Kishore kumar and mohd rafi relationship memes

How Mohammed Rafi regained his confidence - dayline.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. that we have been fighting for years. Who is better? Kishore Kumar or Mohd. Rafi. Though I enjoyed my duets with Mukesh Bhaiyya and Kishoreda, I have to agree Rafi .. Are Stunned By This New RuleWe Quote USA - Auto Insurance Quotes| Kishore Kumar's personal life was an equally eventful and vibrant affair. A letter to Kishore Kumar on the singer's 25th death anniversary. Any good amateur singer can easily mimic Rafi or Mukesh, but only one.

Raju Bharatan salutes the legend.

How Mohammed Rafi regained his confidence

It happened at the height of the Rajesh Khanna wave in the after Aradhana glow when Mohammed Rafi's confidence was at its lowest ebb.

The Mohammed Rafi who had sung, for Naushad, a total of songs 81 of them solo through 35 years. That ace composer had heard about how sheer nonentities, in the recording room, had begun dictating to Mohammad Rafi. During a small-time composer's Rafi recording, therefore, Naushad quietly slipped into the sound recordist's booth at Mehboob Studios in the Bandra suburb of Bombay.

As he sat through the recording, Naushad felt aghast to find striplings, in the recording room, telling a stalwart like Rafi how to sing.

Whereupon Naushad discreetly moved out, leaving word that his pet performer should call on him, without fail, at his Ashiana, Bandra, home -- on the singer's way back to Rafi Villa after the recording.

As Rafi entered his mentor-composer's home, Naushad first took him severely to task. The burden of the Naushad song -- "Who are these people to tell Mohammed Rafi what to do? Isn't Rafi too trained a performer to submit to anyone but the song composer? Naushad's counter to that -- "Never ever forget that you are Mohammed Rafi, a performer whose seasoning, by now, far exceeds that of any male singer in the industry.

Always remember, Rafi that the singer you identify as your rival, now, has no classical background at all. So how possibly could he be competition to you, Rafi? Go back, confident like before, to the recording room.

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Just sing like my Rafi always did. To this end, Naushad hurried with a recording due for My Friend and summoned Rafi, for a song rehearsal, for that film. For a solo cast in the Naushadian Bhairavi mould.

Almost concurrent with that happening came the Film World magazine awards and Rafi, here, was very much in the running for the Best Singer citation. The moment -- to the backdrop of the Teree Galiyon Mein number playing -- Mohammed Rafi was pronounced the winner, this singer, in walking up to the stage, was a man metamorphosed. All of Rafi's shaken singing confidence thus returned in one stroke it was his first award in years. The same Mohammed Rafi who had made it a habit of bagging the prestigious Filmfare Best Male Singer award every other year.

I recall Pancham, in his Santa Cruz music room, pointedly telling me that he never really cared for Rafi. Still these master composers were 'the Rafi exceptions'. 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. 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 This is possible due to the passage of time, due to the advancement of technology, which has made you more relevant and accessible than ever before. When you died, we had only music cassettes; and we were at the mercy of cassette companies and the shops that sold them.

Today we can store over a thousand songs in a device smaller than our finger, and search for the rarest of your songs in a matter of seconds. My favourite pastime is to search YouTube for your songs, interviews and live performances. I watch them, listen to them spellbound — the energy you showed on stage even when you were in your late fifties, in spite of the two heart attacks!

When I have friends over at home, I play them your songs, especially the rare ones. I play them with pride as if I had composed them. Then there are debates that continue all night: Of course, you always considered Rafi saab a greater singer — remember the letter to the editor you wrote in The Illustrated Weekly of India, when the cover story on you triggered a public debate on the subject.

Rafi was great, but you are the greatest. To convince, or convert, Rafi fans, I play them songs that feature both you and Rafi saab. Such as the title song of Yaadon Ki Baraat. Or songs from Aap Ke Deewane. Interestingly, Mohd Rafi sang many songs for Kishore Kumar the actor. The song which had two versions in the film became a huge hit and it once again underscored the superb control that Rafi had when he suddenly moved from the low to the high pitch.

On a number of occasions he is said to have remarked that only Rafi could sing the song. So the song went to Rafi and it turned out to be the outstanding song of the film.

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In fact it was this climax song that gave the story line a meaning and offered Rajesh Khanna the opportunity to test his histrionics. The gentleman Mohd Rafi on his part, did not bother to know as to why only one song was given to him. Rafi, the Yodeler Kishore Kumar was a natural yodeler, having picked up the art as a growing-up boy, by listening to the Austrian records owned by his brother Anup Kumar. When he entered the arena of playback singing the music directors were quick to discover his potential and utilized it to the hilt.

Kishore went overboard with his yodeling in another of his home production Jhumroofor which he was the lyricist and music director and his fans loved it. By this time he was established as the official yodeler of Bollywood not only because he was very good at it but because in most cases the songs were picturised on himself and he had no problems giving perfect lip service to his own songs, both comical and romantic.

It is unlikely that any other established actor would have risked this much of yodeling lest he got typed. But Kishore was Kishore and he did what he liked. Yet again, and as it would come as a surprise to many, if there was any competition to Kishore Kumar at yodeling, it was from Mohd Rafi.

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If yodeling was an art, Rafi had a perfect hold on it. Many more songs of Rafi in the same mood would follow in the next two decades but this was a very special song. Rafi does a wonderful yodeling in the song and when he ends the song with the yodel he sounds exactly like Kishore Kumar.

The natural ease with which Rafi has yodeled in this song is marvellous. It is strange indeed, that Rafi did not choose to yodel in more of his songs which had plenty of scope and situation to do so.

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Whether it was his own decision or the restraint put by the music directors, his fans definitely were deprived of a very interesting facet of this endlessly versatile singer. The inimitable Rafi had a hundred different shades to add to the colour of his songs and yodeling was only one such shade which he used with brevity. With Rafi opting not to, Kishore made yodeling his second nature and his fans loved it.

The result was magical and the fans were eating out of his hand. If Rafi gave up some ground to Kishore Kumar in yodeling, he more than made up else where. From the word go, Rafi is all magic in this quawwali and the energetic and dashing Rishi Kapoor takes it to greater heights with his splendid performance on screen. Kishore Kumar was a complete entertainer. He had a persona that the media loved to write about.