Due to the singer of the millenium Rafisahab's magic OP Nayyar sahab gave blockbuster after blockbusters

OP Nayyar better known as Omkar Prasad Nayyar was known for breaking trends. During the 1940s and 1950s, when other composers stuck to Hindustani ragas and folk songs in Bollywood films, OP Nayyar experimented with Latin tunes, European tunes and blended them with Indian tunes and brought a revolution in Indian music. Not only the songs became popular, but also reached the masses who got exposure to fast peppy music. The musiclovers had remembered legendary composer Omkar Prasad Nayyar, popularly known as OP Nayyar on his birthday on 16th January, 2017. He had died few years back, but his tunes had remained immortal for the audience of bollywood films for years. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Just like other composers were involved with big banners, namely Naushad Ali worked with Mehboob Khan, Shankar Jaikishan worked with Raj Kapoor, Vasant Desai worked with V Shantaram, Salil Choudhury worked with Bimal Roy, OP Nayyar had great combination with Guru Dutt in the early part of his career. Guru Dutt’s films Aar Par brought him to limelight in 1954. All the songs composed by OP Nayyar became smash hit. While he used Shamshad Begum and Geeta Dutt for the female playback songs, Rafisahab was his first choice and last choice for all male playback songs. The songs with brought him to fame included “kabhi aar kabhi paar”, “muhobbat karlo aji karlo aji kisne roka hai, ho sake to duniya chor do duniya hi dhoka hai”, “sun sun sun sun zalima”, “babuji dheere chalna”, “aye lo ma hari piya”, to name a few. In OP Nayyar tunes, there was room for Rafisahab’s songs for Johnny Walker and sometimes these songs became more popular than the songs of the heroes. In Aar Paar, Rafisahab’s song “are wah wah wah wah wah wah kaisa hoga” became smash hit. In the film Guru Dutt gave great break to Shyama and Shakila who later blossomed as successful actresses. The magic of Guru Dutt, OP Nayyar and Mohammad Rafi continued in the film Mr and Mrs 55, in the year 1955. Again Shamshad Begum, Geeta Dutt were at their best in the film. Rafisahab was sublime as usual. This time Guru Dutt took Madhubala as lead actress. OP Nayyar tunes did magic in songs like “dil pe kiya aisa jadoo tabiyat machal machal gayi”, “thandi hawa kaali ghata”, “idhar tum jawan ho”. Again the Johnny Walker, Rafisahab combination clicked and this time it became the biggest hit of the film namely “jaane kahan mera jigar gaya ji”. The same Guru Dutt Production, OP Nayyar music and Rafisahab’s voice created magic in the films 12 O Clock and Dev Anand’s CID. The landmark songs included “tum jo mile mere humsafar raste badal gaye” which had Waltz effect, “mai kho gaya”, “aye dil hai mushkil jeena yahan”, “ankhon hi ankhon me ishara ho gaya”, “leke pehela pehela pyar bharke ankho me khumar jadu nagri se aya hai koi jadugar”. While Shakila had lead role in CID, Wahida Rehman had lead role in 12 O Clock. In 1957, OP Nayyar got the scope of composing music in the film of Tragedy King Dilip Kumar. Dilip Kumar and Vaijayantimala were at the pink of their career, and when music created storms, the film broke records and became blockbuster with the production direction of BR Chopra and Yash Chopra. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, “ure jab jab zulfe teri”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. Madhubala acted opposite Raj Kapoor in the film.All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Madhubala and Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. In 1957, OP Nayyar’s music in Shammi Kapoor’s film Tumsa Nahi Dekha brought him to fame. All the songs like “yuh to humne laakh hain dekhe hai”, “sar pe topi lal”, “dekh kasam se”, were big hits. In the early 1960s, many new poets entered Bollywood films and OP Nayyar in addition to combining with Majrooh Sultanpuri, Qamar Jalalabadi combined with Shamshul Huda Bihari in many films. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored.

The most stylist westernized andaz of Rafisahab was captured by OP Nayyar sahab.

The combination of OP Nayyar and Mohammad Rafi was like tea and milk. The musiclovers had remembered legendary composer Omkar Prasad Nayyar, popularly known as OP Nayyar on his birth anniversary

on 16th January, 2023. He had died few years back, but his tunes had remained immortal for the audience of bollywood films for years. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored.

Ra

Whose combination with Rafisahab was the best was it Shankar Jaikishanji or Naushadsahab or Roshansahab?

Mohammad Rafi sahib had remained one of the greatest singers of all times and it is difficult to infer which composer had the best combination with Rafisahab. By: Dr Souvik Chatterji On his death anniversary on 31st July, 2017, great Rafisahab is remembered all across the world. He is considered one of the greatest singers of all times. If we look back at his combination with best composers of all times it is difficult to infer which composer had the best combination with Rafisahab. Relationship with Shankar Jaikishan. Shankar Jaikishan composed music in almost 195 films in that golden age. One of the great reasons of Shankar Jaikishan’s huge success was due to the great combination with immortal singer Mohammad Rafi Sahab. If Rafi’s stylish andaz relating to westernized compositions are adequately it is Shankar Jaikishan who had used it to perfection. They had used Rafi for singing romantic songs with Japanese orchestration in Love in Tokyo, released in 1966 including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool, released in 1964 SJ’s composition for Rafi including “aa gale lag ja” had westernized background. At the same time Rafi’s song “tumhe chaha” with Suman Kalyanpur was a great rendition in pensive mood. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris, in 1967, like “akele akele kahan ja rahe ho”, “raat ke humsafar”, had loud French music with echo effect and Rafi’s intonation was also westernized. Shankar Jaikishan gave a completely different style of music to Rafi in Rajender Kumar’s Aarzoo, released in 1965 with songs like “aji ruth kar ab”, “chalke teri aankho se”, “ai nargisi mastana”, etc. SJ had given songs addressing children to Rafi including “nanne munne bache teri mutthi me kya hai” in Boot Polish which was produced by Raj Kapoor and released in 1954, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz, released in 1971 and “chakke p chakka” in Brahmchari, in 1969. Rafi pronounced the words with childish accent and SJ used the orchestration to attract children. There were ghazals also given by SJ for Rafi including “rukh se zara nakab”, “kya kya na kahe” in Jeetender’s Mere Huzoor, “unke khayal aye to” in Raj Kumar’s Lal Patthar, “saaze dil ched de” in Pradeep Kumar’s Rajhaath, etc. Besides SJ’s creation involving Rafi in somber mood had created great impact including songs like “teri zulfon ki judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “ehsaan tera hoga mujhpar” in Shammi Kapoor’s Junglee, “yaad na aye” in Rajender Kumar’s Dil Ek Mandir. Shankar Jaikishan had used Rafi’s classical andaz in the songs “radheke tune bansoori churai”, “ajahu na aye”, etc., and combined the ragas with devotional andaz. SJ has given music in almost 200 films within the span from 1949 to 1971, and at least each year they composed music for approximately 10 films. As Rafi was given predominance over other male singers SJ had use him in regular intervals even without doing injustice to Mukesh, Manna Dey, Kishore Kumar, Talat Mehmood and others. Songs like “kaun hai jo sapno me aya” from Jhuk Gaya Aasman, “to bura maan gaye” from Ayee Milan Ki Bela, “yeh ankhen” from Jab Pyar Kisi Se Hota Hai, “tujhe jeevan ki dor se” from Aasli Nakli, “dheere dheere chal” from Love Marriage, “badan pe sitaren lapete hue” from Prince, “mai kahin kavi na banjayun” from Pyar Hi Pyar, “mai gayun tum so jao” from Brahmchari, had not lost their flavour even 40 years after their creation due to sheer brilliance of Shankar Jaikishan. It is really tragic neither Shankar Jaikishan had received the accolades that they deserved nor Rafi’s association with them had been glorified but history says that the combination of Rafi with Shankar Jaikishan had produced invaluable creations which had become immortal over the period of time. Relationship with OP Nayyar. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored. Relationship with Naushad Ali. Naushad Ali is remembered for his brilliant tunes over a period of 50 years down the memory lane. In the 40s, he composed music in many films including Anmol Ghari, but he stormed bollywood with romantic songs in Dulari, including “suhani raat dhal chuki” sung by Rafi, all the songs of Andaz, where he composed Rafi’s songs for Raj Kapoor and Mukesh’s songs for Dilip Kumar. In the 50s, Naushad’s composition in Baiju Bawra made the listeners speechless. He won filmfare award for the best composer for his brilliant classical presentation in songs like “o duniya ke rakhwale”, “man tarapata”, “tu gangi ki mauj”, etc., sung by Rafi and Lata. Rafi’s range was used to perfection and from that time the Rafi Naushad combination provided gems after gems. The different ragas and their timings were explained by Naushad in the film. Bharat Bhushan and Meena Kumari gave able lips in the songs composed by Naushad. Songs of Uran Khatula, like “wo dur ke musafir” sung by Rafi for Dilip Kumar also shook bollywood in the mid-50s. In the 60s Naushad was unstoppable. His composition in Kohinoor for Rafi titled “madhuban me radhika nachere” and “do sitaron ka zameen” picturised on Dilip Kumar displayed the brilliance of Hindustani ragas. Naushad’s composition in Rajender Kumar’s Mere Mehboob, Naushad displayed the ghazal culture of Lucknow and Aligarh. The songs “mere mehboob tujhe meri muhobbat ki kasam”, “ai husn zara jag”, etc. sung by Rafi and picturised on Rajender Kumar was per se excellent. Naushad composed light songs in Mughal-i-azam for Lata including “pyar kiya to darna kya”, “mohe panghat ke nandlal”, and again composed thumri sung by Bare Ghulam Ali Khan in the same film. Naushad also composed Bhojpuri music for Dilip Kumar in the film Ganga Jumna. The songs “nain lar jaihe” sung by Rafi was one of the examples of Naushad’s control of Bihari folk tune. Naushad was at his best in Dilip Kumar’s Leader. All the songs in the film sung by Rafi and Lata flabbergasted the listeners, including “ek shahenshah ne banwake haseen tajmahal”, “teri husn ki kya tareef karun”, “mujhe duniya walon”, etc. Naushad was excellent in Dilip Kumar’s Ram Aur Shyam. All the songs sung by Rafi and Lata in the film including “aye hai baharen dekho”, “yeh raat dulhan bangayi”, “mai hoon saki”, etc. Critics consider Dil Diya Dard Liya as one of the best creations of Naushad. All the songs in the film became superhit including Rafi’s “dilruba maine tere”, “koi sagar dil ko behlata nahi”. Naushad Rafi and Dilip Kumar continued with their level of excellence in the film Aadmi, with Rafi’s songs like “na aadmi ka koi bharosa”, “aaj purani rahon se”, etc. Besides, Naushad composed excellent music in Rajender Kumar’s Palki, Saathi, Ganwar, etc. Rafi’s hit songs in those films included “dil-e-betaab ko seene se lagana hoga” sung with Suman Kalyanpur. Naushad faded away from film music in the 70s, causing huge loss to the film industry. The classical gharana related to thumris, kajris, ghazals, etc., faded away with Naushad. Music became popular, but lost its class. Naushad received Dadasahab Phalke for his excellent contribution to bollywood music. His songs and the films should be preserved and restored. Relationship with Roshanlal Nagrath. Whenever any reference relating to everlasting singer Mohammad Rafi comes, the attention goes to the big budget films and songs for big banners. Rafi is known the most for singing catchy numbers for Shammi Kapoor under the composition of Shankar Jaikishan and classical songs for Dilip Kumar under the composition of Naushad Ali. Although Rafi had sung brilliant songs for all the leading actors of 40s, 50, and 60s, much had been written about the successful films where both the songs and the films did excellent business. But Rafi had sung excellent songs for Pradeep Kumar under the composition of Roshanlal Nagrath, where even if the mass was not touched, the class was addressed and the royal andaz of singing showed the range of Rafi to suit his voice for any form of playback singing. The magic of Roshanlal Nagrath, Pradeep Kumar and Mohammad Rafi started in Aarti released in 1962. Phani Majumdar directed the film. Four of the songs of Rafi stand out, “aapne yaad dilaya”, “ab kya misaal doon”, “baar baar tohe kya” and “tere bin lage na jiya”. Some of them were solo songs, while others were duet songs sung with Lata Mangeshkar. There were other duet songs of Rafi with Asha Bhosle, but the ones in pathos andaz like “aapne yaad dilaya” mesmerized the audience. The lyrics of Majrooh Sultanpuri, the composition of Roshanlal Nagrath, the voice of Mohammad Rafi and lips of Pradeep Kumar made the viewers spellbound. None of the songs had lost their charm even today. The magic continued in the film Tajmahal in 1963. M. Sadiq directed the film. Pradeep Kumar played the role of Shahjahan while Beena Roy played the role of Mumtaz Mahal. Here the combination was different with Sahir Ludhiyanvi writing the songs for Roshan which were sung by Mohammad Rafi. Four of Rafi’s songs were masterpieces including “jo wada kiya wo nibhana parega”, “paon chulene do phulonko inayat hogi”, “chandi ka badan”, and “jo baat tujhme hai”. Roshanlal Nagrath won the filmfare award for the best composer only once in his life, that was for the composition of the music of the film Tajmahal. He deserved it many more number of times. Sahir Ludhiyanvi won the best lyricist award for the lyrics of the film. Rafi was as outstanding as Pradeep Kumar in the role of Shahjahan. The magic continued in the film Chitralekha in 1964. Kidar Sharma directed the film. Pradeep Kumar, Meena Kumari and Ashok kumar played the main roles. Rafi’s song “man re tu kahe na dheer dhare” is still considered one of the 10 best bhajans Rafi had sung. Sahir Ludhiyanvi wrote the songs of the film. Rafi’s other song “cha gaye badal” was equally impressive. The Roshan, Rafi, Pradeep Kumar combination continued in the film Bheegi Raat in 1965. It was directed by Kalidas. Rafi’s songs in the film “dil jo na keh saka”, “aise to na dekho”, “jane wo kaun hai kya naam hai”, “mohabbat se dekha” all were masterpieces. Some were duets with Suman Kalyanpur, while the others were solo songs sung by Mohammad Rafi. Lyrics were written by Majrooh Sultanpuri. The words were excellent. Rafi was unparallel in all the songs. The combination continued in the film Bahu Begum in 1967. It was directed by M. Sadiq. Rafi’s songs “hum intezar karenge tera qawamat tak”, “dhoond ke layun kahan se”, “vakiv hoon ishqgade” were all masterpieces. While some had ghazal andaz, the others were stand out qawallies with Manna Dey. Roshan was as brilliant as Mohammad Rafi as Sahir Ludhyianvi. In the same year, the combination was sublime in the film Noorjahan. Rafi sang the songs “aap jab se kareeb aye hain” and “wo mohabbat wo wafayen” in style. For a change the lyrics were written by Shakeel Badayani. The unfortunate death of Roshanlal Nagrath in 1967, ended the journey of Rafi with Roshan and Pradeep Kumar. Otherwise masterpieces after masterpieces could be created. Rafi’s archive should preserve the songs of Pradeep Kumar and Roshan, which showed the royal andaz of music existing in the courts of Mughals, Pathans and Sultans in India. Relationship with Madanmohan Kohli. If any composer had utilised the ghazal andaz of Mohammad Rafi to the best of his potentiality it is Madanmohan whose name appears in the minds of the lovers of music across the nation. Madanmohan’s father Rai Bahadur chunnilal send his son to Dehradun to join the army. Instead he left the army and joined All India Radio in Lucknow. He came in contact with Ustad Faizz Khan, Ustad Ali Akbar Khan and carried on their legacy in the compositions he made for 30 years which can be classified as masterpieces. As Madanmohan was not associated with the Big Banners like RK or Navketan, he was not categorised with any star of bollywood during 50s, 60s, 70s. Further he never wanted to balance the popular test of music and excellent class of classical compositions he created. But the compositions were so rich in lyrics and tunes that the musical pandits had no way but to admire them. The golden age of bollywood music was categorised with the excellence of Mohammad Rafi and as such if any composer neglected Rafi and tried to reach the summit of popularity they have invited their own downfall. Madanmohan did not make such a mistake. He started his career with the film Ankhen in 1950. He also composed music for Raj Kapoor’s film Ashiana in 1952. His notable songs for Rafi in the film Railway Platform, 1956, include “basti basti parbat parbat”. In Gateway of India, 1957, Madanmohan used Mohammad Rafi for the song “do ghari woh jo pass aa baithe” picturised on Bharatbhushan. It was very successful and strengthened the everlasting bond of Rafi with Madanmohan. Rafi’s intoxicating appeal in the song “kabhi na khabhi kahin na kahin koi na koi toi ayega” in the film Sharabi, 1964, composed by Madanmohan can be classified one of the best songs in sombre mood. The most majestic ghazals of Rafi composed by Madanmohan include “kisiki yaad me apnako hai bhulaye huye” and “baad muddat ke yeh ghari ayi” from the film Jahan ara, 1964, picturised on Bharat Bhushan. Talat Mehmood’s song in the same film “phir wohi sham wohi gham wohi tanhai hai” was also based on ghazal andaz. The classic lyrics were written by Rajinder Kishan. The film titled Ghazal, in 1964, was based on ghazals and Rafi was outstanding by every standard in the song “rang aur noor ki baraat kise pesh karun.” In the same year Rafi’s patriotic flavour was bolstered in the song “kar chale hum fida jan-o-tan sathiyon” in the film Haqeeqat, where Rafi’s ghazal titled “hoke majboor usne bulaya hoga” shared with Bhupinder Singh, Manna Dey and Talat Mehmood was sensational. The majestic lyrics were written by Kaifi Azmi. In the film Neela Akash, 1965, picturised on Dharmender, Rafi’s song “akhri geet muhobbat ka sunayun to chalun” showed the tragic note of Madanmohan. In the film Need Hamari Khwab Tumkhari, all the songs were sung by Rafi including “husn ne jab isq se takraya tha”. Returning back to ghazals, Rafi’s song “aap ke pehlu me akar” in the film Mera Saya, 1966, was as outstanding as Lata’s title song “tu jahan jahan chalega mera saya saath hoga”. The lyrics were written by Raja Mehendi Ali Kahan. Raj Khosla’s crime thriller ended up becoming a musical blockbuster just like Woh Kaun Thi, in 1964, where Madanmohan’s composition “naina barse,” “lagja gale”, etc. for Lata Mangeshkar was probably the most immortal creation in the history of film music, with Sadhna giving life time performances in ghostly characters in both these films. The landmark ghazal “tumhari zulf ke saye me sham karlunga” in the film Naunihal, in 1967, is probably one of the five best ghazals Rafi did sing in his life. Experts in music realise that ages will pass, but no second singer can provide blood and flesh in the superlative ghazal of Madanmohan the way Rafi had done in this song. Kaifi Azmi has written sensational lyrics for the abovementioned song. People started thinking that Rafi and Madanmohan were made for each other. The belief was put to action in the next film Dulhan Ek raat ki, in 1967, picturised on Dharmender in the song “ek haseen sham ko dil mera kho gaya. In the film Chirag, 1969, “teri aakhon ke siwa duniya me rakkha kya hai” Madanmohan combined ghazal with light orchestration to try to inspire the common listeners in understanding these type of songs. In the film Heer Ranjha, 1971, picturised on Rajkumar, Rafi’s song “yeh duniya yeh mehfil” was well acclaimed by music lovers. Rafi was outstanding by every standard in the song “tum jo mil gaye ho” in the film Hanste Zakhm, 1973, where Madanmohan synchronised lightning with his own orchestration. Madanmohan also gave a tremendous break to Bhupinder Singh in the song “dil dhoonta hai, phir wohi, fursat ke raat din” written by Gulzar in Sanjeev Kumar’s Mausam in 1975. Rafi had the song “chari re chari kaise gale me pari.” Madanmohan’s last performance with Jaidev brought out Rafi’s Himalayan range in the film Laila Majnu in 1977. Rafi’s songs “tere dar pe aya hoon,” “barbad muhobat ka duya saath liye ja”, picturised on Rishi Kapoor showed his master spirit of adapting to tunes of middle east which was the geographical location where the story was based. Madanmohan died in 1975, without even seeing the success of Laila Majnu, it appeared like out of seven sur in every octave one sur had gone, because, the majestic combination of Madanmohan with Rafi cannot be forgotten through ages. Rafi’s archive should restore Madanmohan’s combination to let the next generation know about the high esteem with which Madanmohan addressed Mohammad Rafi during the golden age of film music. Articles after articles can be written to show the indispensability of Rafisahab during the golden age. For listeners the intoxication still continues. Rafisahab’s voice sunke lagta hai sunte jay bas suntey hi jay. His admirers pay their respect and homage to the noble soul.

Rafisahab sang songs in around 15 films of Guru Dutt sahab but majority songs became landmark hits.

Melody in Guru Dutts films and combination with Mohammad Rafi. 9th July is the birth anniversary

of noted Director Guru Dutt. He was born in 1925 on this day. Rafi became a living legend in the mid-50s after dominating bollywood films over ten years and singing for nearly all the giant productions and leading actors of bollywood. He had very strong combination with thinking actor Guru Dutt. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s include the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. When Guru Dutt used SD Burman for composing songs in the film Pyaasa and Kaagaz Ka Phool, Rafi was used brilliantly for the legendary music of those films. Both the films won national and international awards and remain a landmark in the field of story-telling. Rafi’s songs “sar jot era chakrae” picturised on Johnny Walker and “hum aapke aankho me” and “yeh mahalon yeh takhton yeh taajon ki duniya” picturised on Guru Dutt had emotions, passions, comedy, tragedy everything embedded in them. Rafi’s duet combination with Geeta Dutt was bolstered in the film. The lyrics were outstanding as well. The films marked the best music given by SD Burman in his entire lifetime. Guru Dutt can boast himself to have given lips in one of Rafi’s best ghazals sung in the history of bollywood films titled “chaudavi ka chaand”. Guru Dutt picturised the song sequence with colour, showing his passionate relationship with Wahida Rehman in the film Chaudavi Ka Chand. Ravi’s music in the film showed the pardanashin culture of muslims in India during the early 60s. Rafi also sang songs for Guru Dutt in the film Saanjh Aur Sawera, composed by Shankar Jaikishan. The title song “yehi hai who saanjh aur sawera” sung by Rafi became very popular. Meena Kumari balanced the powerful performance of Guru Dutt in the film. The other films where Rafi had contributed for Guru Dutt include Bharosa where Ravi composed melodious tunes including “yeh jhuki jhuki naina” picturised on Guru Dutt and Asha Parekh. Guru Dutt’s music in the film Baharen Phir Bhi Aayegi composed by OP Nayyar, created sensation in the mid -60s. It was a tragedy, that Guru Dutt died before the release of the film and could not see the success of the film. The songs sung by Rafi and picturised on Dharmender mesmerized the audience and still haunts people all over the world. One of those brilliant songs include “aap ki haseen rukh me aaj naya nur hai, mera dil machal gaya to mera kya kasoor hai”. The uniqueness of Guru Dutt’s relationship with Rafi lies in the fact that whether the composer was OP Nayyar or Shankar Jaikishan or SD Burman or Ravi, the music composed for whom had philosophical thoughts embedded in them and Rafi gave expression to the mesmerizing lyrics of evergreen tunes which had become immortal over a period of time. The films and the songs should be preserved and restored.

The most stylish andaz of Rafisahab was captured by OP Nayyar sahab.

The combination of OP Nayyar and Mohammad Rafi was like tea and milk. The musiclovers had remembered legendary composer Omkar Prasad Nayyar, popularly known as OP Nayyar on his birth anniversary

on 16th January, 2022. He had died few years back, but his tunes had remained immortal for the audience of bollywood films for years. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored.

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Rafisahab and OP Nayyar combination is still young in the minds of listeners.

The combination of OP Nayyar and Mohammad Rafi was like tea and milk. The musiclovers had remembered legendary composer Omkar Prasad Nayyar, popularly known as OP Nayyar on his birth anniversary

on 16th January, 2019. He had died few years back, but his tunes had remained immortal for the audience of bollywood films for years. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored.

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Rafisahab and OP Nayyar combination gave landmark songs in 1950s and 1960s.

The combination of OP Nayyar and Mohammad Rafi was like tea and milk. The musiclovers had remembered legendary composer Omkar Prasad Nayyar, popularly known as OP Nayyar on his birth anniversary

on 16th January, 2019. He had died few years back, but his tunes had remained immortal for the audience of bollywood films for years. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored.

Romanic films of Biswajeet had melodious songs of Rafisahab.

Romantic film of Biswajeet’s had melodious songs of Mohammad Rafi sahab. Bengali actor Biswajeet Chatterjee after acting in hit films in Bengali namely Mayamrigo in 1960 and Dui Bhai in 1961 went to Mumbai to pursue his acting career there. He made his debut in the film Bees Saal Baad where Hemant Kumar was the producer of the film and also the music composer. In a short period of time Biswajeet got roles to play in films of different producers and directors namely Nasir Hussain, Satyen Bose, Hrishikesh Mukherjee and others. Mohammad Rafi Sahab played a very important role in the success story of Biswajeet’s films because most of the films ended up being musical blockbusters. In the film April Fool, released in 1964, Shankar Jaikishan’s composition for Rafi picturised on Biswajeet became super hit including “April Fool banaya”, and “aa gale lag ja”. In Shenai in 1964, Ravi’s composition for Rafi namely “na jhatko zulf se paani” became smash hit. Composer Hemant Kumar used Rafi in Biswajeet’s film Bin Badal Barsaat in 1963 in the song “dil me teri yaad sanam”. Mere Sanam released in 1965 was the greatest hit film of Biswajeet where Rafi was unparallel. OP Nayyar’s stylish westernized compositions were given expression by Rafi in the songs “pukarta chala hoon mai”, “hue hai tumpe aashiq hum”, “humdum mere maan bhi jayo”, “thukre hai mere dilki ay jaan teri aansoon”, “haji baba”, “humne to dilko aapke kadmo pe rakh diya”, “roke kaibaar maine dilki umangko”, to name a few. After that Rafi and Biswajeet went on giving hits after hits. In Do Dil, composer Hemant Kumar composed a soft romantic song for Rafi namely “tera husn rahe mera ishq rahe”, which touched the souls of music lovers. All the songs in the film Yeh Raat Phir Na Ayegi in the year 1966 became super hit. OP Nayyar’s composition in the song “phir milogi kabhi is baat ka yaada karlo” stands out. It was a duet where Rafi was as romantic as Asha Bhosle. Ravi composed excellent music in the film Sagaai, in 1966, where Rafi’s song “nay eh zameen thin a aasman tha” became immortal. LP composed super hit song in the film Aasra, in 1966, where Rafi’s romantic song “sokhiyan nazar me hai” stands out. Laxmikant Pyarellal made the musiclovers spell bound in Night in London in 1967, with Rafi’s songs “night in London”, “o my love” and “bahosh –o –awaz me diwana”. Rafi was sublime in all the songs. LP continued the dream run in the film Jaal in 1967 with Rafi’s songs “akela hoon mai humsafar”, “mizaaz-e-garami”, etc. Shankar Jaikishan composed excellent music in the film Hare Kaanch Ki Churiya in 1967 with hit Rafi number namely “aye janeman” and “panchi re panchi”. Madanmohan was excellent in the film Ghar Ka Chirag in 1967, where Rafi’s song “aaj rota hai kyun” stands out. In the film Vaasna in 1968, all the songs of Rafi composed by Chitragupt became super hit including “itni nazuk nabano”, “yeh parbaton ke dayre”, “aaj is darja pila do”. The Chitragupt and Rafi magic continued in Biswajeet’s next film Pyar Ka Sapna in 1969 in songs like “ay meri zindagi”, “tere chehere se haten ankh to”. Rafisahab

was the major contributor in Biswajeet’s other films like Do Kaliyan, Ishq Par Zor Nahi, Mai Sunder Hoon, Shararat, etc. In the 70s with the advent of action films Biswajeet faded away from the industry. All the giant composers of golden age namely Shankar Jaikishan, OP Nayyar, Ravi, Chitrgupt, Madanmohan, Laxmikant Pyarellal, Hemant Kumar and other composed music in the films of Biswajeet. Rafi’s songs in Biswajeet’s films require recognition and restoration Mohammad Rafi Sahab was a blessing in the career of Biswajeet Chatterjee. Actor Biswajeet Chatterjee made his debut in bollywood films in the film Bees Saal Baad in 1961. After for the next 15 years his films became crowd-pullers for the romantic stories and brilliant songs. All the songs sung by Mohammad Rafi for Biswajeet became everlasting hits. In Biswajeet’s film April Fool, SJ composed beautiful tunes for Mohammad Rafi including the songs “aa gale lag ja” and “april fool banaya”, “tujhe chaha” etc. OP Nayyar stormed bollywood with the music of film Mere Sanam where Biswajeet was the hero. All the songs of Rafi including “pukarta chala hoon mai”, “humdum mere maan bhi jayo”, “hue hai tumpe aashiq hum”, etc. Laxmikant Pyarellal made the musiclovers spell bound in Night in London in 1967, with Rafi’s songs “night in London”, “o my love” and “bahosh –o –awaz me diwana”. Rafi was sublime in all the songs. LP continued the dream run in the film Jaal in 1967 with Rafi’s songs “akela hoon mai humsafar”, “mizaaz-e-garami”, etc. Shankar Jaikishan composed excellent music in the film Hare Kaanch Ki Churiya in 1967 with hit Rafi number namely “aye janeman” and “panchi re panchi”. Madanmohan was excellent in the film Ghar Ka Chirag in 1967, where Rafi’s song “aaj rota hai kyun” stands out. In the film Vaasna in 1968, all the songs of Rafi composed by Chitragupt became super hit including “itni nazuk nabano”, “yeh parbaton ke dayre”, “aaj is darja pila do”. The Chitragupt and Rafi magic continued in Biswajeet’s next film Pyar Ka Sapna in 1969 in songs like “ay meri zindagi”, “tere chehere se haten ankh to”. Rafi was the major contributor in Biswajeet’s other films like Do Kaliyan, Ishq Par Zor Nahi, Mai Sunder Hoon, Shararat, etc. In the 70s with the advent of action films Biswajeet faded away from the industry. All the giant composers of golden age namely Shankar Jaikishan, OP Nayyar, Ravi, Chitrgupt, Madanmohan, Laxmikant Pyarellal, Hemant Kumar and other composed music in the films of Biswajeet. Rafi’s songs in Biswajeet’s films require recognition and restoration

Revisiting the great combination of Rafisahab with OP Nayyar on birth anniversary of OP Nayyar.

The combination of OP Nayyar and Mohammad Rafi was like tea and milk. The musiclovers had remembered legendary composer Omkar Prasad Nayyar, popularly known as OP Nayyar on his birth anniversary

on 16th January, 2019. He had died few years back, but his tunes had remained immortal for the audience of bollywood films for years. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored.

Guru Dutt, Rafisahab and music in his films.

Melody in Guru Dutts films and combination with Mohammad Rafi. Today, 9th July is the birthday of noted Director Guru Dutt. He was born in 1925 on this day. Rafi became a living legend in the mid-50s after dominating bollywood films over ten years and singing for nearly all the giant productions and leading actors of bollywood. He had very strong combination with thinking actor Guru Dutt. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s include the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. When Guru Dutt used SD Burman for composing songs in the film Pyaasa and Kaagaz Ka Phool, Rafi was used brilliantly for the legendary music of those films. Both the films won national and international awards and remain a landmark in the field of story-telling. Rafi’s songs “sar jot era chakrae” picturised on Johnny Walker and “hum aapke aankho me” and “yeh mahalon yeh takhton yeh taajon ki duniya” picturised on Guru Dutt had emotions, passions, comedy, tragedy everything embedded in them. Rafi’s duet combination with Geeta Dutt was bolstered in the film. The lyrics were outstanding as well. The films marked the best music given by SD Burman in his entire lifetime. Guru Dutt can boast himself to have given lips in one of Rafi’s best ghazals sung in the history of bollywood films titled “chaudavi ka chaand”. Guru Dutt picturised the song sequence with colour, showing his passionate relationship with Wahida Rehman in the film Chaudavi Ka Chand. Ravi’s music in the film showed the pardanashin culture of muslims in India during the early 60s. Rafi also sang songs for Guru Dutt in the film Saanjh Aur Sawera, composed by Shankar Jaikishan. The title song “yehi hai who saanjh aur sawera” sung by Rafi became very popular. Meena Kumari balanced the powerful performance of Guru Dutt in the film. The other films where Rafi had contributed for Guru Dutt include Bharosa where Ravi composed melodious tunes including “yeh jhuki jhuki naina” picturised on Guru Dutt and Asha Parekh. Guru Dutt’s music in the film Baharen Phir Bhi Aayegi composed by OP Nayyar, created sensation in the mid -60s. It was a tragedy, that Guru Dutt died before the release of the film and could not see the success of the film. The songs sung by Rafi and picturised on Dharmender mesmerized the audience and still haunts people all over the world. One of those brilliant songs include “aap ki haseen rukh me aaj naya nur hai, mera dil machal gaya to mera kya kasoor hai”. The uniqueness of Guru Dutt’s relationship with Rafi lies in the fact that whether the composer was OP Nayyar or Shankar Jaikishan or SD Burman or Ravi, the music composed for whom had philosophical thoughts embedded in them and Rafi gave expression to the mesmerizing lyrics of evergreen tunes which had become immortal over a period of time. The films and the songs should be preserved and restored.

Whose combination with Rafisahab was the best? Was it Shankar Jaikishan or Naushad Ali was Roshanlal Nagrath or Madanmohan Kohli or OP Nayyar, it is difficult to say.

Mohammad Rafi sahib had remained one of the greatest singers of all times and it is difficult to infer which composer had the best combination with Rafisahab. By: Dr Souvik Chatterji On his death anniversary on 31st July, 2017, great Rafisahab is remembered all across the world. He is considered one of the greatest singers of all times. If we look back at his combination with best composers of all times it is difficult to infer which composer had the best combination with Rafisahab. Relationship with Shankar Jaikishan. Shankar Jaikishan composed music in almost 195 films in that golden age. One of the great reasons of Shankar Jaikishan’s huge success was due to the great combination with immortal singer Mohammad Rafi Sahab. If Rafi’s stylish andaz relating to westernized compositions are adequately it is Shankar Jaikishan who had used it to perfection. They had used Rafi for singing romantic songs with Japanese orchestration in Love in Tokyo, released in 1966 including songs like “aja re aa zara aa”, “Japan, Love in Tokyo”, “ o mere shahekhuba”, etc. In Biswajeet’s April Fool, released in 1964 SJ’s composition for Rafi including “aa gale lag ja” had westernized background. At the same time Rafi’s song “tumhe chaha” with Suman Kalyanpur was a great rendition in pensive mood. SJ’s composition for Rafi in Shammi Kapoor’s An Evening in Paris, in 1967, like “akele akele kahan ja rahe ho”, “raat ke humsafar”, had loud French music with echo effect and Rafi’s intonation was also westernized. Shankar Jaikishan gave a completely different style of music to Rafi in Rajender Kumar’s Aarzoo, released in 1965 with songs like “aji ruth kar ab”, “chalke teri aankho se”, “ai nargisi mastana”, etc. SJ had given songs addressing children to Rafi including “nanne munne bache teri mutthi me kya hai” in Boot Polish which was produced by Raj Kapoor and released in 1954, “hai na bolo bolo”, “re mamma re mamma re” in Shammi Kapoor’s Andaz, released in 1971 and “chakke p chakka” in Brahmchari, in 1969. Rafi pronounced the words with childish accent and SJ used the orchestration to attract children. There were ghazals also given by SJ for Rafi including “rukh se zara nakab”, “kya kya na kahe” in Jeetender’s Mere Huzoor, “unke khayal aye to” in Raj Kumar’s Lal Patthar, “saaze dil ched de” in Pradeep Kumar’s Rajhaath, etc. Besides SJ’s creation involving Rafi in somber mood had created great impact including songs like “teri zulfon ki judai to nahi maangi thi” in Dev Anand’s Jab Pyar Kisi Se Hota Hai, “ehsaan tera hoga mujhpar” in Shammi Kapoor’s Junglee, “yaad na aye” in Rajender Kumar’s Dil Ek Mandir. Shankar Jaikishan had used Rafi’s classical andaz in the songs “radheke tune bansoori churai”, “ajahu na aye”, etc., and combined the ragas with devotional andaz. SJ has given music in almost 200 films within the span from 1949 to 1971, and at least each year they composed music for approximately 10 films. As Rafi was given predominance over other male singers SJ had use him in regular intervals even without doing injustice to Mukesh, Manna Dey, Kishore Kumar, Talat Mehmood and others. Songs like “kaun hai jo sapno me aya” from Jhuk Gaya Aasman, “to bura maan gaye” from Ayee Milan Ki Bela, “yeh ankhen” from Jab Pyar Kisi Se Hota Hai, “tujhe jeevan ki dor se” from Aasli Nakli, “dheere dheere chal” from Love Marriage, “badan pe sitaren lapete hue” from Prince, “mai kahin kavi na banjayun” from Pyar Hi Pyar, “mai gayun tum so jao” from Brahmchari, had not lost their flavour even 40 years after their creation due to sheer brilliance of Shankar Jaikishan. It is really tragic neither Shankar Jaikishan had received the accolades that they deserved nor Rafi’s association with them had been glorified but history says that the combination of Rafi with Shankar Jaikishan had produced invaluable creations which had become immortal over the period of time. Relationship with OP Nayyar. Whenever the name of OP Nayyar appeared in the minds of the audience, the name of immortal singer Mohammad Rafi had come together, without whom OP Nayyar was incomplete. The relationship between the two greats can be compared as tea and milk. OP Nayyar started his career with the film Kaneej in 1949. Guru Dutt had created his image in bollywood films in different categories being a thoughtful director and producer, dynamic actor, good choreographer. One of the numerous reasons for which his films became super hit in the 50s and 60s included the brilliant songs sung by Rafi during the golden age. Rafi’s songs in Guru Dutt’s Aar Paar, released in 1954 and composed by OP Nayyar became super hit. It was followed by Mr and Mrs. 55 released in 1955. Songs picturized on both Guru Dutt and Johnny Walker had melody and sweetness. Rafi’s songs like “dil pe kiya aisa jaadu”, “muhobbat karlo aji karlo”, “sun sun sun sun zaalima”, composed by OP Nayyar, created landmark in the mid-50s and Rafi emerged as the greatest singer of bollywood films during that time. In many of the songs Geeta Dutt did a great job in duets sung along with Mohammad Rafi. The same combination of Guru Dutt, OP Nayyar and Rafi gave everlasting hit in the film 12 O Clock with songs like “mai kho gaya”. Also in CID, OP Nayyar and Rafi combination created gold with songs like “aye dil mushkil jeena yahan”, “leke pehla pehla pyar”, “ankhon hi ankhon me”, etc. The magic combination of Rafi and OP Nayyar mesmerized the audience in Dilip Kumar’s Naya Daur. The super hit songs “saathi hath barana”, “mangke saath tumhara”, “mai bombai ka babu”, contributed a lot in the absolute success of the film. OP Nayyar received the filmfare award for the best music director only once in his career. Credit goes to Rafisahab for the great rendition of each songs of Naya Daur. The brilliant combination of OP Nayyar and Rafi continued in Raj Kapoor’s film Do Ustad. All the songs in the film became extremely popular including “tu ladki mai ladka”, “ruk ruk ruk, chor na de diwane”, “nazron ke teer mare kas kas kas”, etc. Rafisahab was the first choice of OP Nayyar, and inspite of Raj Kapoor’s voice having closeness with Mukesh and Manna Dey. OP Nayyar gave all the songs of Do Ustad released in 1959 to Mohammad Rafi Sahab. Even in Bharat Bhushan’s Phagun, OP Nayyar composed all the songs for great Rafi Sahab. So of the most super hit songs included “kaun se pardesi mera dil le gaya”, “tum rooth ke mat jana”, “mai soya ankhiya miche”. Qamar Jalalabadi’s words were as brilliant as Rafisahab’s velvety voice. Joy Mukherjee’s film Ek Musafir Ek Hasina did brilliant business in the early 60s. Raj Khosla’s musical thriller released in 1962 addressed every section of the society with romantic performance of Joy Mukherjee and Sadhna. All the songs of Rafi and Asha picturized on Joy Mukherjee and Sadhna became super hit. It includes songs like “aap yuhin agar humse milte rahe”, “mujhe dekhkar aapka muskurana”, “phir tere shahar me”, “mai pyar ka rahi hoon”, “bahut shukhriya, bari meherbani”, “humko tumhari isqh ne”, to name a few. Rafi was elegant as ever in the songs “phir tere shahar me” and “humko tumhare ishq ne”. OP Nayyar was probably at his best in the film and his blend of eastern and western music created the romantic mood for the film. Joy Mukherjee, Rafi and OP Nayyar’s magical combination continued in the film Phir Wohi Dil Laya Hoon. Most part of the film released in 1963 was shot at picturesque locations of Jammu & Kashmir and the landscape was as romantic as the songs sung by Rafi and Asha in the film. The prominent songs included “banda parwar, thamlo jigar”, “lakho hai nigahon me”, “nazneen bara rangeen hai wada tera”, “aanchal me sajalena kaliyan”, “zulf ke chayon me chehere ka ujala lekar”, to name a few. Rafi had shown his excellent classical skills in the songs “zulf ke chayon me”, and “aancal me sajalena kaliyan”. Asha Parekh showed her dancing skills to perfection in the film. Rajender Nath played the role of the relief character in the film. In fact OP Nayyar maintained the same standard of music in Shammi Kapoor’s film Kashmir Ki Kali and Biswajeet’s film Mere Sanam which were made after Phir Wohi Dil Laya Hoon. Joy Mukherjee’s combination with OP Nayyar continued in the film Humsaya. In that film Sharmila Tagore got the lead role opposite Joy Mukherjee. By that time due to emergence on new actors and actresses in bollywood films, Joy Mukherjee’s popularity declined and the film also did moderate business. In respect of the songs, Rafi’s song “dil ki awaaz bhi sun” became hit. But OP Nayyar gave a number of songs to Mahendra Kapoor was well which did not strike gold in the box –office. Besides Rafi’s western romantic mood is utilized by OP Nayyar in a very stylish way in the songs “Diwana hua badal, sawan ki ghata chayi” and “Yeh Chand Sa Roshan Chehera” in the film Kashmir Ki Kali, 1964 picturised on Shammi Kapoor and “Humne to dilko aap ke kadmome rakh diya, is dil ka kya karenge yeh ab aap sochiye” in the film Mere Sanam, 1965 and “Phir Miloge Kabhi is baat ka wada karlo, humse ek aur mulakat ka wada karlo” in the film Yeh Raat Phir Na Ayegi, picturised on Biswajeet. In all these songs the sarengi and santoor had played a very pivotal role accompanied by the intoxicating appeal of Rafi’s voice. In the film Baharen Phir Bhi Aayegi, Rafi’s ghazal “aap ki haseen rukh” composed by OP Nayyar and picturised on Dharmender was extremely romantic and made the audience spellbound in the early 60s. OP Nayyar composed peppy numbers for Rafi Sahab in Dharmender’s film Muhobbat Zindagi Hai in 1966. Rafisahab’s song “na jaane kyun” was as brilliant as “tumhari mulakat se” and “yeh purnur chehra yeh dilkash ada”. The list of films where OP Nayyar and Rafi’s magic flabbergasted the listeners just goes on including films like Tumsa Nahi Dekha, Basant, Phagun, Kismat, etc. One article is too small to explain the domination of OP Nayyar and Mohammad Rafi in bollywood films of the 50s and 60s. But the songs and the films had not become obsolete and listeners can listen to them again and again. The songs and the films should be restored. Relationship with Naushad Ali. Naushad Ali is remembered for his brilliant tunes over a period of 50 years down the memory lane. In the 40s, he composed music in many films including Anmol Ghari, but he stormed bollywood with romantic songs in Dulari, including “suhani raat dhal chuki” sung by Rafi, all the songs of Andaz, where he composed Rafi’s songs for Raj Kapoor and Mukesh’s songs for Dilip Kumar. In the 50s, Naushad’s composition in Baiju Bawra made the listeners speechless. He won filmfare award for the best composer for his brilliant classical presentation in songs like “o duniya ke rakhwale”, “man tarapata”, “tu gangi ki mauj”, etc., sung by Rafi and Lata. Rafi’s range was used to perfection and from that time the Rafi Naushad combination provided gems after gems. The different ragas and their timings were explained by Naushad in the film. Bharat Bhushan and Meena Kumari gave able lips in the songs composed by Naushad. Songs of Uran Khatula, like “wo dur ke musafir” sung by Rafi for Dilip Kumar also shook bollywood in the mid-50s. In the 60s Naushad was unstoppable. His composition in Kohinoor for Rafi titled “madhuban me radhika nachere” and “do sitaron ka zameen” picturised on Dilip Kumar displayed the brilliance of Hindustani ragas. Naushad’s composition in Rajender Kumar’s Mere Mehboob, Naushad displayed the ghazal culture of Lucknow and Aligarh. The songs “mere mehboob tujhe meri muhobbat ki kasam”, “ai husn zara jag”, etc. sung by Rafi and picturised on Rajender Kumar was per se excellent. Naushad composed light songs in Mughal-i-azam for Lata including “pyar kiya to darna kya”, “mohe panghat ke nandlal”, and again composed thumri sung by Bare Ghulam Ali Khan in the same film. Naushad also composed Bhojpuri music for Dilip Kumar in the film Ganga Jumna. The songs “nain lar jaihe” sung by Rafi was one of the examples of Naushad’s control of Bihari folk tune. Naushad was at his best in Dilip Kumar’s Leader. All the songs in the film sung by Rafi and Lata flabbergasted the listeners, including “ek shahenshah ne banwake haseen tajmahal”, “teri husn ki kya tareef karun”, “mujhe duniya walon”, etc. Naushad was excellent in Dilip Kumar’s Ram Aur Shyam. All the songs sung by Rafi and Lata in the film including “aye hai baharen dekho”, “yeh raat dulhan bangayi”, “mai hoon saki”, etc. Critics consider Dil Diya Dard Liya as one of the best creations of Naushad. All the songs in the film became superhit including Rafi’s “dilruba maine tere”, “koi sagar dil ko behlata nahi”. Naushad Rafi and Dilip Kumar continued with their level of excellence in the film Aadmi, with Rafi’s songs like “na aadmi ka koi bharosa”, “aaj purani rahon se”, etc. Besides, Naushad composed excellent music in Rajender Kumar’s Palki, Saathi, Ganwar, etc. Rafi’s hit songs in those films included “dil-e-betaab ko seene se lagana hoga” sung with Suman Kalyanpur. Naushad faded away from film music in the 70s, causing huge loss to the film industry. The classical gharana related to thumris, kajris, ghazals, etc., faded away with Naushad. Music became popular, but lost its class. Naushad received Dadasahab Phalke for his excellent contribution to bollywood music. His songs and the films should be preserved and restored. Relationship with Roshanlal Nagrath. Whenever any reference relating to everlasting singer Mohammad Rafi comes, the attention goes to the big budget films and songs for big banners. Rafi is known the most for singing catchy numbers for Shammi Kapoor under the composition of Shankar Jaikishan and classical songs for Dilip Kumar under the composition of Naushad Ali. Although Rafi had sung brilliant songs for all the leading actors of 40s, 50, and 60s, much had been written about the successful films where both the songs and the films did excellent business. But Rafi had sung excellent songs for Pradeep Kumar under the composition of Roshanlal Nagrath, where even if the mass was not touched, the class was addressed and the royal andaz of singing showed the range of Rafi to suit his voice for any form of playback singing. The magic of Roshanlal Nagrath, Pradeep Kumar and Mohammad Rafi started in Aarti released in 1962. Phani Majumdar directed the film. Four of the songs of Rafi stand out, “aapne yaad dilaya”, “ab kya misaal doon”, “baar baar tohe kya” and “tere bin lage na jiya”. Some of them were solo songs, while others were duet songs sung with Lata Mangeshkar. There were other duet songs of Rafi with Asha Bhosle, but the ones in pathos andaz like “aapne yaad dilaya” mesmerized the audience. The lyrics of Majrooh Sultanpuri, the composition of Roshanlal Nagrath, the voice of Mohammad Rafi and lips of Pradeep Kumar made the viewers spellbound. None of the songs had lost their charm even today. The magic continued in the film Tajmahal in 1963. M. Sadiq directed the film. Pradeep Kumar played the role of Shahjahan while Beena Roy played the role of Mumtaz Mahal. Here the combination was different with Sahir Ludhiyanvi writing the songs for Roshan which were sung by Mohammad Rafi. Four of Rafi’s songs were masterpieces including “jo wada kiya wo nibhana parega”, “paon chulene do phulonko inayat hogi”, “chandi ka badan”, and “jo baat tujhme hai”. Roshanlal Nagrath won the filmfare award for the best composer only once in his life, that was for the composition of the music of the film Tajmahal. He deserved it many more number of times. Sahir Ludhiyanvi won the best lyricist award for the lyrics of the film. Rafi was as outstanding as Pradeep Kumar in the role of Shahjahan. The magic continued in the film Chitralekha in 1964. Kidar Sharma directed the film. Pradeep Kumar, Meena Kumari and Ashok kumar played the main roles. Rafi’s song “man re tu kahe na dheer dhare” is still considered one of the 10 best bhajans Rafi had sung. Sahir Ludhiyanvi wrote the songs of the film. Rafi’s other song “cha gaye badal” was equally impressive. The Roshan, Rafi, Pradeep Kumar combination continued in the film Bheegi Raat in 1965. It was directed by Kalidas. Rafi’s songs in the film “dil jo na keh saka”, “aise to na dekho”, “jane wo kaun hai kya naam hai”, “mohabbat se dekha” all were masterpieces. Some were duets with Suman Kalyanpur, while the others were solo songs sung by Mohammad Rafi. Lyrics were written by Majrooh Sultanpuri. The words were excellent. Rafi was unparallel in all the songs. The combination continued in the film Bahu Begum in 1967. It was directed by M. Sadiq. Rafi’s songs “hum intezar karenge tera qawamat tak”, “dhoond ke layun kahan se”, “vakiv hoon ishqgade” were all masterpieces. While some had ghazal andaz, the others were stand out qawallies with Manna Dey. Roshan was as brilliant as Mohammad Rafi as Sahir Ludhyianvi. In the same year, the combination was sublime in the film Noorjahan. Rafi sang the songs “aap jab se kareeb aye hain” and “wo mohabbat wo wafayen” in style. For a change the lyrics were written by Shakeel Badayani. The unfortunate death of Roshanlal Nagrath in 1967, ended the journey of Rafi with Roshan and Pradeep Kumar. Otherwise masterpieces after masterpieces could be created. Rafi’s archive should preserve the songs of Pradeep Kumar and Roshan, which showed the royal andaz of music existing in the courts of Mughals, Pathans and Sultans in India. Relationship with Madanmohan Kohli. If any composer had utilised the ghazal andaz of Mohammad Rafi to the best of his potentiality it is Madanmohan whose name appears in the minds of the lovers of music across the nation. Madanmohan’s father Rai Bahadur chunnilal send his son to Dehradun to join the army. Instead he left the army and joined All India Radio in Lucknow. He came in contact with Ustad Faizz Khan, Ustad Ali Akbar Khan and carried on their legacy in the compositions he made for 30 years which can be classified as masterpieces. As Madanmohan was not associated with the Big Banners like RK or Navketan, he was not categorised with any star of bollywood during 50s, 60s, 70s. Further he never wanted to balance the popular test of music and excellent class of classical compositions he created. But the compositions were so rich in lyrics and tunes that the musical pandits had no way but to admire them. The golden age of bollywood music was categorised with the excellence of Mohammad Rafi and as such if any composer neglected Rafi and tried to reach the summit of popularity they have invited their own downfall. Madanmohan did not make such a mistake. He started his career with the film Ankhen in 1950. He also composed music for Raj Kapoor’s film Ashiana in 1952. His notable songs for Rafi in the film Railway Platform, 1956, include “basti basti parbat parbat”. In Gateway of India, 1957, Madanmohan used Mohammad Rafi for the song “do ghari woh jo pass aa baithe” picturised on Bharatbhushan. It was very successful and strengthened the everlasting bond of Rafi with Madanmohan. Rafi’s intoxicating appeal in the song “kabhi na khabhi kahin na kahin koi na koi toi ayega” in the film Sharabi, 1964, composed by Madanmohan can be classified one of the best songs in sombre mood. The most majestic ghazals of Rafi composed by Madanmohan include “kisiki yaad me apnako hai bhulaye huye” and “baad muddat ke yeh ghari ayi” from the film Jahan ara, 1964, picturised on Bharat Bhushan. Talat Mehmood’s song in the same film “phir wohi sham wohi gham wohi tanhai hai” was also based on ghazal andaz. The classic lyrics were written by Rajinder Kishan. The film titled Ghazal, in 1964, was based on ghazals and Rafi was outstanding by every standard in the song “rang aur noor ki baraat kise pesh karun.” In the same year Rafi’s patriotic flavour was bolstered in the song “kar chale hum fida jan-o-tan sathiyon” in the film Haqeeqat, where Rafi’s ghazal titled “hoke majboor usne bulaya hoga” shared with Bhupinder Singh, Manna Dey and Talat Mehmood was sensational. The majestic lyrics were written by Kaifi Azmi. In the film Neela Akash, 1965, picturised on Dharmender, Rafi’s song “akhri geet muhobbat ka sunayun to chalun” showed the tragic note of Madanmohan. In the film Need Hamari Khwab Tumkhari, all the songs were sung by Rafi including “husn ne jab isq se takraya tha”. Returning back to ghazals, Rafi’s song “aap ke pehlu me akar” in the film Mera Saya, 1966, was as outstanding as Lata’s title song “tu jahan jahan chalega mera saya saath hoga”. The lyrics were written by Raja Mehendi Ali Kahan. Raj Khosla’s crime thriller ended up becoming a musical blockbuster just like Woh Kaun Thi, in 1964, where Madanmohan’s composition “naina barse,” “lagja gale”, etc. for Lata Mangeshkar was probably the most immortal creation in the history of film music, with Sadhna giving life time performances in ghostly characters in both these films. The landmark ghazal “tumhari zulf ke saye me sham karlunga” in the film Naunihal, in 1967, is probably one of the five best ghazals Rafi did sing in his life. Experts in music realise that ages will pass, but no second singer can provide blood and flesh in the superlative ghazal of Madanmohan the way Rafi had done in this song. Kaifi Azmi has written sensational lyrics for the abovementioned song. People started thinking that Rafi and Madanmohan were made for each other. The belief was put to action in the next film Dulhan Ek raat ki, in 1967, picturised on Dharmender in the song “ek haseen sham ko dil mera kho gaya. In the film Chirag, 1969, “teri aakhon ke siwa duniya me rakkha kya hai” Madanmohan combined ghazal with light orchestration to try to inspire the common listeners in understanding these type of songs. In the film Heer Ranjha, 1971, picturised on Rajkumar, Rafi’s song “yeh duniya yeh mehfil” was well acclaimed by music lovers. Rafi was outstanding by every standard in the song “tum jo mil gaye ho” in the film Hanste Zakhm, 1973, where Madanmohan synchronised lightning with his own orchestration. Madanmohan also gave a tremendous break to Bhupinder Singh in the song “dil dhoonta hai, phir wohi, fursat ke raat din” written by Gulzar in Sanjeev Kumar’s Mausam in 1975. Rafi had the song “chari re chari kaise gale me pari.” Madanmohan’s last performance with Jaidev brought out Rafi’s Himalayan range in the film Laila Majnu in 1977. Rafi’s songs “tere dar pe aya hoon,” “barbad muhobat ka duya saath liye ja”, picturised on Rishi Kapoor showed his master spirit of adapting to tunes of middle east which was the geographical location where the story was based. Madanmohan died in 1975, without even seeing the success of Laila Majnu, it appeared like out of seven sur in every octave one sur had gone, because, the majestic combination of Madanmohan with Rafi cannot be forgotten through ages. Rafi’s archive should restore Madanmohan’s combination to let the next generation know about the high esteem with which Madanmohan addressed Mohammad Rafi during the golden age of film music. Articles after articles can be written to show the indispensability of Rafisahab during the golden age. For listeners the intoxication still continues. Rafisahab’s voice sunke lagta hai sunte jay bas suntey hi jay. His admirers pay their respect and homage to the noble soul.