At death anniversary of Mohammad Rafi- singer par excellence

Entertainment Showbiz Pakistan , Bollywood & World Entertainment
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Zindagi Tho Bewafa Hai, Ek Din Tukaraayegi,
Maut Mehebooba Hai Apne Saath Lekar Jaayegi

Three years after singing this song, Mohd. Rafi voted unanimously as singer of the milliniuum passed away on July 31st, 1980.

It has been 23 years now and till this world exists, there is never going to be a replacement for Mohd. Rafi.

For Rafi, singing was a passion and something which had to be taken seriously. He started his singing career way back in 1942 and held sway in the film industry till his death in 1980 - 38 years with innumerable variety of songs.

As a human being, he was extremely humble and religious and surprisingly so soft spoken, that you had to be very close to him to catch what he was saying - something in stark contrast to his songs and powerful voice. He is the only singer who had the unique distinction of opening out his voice when singing on high scales. Other singers’ voices narrow down as they reach high pitches. If you listened to the song “chal ud ja re panchi” both by Rafi and Talat, it will be noticeable.(*)

During his long career he sang a vast number of songs for all kinds of characters portrayed on the screen. Be it a hero, a drunkard, a beggar, a comedian etc., Rafi catered to all and did justice to the lyricist, the music director, and to the song itself. Music directors had a choice of many singers but there was always the thought at the back of their minds, that in the event no other male singer could do justice to their song, there was always Mohd. Rafi to sing for them. Even other singers have admitted that to sing a duet with him was extremely taxing.

Being trained in classical music, he sang a number of very good classical numbers, both solos as well as duets. He has also sung a song for Kishore Kumar in the film Ragini.

It seemed as though he could scale any heights of the pitch. The song from Mughal-e-Azam titled zindabad ai mohabbat is proof enough. His voice carried expressions and gave the listener an understanding of the scenes and actions without having actually seen the film. For example, in Barsaat Ki Raat the song zindagi bhar nahi has a poetic line, surkh aanchal ko dabakar jo nichora usne. And the way Rafi has emphasized the word nichora, you could almost imagine Madhubala wringing her aanchal. Or if you listen to the song from Baharein Phir Bhi Aayengi, phrased aap ke haseen rukh pe aaj naya noor hai, you can imagine the detailed facial expressions as expressed in the song.

Naushad-Shakeel-Rafi was a team that started off way back in the 1940s and produced hits upon hits till mid 1960s. They seemed to be made for each other and none of the three let the other down. Who can forget songs such as is duniya mein si dilwalo Dillagi, tasveer banata hoon teri Deewana etc.

Rafi was truly a singer for the masses and not for any particular class. His voice appealed to all, the old, young, rich, poor, men and women. He was always ready to entertain jawans at the border whenever approached. Pandit Nehru once invited him to Delhi to hear him sing. That was the happiest moment of my life said Rafi. No wonder then that his patriotic songs like Kar chale hum fida - Haqeeqat and Watan pe jo fida hoga - Phool Bane Angaray are still popular.

To write and record from the 1940s to the 1980s would take up a lot of pages,few of my favorites..

Aana Hai To Aa (Naya Daur/O.P.Nayyar):
The composer went into raptures when he recalled the masterly way in which Rafi rendered one of his career-best bhajans and Nayyar’s own all-time favourites.

Abhi To Raat Baaki Hai (Bandish/Usha Khanna):
The mix of soul and pep makes one feel that Rafi is singing to his own beloved.

Agar Bewafa Tujhko (Raat Ke Andhere Mein/Prem Dhawan):
Every line raises goose pimples as Rafi does 200 per cent justice to a brilliant composition.

Apni Aankhon Mein Basaakar (Thokar/Shamji Ghanshamji):
Rafi never compromised on his contribution to any song, whether he was singing for Dilip Kumar or for an obscure Baldev Khosa here. So was the case with a small composer: Rafi simply put in his best for every song.

Chalo Re Doli Uthao (Jaani Dushmun/Laxmikant-Pyarelal):
Even today, one discovers fine new nuances in Rafi’s emotion-laden delivery on every hearing of this bidaai perennial.

Chekhush Nazare (Pyar Ka Mausam/ R.D.Burman):
Lost among the hits in this film was this effervescent and innovative composition that never got its due. And Rafi’s singing? Wow!’ sums it up.

Din Hai Yeh Bahaar Ke (Honeymoon/Usha Khanna):
Rafi seems to put his entire rooh into this soul-stirring paean to his beloved. This sad song was the highlight of this breezy comedy.

Kahaniyan Sunati Hai (Rajput/Laxmikant-Pyarelal):
A towering classic by any standards, this is LP’s sole immortal collaboration with Vijay Anand.

Kahin Aisa Na Ho (Milap/Brij Bhushan):
Another flop film, another humble composer - another masterpiece.

Kahin Bekhayal Hokar (Tere Ghar Ke Saamne/S.D.Burman):
Majrooh told me that this ghazal was actually composed by Jaidev, then Dada Burman’s assistant. But Rafi gave it the ‘soft croon’ Rafi-Dada touch.

Madhosh Hawa Matwali Fiza (Prince/Shanker-Jaikishan):
Freedom of spirit and a celebration of life was there in every pore of this ‘underdog’ Farukh Kaiser lyrics that inexplicably lost out to Rafi’s less accomplished and SJ’s more routine compositions in this flop 1969 film.

Mehfil Se Uth Jaane Walo (Dooj Ka Chand/Roshan):
One among a multitude of Rafi’s Bharat Bhushan lovelies, this one actually made one feel that Rafi was singing for himself, so complete were the feelings he put in the song.

Mujhe Dard-e-dil Ka Pataa (Akash Deep/Chitragupta):
Probably the finest solo Chitragupta ever composed for Rafi, and that’s saying a lot indeed!

O Maati Ke Putle (Sheroo/Madan Mohan):
Rafi and Madan Mohan meant soulful songs. And this was special even among them.

Tere Naam Ka Deewana (Suraj Aur Chanda/Laxmikant Pyarelal):
Rafi sang some real humdingers for Sanjeev Kumar. This one would rank among the Top three.

Tukde Hai Mere Dil Ke (Mere Sanam/O.P.Nayyar):
Rafi seeped this soothing gem into our senses with practised skill.

Yahan Main Ajnabi Hoon (Jab Jab Phool Khile/Kalyanji-Anandji):
Sorrow and pain were never so understated as in this KA tour de force.

Yeh Raat Hai Pyaasi Pyaasi (Choti Bahu/Kalyanji Anandji):
Though it was the Kishore-bhakt Rajesh Khanna singing it, the composition craved for Rafi’s art, so Rafi it was!

Zamane Ki Ankhon Ne (Ek Baar Muskura Do/O.P.Nayyar):
Kishore and Mukesh dominated the score and sang the popular songs, but Nayyar couldn’t have settled for less than Rafi for this stunning number.

Tum Mujhe Yun Bhulaa Na Paaoge,
Haan Tum Mujhe Yun Bhula Na Paaoge,
Jab Kabhi Bhi Sunoge Geet Mere,
Sang Sang Tum bhi Gungunaaoge…

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Mohammad Rafi was the undisputed king of Indian Music!

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The Rafi Legacy Lives On

Express India Article
(July 1999)
Courtesy: 'Express India'

It is exactly 19 years since Mohammad Rafi passed away (July 31, 1980), but his voice continues to haunt us even today. After all, he's left behind a rich legacy -- of songs sung by him over 35 years. Rafi's voice, ranging from the melancholic to the boisterous, was such that it suited every mood and every occasion in films. His is one voice that has been imitated the most: to be called a Rafi clone is actually regarded as a compliment by most newcomers. Yet, no one has been able to recreate the Rafi magic. Perhaps, no one can. At best, each of these singers has been able to imitate just one aspect of his voice. But nobody possesses the versatility that Rafi did.

He could become the soul of Guru Dutt in songs like *Dekhi zamaane ki yaari bichde sabhi bari bari *(Kagaz Ke Pool), Johnny Walker's voice in the mischievous Tel maalish (Pyaasa) or sing the catchy Yeh hai Bombay meri jaan (CID ). He could match Shammi Kapoor's energy and zest in Yahoo (Junglee) and do a soft, romantic Ehsaan tera hoga mujh par in the same film. He could give character to a legend like Dilip Kumar with Tere husn ki kya taarif karoon (Leader) as well as do wonders for a mediocre actor like Joy Mukherjee with songs such as Mujhe dekh kar aapka muskurana (Ek Musafir Ek Haseena) and Champa kali dekho jhuki gayi re (Ziddi).

In spite of his success, Rafi remained an extremely quiet and reserved person. Many of his admirers could not fathom how such a low-profile man sounded so flamboyant in some of his songs. His son Shahid recalls, "When we asked him whether he had actually sung the 'yahoo' number, he just smiled and nodded. We kept asking him, 'how did you sing this song?' But he wouldn't expand on the subject. It was difficult for us to imagine a gentle person like him shouting out that yahoo." Perhaps, it was Rafi's humility and willingness to learn that made him such a great singer. He respected all his music directors, whether they were young or experienced. His contention was: you are teaching me a new song, so you are my ustad. If someone could not pay him his fees, he'd still sing for him and treat him the same way.

Rafi was born in a small village called Kotla Sultan Singh near Amritsar in December 1924. His family shifted to Lahore when he was still a baby. A fakir used to come to their locality in Lahore every day and sing. The young Rafi was so fascinated by him that he used to follow him around. His elder brother Hamid was aware of Rafi's love for music and encouraged it. "In fact," says music director Naushad, "A lot of credit for Rafi's success must go to Hamid who knocked on several doors and tried everything to ensure that his brother got work.''

In Lahore, Rafi started taking music lessons from Ustad Wahid Khan. One day Rafi and Hamid had gone to attend a performance by K L Saigal. But the legendary singer refused to sing since there was a power failure at the venue. Hamid went up to the organiser and asked if his brother could sing to keep the audience quiet. That was Rafi's first public performance -- at the age of 13. As it turned out, the setting was just right for him. Among the audience sat noted composer Shyamsunder who was so impressed that he invited the young Rafi to come to Bombay. Hamid brought him to Bombay without telling their father why they were going. Their mother, however, knew about it and blessed them.

But things were difficult in Bombay. The brothers had very little money. They lived in Bhendi Bazaar and walked every day to the studio in Dadar to meet Shyamsunder. They had filled two pillow cases with chana (gram) and lived off it for days. Finally, they did meet Shyamsunder who, as promised, gave Rafi a song in the Punjabi film Gulbaloch. His second film was a Hindi one, Gaon Ki Gori.

Naushad Ali was one of the first composers to work with Rafi. He narrates an endearing story. "When I heard Rafi, I liked his voice and promised him work in future. I was already doing a film called Shahjehan with Saigal. Rafi, who was a fan of Saigal, came to me with a request: that it was his greatest desire to sing with Saigal. I gave him one line in the song Roohi roohi mere sapno ki rani," recalls Naushad. "The first full song he sang for me was in Anmol Ghadi -- it went like Tera khilona toota balak..." he adds. "Then again he sang for me in Dillagi: Is duniya mein aye dilwalon dil ka lagana khel nahin and Tere koonche main armanon ki duniya leke aaya hoon."

After this, Rafi became very popular and started getting work from other music directors as well. But it was left to Naushad to explore the wide range of Rafi's voice. The film was Baiju Bawra, the song O duniya ke rakhwale sun dard bhare mere nale. Naushad discovered that in an era when low octave singing was the norm, Rafi had a phenomenal range, and yet, he never sounded out of tune.

Shammi Kapoor acknowledges that Rafi had a lot to do with his success. "It was amazing the way Rafisaab adapted himself to what I wanted him to do. I used to be terribly involved with my songs and go for all the recordings. I used to make it clear how I wanted a certain line sung and Rafisaab always responded," says Kapoor. He cites an instance. "I remember when the song Tareef karoon kya uski (in Kashmir Ki Kali) was being recorded, I wanted the signature line Tareef karoon to be repeated till it reached a crescendo. O P Nayyar, the composer and a friend of mine, objected. He thought it would sound boring. But suddenly, Rafisaab spoke up and said 'I would like to do it the way the boy wants it because I know what he wants,' " Kapoor remembers. When the film was released, the song was a big hit. Nayyar hugged Kapoor and congratulated him for his foresight, but the actor maintains "it was possible only because Rafisaab had taken the song to such a pitch and had sung each repetition in a different style." He adds, with a touch of pride, "Though Rafisaab sang for all the actors -- be it Dilip Kumar or Johnny Walker -- he was especially identified with me. Some songs sungs by him and picturised on Joy Mukherjee and Biswajeet were actually my kind of songs. Baharon phool barsao, Pukarta chala hoon main or Teri pyari pyari surat ko -- these were my songs, sung in Rafi's special style for me. I remember when he sang Main gaoon tum so jaao for Brahmachari, I told him how I wanted him to sing one particular line. When he saw the picturisation he came and kissed my hand and said, 'it's very beautiful, why didn't I think of that?' "

Lata Mangeshkar, who has sung some of her most beautiful duets with Rafi, says that "our songs together are so lovely that it is a pleasure to listen to them over and over again." Some of the memorable songs of the duo are Jeevan mein piya tera saath rahe (Goonj Uthi Shehnai), Tum to pyar ho (Sehra), Tasveer teri dil mein (Maya), Dheere dheere chal (Love Marriage), Tujhe jeevan ki dor se (Asli Naqli), Chalo dildar chalo (Pakeezah), Tere husn ki kya tareef karoon (Leader).

According to Shahid, Rafi used to take a great deal of interest in his songs. "He always wanted to know who he was singing for. After that, you would hear shades of that person's voice in his singing -- this was his special gift," says Shahid. Indeed, Rafi was special. All those actors he sang for felt a sense of possessiveness for him and acknowledged his contribution to their popularity.

His voice always struck a chord, even when he sang non-film songs such as Paaon padoon tore shyam... For generations to come, there is a repertoire of 35,000 Rafi songs to revel in. His last song was Tu kahin aas paas hai dost for the film, Aas Paas.

Today, in the midst of the cacophony of voices, Rafi's is the one which stands out, even almost two decades after he's gone.

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PADMA SHREE MOHAMMED RAFI

                   SABHI SE JUDA JISKI ANDAZ HAI
                   JAMI TA FALAK JISKI PARVAZ HAI
                   WAHI JISPE SANGEET KO NAAZ HAI
                   MOHD. RAFI KI WO AAWAZ HAI

Mohd. Rafi was born on the 24th of December, 1924 in kotla sultanpur, a small town in Punjab (now part of the Punjab province of Pakistan). Interested from childhood in music, he obtained formal training in classical music from Ustad Khan Abdul Wahid Sahab.

K.L. Saigal once said to him "Rafi the magic of your voice will be recognized by this whole world". Rafi's recollection of that meeting
in his own words "When Saigal was tapping me on my head I felt that the lord himself was giving me the keys to his kingdom".

His first break into the world of films came in 1940 when he sang for the
punjabi film 'Gulbaloch'. The music director was Shyam Sunder and the song was "Suniye Hiriye ni, teri yaad ne bahut sataya..". This song went on to become a hit. It was under Shyam Sunder again that he sang for his first hindi film in 1944. The film was 'Gaon ki gori'.

His debut as a singer for Dilip Kumar came in Shaket Hussein's film
'Jugnu'. The song was "Yaad dilane ko ek ishaq ki duniya chod gaye..",
but it was another song from the same film sung with Noor Jehan that
became a hit "Yahan badla wafa ka bewafai ke siva kya hai..". The
popularity of this song put Rafi's singing career on a firm footing. To add to the list, this was also the film in which Rafi had a small
acting part.

His great moment arrived in 1947 when he was asked to sing Rajinder
Krishan's song depicting the life of Mahatma Gandhi. "Suno Suno
ae duniya walo bapuji ki amar kahani..". That same year, he was also invited by Jawaharlal Nehru to sing at his house and next year on the anniversary of the independence day he received a silver medal from Nehru.

In 1965 he was awarded the title of Padma Shree by the Indian Government.

It was said in the world of Bombay's film industry that no one had
ever heard of a music director saying that a particular song was not
Rafi's type. From classical tunes, gazals, quawalis to the wild Shammi
Kapoor songs, Rafi's range was fantastic.

Almost all music directors used Rafi's voice to give life and a
magical quality to their tunes. Rafi used to be concerned about the
actors for whom the songs were recorded and went to great lengths to
change his style to suit the actor and the scene. Johnny walker recalled
the days when Rafi spent time with him trying to match his singing with
the actor's style, accent and pronunciation.

Shanker Jaikishen the unquestioned masters of hindi film music used
the talents of Rafi for a host of their films. The song "Baharo
phool barsao, mera meheboob aaya hai..." went on to win an award.

However it was his association with Naushad that produced some of his
greatest songs. Rafi who was a devout muslim refrained from
smoking and drinking alcohol. His neat appearance, mild manners,
timely arrival at recording studios endeared him to Naushad. This
association flowered at its peak in the music for 'Baiju Bawra'.

On hearing about his death Naushad said "For those who say that I helped Rafi in his career, I would say that I only showed him a way. It was his voice that enriched my music. The void left by his death cannot be filled. Yes that is impossible."

Raj kapoor's reaction on hearing the news about Rafi's death "In the world of music, the uncrowned king of singing has left us".

                   KIS KAAM KI YE DUNIYA
                   JO JINDAGI SE KEHLE RE
                   HUM KO BHI SAATH LE LE
                   HUM RAHE GAYE AKELE
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Rafi :k: all-time top singer

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Khuda onhain Jannat naseeb karay..

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Md. Rafi is the best singer I have ever heard in my life and my fav. are his songs 'Jinhe Hind par Naaj hai Woh Kahan hain' 'Ye mahloN ye takhtoN ye tajoN ki Duniya' from Pyasa.

Here is a transcript of Jaimala Program by Naushad (Music Director).

Today, July 31, is the death anniversary of one the best singers (the best, acc. to me) ever produced by the Indian film industry: MOHAMMED RAFI. It's been 14 years since Rafi Sahab left us, and yet his songs are as popular as they ever were during his lifetime.

As a tribute to my favourite singer, I am posting the typewritten version of a special Jaimala program presented by the Shehanshah-e-Mausiqui, Naushad Sahab, in the memory of Mohammed Rafi.

[Jaimala was a popular Vividh Bharati program for "Fauji Bhai"s and the
Vishesh Jaimala used to be presented by a famous (usually film) personality.]

Although Rafi Sahab sang under the baton of almost all music directors of the Hindi film industry, his association with Naushad was special. Naushad was instrumental in grooming this highly talented singer, although he modestly says that he "merely showed Rafi the right direction".

Here's the special Jaimala program which I have translated into English from the original Urdu version. The beauty of Naushad's refined Urdu is certainly lost in the translation, but I hope you will enjoy reading what the legendary music director has to say regarding Mohammed Rafi, the singer and the person.
Portions which cud not be translated properly have been left in the original language. All errors in translation are mine.

The songs played in the program are included in "....]".

May Rafi Sahab's soul rest in peace.

Sami Mohammed (A MOHAMMED RAFI fan)

             ***** Yaad-e-Rafi (Naushad's Jaimala) *****

Fauji bhaion ko Naushad ka salaam!

[Unfortunately, the initial statements made by Naushad in the program got erased from my cassette by mistake. Naushad recollects the moment when Rafi Sahab had first approached him with a letter of recommendation from someone]

Cont..

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It was recommended that this young man, who possesses a beautiful voice, be given a chance to sing. I heard the young man sing a song or two and was highly impressed. I told him that one day he would become a great singer and asked him to keep in touch. During the initial stages, I let the young man be a part of a chorus, and I think one such chorus "Hindustan ke hum hain, Hindustan humara...." might still be embedded in your memories. Later, in the film Dillagi, I had the opportunity to use his voice exclusively in a solo. As if it were predestined, this song became immensely popular throughout the
country. This was my first song (solo) with him. With this song, Rafi Sahab not only carved a niche for himself, but also added a new dimension to my music. 

    [Tere kooche me armaanon ki duniya leke aaya hun
     Tujhi par jaan dene ki tammanna leke aaya hun  ]

After that, Rafi Sabab never looked back. He earned respect and his popularity touched the sky. The magic of his voice enthralled the whole world. His popularity, respect and wealth all increased tremendously, YET he ALWAYS remained modest. Like a fruit-bearing tree, the more he fructified, the more he bent in front of the world. His heart was filled with fear of God and the love for truth. Generosity and altruism were part of his system. God and truth were the only sources of inspiration for him. And he always used to say "Tum yahan jaisa karoge waisa bharoge, ye duniya ek mandir hai":

    [Insaaf ka mandir hai ye, Bhagwan ka ghar hai.....]

Here's an anecdote which aptly desribes his altruistic nature. My
relationship with him had grown from a professional to an informal one. Once he had to go to a foreign country for a live performance. He came up to me to seek advice: "Main bahar se koi aisi cheez lana chata hun jo GHareebon ke kaam aae". I suggested that he bring a dialysis machine and donate it to a hospital for the benefit of poor kidney patients who could not afford the medical costs. He liked the idea, but the foreign trip did not materialize due to some reason. However, this incident left a permanent mark of his altruistic nature on my heart. I cannot describe how great a person Rafi Sahab was. These are the small things which make a man immortal. For instance, people may forget Shahjehan, but his legacy of love, the Taj Mahal will be remembered forever. Log Shahjehan ko bhool sakte hain, lekin uski mohabbat ki nishani, Taj Mahal ki soorat me quayamat tak zinda rahegi:

    [Ek shahenshah ne banwaake hasin Taj Mahal
     Saari Duniya ko mohabbat ki nishani di hai
     Iske saae me sada pyaar ke charche honge
     Quatm jo ho na sakegi woh kahani di hai...]

Rafi Sahab adored Indian music (Bharateey Sangeet). He used to like singing semi-classical songs in his live programs. He always tried to make an attempt to propagate Indian music in foreign countries. For instance, whenever he sang "Madhuban me radhika nache...", he ALWAYS used to mention that it is based on Raag Hamir. Similarly, Raag Darbari would be mentioned before singing "O duniya ke rakhwaale...". In this manner, irrespective of whether the people
understood the lyrics or not, they always appreciated Indian music. The
following bhajan of his, which is based on Raag Malkaus, was admired throughout
the world:

    [Hari Om....
     Man tarapat Hari darshan ko aaj
     Man tarapat Hari darshan ko aaj...]

Fauji Bhaio, it is your duty to safeguard the security of our country. In a
similar fashion, it is the duty of us sangeetkars, to safeguard our
traditional music and art. Not only that, it is also our duty to entertain you and raise your morale in times of crisis. In 1962, when our country was attacked by the enemy, a request was made in the presence of Pandit Jawaharlal Nehru, that a song be composed in order to boost the morale of our soldiers. So, Shakeel Badayuni Sahab penned down the lyrics, I composed the tune, and Rafi Sahab poured his heart out into this song in such a manner that whoever heard it was filled with patriotic fervour! Later, this song was included
in the film, Leader:

    [Apni aazaadi ko hum hargiz miTa sakte nahin
     Sar kaTa sakte hain lekin, sar jhuka sakte nahin
     Apni aazaadi ko hum hargiz miTa sakte nahin.....]

Once, while Rafi Sahab and I were discussing a song, we were informed that Mukesh had breathed his last in America. Rafi Sahab was stunned. The only words which he uttered were: "Hai kitna achha gayak, kitna achha insaan, kitna pyaara saathi chala gaya" ! Some child switched on the radio at that time, and can you guess the song which was on then ?:

    [Chale aaj tum jahaan se, hui zindagi paraaee
     Tumhe mil gaya THikaana, hume maut bhi na aaee

     O door ke musafir, humko bhi saath lele re
     Humko bhi saath lele, hum reh gae akele......]

Rafi Sahab had gone through a lot of trouble and had made countless sacrifices on his way to the top. But, alas! He had attained a position at which death itself envied him and wanted to make him it's own:

Mushkilen sangeet ki woh muskurakar jhelta
Tairta raagon ki lehron me, suron se khelta
BaRke Ganga jal se bhi pakeezah tar aakar thi
Uski har tarkeeb mausiqui ka ek shahkaar thi
Gayaki me uski beshak ek niraali shaan thi
Saaf pani ki tarah behti hui har taan thi
Dekhkar ye kaamyaabi muskura uTHi ajal     (ajal = death)
PaRgae sab raag pheeke, ho gaya funkaar shal (shal = silent, still)
Gir paRa chashm-e-falak se sitara TooT kar
Ek naqsha ranj-o-GHam ka khinch gaya pesh-e-nazar
Bujh gaee phir shamma mehfil me andhera ho gaya
Zindagi ka taar TooTa aur taraana so gaya !!!

One day we received the shocking news of Rafi Sahab's demise. The sad news spread like wild fire throughout the country. Songs turned into a dirge.
The angels wept in the sky and tears were shed in the form of raindrops over his namaaz-e-janaza (funeral prayer). His funeral procession started amid heavy rain and thunder. People gathered on the top of buildings, trees and in windows to catch a last glimpse of their favourite singer. The procession reached the Juhu graveyard. Many famous film personalities were trying their best to
control the crowd which had gathered to pay it's last respects to the voice which had warmed their hearts for decades. A voice which had become a part of their lives. Millions of eyes were watching one single glowing face; eyes which belonged not to any religion, caste or creed. And perhaps, that glowing face was
saying this:

    [Main TooTi hui ek nayya hun, mujhe chahe jidhar le jaao
     Ji chaahe dubodo maujon me, ya saahil par le jaao
     Main TooTi hui ek nayya hun, mujhe chahe jidhar le jaao..]

Finally, the mortal body was interred in the same dust from which it was
initially made. Log keh rahe the ek achha gayak chala gaya; ek achha insaan chala gaya. Koi keh raha tha ek achha dost chala gaya, aur main quabrastan (graveyard) ke ek hisse me sonch raha tha:

Kehta hai koi dil gaya, dilbar chala gaya
Saahil pukarta hai, samundar chala gaya
Lekin jo baat sach hai, woh kehta nahin koi
Duniya se mausiqui ka paembar chala gaya !!!  (paembar = messenger)

Dust had returned to dust, and all that we were left with were sweet memories.

Har dil me bhaRakta hua woh saaz hai baaqui
Woh jism nahin hai magar aawaaz hai baaqui !!

[Ohoho, ho ho ho
 Aaj puraani raahon se, koi mujhe aawaaz na de
 Aaj puraani raahon se, koi mujhe aawaaz na de
 Dard me doobe geet na de, GHam ka sisakta saaz na de
 Dard me doobe geet na de, GHam ka sisakta saaz na de]

Swargeeya gayak Mohammed Rafi ki yaad me, aaj ka vishesh Jaimala prastut kar rahe the, film jagat ke suprassidh sangeetkaar, Naushad.

Sami Mohammed (A MOHAMMED RAFI fan)

Sami Mohammed is a die hard Md. Rafi fan and made this transcript available on his Rafi site :) Many Thanks to him.

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an exceptional singer.. with an exceptional voice.. I haven't found any male singer who's even come close.

Among my many favorites

  • Tu Hee Voh Haseen Hay
  • Jo Vaada Kya Voh
  • Baharo Phool Barsao

and so many more..