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Mohammed Rafi (24 December 1924 – 31 July 1980) was an Indian playback singer. He is considered to have been one of the greatest and most influential singers of the Indian subcontinent.[5][6] Rafi was notable for his versatility and range of voice; his songs varied from fast, peppy numbers to patriotic songs, sad numbers to highly romantic songs, qawwalis to ghazals and bhajans to classical songs.[7] He was known for his ability to mould his voice to the persona and style of the actor lip-syncing the song on screen in the movie.[8] He received six Filmfare Awards and one National Film Award in India. In 1967, he was honored with the Padma Shri award by the Government of India. In 2001, Rafi was honoured with the "Best Singer of the Millennium" title by Hero Honda and Stardust magazine. In 2013, Rafi was voted for the Greatest Voice in Hindi Cinema in a CNN-IBN poll.[9]

Key Information

He recorded songs for over a thousand Hindi films and in many Indian languages as well as some foreign languages, though primarily in Urdu and Punjabi, over which he had a strong command. He recorded as many as 7,000 songs throughout his career, spanning several languages such as Konkani, Assamese, Bhojpuri, Odia, Bengali, Marathi, Sindhi, Kannada, Gujarati, Tamil, Telugu, Magahi, Maithili, etc. Apart from Indian languages, he also sang in some foreign languages, including English, Persian, Arabic, Sinhala, Mauritian Creole, and Dutch.[10]

Early life

[edit]
Rafi's family tree.

Mohammed Rafi was the second eldest of six brothers born to Allah Rakhi and Haji Ali Mohammad in a Punjabi Bhatti Jat Muslim family.[11] The family originally belonged to Kotla Sultan Singh, a village near present-day Majitha in Amritsar district of Punjab, India.[12] Rafi, whose nickname was Pheeko, began singing by imitating the chants of a fakir who roamed the streets of his native village Kotla Sultan Singh. Rafi's father moved to Lahore in 1935, where he ran a barbershop in Noor Mohalla in Bhati Gate.[13] Rafi learnt classical music from Ustad Abdul Wahid Khan, Pandit Jiwan Lal Mattoo and Firoze Nizami.[14] His first public performance came at the age of 13, when he sang in Lahore featuring K. L. Saigal. In 1941, Rafi made his debut in Lahore as a playback singer in the duet "Goriye Nee, Heeriye Nee" with Zeenat Begum in the Punjabi film Gul Baloch (released in 1944) under music director Shyam Sunder.[15] In that same year, Rafi was invited by All India Radio Lahore station to sing for them.[16]

He made his Hindi film debut in Gaon Ki Gori in 1945.[8]

Early career in Bombay

[edit]

Rafi moved to Bombay (now Mumbai), Maharashtra in 1944. He and Hameed Sahab rented a ten-by-ten-feet room in the crowded downtown Bhendi Bazar area. Poet Tanvir Naqvi introduced him to film producers including Abdur Rashid Kardar, Mehboob Khan and actor-director Nazeer.[17] Shyam Sunder was in Bombay and provided the opportunity to Rafi to sing a duet with G. M. Durrani, "Aji dil ho kaabu mein to dildar ki aisi taisi...," for Gaon Ki Gori, which became Rafi's first recorded song in a Hindi film. Other songs followed.

Rafi's first song with Naushad was "Hindustan Ke Hum Hain" with Shyam Kumar, Alauddin and others, from A. R. Kardar's Pehle Aap (1944). Around the same time, Rafi recorded another song for the 1945 film Gaon Ki Gori, "Aji Dil Ho Kaaboo Mein". He considered this song to be his first Hindi language song.[16]

Rafi appeared in two movies. He appeared on the screen for the songs "Tera Jalwa Jis Ne Dekha" in film Laila Majnu(1945) and "Woh Apni Yaad Dilane Ko" in the Film Jugnu (1947).[16] He sang a number of songs for Naushad as part of the chorus, including "Mere Sapnon Ki Rani, Roohi Roohi" with K. L. Saigal, from the film Shahjahan (1946). Rafi sang "Tera Khilona Toota Balak" from Mehboob Khan's Anmol Ghadi (1946) and a duet with Noor Jehan in the 1947 film Jugnu, "Yahan Badla Wafa Ka". After partition, Rafi decided to stay back in India and had the rest of his family flown to Bombay. Noor Jehan migrated to Pakistan and made a pair with playback singer Ahmed Rushdi.

In 1949, Rafi was given solo songs by music directors such as Naushad (Chandni Raat, Dillagi and Dulari), Shyam Sunder (Bazaar) and Husnalal Bhagatram (Meena Bazaar).

Besides K. L. Saigal, whom he considered his favorite, Rafi was also influenced by G. M. Durrani. In the early phase of his career, he often followed Durrani's style of singing, but later evolved his own, unique style. He sang with Durrani in some of the songs such as "Humko Hanste Dekh Zamana Jalta Hai" and "Khabar Kisi Ko Nahiin, Woh Kidhar Dekhte" (Beqasoor, 1950).

In 1948, after the assassination of Mahatma Gandhi, the team of Husanlal Bhagatram-Rajendra Krishan-Rafi had overnight created the song "Suno Suno Ae Duniyawalon, Bapuji Ki Amar Kahani". He was invited by the Indian Prime Minister, Jawaharlal Nehru, to sing at his house. In 1948, Rafi received a silver medal from Jawaharlal Nehru on Indian Independence Day.[18]

Recording career in the 1950s and 1960s

[edit]
See also: List of songs recorded by Mohammed Rafi

In his early career, Rafi associated with many contemporary music directors, most notably Naushad Ali. In the late 1950s and 1960s, he worked with other composers of the era such as O. P. Nayyar, Shankar Jaikishan, S.D. Burman and Roshan.

Work with Naushad

[edit]

As per Naushad, Rafi came to him with a letter of recommendation from Naushad's father.[19] Rafi's first song for Naushad Ali was "Hindustan Ke Hum Hain" ("We belong to Hindustan") for the film Pehle Aap in 1944. The first song for the duo was the soundtrack of the movie Anmol Ghadi (1946).

Rafi's association with Naushad helped the former establish himself as one of the most prominent playback singers in Hindi cinema.[16] Songs from Baiju Bawra (1952) like "O duniya ke rakhwale" and "Man tarpat hari darshan ko aaj" furthered Rafi's credentials.[15] Rafi ended up singing a total of 149 songs (81 of them solo) for Naushad. Before Rafi, Naushad's favorite singer was Talat Mahmood. Once Naushad found Talat smoking during a recording.[20][21][22][self-published source?] He was annoyed and hired Rafi to sing all the songs of the movie Baiju Bawra.

Work with S. D. Burman

[edit]

S. D. Burman used Rafi as a singing voice of Dev Anand and Guru Dutt.[23] Rafi worked with Burman in 37 films, including Pyaasa (1957), Kaagaz Ke Phool (1959), Kala Bazar (1960), Nau Do Gyarah (1957), Kala Pani (1958), Tere Ghar Ke Saamne (1963), Guide (1965), Aradhana (1969), Ishq Par Zor Nahin (1970) and Abhimaan (1973).

Work with Shankar–Jaikishan

[edit]

Rafi's partnership with Shankar–Jaikishan was among the most famous and successful in the Hindi film industry. He worked with them from their first film, Barsaat (1949). Under Shankar–Jaikishan, Rafi produced some of his songs for actors like Shammi Kapoor and Rajendra Kumar. Out of six Filmfare awards, Rafi won three for S-J songs – "Teri Pyaari Pyaari Surat Ko", "Bahaaron Phool Barsaao" and "Dil Ke Jharokhe Mein." The song "Yahoo! Chaahe Koi Mujhe Junglee Kahe" was sung by Rafi, matched by a fast-paced orchestra and composition by Shankar Jaikishan. S-J had Rafi give playback for Kishore Kumar in the film Sharaarat ("Ajab Hai Daastaan Teri Ye Zindagi"). Rafi sang a total of 341 numbers—216 solo—for Shankar–Jaikishan.[24] Among the films of this combination are: Awaara, Boot Polish, Basant Bahar, Professor, Junglee, Asli-Naqli, Rajkumar, Suraj, Sangam, Brahmachari, Arzoo, An Evening in Paris, Dil Tera Deewana, Yakeen, Prince, Love in Tokyo, Beti Bete, Dil Ek Mandir, Dil Apna Aur Preet Parai, Gaban and Jab Pyar Kisi Se Hota Hai.

Work with Ravi

[edit]

Rafi got his first Filmfare Award for the title song of Chaudhvin Ka Chand (1960), composed by Ravi. He received the National Award for the song "Baabul Ki Duaen Leti Jaa" from the film Neel Kamal (1968), also composed by Ravi. Rafi wept during the recording of this song, which he admitted in a 1977 interview with the BBC.[25]

Ravi and Rafi produced several other songs in the films China Town (1962), Kaajal (1965), Do Badan (1966) and Ek Phool Do Maali (1969)

Work with Madan Mohan

[edit]

Madan Mohan was another composer whose favorite singer was Rafi. Rafi's first solo with Madan Mohan in Aankhen (1950) was "Hum Ishk Mein Burbaad Hein Burbaad Ruhenge".[16] They teamed up to produce many songs including "Teree Aankhon Ke Sivaa", "Yeh Duniyaa Yeh Mehfil", "Tum Jo Mil Guye Ho", "Kur Chale Hum Fida", "Meree Aawaaz Suno" and "Aap Ke Pehlu Mein Aakur".

Work with O. P. Nayyar

[edit]

Rafi and O. P. Nayyar (OP) created music in the 1950s and 1960s. O. P. Nayyar was once quoted as saying "If there had been no Mohammed Rafi, there would have been no O. P. Nayyar".[26]

He and Rafi created many songs together including "Yeh Hai Bombay Meri Jaan". He got Rafi to sing for singer-actor Kishore Kumar – "Man Mora Baawara" for the movie Raagini. Later, Rafi sang for Kishore Kumar in movies such as Baaghi, Shehzaada and Shararat. O. P. Nayyar used Rafi and Asha Bhosle for most of his songs. The team created many songs in the early 1950s and 1960s for movies such as Naya Daur (1957), Tumsa Nahin Dekha (1957), Ek Musafir Ek Hasina (1962) and Kashmir Ki Kali (1964). Rafi sang a total of 197 numbers (56 solo) for Nayyar.[27] The songs "Jawaaniyan yeh mast mast" and the title song "Yun to humne lakh hansee dekhe hain, tumsa nahin dekha" of the film Tumsa Nahin Dekha were hits. They were followed by songs like "Yeh Chand Sa Roshan Chehera" from Kashmir ki Kali.

Rafi and OP had a falling-out during the recording for movie "Sawan ki Ghata". As disclosed by OP during one of his interviews; Rafi reported late to the recording stating that he was stuck in Shankar Jaikishan's recording. OP then stated that from now on he too did not have the time for Rafi and cancelled the recording. They did not work together for the next 3 years.[28]

Work with Laxmikant-Pyarelal

[edit]

The composer duo Laxmikant–Pyarelal (L-P) patronized Rafi as one of their singers, right from their first song by him from the film Parasmani (1963). Rafi and L-P won the Filmfare Award for the song "Chaahoonga Mein Tujhe Saanjh Suvere" from Dosti (1964). Rafi rendered the highest number of songs for this music director duo Laxmikant-Pyarelal, as compared to all the music directors: 388.[24]

Once, when composer Nisar Bazmi, who once worked with Laxmikant-Pyarelal before he had migrated to Pakistan, didn't have enough money to pay him, Rafi charged a fee of one rupee and sang for him. He also helped producers financially. As Laxmikant once observed – "He always gave without thinking of the returns".

Work with Kalyanji Anandji

[edit]

Kalyanji Anandji composed around 170 songs in the voice of Rafi. Kalyanji's relationship with Rafi started with the 1958 film, Samrat Chandragupta, his debut film as a solo composer.[29] Kalyani-Anandji and Rafi went on to work together for the music of the Shashi Kapoor-starrer Haseena Maan Jayegi (1968), which featured songs like "Bekhudi Mein Sanam" and "Chale The Saath Milke".[29]

Work with contemporary singers

[edit]

Rafi associated with several of his contemporaries, singing duets with them and sometimes for them (as in case of Kishore Kumar who was also an actor). Rafi sang the highest number of duets with Asha Bhosle (female), Manna Dey (male) and Lata Mangeshkar (female).

In the song "Humko Tumse Ho Gaya Hai Pyaar" (Amar Akbar Anthony), Rafi sang one song with Kishore Kumar, Lata Mangeshkar, and Mukesh, the most legendary singers in Bollywood. This was probably the only time that all of them rendered their voices for one song.[30]

Work with other music directors

[edit]

Rafi sang frequently for all music directors during his lifetime, including C. Ramchandra, Roshan, Jaidev, Khayyam, Rajesh Roshan, Ravindra Jain, Bappi Lahiri, Sapan Jagmohan, T.V.Raju, S.Hanumantha Rao etc. He had a special and major association with Usha Khanna, Sonik Omi, Chitragupta, S.N. Tripathi, N. Datta and R.D. Burman. He also sang for many small time and lesser-known music directors. Many for whom he sang for free while making their compositions immortal; he selflessly believed in financially assisting producers and helping small-time projects who could not afford much. Many in the industry received regular financial help from Rafi.[31]

Private albums

[edit]

Rafi sang several songs in Chris Perry's Konkani album Golden Hits with Lorna Cordeiro. He recorded many private albums in various genres and languages. Rafi recorded Hindi songs in English on 7" release in 1968. He also sang 2 songs in Mauritian Creole while on his visit to Mauritius in the late 1960s.

Royalty issue

[edit]

In 1962–1963, the popular female playback singer Lata Mangeshkar raised the issue of playback singers' share in the royalties. Recognizing Rafi's position as the leading male playback singer, she wanted him to back her in demanding a half-share from the 5% song royalty that the film's producer conceded to select composers. Rafi refused to side with her, stating that his claim on the film producer's money ended with his being paid his agreed fee for the song. Rafi argued that the producer takes financial risk and the composer creates the song, so the singer does not have any claim over the royalty money. Lata viewed his stand as a stumbling block on the royalty issue and stated that it is because of the singer's name also that the records get sold. This difference of opinion subsequently led to differences between the two. During the recording of "Tasveer Teri Dil Mein" (Maya, 1961), Lata argued with Rafi over a certain passage of the song. Rafi felt belittled, as music director Salil Chowdhury sided with Lata. The situation worsened when Lata declared that she would no longer sing with Rafi. Rafi stated that he was only so keen to sing with Lata as she was with him.[32][33] The music director Jaikishan later negotiated a reconciliation between the two.[34] In an interview given to The Times of India on 25 September 2012, Lata claimed to have received a written apology from Rafi.[35] However, Shahid Rafi, Mohammad Rafi's son, rebuffs the claim, calling it an act to dishonour his father's reputation.[35]

Early 1970s

[edit]

In the 1970s, Rafi suffered from a throat infection for an extended period of time.[36] During a brief period then, he recorded fewer songs.[32][37] Although his musical output was relatively low during this period, Rafi did sing some of his best and most popular numbers then, such as "Yeh Duniya Yeh Mehfil", "Gulabi Aankhen", "Jhilmil Sitaron Ka Aangan Hoga", "Koi Nazrana Lekar Aaya Hu", "Aaya Re Khilonewala", "Tum Mujhe Yun Bhula Na Paaoge", "Re Mama Re Mama Re", "Nafrat Ki Duniya Ko", "Ye Jo Chilman Hai", "Kuchh Kehta Hai Ye Saawan", "Kitna Pyaara Wada", "Chalo Dildaar Chalo", "Aaj Mausam Bada Be-Imaan Hai", "Chura Liya Hai Tumne", "Yaadon Ki Baaraat Nikli Hai Aaj Dil Ke Dwaare", "Teri Bindiya Re", to name a few.[38][39]

Later years

[edit]

Rafi made a comeback as a leading singer in mid 1970s. In 1974 he won the Film World magazine Best Singer Award for the song "Teri Galiyon Mein Na Rakhenge Kadam Aaj Ke Baad" (Hawas, 1974) composed by Usha Khanna.[24]

In 1976, Rafi sang all the songs for Rishi Kapoor in the blockbuster film Laila Majnu.[40][41] Rafi went on to sing many more songs for Rishi Kapoor in the subsequent hit films, including Hum Kisise Kum Naheen (1977) and Amar Akbar Anthony (1977).[42] In 1977, he won both Filmfare Award and the National Award for the song "Kya Hua Tera Wada" from the movie Hum Kisise Kum Naheen, composed by R. D. Burman.[23] He was nominated as the best singer at the Filmfare Awards for the qawwali "Parda Hai Parda" from Amar Akbar Anthony (1977).

Rafi sang for many successful films in the late 1970s and the early 1980s many of whose hit songs were dominating the charts in the late 70s on radio programs such as Vividh Bharati, Binaca Geetmala and Radio Ceylon.[43] Some of these include Pratiggya (1975), Bairaag (1976), Amaanat (1977), Dharam Veer (1977), Apnapan (1977), Ganga Ki Saugand (1978), Suhaag (1979), Sargam (1979), Qurbani (1980), Dostana (1980), Karz (1980), The Burning Train (1980), Abdullah (1980), Shaan (1980), Aasha (1980), Aap To Aise Na The (1980), Naseeb (1981) and Zamaane Ko Dikhana Hai (1981). In 1977, Rafi gave a performance at the Royal Albert Hall and in 1980 he performed at the Wembley conference centre. From 1970 until his death he toured around the world extensively giving concert performances to packed halls.

In December 1979, Rafi recorded six songs for the Hindi remake of Dilip Sen's Bengali superhit Sorry Madam; the film was never completed due to a personal tragedy in Dilip Sen's life. These songs, written by Kafeel Aazar and composed by Chitragupta, were released digitally in December 2009 by the label Silk Road under the title "The Last Songs".[44] The physical album was released only in India by Universal.[citation needed]

Guinness World Records controversy

[edit]

During his last years, Rafi was involved in a controversy over Lata Mangeshkar's entry in the Guinness Book of World Records. In a letter dated 11 June 1977 to the Guinness Book of World Records, Rafi had challenged the claim that Lata Mangeshkar has recorded the highest number of songs ("not less than 25,000" according to Guinness). Rafi, according to his fans, would have sung more songs than Lata – he being the senior of the two. They estimated the number of songs sung by Rafi to be anything from 25,000 to 26,000. This prompted Rafi to write a letter, in protest, to Guinness.[45] After receiving a reply from Guinness, in a letter dated 20 November 1979, he wrote, "I am disappointed that my request for a reassessment vis-a-vis Ms Mangeshkar's reported world record has gone unheeded."[30] In an interview to BBC recorded in November 1977, Rafi claimed to have sung 25,000 to 26,000 songs till then.[26]

After Rafi's death, in its 1984 edition, the Guinness Book of World Records gave Lata Mangeshkar's name for the "Most Recordings" and stated, "Mohammad Rafi (d 1 August 1980) [sic] claimed to have recorded 28,000 songs in 11 Indian languages between 1944 and April 1980."[46] The Guinness Book entries for both Rafi and Lata were eventually deleted in 1991. In 2011, Lata's sister Asha Bhosle was given the title.[47]

Mohammed Rafi – Golden Voice of the Silver Screen, a 2015 book by Shahid Rafi and Sujata Dev, states that according to "industry sources", Rafi sang 4,425 Hindi film songs, 310 non-Hindi film songs, and 328 non-film songs between 1945 and 1980.[45] A 2015 Manorama Online article states that "researchers" have found 7,405 songs sung by Rafi.[48]

Among the prominent leading actors of his time, Rafi sung 190 songs for Shammi Kapoor, 145 for Johnny Walker, 129 for Shashi Kapoor, 114 for Dharmendra, 100 for Dev Anand, 79 for Sunil Dutt and 77 for Dilip Kumar.[49]

Death

[edit]

Mohammed Rafi died at 10:25 pm on 31 July 1980, following a massive heart attack, aged 55.[50] The last song sung by Rafi was for the movie Aas Paas, with music by Laxmikant-Pyarelal. One source says it was "Shaam Phir Kyun Udaas Hai Dost/Tu Kahin Aas Paas Hai Dost", recorded just hours before his death.[30][51][52] Another source says that the last song he sang was "Shehar mein charcha hai", from the same film.[53]

Rafi was buried at the Juhu Muslim cemetery and his burial was one of the largest funeral processions in India as over 10,000 people attended his burial.[54] The government of India announced a two-day public mourning in his honour.[30]

In 2010, Rafi's tomb along with many film industry artists such as Madhubala, was demolished to make space for new burials. Fans of Mohammed Rafi, who visit his tomb twice a year to mark his birth and death anniversaries, use the coconut tree that is nearest to his grave as a marker.[55]

Legacy

[edit]
Rafi on a 2016 stamp of India

Rafi's style of singing influenced singers like Kavita Krishnamurti, Mahendra Kapoor, Mohammed Aziz, Shabbir Kumar, Udit Narayan, Sonu Nigam,[56] and S. P. Balasubrahmanyam.[57][58] Anwar also imitated Rafi's voice.

On 22 September 2007, a shrine to Rafi designed by artist Tasawar Bashir was unveiled on Fazeley Street, Birmingham, UK. Bashir is hoping that Rafi will attain sainthood as a result.[59][60] The Padma Shri Mohammed Rafi Chowk in the Bandra suburbs of Mumbai and Pune (extending MG Road) is named after Rafi.[61]

In the summer of 2008, the City of Birmingham Symphony Orchestra released a double CD titled Rafi Resurrected, comprising 16 songs by Rafi. Bollywood playback singer Sonu Nigam provided the vocals for this project and toured with the CBSO in July 2008 at venues including the English National Opera in London, Manchester's Apollo Theatre, and Symphony Hall, Birmingham.[62]

There have been appeals[63] to the Government of India to honour the singer, posthumously, with the Bharat Ratna (India's Highest Civilian Award).

In June 2010, Rafi, along with Mangeshkar, was voted the most popular playback singer in the poll, conducted by Outlook magazine.[64] The same poll voted "Man re, tu kahe na dheer dhare" (Chitralekha, 1964), sung by Rafi, as the No. 1 song.[65] Three songs were tied for the No. 2 spot; two were sung by Rafi. The songs were "Tere mere sapne ab ek rang hain" (Guide, 1965) and "Din dhal jaye, hai raat na jaye" (Guide, 1965). The jury included people in the Indian music industry.[66]

In 2015, the UK-based newspaper Eastern Eye placed Rafi third in their "Greatest 20 Bollywood Playback Singers" list.[67]

An official biography was written on Rafi's life by Sujata Dev titled Mohammed Rafi – Golden Voice of the Silver Screen launched on his 91st birthday.[68] As well as an award winning documentary titled Dastaan-E-Rafi directed by Rajni Acharya and Vinay Patel (which took 5 years to make) was released to commemorate his 92nd birthday which was later released on DVD. It featured over 60 interviews of various Bollywood personas and closely recalled his story through his songs and the personal recounts.[69][70]

Lata Mangeshkar, his contemporary, has said that "Rafi bhaiya was not only India's greatest playback singer but also a wonderful person" and that "he was one singer whose vocal range could outclass any other singer, whether it was me, Asha, Mannada or Kishore bhaiya".[5]

When producer-director Manmohan Desai (who was a big fan of Rafi) and used him in numerous hit films, was asked to describe the voice of Rafi he remarked that "If anyone has the voice of god, it is Mohammed Rafi".[71]

Annually his birth and death anniversaries inspire several thousand musical tributes on stage, radio and television.[72][73]

Rafi's popularity today spans across the Indian subcontinent, having a reach to Indian communities in Singapore and Malaysia.[74][75][76]

Today, Rafi's popular songs continue to be remixed or recreated.[77]

Rafi's Baharon Phool Barsao was voted the most popular Hindi song in a BBC Asia Network poll commemorating 100 years of Hindi Cinema.[78]

In a CNN-IBN survey in 2013, he was voted the greatest voice of Hindi Cinema.[79]

In 2001, Rafi was named as the "best singer of the millennium" by Hero Honda and Stardust magazine.[80]

[edit]
  • Mohammed Rafi Academy was launched in Mumbai on 31 July 2010 on the 30th anniversary of the singer's death, started by his son Shahid Rafi to impart training in Indian classical and contemporary music.[81][82]
  • After his death, numerous Hindi movies were dedicated to Rafi, including: Allah Rakha, Mard, Coolie, Desh-Premee, Naseeb, Aas-Paas and Heeralal-Pannalal.[80]
  • A song in the 1990 Hindi film Kroadh "Na Fankar Tujhsa" picturised on actor Amitabh Bachchan and sung by singer Mohammed Aziz was also dedicated to the memory of Rafi.
  • Rafi is one of the recording artists mentioned in the 1997 hit British alternative rock song "Brimful of Asha" by Cornershop.[83]
  • Rafi's song from the film Gumnaam (1965), "Jaan Pehechan Ho", was used on the soundtrack of Ghost World (2001). The film opens with the lead character dancing around in her bedroom to a video of Gumnaam.[84] The song has also been used for Heineken's 2011 "The Date" commercial.[85]
  • Rafi was commemorated on his 93rd birth anniversary by Search Engine Google which showed a special doodle on its Indian home page for him on 24 December 2017.[86]
  • His "Aaj Mausam Bada Beiman Hai" is featured in the 2001 film Monsoon Wedding. His "Kya Mil Gaya" (Sasural, 1961) has been used in The Guru (2002), where Ramu and Sharonna sing a version of the song. His song "Mera Man Tera Pyasa" (Gambler, 1970) has been used as one of the soundtracks in the Jim Carrey-Kate Winslet starrer Eternal Sunshine of the Spotless Mind (2004). This song is played in the background in Kate Winslet's character's home while the lead pair are having a drink (at approximately 00.11.14 runtime).[citation needed]

Personal life

[edit]

Rafi married twice; his first marriage was to his cousin, Bashira Bibi, which took place in his ancestral village.[87][88][89] The marriage ended when his first wife refused to live in India following the killing of her parents during the riots of the Partition of India and moved to Lahore, Pakistan.[90] His second marriage was to Bilquis Bano.

Rafi had four sons and three daughters; his first son, Saeed, was from his first marriage.[89] Rafi's hobbies included playing badminton, carrom, and flying kites.[91] He was a teetotaller and abstained from smoking and he stayed away from parties in the industry.[92]

According to Mohammed Rafi Voice of a Nation, a book authorised by Rafi's son Shahid, described him as "a gentle, and calm demeanour persona who remained humble, selfless, ego-less, devoted, God-fearing, and family-loving gentleman in his life." Rafi was noted for not sending anyone he met back empty-handed.[31] He contributed to the society by helping people through his charity and notable deeds.[93]

Awards and recognition

[edit]
Main article: List of awards and nominations received by Mohammed Rafi

Bibliography

[edit]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mohammed Rafi

View on Grokipedia
from Grokipedia
Mohammed Rafi (24 December 1924 – 31 July 1980) was an Indian renowned for his versatile voice, emotional expressiveness, and contributions to and beyond, recording over 7,000 songs in multiple Indian and foreign languages during a career spanning four decades. Born in Kotla Sultan Singh, a village near in , Rafi began singing publicly at age 13 in , imitating the songs of , and moved to in 1944 to pursue a professional career. His film debut came in 1944 with the song "Hindustan Ke Hum Hain" in Pehle Aap, marking the start of a prolific run where he lent his voice to three generations of actors, including , , , and . Rafi's versatility allowed him to master diverse genres, from classical ragas in films like (1952) to rock-and-roll numbers for in (1964), and qawwalis in (1960), often modulating his timbre to suit the on-screen persona. He collaborated extensively with music directors such as (149 songs, including 81 solos), , Ravi, and , and formed iconic duets with female singers like (over 300 during their peak years), , and . Among his timeless hits are "Chaudhvin Ka Chand Ho" from (1960), "Yeh Zindagi Ke Mele" from Mela (1948), and "Kya Hua Tera Vada" from (1977), which earned him a National Film Award. Throughout his career, Rafi received widespread acclaim for his , , and technical precision, often declining royalties to support struggling producers and mentoring younger talents. He won six for Best Male between 1961 and 1977, along with the in 1967 from the . Rafi passed away from a heart attack in at age 55, leaving a profound legacy as one of Bollywood's most beloved voices, whose songs continue to evoke nostalgia and cultural resonance.

Early Life and Beginnings

Family background and childhood

Mohammed Rafi was born on December 24, 1924, in the village of Kotla Sultan Singh, located near in , then part of British , into a Punjabi Jat Muslim . His father, Haji Ali Mohammad, worked as a in the village, providing for the through this in a modest rural setting. Rafi's mother, Allah Rakhi, managed the household, and he was the second eldest among six brothers, growing up in a close-knit, conservative environment that emphasized bonds and traditional values. The family's life in Kotla Sultan Singh revolved around the rhythms of village existence, where Rafi, affectionately called Pheeko by his loved ones, spent his early years amidst agricultural surroundings and familial duties. His formal was limited, extending only up to the , after which he contributed to household responsibilities rather than pursuing further schooling. The rural Punjabi backdrop, with its gatherings and simple lifestyle, shaped his formative years, fostering a sense of and resilience that would later define his character. In 1935, when Rafi was about 11 years old, the family relocated to in search of better economic prospects, prompted by his father's decision to expand his barbering business in the bustling city. Settling in the Noor Mohalla area of Bhati Gate, Haji Ali Mohammad opened a barbershop, which became the family's primary and allowed them to adapt to urban life. This move marked a significant shift from the quiet village to the vibrant atmosphere of , where the family's emphasis on piety and togetherness continued to influence Rafi's childhood, even as new surroundings introduced him to diverse cultural elements.

Musical training and debut in Lahore

Rafi's introduction to music came at the age of 13, encouraged by his uncle who recognized his vocal talent and urged him to perform locally in . This early encouragement led to his first public stage appearance in 1937 in during a featuring the renowned singer , where a prompted organizers to invite the young Rafi to fill the gap by singing unaccompanied, marking a pivotal moment in his nascent career. Following this exposure, Rafi pursued formal musical training in , studying under the guidance of of the , along with Jiwan Lal Mattoo and Firoze Nizami, who imparted foundational techniques in , voice modulation, and breath control essential for playback singing. These mentors emphasized the purity and discipline of classical forms, shaping Rafi's versatile vocal style that blended emotional depth with technical precision. In 1941, at age 17, Rafi made his professional debut as a with the Punjabi "Soniye Nee, Heeriye Nee" alongside Zeenat Begum for the film Gul Baloch, composed by Sunder; the song was recorded on February 8 and featured in the film released in 1944. That same year, he performed the song live on Lahore, an invitation facilitated by station head Jiwan Lal Mattoo after hearing of Rafi's promising voice during his stage shows. Rafi's association with All India Radio Lahore deepened through regular broadcasts and early duets with emerging artists like Zeenat Begum, honing his ability to adapt to live audiences and radio formats while performing a mix of folk and light classical pieces. These stage and radio appearances in the early solidified his local reputation, providing opportunities to refine his and phrasing before transitioning to work.

Move to Bombay and early film appearances

In 1944, at the age of 20, Mohammed Rafi relocated from to Bombay (now ) to pursue opportunities in the , accompanied by his brother-in-law Hameed, who helped convince his family despite their reluctance. He initially stayed in a cramped ten-by-ten-foot room in the crowded area, sharing accommodations and facing significant financial difficulties as he navigated the competitive environment without immediate prospects. Rafi's debut Hindi recording came later that year in Pehle Aap, with the chorus-led song "Hindustan Ke Hum Hain" composed by , marking his entry into . His first major duet opportunity followed in 1945 with the film Gaon Ki Gori, where music director Shyam Sundar introduced him on the song "Aji Dil Ho Kaabu Mein To" alongside . This marked a significant step in his playback career, highlighting his emerging talent amid the era's preference for established voices. During this transitional period, Rafi often contributed uncredited chorus work for prominent films, including backing vocals and a duet role with in "" from Shahjehan (1946), composed by . These early contributions helped him gain visibility in studio circles. Financially, he sustained himself through occasional live performances at local events and broadcasts on All India Radio's Bombay station, supplementing sparse film assignments while honing his skills in the city's vibrant music scene.

Rise to Prominence (1940s-1950s)

Initial struggles and breakthrough songs

Upon arriving in Bombay in 1944, Mohammed Rafi faced significant financial hardships while attempting to establish himself in the competitive . Living in a modest room with his friend Hameed, he initially earned meager sums as a chorus singer, receiving Rs 50 for his work in films like Pehle Aap. To make ends meet, Rafi took up odd jobs, before securing steady playback opportunities. Rafi's breakthrough came through his association with composer , who first noticed his talent during chorus recordings. In 1946, Naushad gave him his debut solo, the playful "Tera Khilona Toota Balak" in , which highlighted Rafi's youthful versatility and marked a turning point, earning widespread appreciation and solidifying Naushad's preference for him over other vocalists. This song's success propelled Rafi into more prominent roles, with Naushad later recalling Rafi's shy yet dedicated demeanor as key to their enduring partnership. His rise continued in 1947 with songs in films like Jugnu, such as the emotive duet "Yahan Badla Wafa Ka," which showcased his ability to convey longing and depth, further boosting his profile amid the post-independence film boom. By the early , Rafi was recording up to Rs 75 per song, a notable improvement, though he navigated intense competition from contemporaries like Mukesh, whose dominated melancholic tracks. Rafi differentiated himself through adaptability, but this often led to initial in light-hearted and comedic numbers for side characters like Johnny Walker and Yaqub, as in playful tracks emphasizing humor over romance.

Key collaborations with early music directors

Mohammed Rafi's early career in the late 1940s was markedly shaped by his partnership with composer , beginning prominently in 1946 with the film , where Rafi sang his first notable solo, "Tera Khilona Toota Balak," a poignant that showcased his emotive depth in romantic contexts. This collaboration expanded rapidly, with Rafi recording a total of 149 songs for across 41 films, including solos, duets, and group numbers that blended classical influences with film melodies. Key early hits included "Suhani Raat Dhal Chuki" from Dulari (1949), a romantic , and patriotic tracks in early films, establishing Rafi's versatility in both tender love songs and nationalistic anthems. Another foundational alliance formed with Feroz Nizami, who introduced Rafi to major playback opportunities through Radio in 1943 and composed for his early film appearances. Their breakthrough came in Jugnu (1947), featuring the duet "Yahan Badla Wafa Ka" with , a soulful romantic piece that highlighted Rafi's harmonious interplay and propelled his Bombay transition. Nizami's direction also emphasized devotional genres, as seen in Rafi's renditions for films like Amar Raj (1946) and Shadi Se Pehle (1947), where songs evoked spiritual fervor alongside romantic themes, contributing to Rafi's growing reputation for emotive range. Rafi's ties with Ghulam Mohammed emerged in the late 1940s, yielding romantic solos like "Dil Ki Lagi Ne Humko" from Paras (1949), which captured heartfelt longing through subtle melodic phrasing. Similarly, his work with C. Ramchandra in the early 1950s produced enduring tracks such as "Kisko Sunaaon Hal-e-Dil" from Sajan (1947), a duet blending pathos and melody, underscoring Rafi's adaptability across genres. These partnerships collectively resulted in over 100 songs during the late 1940s to mid-1950s, solidifying Rafi's foundation in romantic ballads and patriotic fervor while building on his breakthrough hits from the prior era.

Establishment as a leading playback singer

During the 1950s, Mohammed Rafi solidified his position as one of India's foremost s by recording over 500 songs, a remarkable output that showcased his versatility across , Punjabi, and various regional languages. This prolific period marked a significant expansion from his earlier chorus roles, allowing him to lend his voice to a diverse array of film genres and narratives. His ability to adapt to different linguistic and stylistic demands not only broadened his appeal but also contributed to the evolving soundscape of Indian cinema during the decade. A pivotal moment in Rafi's ascent came with the 1952 film Baiju Bawra, where his rendition of the bhajan "O duniya ke rakhwale" demonstrated profound classical depth and emotional intensity, earning widespread critical acclaim for elevating the song's spiritual and musical complexity. Composed by in the raag Sohni, the track highlighted Rafi's mastery of intricate ragas and his capacity to convey profound , cementing his reputation as a singer capable of bridging classical traditions with popular film music. This performance, among others in the film, played a crucial role in establishing Rafi as a go-to voice for demanding classical pieces. By the mid-1950s, Rafi had transitioned fully from supporting roles to lead playback status, amassing a dedicated fan following that reflected his growing media recognition and commercial dominance. Collaborations with composers like in films such as Aar Paar (1954) and Naya Daur (1957) further amplified his popularity, with rhythmic and romantic tracks resonating across audiences and solidifying his status as a household name in Indian music. This era saw Rafi's voice becoming synonymous with the era's cinematic hits, drawing admiration for his tonal purity and expressive range. Toward the late 1950s, underlying tensions in the music industry began to emerge for Rafi, particularly around royalty payments for recorded songs, which highlighted broader issues of artist compensation in Bollywood. These disputes, stemming from differing views on singers' shares in film music revenues, foreshadowed more public conflicts in the following decade but underscored the challenges of his rising prominence amid an expanding industry.

Peak Career (1950s-1960s)

Work with Naushad and classical influences

Mohammed Rafi's collaboration with composer Naushad Ali during the 1950s and 1960s was marked by a deep immersion into classical and semi-classical music, elevating Rafi's artistry through rigorous training and intricate compositions. Naushad, known for his adherence to Hindustani classical traditions, composed 149 songs for Rafi across 33 films between 1946 and 1967, many of which showcased Rafi's ability to render ragas with authenticity and emotional depth. This partnership began earlier but peaked in this era, with Naushad personally mentoring Rafi in the nuances of ragas such as Yaman and Bhairavi to ensure vocal purity and precision in playback singing. A landmark example is the film (1952), where Rafi sang "Man tarpat hari darshan ko," a devotional piece based on that demonstrated his mastery of intricate taans and emotional restraint, earning widespread acclaim for its classical fidelity. 's guidance helped Rafi navigate the challenges of such compositions, transforming him from a versatile into a credible exponent of classical forms. This training not only honed Rafi's technique but also allowed him to infuse film songs with the gravitas of traditional music, as seen in other scores where Rafi explored semi-classical genres like and khayal elements. In (1960), Rafi's rendition of "Ae Mohabbat zindabad," a qawwali-style track, exemplified the duo's ability to blend Sufi devotional fervor with dramatic narrative, highlighting Rafi's precise control over rhythm and ornamentation in a high-energy ensemble piece. often credited Rafi's vocal precision for the success of these classical-infused songs, noting that Rafi's discipline in rehearsals ensured every phrase aligned perfectly with the raga's structure, thereby solidifying Rafi's reputation as a singer capable of bridging classical authenticity and cinematic appeal. This era of collaboration profoundly influenced Rafi's classical repertoire, establishing him as 's preferred voice for music that demanded technical virtuosity and interpretive depth.

Partnerships with S. D. Burman and Shankar-Jaikishan

Mohammed Rafi formed a significant musical alliance with composer during the 1950s and 1960s, collaborating on 37 films that showcased Rafi's versatility in rendering poignant and emotive melodies. Burman particularly favored Rafi's expressive voice for melancholic and introspective tunes, often pairing it with actors like and to evoke deep emotional resonance in films exploring themes of love and longing. Notable examples include the soulful "Jayen to jayen kahan" from (1954), which highlighted Rafi's command over classical nuances in a romantic context, and the reflective "Sun mere bandhu re" from Bandini (1963), demonstrating his ability to convey quiet despair and philosophical depth. In contrast to the classical ragas emphasized in Rafi's work with , his partnership with the duo Shankar-Jaikishan produced a vast array of lively and romantic compositions that captured the youthful energy of post-independence . Over their collaboration spanning more than 70 films, Rafi recorded 341 songs, including 216 solos, which became synonymous with upbeat, celebratory tracks tailored for stars like . Shankar-Jaikishan leveraged Rafi's dynamic range for youth-oriented hits, such as the exuberant "Yahoo!" and the heartfelt "Ehsaan tera hoga mujh par" from Junglee (1961), both of which propelled the film to commercial success and exemplified Rafi's flair for energetic playback. Together, these partnerships yielded over 400 songs, marking the zenith of Rafi's commercial prominence in during the 1950s and 1960s, as they blended emotional depth with mass appeal to define an era of iconic playback singing.

Collaborations with other composers and genre versatility

Mohammed Rafi collaborated extensively with composer , recording approximately 202 songs across 57 films, marking one of the most prolific partnerships in during the 1950s and 1960s. Their work spanned upbeat numbers and romantic s, with notable examples including the lively "Hoon abhi main jawan" from (1954) and the playful "Ek pardesi mera dil le gaya" from Phagun (1958). A standout , "Maang ke saath tumhara," from Naya Daur (1957), showcased Rafi's rhythmic versatility alongside . Rafi's association with composer Ravi produced over 250 songs, including solos and duets, highlighting Rafi's adaptability to Ravi's melodic and folk-infused style in the 1960s. Key tracks from this period include the emotive "Nain ladai hain" in Gharana (1961), which blended pathos and rhythm, and the title song "Chaudhvin ka chand ho" from Chaudhvin Ka Chand (1960), earning Rafi his first Filmfare Award for Best Male Playback Singer. With Madan Mohan, Rafi lent his voice to numerous soulful compositions in the , often emphasizing emotional depth and classical nuances. Their collaboration yielded poignant tracks like "Teri aankhon ke siwa" from Chirag (1969), a melancholic expression of longing that became a timeless hit. Other examples include "Tumse kahoon ek baat" from Dastak (1970), underscoring Rafi's ability to convey subtle heartbreak. Rafi recorded more than 150 songs with the duo Laxmikant-Pyarelal during the 1960s, contributing to their rise with hits that fused Western and Indian elements. A breakthrough was "Chahoonga main tujhe" from Dosti (1964), a heartfelt vow of friendship that won Rafi a National Film Award for Best Male Playback Singer. This partnership extended to energetic numbers like "Mere mehboob" from Mr. X in Bombay (1964), demonstrating Rafi's range in action-oriented films. Beyond these, Rafi's genre versatility defined his peak era, as he adeptly navigated qawwalis, bhajans, rock-n-roll, and multilingual tracks, often drawing from his collaborations with major duos like Shankar-Jaikishan. In qawwalis, he excelled in rhythmic, devotional ensembles such as "Kya takalluf hai wallah" from Barsaat Ki Raat (1960). Bhajans like "Man tarpat hari darshan ko aaj" from Baiju Bawra (1952) highlighted his spiritual timbre, though his 1960s works with Ravi and Madan Mohan amplified this facet. For rock-n-roll, Rafi infused Western beats into songs like "Jaan pehchan ho" from Gumnaam (1965), a Shankar-Jaikishan composition that captured the era's youthful energy. His multilingual prowess extended to Sindhi tracks, including "Kahdi karyan mahmani" from the album Mohammed Rafi Sings Sindhi Songs (1991, recorded earlier), and Bengali numbers like "Tomar neel dopati chokh," showcasing his linguistic adaptability across regional cinemas.

1970s Career and Challenges

Health issues and reduced output

In the early 1970s, Mohammed Rafi encountered significant health challenges when he developed a prolonged throat infection, which led to a temporary loss of his voice and necessitated a brief from recording. This condition marked a stark contrast to his prolific output during the , where he had demonstrated remarkable versatility across genres. The throat infection severely impacted Rafi's professional momentum, resulting in a noticeable reduction in his song recordings compared to his earlier peak productivity. During this period, opportunities dwindled as the Bollywood music industry shifted preferences toward younger voices, particularly , whose energetic style aligned with the evolving cinematic trends of the time. Rafi, once a dominant , faced industry whispers that he was "finished," further eroding his confidence. Amid recovery, Rafi briefly explored non-film work, including ghazals, to maintain his vocal practice while rebuilding his range through light exercises. This phase took a heavy personal toll, plunging him into depression; he grew a as a sign of his inner turmoil and confided in composer , stating, "I am not a singer." Despite these setbacks, Rafi's perseverance shone through, as he persisted in honing his craft, gradually regaining his position in the industry.

Comeback hits and final major works

Following his recovery from health issues that had limited his output in the early , Mohammed Rafi experienced a notable resurgence by 1974, marked by the chart-topping duet "Chura Liya Hai Tumne Jo Dil Ko" with from the 1973 Yaadon Ki Baaraat, composed by . This lively romantic number, picturized on and , highlighted Rafi's ability to adapt to contemporary rhythms while retaining his signature emotional depth, contributing to the film's success as a musical blockbuster. Rafi's momentum continued into the mid-to-late 1970s with standout performances in key films, including several soulful tracks for Laila Majnu (1976), such as the poignant "Likhkar Tera Naam Zamin Par," set to Madan Mohan's haunting melodies and Sahir Ludhianvi's lyrics. These songs, rendered with Rafi's expressive , captured the tragic romance of and Ranjeeta, reaffirming his mastery of classical-infused ballads amid evolving Bollywood tastes. In Amar Akbar Anthony (1977), he delivered the devotional hit "Shirdi Wale Sai Baba," a qawwali-style tribute composed by Laxmikant-Pyarelal that became synonymous with the film's celebratory spirit and enduring popularity. Throughout the decade, Rafi maintained strong partnerships with leading music directors, notably Kalyanji-Anandji for upbeat numbers in Agent Vinod (1977), a spy thriller featuring his versatile playback for Mahendra Sandhu. He also collaborated extensively with Laxmikant-Pyarelal on projects like Aadmi Aur Insaan (1969), whose songs gained renewed traction through re-releases and compilations in the 1970s, underscoring his timeless appeal. Despite rising competition from contemporaries like Kishore Kumar, Rafi continued to record songs across diverse genres, from romantic duets to bhajans, solidifying his status as a playback singing icon.

International performances and recognition

In the 1970s, as part of his career resurgence, Mohammed Rafi embarked on extensive international tours, marking his first major forays abroad with performances in the and . These trips, beginning around 1970, were organized primarily by communities eager to connect with their cultural roots through his music. Rafi's concerts in the drew large crowds of non-resident Indians (NRIs) and helped foster cultural organizations such as the India Association of Minnesota, established in 1973. A highlight of his UK engagements was the 1977 concert at London's , where Rafi captivated the audience with medleys of his classic hits, including a stirring rendition of "O dunya ke rakhwale" from the 1952 film , delivered in an even higher scale than the original recording. The performance left attendees spellbound, erupting in thunderous applause that underscored his enduring appeal overseas. Later, in 1978, he performed at in , further solidifying his presence on the international stage. Rafi's tours extended to regions like , the , and , including sold-out shows in in May 1978 amid the apartheid era, where he performed in , , and to uplift the isolated of nearly one million. These events, lasting over two hours each and featuring beloved film songs, were recorded on tapes that remained popular for years, boosting his fame among NRIs and providing a vital link to Indian heritage. His visits to the and similarly reinforced community bonds, with performances alongside local artists. Through these global engagements, Rafi earned recognition as a cultural for , frequently invited by diaspora groups to perform and preserve musical traditions abroad. His ability to evoke nostalgia and unity among expatriates amplified his influence beyond Bollywood, making him a beloved figure in NRI circles worldwide.

Personal Life

Marriages and family

Mohammed Rafi married his cousin Bashira Bibi in 1942 in , where they had a son, Saeed. The marriage ended in separation following the in 1947, as Bashira chose to remain in while Rafi moved to to pursue his burgeoning career; he continued to provide financial support for her and their son throughout his life. In 1948, Rafi entered his second marriage with Bilquis Bano in , with whom he had six children: sons , , and Shahid, and daughters Yasmin, Nasreen, and Parveen. The family resided in , , in a modest home known as Rafi Villa, where Bilquis managed the household amid Rafi's demanding schedule of recordings, film shoots, and tours across and abroad. Rafi integrated his children from both marriages into a unified unit, treating his eldest son Saeed equally with the others and emphasizing education over show business; he sent several of them to study in to shield them from industry pressures. The offered steadfast emotional support during his extensive travels and later health difficulties, fostering a close-knit environment centered on simplicity, , and shared activities like playing and flying kites. Although Rafi discouraged his children from entering music professionally, the household resonated with his songs, and some family members, such as daughter Yasmin, later contributed to tributes honoring his legacy.

Lifestyle, interests, and philanthropy

Mohammed Rafi led a simple and disciplined lifestyle, marked by his devout adherence to Islamic principles. A practicing Muslim, he performed the pilgrimage in the 1970s, reflecting his deep religious commitment. Later in life, he adopted a vegetarian diet to preserve his vocal health, having relished non-vegetarian food only until the age of 25, as meat was believed to roughen the . As a teetotaller and non-smoker, Rafi avoided the extravagant parties common in the film industry, preferring a grounded existence despite his stardom. Rafi's humility was renowned among peers and fans, often described as a standout trait that set him apart in Bollywood's competitive milieu. He maintained this modesty throughout his career, shunning ego-driven behaviors and focusing on his craft and family. His personal interests were modest and family-oriented, including playing , with his children, and flying kites—a pastime at which he excelled with childlike enthusiasm, though he would if his kite's string snapped during competitions. In philanthropy, Rafi was known for his generosity, frequently aiding the underprivileged and struggling artists in the film world. He often charged minimal or no fees for recordings, such as token amounts for many of his 262 Punjabi songs across 105 films, to support producers with limited budgets. Rafi also waived higher payments offered to him, once accepting Rs 4,000 for a song despite a Rs 20,000 offer, and shared earnings from producers with needy colleagues, like gifting an envelope of money to the composers Laxmikant-Pyarelal for household needs. These acts underscored his compassionate nature, extending help to the poor without seeking recognition.

Death

Final years and heart attack

In the late 1970s, Mohammed Rafi continued to face health challenges, including a protracted earlier in the decade that had affected his voice, as well as ongoing concerns about his cardiac health from prior mild heart attacks. Despite these issues, Rafi maintained a demanding schedule, including international performances such as a at New York's Felt Forum in November 1979. Rafi's final recording session took place on July 31, 1980, at Mehboob Studio in Mumbai, where he completed the song "Tu Kahin Aas Paas Hai Dost" for the film Aas Paas (released in 1981), composed by Laxmikant-Pyarelal. After wrapping up the session—insisting on adding a few final lines despite the day's end—he returned home, unaware it would be his last musical contribution. That evening, while at his residence in Bandra, Mumbai, Rafi suffered a massive heart attack around 9:00 PM. He was immediately rushed to Bombay Hospital, but despite medical efforts, he passed away at 10:25 PM at the age of 55. Reports indicate that Rafi had experienced prior mild heart attacks in the years leading up to his death, which he often overlooked amid his packed professional commitments.

Funeral and public response

Following his death from a heart attack on July 31, 1980, Mohammed Rafi's body was taken in a massive on from his residence in , , through the streets to Juhu Muslim Cemetery for burial. Despite torrential rains that persisted throughout the day, the procession attracted thousands of mourners, swelling to an estimated 20,000 people and marking one of the largest such gatherings in the city's history, with crowds halting traffic across major routes. Prominent figures from the Indian , including , , and Amjad Khan, joined the cortege to pay their respects, underscoring Rafi's profound influence on Bollywood music. The overwhelming public grief reflected his status as a beloved national icon, with fans from across the country converging on despite the weather. In the immediate aftermath, the Indian government declared two days of national mourning, during which suspended regular broadcasts to air special tributes featuring his songs. Shortly thereafter, the Sur Samrat Mohammed Rafi Welfare Society was founded to coordinate ongoing memorial events and preserve his legacy through cultural programs.

Legacy

Influence on Indian music and singers

Mohammed Rafi pioneered versatile playback in Indian cinema, recording approximately 7,000 songs across more than 12 languages, including , Punjabi, Bengali, Marathi, Odia, Bhojpuri, Konkani, Assamese, Sindhi, Telugu, , and , which set a benchmark for emotional depth and voice modulation in the industry. His classical training allowed him to infuse film songs with nuanced phrasing and tonal shifts, adapting his voice to suit diverse genres from romantic ballads to patriotic anthems, thereby elevating the expressive range of playback vocals. This versatility influenced the transition from rigidly classical influences to a modern fusion in Indian music, where singers learned to balance melodic purity with cinematic demands. Successive generations of playback singers have cited Rafi as a key influence on their phrasing techniques and emotional delivery. , a prominent contemporary vocalist, has acknowledged Rafi's profound impact on his musical journey, drawing inspiration from the legend's range and modulation to develop his own style. Similarly, has expressed admiration for Rafi as his all-time favorite, crediting the veteran's adaptability for shaping his approach to romantic and devotional numbers in the and beyond. Rafi's emphasis on precise enunciation and subtle became a model for these artists, facilitating a shift toward more dynamic, actor-specific interpretations in playback singing. Rafi played a pivotal role in popularizing qawwalis and bhajans within Bollywood films, integrating Sufi and devotional elements into mainstream soundtracks to broaden their appeal. His renditions, such as the qawwali "Pardah Nasheen" from (1977) and bhajans like "Man Tarpat Hari Darshan Ko" from (1952), showcased rhythmic intensity and spiritual fervor, making these forms accessible to mass audiences and influencing composers to incorporate them more frequently. This contribution helped bridge traditional folk and classical traditions with commercial cinema, inspiring later singers to explore similar fusions. Rafi's career also exemplified the cultural shift from dominance of solo songs to the rise of duets in Indian film music, serving as a model for adaptability amid evolving trends. In the and , he dominated with solos that defined heroic personas, but by the 1970s, his seamless transition to duets—over 400 with alone—demonstrated how playback artists could thrive in collaborative formats without losing individuality. Although a disputed claim attributed 28,000 recordings to him across 11 languages, verified tallies confirm around 7,000 songs, underscoring his prolific output and lasting stylistic influence.

Posthumous honors and commemorations

In 2001, Mohammed Rafi was posthumously honored with the "Best Singer of the Millennium" title by Hero Honda and Stardust magazine, recognizing his unparalleled contributions to Indian playback singing. On December 30, 2016, India Post issued a commemorative postage stamp featuring Rafi as part of the "Legendary Singers of India" series, celebrating his legacy in Bollywood music. Google paid tribute to Rafi with a dedicated on December 24, 2017, marking his 93rd birth anniversary and depicting him in a to honor his iconic voice. The Mohammed Rafi Academy was established in on July 31, 2010, by his son Shahid Rafi, coinciding with the 30th anniversary of the singer's death, to provide training in Indian classical and while preserving his artistic heritage. The academy organizes annual events, including death anniversary commemorations with live performances and tributes that draw fans to celebrate his enduring influence. In 2024, as part of his birth centenary celebrations, the 55th (IFFI) featured a restored screening of the 1961 film Hum Dono, highlighting Rafi's memorable songs and enhanced audio-visual quality to pay homage to his cinematic impact. These year-long centenary events, spanning concerts and awards, continued into 2025 with widespread tributes on his 45th death anniversary on July 31, 2025, including community gatherings and media remembrances. In February 2025, established the Muhammad Rafi Scholarship Grant to honor his legacy through music education support. Additionally, in May 2025, the Cadence Music Festival featured tributes by and , announcing a new scholarship in Rafi's name.

Awards and Recognition

Filmfare and National Awards

Mohammed Rafi was honored with six for Best Male , establishing him as a pioneering figure in the category and the first singer to secure multiple wins, which highlighted his exceptional versatility and peer acclaim within the Hindi film industry. His victories spanned key phases of his career, recognizing standout performances that blended classical influences with emotional depth in playback singing. Rafi's Filmfare wins included the 1961 award for "Chaudhvin Ka Chand Ho" from the 1960 film Chaudhvin Ka Chand, a romantic melody composed by Ravi that captured the essence of nocturnal longing. In 1962, he won for "Teri Pyari Pyari Surat Ko" from Sasural (1961), composed by Shankar-Jaikishan, a tender expression of affection. Subsequent accolades followed in 1965 for "Chahunga Main Tujhe" from Dosti (1964), composed by Laxmikant–Pyarelal, a poignant track underscoring friendship and sacrifice. In 1967, he received the award for "Baharon Phool Barsao" from Suraj (1966), another Shankar-Jaikishan composition celebrating love's arrival. In 1969, he earned recognition for "Babul Ki Duayen Leti Ja" from Neel Kamal (1968), a Ravi composition noted for its tender paternal farewell. His final Filmfare win arrived in 1978 for "Kya Hua Tera Wada" from Hum Kisi Se Kum Naheen (1977), composed by R.D. Burman, a soulful lament on betrayal that also earned a nomination for "Parda Hai Parda" from Amar Akbar Anthony (1977) and "Aadmi Musafir Hai" from Apnapan (1977), though only the former won. These awards not only affirmed Rafi's dominance but also showcased his adaptability across genres, from devotional to upbeat celebratory tracks. In addition to his Filmfare successes, Rafi received one National Film Award for Best Male in 1977 for "Kya Hua Tera Wada" from Hum Kisi Se Kum Naheen, a prestigious honor that celebrated his contribution to Indian cinema's musical narrative. This win, shared with the recognition for the same song, underscored the track's widespread impact and Rafi's ability to convey profound heartbreak through his voice.

Civilian honors and lifetime achievements

In recognition of his profound contributions to Indian arts, Mohammed Rafi was awarded the by the in 1967. This civilian honor, presented by President Dr. , highlighted Rafi's role in enriching the nation's cultural landscape through music. Rafi also received accolades from regional film bodies, including the Film Journalists' Association (BFJA) Best Male Award in 1965 for his work in Dosti and in 1966 for Arzoo. These honors underscored his versatility and appeal across diverse audiences in the n film industry. Media outlets often referred to him as the "Voice of the Nation" for his ability to capture the emotional essence of post-independence through . Throughout his four-decade career, Rafi recorded approximately 5,000 songs, though claims of up to 26,000 have been disputed and unverified by record authorities like . His repertoire extended to multiple languages, including , Punjabi, Bengali, Telugu, Marathi, and others such as English, Persian, and Dutch, demonstrating his linguistic adaptability. Beyond film soundtracks, Rafi ventured into private recordings, notably the album This is Mohammed Rafi, composed by Khayyam, which featured non-film melodies and became a commercial success. He also released devotional LPs, such as Haj-E-Baitullah (a Muslim religious album) and collections of bhajans and qawwalis, allowing fans to appreciate his spiritual and classical interpretations outside cinematic contexts.

Depictions in films and media

Mohammed Rafi's enduring legacy has been portrayed and referenced in various films and media productions following his death, often through recreations of his songs or biographical elements that highlight his contributions to Indian cinema. In the 2019 coming-of-age drama Noblemen, directed by Vignesh Mickymars, a modern rendition of Rafi's classic track "Yeh Duniya Agar Mil Bhi Jaye" from the 1957 film Pyaasa was featured, composed by Shri Sriram and sung by Suraj Jagan to evoke themes of disillusionment and introspection central to the story. This recreation paid homage to Rafi's original performance under S.D. Burman's music and Sahir Ludhianvi's lyrics, integrating it into the narrative of bullying and identity at a boarding school. Television depictions have similarly celebrated Rafi's versatility, with singing reality shows incorporating his repertoire as a form of tribute. The 2012 cross-border competition , judged by figures like and featuring international artists, included performances of Rafi's songs to showcase classical and playback influences; for example, Pakistani singer rendered the duet "Meri Duniya Mein Tum Aayi" from the 1970 film , originally sung by Rafi and , during an episode aired in October 2012. Such segments underscored Rafi's role in bridging romantic and folk genres, drawing parallels to his collaborations with composers like Madan Mohan. Documentaries have also explored his life, with special episodes and archival programs like the 2016 Dastaan-e-Rafi—a 120-minute feature drawing on over 60 interviews with contemporaries such as and —focusing on his family-oriented persona beyond the spotlight, while weaving in more than 60 of his hit songs to illustrate his rise from to Bollywood stardom. Rafi's songs have maintained prominence in advertisements and television serials, reinforcing their cultural resonance. In the 1950s, he personally lent his voice to radio jingles for Burmah Shell's products, such as the catchy "Mitti Ka Tel," which promoted household essentials with the same emotive depth he brought to tracks, marking one of the earliest instances of a playback in commercial endorsements. Later campaigns echoed this by adapting his melodies; for instance, a 2021 Asian Paints television ad incorporated elements of his song to evoke nostalgia and warmth in home decor promotions. In TV serials, his compositions frequently serve as title themes or background scores, as seen in family dramas where tracks like those from the golden era provide emotional anchors, helping sustain his influence across generations in everyday Indian viewing. These usages highlight how Rafi's continues to shape popular narratives, much like his profound impact on subsequent singers and the broader Indian music landscape.

Modern tributes, remastering, and AI recreations

In 2024, the 55th (IFFI) honored Mohammed Rafi's birth centenary by screening a digitally restored version of the 1961 film Hum Dono, featuring enhanced audio quality to revive the clarity of his iconic songs like "Abhi Na Jao Chhod Kar" and "Allah Tero Naam." The restoration, undertaken by the National Film Development Corporation (NFDC) and the (NFAI), improved visuals and soundtracks, allowing audiences to experience Rafi's versatile playback singing in its pristine form during the festival held in . This effort underscored ongoing initiatives to preserve mid-20th-century Indian cinema through modern technology. From 2023 to 2025, (AI) tools have been used to recreate Rafi's voice for contemporary songs on platforms like , blending his classic timbre with modern compositions. Notable examples include the November 2023 video "Rebirth of Mohammed Rafi's Voice through ," which demonstrated AI-generated renditions of recent tracks, and a March 2025 upload titled "Asking AI To Sing Like Mohammad Rafi," where AI simulated his style on popular melodies. In July 2024, an AI version of the Coke Studio Pakistan song "Blockbuster" featuring Rafi's cloned vocals went viral, amassing millions of views and sparking interest in AI's potential to reinterpret his legacy across genres. These projects often utilize voice synthesis software to isolate and replicate Rafi's vocal nuances, such as his emotive , without altering original instrumentals. Rafi's 2024 birth centenary, marking 100 years since his birth on December 24, 1924, prompted widespread events across , including monthly tribute concerts organized by the Mohammed Rafi Centenary Committee, culminating in a grand valedictory function in on December 24. Venues like Sri Shanmukhananda Fine Arts & Sangeetha Sabha hosted performances of his hits, with singers like felicitated for carrying forward his style. In 2025, his 45th death anniversary on July 31 saw social media campaigns on platforms like and , where fans shared tributes, archival clips, and calls for honoring his legacy through quality performances, as urged by the . These online efforts amplified global remembrance, with hashtags like #RafiSahab trending and posts emphasizing his enduring influence on Bollywood music. Complementing these tributes, 2025 Instagram reels popularized modern beat remixes of Rafi's songs, fusing his originals with electronic and funk elements to appeal to younger audiences. These adaptations highlight how digital platforms are reintroducing Rafi's work to new generations through innovative sound design. The rise of AI recreations has ignited debates on ethics, balancing preservation of cultural icons against potential exploitation of legacies. Singer Shaan criticized AI voice cloning of Rafi and peers like Kishore Kumar as "cruel" and unfair, arguing it undermines artistic authenticity and the original artists' moral rights without consent from heirs. Legal analyses point to India's regulatory gaps, where AI sound-alikes risk diluting legacies through unauthorized use, though proponents view it as a tool for accessibility and revival. These discussions emphasize the need for frameworks to protect deceased artists' voices while fostering innovation.

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