The Pre-‘Aaradhana’ Kishore Kumar

Intriguing title, isn’t it? Why pre-Aradhana? Kishore Kumar started singing when he was just 19 years old, in the year 1948 with the song “Marne ki duayen kyun maangoon” that was composed by the legendary music director Khemchand Prakash. Aradhana happened in the year 1969 and so it was at the age of 40 when he ultimately got tremendous success that he rightly deserved. Does that imply his songs before 1969 were not good or popular? No way. This blog is not getting into controversies as to who was a better singer/ the reasons why some music directors might have erred in not giving the chance  that Kishore deserved. There are enough articles and blogs that have discussed this to the point of bitter arguments and fights.

This blog is titled Music Unrestricted and so true to the essence of this blog, let us talk about only good things, leaving aside all controversies. Personally, I am a great fan of Rafi, but I always feel, if Rafi wasn’t there, then I would have listened to Kishore more often. And the reason for writing about the pre-Aradhana songs of Kishore is to highlight the fact that in this period, I always felt his voice & singing was as good as it was post 1969, may be a shade even better, I would venture to say. Since most of the songs that he had sung after 1969 are so popular and very well documented and talked about in the popular media/blogs/forums etc, I thought it could be a better idea to focus first on the pre-1969 era. This is not to deny the excellent quality of songs that Kishore had sung post Aaradhana.  There will be a sequel to this in near future that will talk about the post Aradhana Kishore. As a standard disclaimer the 21 songs listed here are  , my personal favourites which may not be the same as others’ choice. Readers can mention their favourite Kishore songs of this period under comments section.

{ I have intentionally not provided links to the songs as many a times , there are copyright issues and a particular song may get removed; since all the songs mentioned here are easily available on searching in the Internet, request interested readers to do their own discovery for listening pleasure!}

#1 Aa chal ke tujhe mein leke chaloon (1964); Film –Door Gagan Ke Chhaon Mein, Music-Kishore Kumar, Lyrics- Kishore Kumar.

Just before this song appears in the film “Door Gagan Ki Chhaon Mein “, Kishore, who produced, directed, wrote, acted and composed music (what a multi-talented artist he was!!), asks his son (played by his real son Amit Kumar), Mujhe Gaana kahan aatha hai?!!. What an understatement by the genius who was one of the most natural singers ever. When he sings, the music just flows like a river. He never had any formal training in music and so was unfettered by any boundaries and so his songs always sound so natural.

Though this film had other songs written by Shailendra, this particular one was even penned by him. So, you have a song that was composed, written, sung and enacted by Kishore and what an eternal melody, with minimum orchestra -just  flute, sitar as main instruments.

#2 Mein hoon jhum jhum jhum jhumroo (1961); Film –Jhumroo; Music-Kishore Kumar, Lyrics- Majrooh Sultanpuri

The film Jhumroo was a commercial success for Kishore as compared to Door Gagan Ki chhaon mein. It was a dilemma for me to choose between the title song “Mein hoon jhum jhum jhumroo “and “Koi Humdum Na Raha, Koi Sahara Na Raha” which is one the best ever by him. So, I have selected both the songs!! Mein hoon jhum jhum jhumroo listed first here is unique due to the excellent yodelling -one of the best ever by him.

Appearing as the title song of the film, this one is still a challenge for anyone to sing due to the extra-ordinary yodelling done by Kishore. A beautiful guitar used throughout the song enhances the charm.

#3 Koin Humdum Na Raha; (1961); Film –Jhumroo; Music-Kishore Kumar, Lyrics- Majrooh Sultanpuri

There is an interesting anecdote about the other song from the same film Jhumroo – “Koi Humdum Na Raha, Koi Sahara Na Raha”. This song was taken from the 1936 film Jeevan Naiya which had Kishore’s elder brother Ashok Kumar singing the song composed by the first female music director of Hindi Film Music, Saraswati Devi. Ashok Kumar himself had talked about how Kishore had first asked his permission to take this song for Jhumroo. When Ashok had told Kishore that it was a complex metre, Kishore’s classic response was” I don’t know anything about metre etc. but will sing it better than you”!! And he definitely did a better rendition of that song and immortalised it!! Whenever Kishore sings a sad song, he brings in a very subtle pathos into it, thereby giving a pleasing effect. That, in my opinion, could have been due to his very natural way of singing.

#4 Arre Bhai Nikal; Ke Aaa Ghar Se (1956); Film –Nai Dilli; Music-Shankar -Jaikishan, Lyrics- Shailendra

Those days, Kishore was more focussed on acting; in fact, other leading singers of that time also started off with acting like Talat Mehmood, Mukesh but later on switched to singing (thankfully!). Rafi had a very brief stint with two films and soon realised it was not his cup of tea at all. Kishore, however had a reasonably successful acting career also. Reason for mentioning this is that due to this he was the natural choice as singer to do playback for himself. So, we have Shankar -Jaikishan’s peppy number selected in this list.

Set in a typical Marathi folk style, Kishore does all the variations that he is capable of, and also does a superb dance on screen. Especially at the end of the song, the way he changes the pitch in the lines “Arre Bhai, Arre Bhai” is vintage Kishore.

 And not to forget the prophetic lines of Shailendra:

Pani ko tel ko choda, bijali ki rail ko choda,

Kal Chaand Taaron Mein Pahunchegaa Atomi Ghoda!!

Writing about reaching the moon in “atomi ghoda” in year 1956, when the first unmanned satellite Luna actually landed in 1966. What an imagination the poets had those days!!

#5 Choti Si Yeh Duniya Pehchane Raaste; (1962); Film –Rangoli; Music-Shankar -Jaikishan, Lyrics- Shailendra

One more gem from the combination of Shankar-Jaikishan and Kishore -very famous for the first lines that can be quoted whenever someone wants to say “dekh loonga”!!!

Anecdote says Shailendra wrote the first lines to remind Shankar-Jaikishan after they supposedly forgot their promise to him to take as lyricist in their team. I am not sure if that was true.  This one has that typical tempo and orchestration of S-J (with a superb accordion) and a breezy style of singing by Kishore. What more do we need? Interspersed with lines in Bengali and Marathi , anyone listening to this will feel like getting up and dancing.

#6 Mana Janaab Ne Pukara Nahin; (1957); Film –Paying Guest; Music-Sachin Dev Burman, Lyrics- Majrooh Sultanpuri.

All the 5 songs mentioned so far were picturized on Kishore himself. Now we come to the hero for whom Kishore sung the most before 1969, i.e., Dev Anand.

One can feel the modulation that Kishore had brought in this song as compared to those picturized on him. Later on, when he became the main voice of both Dev Anand and Rajesh Khanna, the difference can be perceived  distinctly.

Aided by an excellent orchestration that was the trademark of Sachin Dev Burman, this is a pleasant romantic number

#7 Mere Neendon Mein Tum Mere Khwabon Mein Tum; (1956); Film –Naya Andaaz; Music-O. P Nayyar; Lyrics-Jaan Nissar Akhtar

A one-of-a-kind duet with unique combination of Kishore & Shamshad Begum. To the best of my knowledge this could be the only song they had sung together and hats off to O.P Nayyar to bring these two voices together. As most of the music fans know, Shamshad’s voice was known as that resembling “a temple bell” ( that was a compliment given by O P Nayyar) and paired with an equally deep voice of Kishore, this remains a great duet, but may be not very popular among the masses.

One typical orchestration style of OPN was to have the same interludes for all the antaras unlike other his contemporaries, but that single melody always used to be exceptional. This song is no exception with violins, accordion and flutes complementing each other in the interludes.  One can hear a very different Kishore in this song.

One more song that has Kishore as the on-screen actor with a beautiful Meena Kumari in one of her few happy roles. A word about the great shayar Jaan Nisaar Akhtar—may a times the next generation of an artist becomes more famous—same is the case here-his son Javed Akhtar is more popular . Jann Nissar had written written fabulous songs in the golden era.

#8 Mere Mehboob Qayamat Hogi; (1964); Film –Mr X in Bombay; Music-Laxmikant -Pyarelal; Lyrics- Anand Bakshi.

In 1963, with Paras Mani film, Laxmikant-Pyarelal stormed into the Hindi film music scene and got their major success with Dosti, made in 1964. Mr X In Bombay was also released in same year, 1964 and this song remains as fresh and popular even after 58 years!!

This remains one of the best ever soulful song from Kishore. The version that we hear normally in radio is different from the screen version .  There is a clear variation in the tone with which Kishore had sung the first part of the song where he is seen on screen and the second part where he is invisible. The reason why such old songs will remain immortal is due to such subtle modulations in voice without any electronic distortions that have crept in today’s songs.

#9 Aake Seedhi Lagi Jaise Dil Pe Katariya ; (1962); Film –Half Ticket; Music-Salil Chowdhury; Lyrics- Shailendra

Many years later, in 1971 when Salil Chowdhury composed the song “Koi Hota Jis Ko Apna” for the film Mere Apne, he had rued as to why he didn’t utilize Kishore earlier. As Salil da was known for his very intricate tunes that song remains one of my all-time favourite Kishore numbers. Coming back to this article, the film Half Ticket was an all-out comedy film starring Pran and Kishore. Originally this song was supposed to be a Kishore-Lata duet but due to non-availability of Lata Mangeshkar’s dates, Kishore suggested to Salil Da that he can sing the female part also. Initially Salil da dismissed this as a joke but when he heard Kishore sing both the versions was totally amazed and this turned out to be unique song. Not only the voice modulation, but the swift change between male and female voice (remember those days there was no technical gimmicks available to record separately) was something only Kishore could do so easily.

Adding charm to this song is the way he has danced to the song on screen…truly amazing.

#10 Arre Yaar Meri Tum Bhi Ho Gajab  ;  ( 1965); Film –Teen Deviyan    ;   Music-Sachin Dev Burman  ;  Lyrics- Majrooh Sultanpuri

One more evergreen combination of Dev Anand-Kishore-S D Burman-Majrooh. This film had totally 6 songs and all were great hits. This duet with Asha ( along with whom Kishore later on had hundreds of hit songs) is one of the best ever. The last part of the song where Kishore almost whispers the lines “ Arre Yaar Meri Tum Bhi Ho Gajab , ghoonghat to zara odho…” and then an endearment hmmm….hmmm is really a classic where we are unable to make out if it is Kishore or Dev saying those lines. Kishore had done that part so beautifully.

#11 Chhota Sa Ghar Hoga Badalon Ke Chhaon Mein  ;  ( 1954); Film –Naukri    ;   Music- Salil Chowdhury  ;  Lyrics- Shailendra

A typical exceedingly sweet melody from the melody king Salilda with simple but meaningful lyrics by the great Shailendra (his speciality was conveying great thoughts in simple language) and rendered even more sweetly by Kishore. At the end of the second antara , Kishore does his typical harkat with the intentional breaking of voice to convey a mock crying by his sister on screen. That breaking of voice is one thing no other singer could come anywhere near Kishore. And he used to carry it off  so nicely without creating a jarring note.

#12 Zaroorat Hai Zaroorat Hai   ;  ( 1962); Film –Manmauji  ;   Music- Madan Mohan  ;  Lyrics- Rajendra Krishan

Till this day , this song remains evergreen and has been even remixed ( though personally I don’t like anyone remixing the old classics at all!!) . That shows how popular this song is . A very rare combination of Madan Mohan with Kishore this song has a catchy rhythm , at the same time having  the melody intact. Kishore has given the extra punch with stress on the lines” to kya baat hai” at the end of each antara , making the song so lively. One more song picturized on him , with his typical dancing style.

#13 Eena Meena Deeka    ;  ( 1957); Film –Aasha ;   Music- C Ramachandra  ;  Lyrics- Rajendra Krishan

The most popular Rock and Roll number from Hindi film music, this song needs no introduction. While Chitalkar Ramachandra was very strong in his classical raag based compositions, he was equally adept in such peppy numbers. And who else to execute to perfection than Kishore. There is an anecdote behind the origin of this song : C Ramachandra heard some kids playing outside his studio  saying Eenie Meeni Miny Moe and that inspired him and his assistant John Gomes to improvise and compose the first lines. Rajendra Krishan did a great job by adding the rest of the song. What with Kishore’s electrifying dance on screen , we got a power packed song which will make anyone get up and dance with the song.

The vocal gymnastics by Kishore is in full play towards the end!!

#14 Dukhi Man Mere Sun Mera Kehna  ;  ( 1956); Film –Funtoosh ;   Music- Sachin Dev Burman  ;  Lyrics- Sahir Ludhianvi

From the boisterous Eeena Meena Deeka to the utterly sad Dukhi Man Mere Sun Mera Kehna—what a range Kishore had!! One of the starting points of the fabulous Dev-Sachin Da-Kishore Da combination that would continue to bring out hits after hits later on , this song showcases the pathos that Kishore can bring in his singing. Incidentally I read somewhere that Kishore himself had considered this  as his topmost favourite song.  Composed with minimum orchestration by Sachin Da and written  with seemingly simple lines  but conveying profound philosophy  by the great Sahir Ludhianvi , this is an eternal song.

#15 Panthi Hoon Mein Uss Path Ka  ; ( 1971); Film –Door Ka Rahi  ;   Music- Music-Kishore Kumar ;  Lyrics- Irshad

While selecting the songs for this article, I had tried to list out the songs of my choice that Kishore had sung in his earlier innings, i.e., pre-Aaradhana. At the time of listing the songs I selected them purely by my own gut feeling , without actually checking the year of the film. When I started checking out the actual year for each of the songs, I was surprised to note that Door Kar Rahi was a 1971 film. However, I am still retaining this song as it has a feel of a 60’s song with such a great pain in the melody and the way Kishore had sung this. So, this is the only exception in this list. Composed by himself and written by a relatively unknown composer credited as Irshad ( I tried my best to dig out information from the Net but couldn’t get to know anything much about this lyricist) .

This is a relatively rare song in the sense that the other song from the same film “ Bekaraar Dil Tu Gaaye Jaa “ is more popular. Though I like that song also , but Panthi Hoon Mein is definitely one of my personal favourites among Kishore’s sad songs. When we watch the scene before the start of this song, we can also realise what a sensitive actor Kishore was.

#16 Kashti Ka Khamosh Safar Hai   ; ( 1960); Film –Girl Friend  ;   Music- Hemant Kumar ;   Lyrics- Sahir Ludhianvi

From the intensely sad songs Dukhi Man Mere and Panthi Hoon Mein , let us look at some enchanting romantic songs of Kishore.

If I have to write about this song , where should I  start? Whether the majestic voice of Kishore , the exquisite poetry of Sahir ,  the haunting flute of Hemant da or the sweet voice of the much-ignored singer Sudha Malhotra?? In a song like this , music, singing & lyrics come together complementing each other so well that we are lost for words!

How can they imagine lines like these in those days? What beauty in the words?!!

Kashti ka khamosh safar hai, shaam bhi hai, tanhai bhi

Door Kinare par bajhti hai lehron ki shehnai bhi

Aaj mujhe kuch kehna hai, Aaj mujhe kuch kehna hai

It continues on similar lines and ends with:

Dil ne Dil ki baat samajh li, Abh Muh se kya kehna hai

Aaj nahin toh kal keh lenge, Abh toh saath hi rehna hai

Keh bhi chuko jo kehna hai

Chodo abh kya kehna hai

Just like how at the end Kishore says: Chodo Ab Kya Kehna Hai…it is better to listen to this masterpiece rather than me saying anything further about that!!

#17 Yeh Raatein Yeh Mausam Nadi Ka Kinara   ; ( 1958); Film –Dilli Ka Thug  ;   Music- Ravi Shankar Sharma ( Ravi)  ;   Lyrics- Shailendra

One more romantic number that brings to your eyes a moon lit night on the banks  of a river . Another rare combination of Ravi & Kishore. Ravi was well known for his very sweet melodies mostly with Rafi and then later on with some fabulous songs with Mahindra Kapoor. However, in this song Kishore excels himself with an ever-so sweet voice that perfectly fits in with the tone of the song.

With a lilting melody and a waltz rhythm to go with , picturised on Kishore and a ever-so beautiful Nutan, this duet with Asha remains popular even today.

#18 Woh Shaam Kuch ajeeb thi, yeh shaam bhi ajeeb hai  ; ( 1969); Film- Khamosh;   Music-Hemant Kumar , Lyrics- Gulzar

Released just around 5 months before Aaradhana, this haunting pathos from Hemant da remains one of the topmost songs of Kishore. Picturised on Rajesh Khanna in black & white  , with whom , later on Kishore would team up to  give hits after hits , this song brings out the many aspects of Kishore’s singing. With his natural deep voice alternating with a tender softness and at the same time conveying pathos  in a very subtle manner, we really wish Kishore had more such numbers.

#19 Machalti Hui Hawa Mein Cham Cham ; ( 1964); Film- Ganga Ki Lehren  ;   Music-Chitragupt , Lyrics- Majrooh Sultanpuri

The film Ganga Ki Lehren had both Dharmendra & Kishore as main actors; this title song is picturized on Kishore. Chitragupt was always known for his lilting melodies and any serious music buff will agree that though his compositions were mostly top class, he never got the recognition he deserved. The only Lata duet in this series of songs, this song is very much popular for the foot tapping rhythm and the breezy style in which both Kishore and Lata had rendered this.

#20 Ae Mere Topi Palat Ke Aa  ; ( 1956); Film- Fantoosh  ;   Music-Sachin Dev Burman  , Lyrics- Sahir Ludhianvi

The last two songs of this article come back to the genre that was always Kishore’s forte. Though officially credited to Sachin da, it is said that this song was actually composed by his illustrious son, Rahul and was the first ever tune composed by him at the age of 17. The team of RDB and Kishore would later go on to become one of the most successful in Hindi film music.

This one is a simple tune but the way Kishore plays upon the words “ Meri Topeee, Meri Topee “ is superb. If you compare this song with Dukhi Man Mere from the same film which was discussed in Song # 13 , the versatility of Kishore can be fully appreciated.

#21 Ek Chatur Naar Karke Singaar   ; ( 1968); Film- Padosan  ;   Music-Rahul  Dev Burman  , Lyrics- Rajendra Krishan.

Does anyone need any write up on this song?!! Iconic, boisterous, impromptu improvisations…the adjectives will go on.

The precursor to the wave that changed the Hindi film music scenario after Aaradhana, Padosan had other  fabulous songs , Kehana Hai  Kehana Hai  Aaj Tumse Yeh Pehlee Baar, Mere Saamnewali Khidki Mein & Mere Bhole Balam ( Meri Pyari Bindu) .

Ek Chatur Naar is a  favourite of music talent shows.Kishore was absolutely rocking in this ; it is said that many parts of the song were done by him impromptu, at the time of recording. With Manna Da and Mehmood providing perfect company , this remains one of the best comical songs ever.

Thereafter, in 1969 , Aaradhana happened and rest is history.

With that I come to the end of this article; hope you have enjoyed reading this.

Personally, I like only few selected songs of Kishore in the post Aaradhana era but as a blog creator, I will definitely write about them , setting aside my personal preferences!! So, wait for Kishore Season 1, Episode 2 (in present day style) in near future!!

Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.

I am passionate about the old Hindi film songs especially from the golden era. I listen to and appreciate all singers, music directors and lyricists mostly from the 50’s to 70’s not only from Hindi films but also from my mother tongue, Tamil.

However, like many, I do have my personal favourites and from the title of this article one can understand who it is! However I also appreciate the rich baritone of Kishore, the velvety soft tone of Talat, the intense pathos in Mukesh, the classical mastery of Manna Dey, the extraordinary pitch of Mahendra Kapoor, the divine voice of Lata, the melodious voice of actress-singer Suraiya, the earthy Shamshad Begum, the versatile Geeta Dutt, the ever-youthful voice of Suman Kalyanpur , the husky voice of Asha etc…the list is endless . But Rafi is someone I cannot live without…he is sheer oxygen and a lifeline!.

Music is highly personal and so this article is about how I perceive some songs of Rafi that are somewhat out of the ordinary and this is the main theme of this article. I feel privileged to launch this blog and this article on the birth anniversary of the legend Mohammad Rafi saheb.

If you ask me what is extraordinary or out of the ordinary in the songs that I am going to write about, it is again difficult to exactly define. Music is not a science to get bound by definitions/formulae. We can safely consider these as not of the regular, conventional Hindi film song style.

One common feature I can say is that they are mostly with very less emphasis on orchestration and it is Rafi and Rafi all through the song. Typical to Rafi’s style they are intensely emotional and he takes these songs to great heights with his rendition. A majority of these songs are quite long in terms of duration (more than the typical 3 minute for an average film song). Of course, two songs in the list are even just shorter than the  average 3 minute duration , and so , can qualify to be out of the ordinary!!

Let us see what these songs are:                                 

#1 Jinhe naaz hai hind par who kahan hai. Film –Pyasaa, Music-S D Burman, Lyrics-Sahir.

A very hard hitting song to the extent that many will get put off with the whip lashes on society made by Sahir through his words. But for an ardent lover of Hindi film music this is a masterpiece in playback singing where the singer goes totally into the soul of the song. Right from the starting yeh kuche…hmm ghar dilkashi ke, to the end where he keeps asking “ kahan hai” the pathos and angst of the protagonist is made alive by Rafi. Throughout the song he keeps asking “ kahan hai , kahan hai”….sometimes with curiosity, sometimes with desperation.

The modulation in each and every line can only be appreciated when you listen to the song alone, preferably in the dead of the night. There is almost nil orchestration with some strings, an occasional tabla, few violins towards the end. Rafi was known for the hatasha ki hansi ( laugh of despair) and in between, he makes this in the lines, yahan peer bhi aa chuke , jawan bhi, tan-o-mand bete bhi abba miya bhi. Sometimes I wonder-is Rafi an actor??? A person whom we have very rarely heard talking and if at all he talks, he talks in a whisper, transforms into a different personality before the microphone.

#2 Yeh mehlon, yeh thakhton, yeh tajon ki duniya.  Film –Pyasaa, Music-S D Burman, Lyrics-Sahir.

Same film, and almost similar theme, hitting hard at the selfish society, but this is sung in the film at the time when the hero realises his own friends have usurped his poetry and are conducting a memorial thinking he is dead. He starts off with melancholy, rather in a drowsy manner with the first lines , and then starts “waking up” with yeh daulat ke bhooke , riwazon ki duniya. All through  the song , if one listens keenly, we can feel the frustration of the hero when he keeps asking “ to kya hai”. A very subtle variation that Rafi brings out is at the end of the song when he emphasizes   the word ‘ agar’ in the line “ yeh duniya agar mil bhi jaaye to kya hai” whereas   in the entire song earlier the agar would be coupled with the last syllable ‘ya’ in duniya and made into duniya-agar as a joint word. These small nuances make Rafi the master in playback singing.

#3 Mein yeah sochkar uske dar se utha tha….  Film –Haqeeqat, Music-Madan Mohan, Lyrics-Kaifi Aazmi.

Unlike the first two songs mentioned before, this is a very short one-just about 3 minutes and a unique composition by the master of melody Madan Mohan. There is no typical mukhda-antara with interludes ..it is just a seamless duet between Rafi and the violin (anecdotes say it was played by Pyarelal, but I am not an authority on this). The shift from the soft beginning to the last “ magar usne roka , na usne manaya” shows the amazing modulation in the velvety voice of Rafi.

#4 Mere Mehboob Tujhe , meri mohabbat ki kasam…Film –Mere Mehbob, Music –Naushad, Lyrics-Shakeel Badayuni.

A full 7 minute song with six antaraas and just around 5 instruments only !! But what a romantic epic song?! A quintessential Naushad composition with only a very brief interlude of santoor ( Naushad used to say that in majority of his songs the interlude is just to enable the singer to take some breath!!). People in those times may not have known about catch phrases like Keep It Simple Stupid… but Naushad followed it to perfection while composing this song. Though Rafi was adept in almost all genres of playback singing, when it comes to romance, it is sheer nectar all along.

If you can keenly hear the “tiredness” in thak gaye hain mere majboor tamanna ke kadam, that typical way of Rafi’s Nigahon ka in do gadi apni nigahon ka sahara, “ trouble” in teri furqat ne pareshaan kiya hai  , you can appreciate why Rafi was considered as an “ actor”, acting out the song , sometimes even better than the actor on screen!!

#5 Carvaan guzar gaya , gubaar dekhte rahe…Film-Nayee Umar ki nayee fasal, Music-Roshan, Lyrics –Gopal Das Neeraj.

Epic is the only word that can describe this great poetry by Neeraj—a poem written by him that was later on taken for the film. Knowing the immense power of the poetry, Roshan kept the orchestration and tune to the bare minimum and Rafi infused so much of life into each and every word. There are four stanzas with some 290 words in the entire song. This could be one of the most voluminous songs in Hindi films. Rafi must have been eager to bring in his typical style and so at the end of the song, he does that  “ caaraaavaan ” in his typical nonchalant manner. This is one of the few songs where the lyrics can be mentioned as the essence of the song…who can forget the last lines of each of the four antaraas:

”  Umr ke chadaw ka, uthaar dekhte rahe”

“ Saans ki sharaab ka, khumaar dekhte rahe”

“Odhkar kafan padhe , majaar dekhte rahe”

“Paalki liye hue , kahaar dekhte rahe

#6 Dekhi zamane ki yaari, Bichde sabhi baari baari..Film: Kagaz Ke Phool, Music S D Burman, Lyrics-Kafi Aazmi

If the combination of Guru Dutt-SDB-Sahir-Rafi created the angst-ridden two songs of Pyasaa already mentioned in the beginning of this article, this one is has all the three players, with Kaifi Aazmi replacing Sahir. This an almost 8 minute song, picturized splendidly by the combination of Guru Dutt & cameraman V K Murthy over different stages in the film. And what a soulful rendition by Rafi- with a bare minimum orchestra and a superb use of chorus in the interludes. He starts with just a whisper with the lines “dekhi zamane ki yaari, then goes on to bring out the anguish at the end “ ud jaa ud jaa pyase bhanware” . In between, what a superb stretch in the word…’saaaaari’ in the line pal bhar ki khushiyaan hai saari. I find it so difficult to explain/ write about the way in which Rafi sahib had rendered this song so beautifully. One has to just close the eyes and get immersed in the song to appreciate.

#7. Saawan ke mahine mein ek aag si seene mein..Film: Sharaabi (Year 1964), Music –Madan Mohan, Lyrics: Rajendra Krishan

The song meanders at a leisurely pace, giving ample scope for Rafi to soak into the song with the intoxication he excels (isn’t it an irony that the teetotaller Rafi must have sung the maximum number of ‘sharabhi’ songs!!). The song starts off with the following lines with whistling sound of wind and sets the tone :

Chand ki chaal bhi hai behaki hui

Raat ki ankh bhi sharaabhi hai

Saari khudrat nashe mein hai jab choor

Are maine pi li to kya kharaabi hai

If you watch the scene it is just as if Dev Anand himself is singing –Rafi moulds his voice so perfectly and adds that intoxication in right mixture. The three antaraas that follow are quite peppy and contrasting in pace to the beginning of the song… a very unconventional composition by Madan Mohan.

#. 8 Teri tasveer bhi tujh jaise haseen hai lekin..Film: Kinare Kinare, Music –Jaidev, Lyrics: Nyay Sharma

This film, directed by Chetan Anand and also starring him, along with Dev Anand & Meenakumari had many songs but is noteworthy for Jaidev using four leading male playback singers in four different solos. Manna Dey’s –Chale jaa rahen hai, mohabbat ke maare kinare kinare; Talat-Dekhi Lee teri khudayee, bas mera dil bhar gaya; Mukesh-Jab gam-e-ishq satata hai tu hans le ta hoon & Rafi-Teri tasveer bhi tujh jaise haseen. All four are great songs. However, coming to our topic, this is again a masterpiece of Jaidev where he uses just a flute and santoor as main instruments with a violin going hand-in-hand with Rafi.   Almost nil interlude music, a complete cessation of music in the last lines:

Kya mere dil ki tadap ka tujhe ahsas bhi hai
kya mere dil ki tadap ka tujhe ahsas bhi hai
warna fir meri hi wahshat me sula de mujhko

Rafi brings so much of velvety softness in the rendition keeping in mind the scene that is picturized –the character looking at his lover’s photo and singing. To the best of my knowledge, after Hum Dono’s great songs with Rafi, Jaidev had this as his next one. I couldn’t think of any major songs he had composed for Rafi after this. But sometimes quality compensates to a very great extent on the quantity!!

#. 9 Na kisi ki aankh ka noor hoon, na kisi ke dil ka karaar hoon..Film: Lal Quila , Music –S.N Tripathi, Lyrics: (Bahadur Shah Zafar? /Muztar Khairabadi?)

First, before talking about the song, a disclaimer—reason why I have mentioned two names against lyricist is that there remains some controversy whether it was written by the last Mughal emperor or another poet Muztar Khairabadi—his son was Jan Nissar Akhtar-another famous shayar in Hindi films. As I am not an authority at all on this, let us leave it at that and come to the song.

This is quite a famous song and used to be played in Vividh Bharati earlier but now-a-days not heard much. Expressing the anguish and helplessness of the last Mughal emperor this is a unique song with no orchestration at all, with just a flute and one instrument that I am unable to recognize (sorry for this!!) . It is just Rafi and Rafi all along. How poignantly he brings out the feeling in each and every word, phrase with the just about required expressions. No extra harkats or any of the typical punch that Rafi gives –just his golden voice…that should sum up this song. S.N Tripathi was known more for his compositions in mythological and historical movies with a strong classical base. This was an out of the ordinary composition by him that perfectly fitted the poetry.

#. 10 Sadqe heer tujhpe hum fakir sadqe .Film: Mear Nam Joker ( Deleted in the movie) , Music –Shankar-Jaikishan , Lyrics: Prem Dhawan

A hidden gem mainly because it was deleted in the movie (no idea why…may be the film was as such quite long  but what would  just a two and a half minute epic song add to the length??). I heard this song for the first time around ten years back only, thanks to You Tube. A very rare combination of Prem Dhawan writing in a S-J composition. This could be the only one. And what a defining heer. Unlike a typical S-J composition , this is without any prelude , interlude orchestration etc. Just before the last lines, the signature violins and piano of S-J come to life just to give that lift to Rafi’s high notes.

de de dil hamaara hamein waapas
jogi le kar yehi pukaar aaye
aur maangen jo kuchh to maut maangen
ae ae ae ae
ter dar pe hain aakhri baaar aaye
jogi le kar yehi pukaaar aaye

That ‘aakhri baaaaar aaye” is the apt climax to this great song with Rafi adding so much of desperation to that “baaaaar”.

Before Mera Naam Joker, in all songs of the RK banner  right from Barsaat to Sangam there used to be at least one Rafi song. Just on a sombre, purely personal guess I end this article …may be because this superb song was just like that deleted, Rafi   aakhri baar aaye …in a RK film. I don’t think Rafi ever sang in a RK film subsequently to the best of my knowledge.

Acknowledgements and Disclaimer:
The songs mentioned are from the popular , public domain and  have been mentioned   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights.