Mohammad Rafi, a voice that left an indellible mark in the world of music, was a paragon of humility, greatness and piety. A stalwart who was unparalleled in his style of singing, Rafi brought to life the varying emotions of each personality and character he playbacked for. Unfortunately, he passed away 31 years ago leaving a void which no other singer has been able to fill. But during these 30-odd years, Rafi’s vocals have all the more dominated our world of music and he has been living with us through his vibrant and mellifluous songs. On the occasion of his death anniversary, here is a reflection of how a large-hearted legendary singer “made” composers who came to be recognised after Rafi teamed up with them in some way. The idea is to bring to notice Rafi’s magnanimity and contribution in keeping the small time composers professionally alive. Remember an obscure 1953-C grade film called “Khoj” for which music was scored by Nissar Bazmi, the man who later went to Pakistan and became the most sought after music director. At a time when no one knew that Bazmi did “Khoj”, he approached Rafi to sing for a meager price of ` 50 that his producer could afford. Rafi was magananimous enough to charge Bazmi just a token ` one for singing in ‘’Khoj”, the memorable Radio Ceylon hit, Chanda Ka Dil Toot Gaya Hae, Rone Lage Hain Sitaarey. What a compelling sense of expression Rafi brought to this tune of a struggling composer!Rafi Saab obliged Pandit Shivram(This time for Rs.50), a big time composer with an all time hit that made its way from Radio Ceylon to the Binaca Geetmala. Daulat Ke Jhoothe Nashe Mein Ho Chur Garibon Ki Duniyan Se Rahte Ho Door from OONCHI HAVELI (1955) became a chartbuster. S.Mohinder as a composer is still remembered for working in Ranjit’s “PAPI’’ (1953), starring Nargis and Raj Kapoor, which was dismissed by the audience as a visual disaster. Yet the same audience began tapping its feet to the Rafi rhythm of Tera Kaam Hae Jalna Parwane. Rafi left his own distinct individual impact while lending voice for Ghulam Mohammad’s Hae Bas Ki Har Ek Unke Ishare Mein Nishan Aur from MIRZA GHALIB (1957) and Dada Burman’s Manzil Ki Chah Mein from DEVDAS (1955). Babul Bose, a small time composer did switch to Rafi in NAQLI BAWAB (1962) even after achieving success in his previous film RESHMI ROOMAL (1961) without the voice of Rafi. In NAQLI NAWAB, Rafi came up for Babul with heart stealers as Tum Poochhte Ho Ishq bala Hae Ke Nahin and Allah Jane Maula Jane. Similarly, G.S Kohli who never rose above the B-grade films, took Rafi’s vocals, in his LAMBE HAATH (1960) for his all time hit Pyar Ki Rah Dikha Duniyan Ko. G S Kohli was at least a name that appeared on the banner of half a dozen films thereafter. Dulal Sen was seen on the banner of only one film BLACK PRINCE (1960) as music director. Even in that one film, the depth that Rafi gave to the rendition of Nigahen Na Phero Chale Jayenge Hum remained a hot favourite in Radio Ceylon memory.It was the lifetime ambition of composer C Arjun to compose a ghazal. The composer had once exclaimed that ‘It was with great hesitation I approached Rafi Saab to render my ghazal, but with a small payment. Rafi saab, without bothering about the small payment said it was one of the best ghazals that had fallen to his lot and he would give it everything that he had.’ Rafi certainly gave that C.Arjun ghazal everything he had, which became an all time facourite as Paas Baitho Tabiyat Behel Jayegi, Maut Bhi Aa Gayi Ho To Tal Jayegi in PUNARMILAN (1964). For intrumentalists trio Lala-Assar-Sattar who turned music directors, Rafi proved a salvation with a surpassingly lovely solo in SANGRAM (1965) Main To Tere Haseen Khayalon Mein Kho Gaya.To help every little composer trying to survive in Bollywood was Rafi’s singing philosophy. When Sapan (Chakrabarty)-Jagmohan (Bakshi) duo got itsbreak in BEGANA (1963), they approached Rafi to render their prize composition. And Rafi immediately agreed without even realising that Phir Woh Bhooli Si Yaad Aayi Hai. will be a masterpiece. Rafi immortalized it as Sapan-Jagmohan’s best ever composition by rendering it in a style no singer could excel.Anu Mallick’s father Sardar Mallick, though highly talented, never made it to the big league. BACHPAN (1963) therefore was just another B-grade film for which Sardar Mallick was scoring the music. And it would have been forgotten as just another unknown film by viewers, but for Rafi, who rendered Mujhe Tumse Muhabbat Hae, a song that retains the freshness even today.With Rafi touch, any disc would turn into gold!
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