films.  He was most active from 1949 until his death in 1987.  He was famous for singing upbeat light songs, and light comical acting roles.  However in his long career, he worked in almost every capacity in the film industry; not only as a a singer and actor but as a screenwriter, producer, director, and scriptt writer.

Kishore Kumar was born Abhas Kumar Ganguly on August 4, 1929 in Khandwa (present day Madhya Pradesh).  Although this is a Hindi speaking area he was a Bengali.  His father was a lawyer named was Kunjilal, and his mother's name was Gouri Devi.  He was one of four children.  He had two older brothers named Ashok Kumar and Anoop Kumar, and a younger sister named Sati.

Kishore Kumar's entrance to the film industry was very different from most people.  Most of the famous playback singers struggled hard to find a position and struggled equally hard, often unsuccessfully to retain that position.  However Kishore Kumar easily slid into the film industry without any real effort.  The reason for this was through the influence of his elder brother Ashok Kumar.

Kishore Kumar never had any formal musical training but this did not stop him.  In his career he showed proficiency in a variety of musical styles.  Furthermore he was able to pick up the piano and played it well.

Kishore Kumar at harmonium

Kishore Kumar at harmonium

The young Kishore and his family used to visit Ashok Kumar in Bombay very often.  There was 18 years difference between Ashok and Kishore, so the elder Ashok was well established in the film field while Kishore was still just a kid.  Due to his brother's connections, Kishore was able to secure odd positions at an early age.  When quite young he became a chorus singer for Bombay Talkies, where his brother Ashok worked.  This was in spite of the fact that Kishore never had any formal training in music.  Several other films also came his way.  Kishore got his first role in "Shikari" (1946); he was only about 17 at the time.  He was also hired by Khemchand Prakash to sing a song for the film "Ziddi" (1948).  These were just odd assignments, Kishore was still with his family then and not in Bombay where the Hindi film industry was centred.



In 1949 Kishore moved to Bombay.  Being located in the centre of the Hindi film industry brought him much more work.  He acted in several movies; he even got the leading role in films such as "Andolan" (1951), "Naukari" (1954) and "Musafir" (1957).

Kishore Kumar's personal life during this period is somewhat mixed.  In 1951 he married the first of his four wives, the actress / singer Ruma Guha Thakurta (a.k.a. Ruma Ghosh).  This marriage lasted until 1958 when they divorced.  This union produced a son, Amit Kumar.  (Today Amit Kumar is a noted actor, singer, music director and director.)

Ruma Guha, Amit Kumar, Kishore Kumar (circa 1953)

Ruma Guha, Amit Kumar, Kishore Kumar (circa 1953)

However Kishore Kumar's real interest was in playback singing.  It was S.D. Burman who first tapped Kishore's inner talents as a playback singer.  It was during the making of "Mashaal" that SD Burman told Kishore that he was trying too hard to imitate KL Saigal.  SD Burman persuaded Kishore to develop his own style.  In this period, he sang for a number of films.  Some of the major ones were, "Munjim" (1954), "Nau Do Gyarah" (1957).

Younger kishore Kumar

Kishore Kumar

Kishore was not afraid to borrow unusual techniques.  For instance he was inspired by the yodelling that he heard on his brothers phonograph records; he adapted this technique with great public appreciation.  He used this in a number of films, such as "New Delhi" (1957) and "Pyar Ka Mausam" (1969).

Although acting did not seem to be his real passion, he continued to act in a number of capacities.  His romantic hero personas never really clicked at the box office, however his comedic roles really proved to be his forte.  This was amply demonstrated in such films as "New Delhi" (1957), "Asha" (1957), "Chalti Ka Naam Gaadi" (1958), "Half Ticket" (1962), and "Padosan" (1968).

Poster for Padosan

Poster for Padosan

There are a large number of Asha Bhosle / Kishore Kumar Duets.  Many result from the SD Burman /Lata Mangeshkar feud which was going on from 1957 to 1962.  Many also result from R.D. Burman'spreference for Asha over Lata as well.  Some notable duets were Ankhon Mein Kya Ji from "Nau Do Gyarah" (1957) or Paanch Rupaiya Baara Aana from "Chalti Ka Naam Gaadi" (1958).

Kishore Kumar was by no means limited to the Burman clan of music directors.  He created very notable songs with most of the top ranking music directors of the period.  These include such immortal hits as Salil Chowdhuri's Chhota Sa Ghar Hoga ("Naukari" - 1954), C. Ramchandra's Eena Meena Deeka ("Aasha" -1957), Shankar - Jaikishan's Nakhrewaali ("New Delhi" - 1956) or Ravi's C.A.T. Cat Maane Billi ("Dilli ka Thug" - 1958).

During this period there were also developments in Kishore Kumar's personal life.  In 1960 he married the actress Madhubala (real name Mumtaz Begum Jehan Dehlavi) with whom he had worked in such films as "Chalti ka Naam Gaadi" (1958).  This marriage created considerable ill will in the family because he was Hindu and she was Muslim.  Their marriage was a civil marriage and Kishore Kumar's parents refused to attend.  Later Kishore and Madhubala had a Hindu ceremony to appease his parents, but to very little advantage.  After only a month of marriage, she leaves the Kumar's household and returns to her own residence.

They remain married for the rest of her life, but under somewhat strained circumstances.  At the time she was suffering from a heart condition.  It became progressively worse and she died on February 23, 1969.

In the 1960's Kishore Kumar began to expand his involvement to include almost every aspect of film production.  For instance, he produced, directed, and acted in "Jhumroo" (1961).  Furthermore, he wrote the lyrics for the title song, and composed music for all of the songs in the film.  Other films that he produced and directed were "Door Ka Rahi" (1971) and "Door Waadiyon Mein Kahin" (1980).

The 1960s were a mixed period for Kishore Kumar.  On the bright side, there were a number of hit songs from this period.  Some examples are Gaata Rahe Mera Dil from "Guide" (1964), and Yeh Dil Na Hota Bechara from "Jewel Thief" (1967).  However he also had his problems.  For instance there was the much publicised problems with the Indian government over income tax evasion.  He began to acquire a reputation of being unreliable; he frequently used to come late for recordings and occasionally would not show up at all.  Furthermore many of is movies flopped.  To make matters worse, There was also the tense marital relationship with his wife Madhubala; compounded by her deteriorating health.  By 1968 he was so disheartened that he was considering retirement.

Kishore Kumar in pensive mood

Kishore Kumar in pensive mood

However the 1970's began to look much better.  His song Roop Tera Mastana from the 1969 film "Aradhana" won him a Filmfare Award.  He was getting a lot of work, and his public reputation was on the rebound.

Poster for Aradhana

Poster for Aradhana

The mid 1970's saw Kishore Kumar being pulled into national politics.  He was an outspoken critic of Indira Gandhi during the Emergency.  One time Sanjay Gandhi asked Kishore to sing for a congress rally in Bombay, Kishore refused.  His refusal to perform resulted in his songs being banned by All India Radio and Doordarshan.  (It is interesting to note that even by Indian standards Sanjay Gandhi was known for his extreme abuses of power.)

During this period his personal life was also rather tumultuous.  In 1976 Kishore Kumar married his third wife, the film actress Yogeeta Bali.  However this marriage did not last, they divorce in 1978.

The late 1970s was another difficult period.  The AIR / Doordarshan boycott certainly did not help his career.  There was an occasional hit song, but by and large Kishore's films were not doing well in the box-office.  In the mid 70's he greatly cuts back on his acting roles and his last screen role is in "Door Wadiyon Mein Kahin" (1980).

However it appears that his personal life begins to stabilise during this period.  In 1980 he marries his fourth wife, the film actress Leena Chandavarkar.  She bares him a son named Sumeet Kumar.  They remain married until his death in 1987.

Kishore Kumar and forth wife Leena Chandavarkar

Kishore Kumar and forth wife Leena Chandavarkar

The Bollywood film industry is full of personality conflicts and Kishore Kumar was no exception.  There was the well publicised friction between Kishore Kumar and Amitabh Bachchan.  Kishore Kumar refused to do playback singing for Amitabh after he refused to participate in a film which was being produced by Kishore Kumar.  However there was a reconciliation where Kishore sang for him in Toofan (1989, this was released after Kishore's death).  There was also a short period where Kishore refused to sing for Mithun Chakraborty.  The cause of this appears to be Mithun's marriage Kishore's ex-wife Yogeeta Bali.  However this too was later resolved and Kishore sang for Mithun in films such as "Disco Dancer" (1982) and "Pyar ka Mandir" (1988).

1986 is a critical year for Kishor Kumar.  He suffers from a heart attack.  He recovers from the this, but it causes him to greatly reduce his recording schedule.  He plans to go into retirement and return to his birthplace of Khandwa; but this just does not seem to happen.  Kishore's last recording was a playback song for Mithun Chakraborty.  This was a duet with Asha Bhosle for the film "Waqt Ki Aawaz" (1988).

In 1987 he suffers another massive heart attack in Bombay.  He died on October 13, 1987, at the age of 58.  His body was taken back to his birthplace of Khandwa for cremation.

Kishore Kumar's reputation remains unabated after his death.  There are endless streams of commemorative works, remixes and repackaging of earlier recordings.

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Today, 26th July is the anniversary of
1) Kargil
2) Mumbai Floods
3) Ahemdabad Blasts!
Let's pray for the families of the victims.

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Finance Manager

Thank you Siddharth....they are the melody legends whose songs cannot be forgetten and are evergreen till today.


@ Rahul Thank you for the reminder...Let pray for their families and for peace.

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IPCC and CS Professional(FINAL) Student

Thanku for sharing.smile. And pray for blast victim.

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!..Live to Give..!

Best Of Mohammad Rafi:

Dil Ka Bhanwar Kare Pukaar  - Tere Ghar Ke Saamne

Teri Pyaari Pyaari Surat Ko - Sasural

Na Tu Zameen Ke Liye  - Daastan

Abhee naa jaao chhodakar -  Hum Dono

Maine Puchha Chand Se Ke - Abdullah

Bekhudi Mein Sanam  - Haseena Maan Jayegi

Chhoo Lene Do Nazuk - Kajal

Ehesaan Tera Hoga Mujh Par -  Junglee

Yeh Mera Prem Patra Padh Kar -  Sangam

Mujhe Teri Mohabbat Ka  - Aap Aaye Bahaar Aayi

Aaja Tujeh Ko Pukaare - Neel Kamal

Chaudvin Ka Chand Ho, Ya Aaftaab Ho - Chaudvin Ka Chand

O Hasina Zulfon Vaali Teessri - Manzil

Gun guna rahe hain bhanwar - Aaradhana

Jahan Daal Daal Par Sone - Sikander-E-Azam

Nain lad Jaihen - Ganga Jamuna

Kisko Pyar Karun - Tumse Achha Kaun Hai

Maang Ke Saath Tumhara - Naya Daur

Nache Man Mora Magan Meri Surat - Teri Aankhen

Akele Akele Kahan Ja Rahe Ho - An Evening in Paris

Patthar Ke Sanam Tujeh - Pathar Ke Sanam

Ay Phoolon Ki Rani - Aarzoo

Nanhe Mune Bache - Teri Muti Mein Boot Polish

Jo Baat Tujh Mein Hai - Taj Mahal

Madhuban mein radhika - Kohinoor

Jo Vaada Kiya Woh Nibhaana Padega - Taj Mahal

Wada Karle Saajna Haath Ki - Safaai

Chalkaaye Jaam Aayi Yeh Mere - Humdun Mere Dost

Chalo Dildaar Chalo - Pakeezah

Aakhon Hi Aakhon main  - CID

Dheere Dheere Chal  - Love Marriage

Mere Meheboob Tujeh - Mere Meheboob

Mera Man Tera Pyaasa - Gambler

Ude Jab Jab Zulfen - Teri Hum Kisi Se Kum Nahi

Kya Hua Tera Wada - Naya Daur

Tere mere sapne, ab ek rang - Guide

Babul Ki Duaayein Leti Jaa - Neel Kamal

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First of all Thanks Siddharth ji..,

ohhh my god, cant believe..Rafi saab CCI pe aagaye..made my day..

for a second, felt.. today its 31st July..the day we lost this mesmerising voice :-(,

well, iss mithaas ke baare me kya kehnaa..

sunthe hi.. dil ko mile sukoon aur chaina...

one of my fav song... which perfectly suits to him...

"Tum mujhe yu bhulana paoge... jab kabhi bhi sunoge geet mere... sang sang tum bhi gungunaoge.... tum mujhe yu bhulana paoge..."  these lines are really true... cant forget his voice...his songs.. ,

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Accounts Officer

Thanks Siddharth for giving a brief history of the Legend's.

Rafi saab ka har ek ganne meim ek alak sa mithaas dha...

And Kishore Kumar ke ganne meim wo nutkad mazak...


SaNKeT, a small correction :

Ude Jab Jab Zulfen Teri- Naya Daur

Kya Hua Tera Wada - Hum Kisi Se Kum Nahi

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memorising someone we loved most is one of the happiest moment.......tnx for sharing

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✩ §m!ℓ!ñġ €ม€§ fℓม!ñġ ђ♪gђ✩

My father is simply a big fan of Mohd rafi's songs ....

I will surely tell him about it ...

thanks a lot for sharing this :) :)


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