September 23, 2018
This album contain eighteen (18) jhankar songs.
(Heera Enterprises)
01. Bol Ri Kath Putli
02. Do Din Ki Bahaar
03. Ghoonghat Nahi Kholon
04. Hamain Hogaya Tum Se
05. Is Dunya Main Sab Chor
06. Jaari Jaari O Kaari
07. Jiya Le Gyo Ji Mora
08. Jogan Ban Jaaon Gi
09. Kaare Kaare Baadra
10. Kisi Ne Apna Bana Ke
11. Lo Pyaar Ki Hogai
12. Mujhe Mil Gaya Bahaana
13. Nazar Mere Dil Ki
14. Suno Ji More Rasya
15. Syyaan Jhooton Ka
16. Tera Teer O Be-Peer
17. Tu Kon He Mera Kehde
18. Tumhaare Sang Main Bhi
We, Hindi film retro-music sweethearts consistently contrast the current day music with that of the tunes from fifties and sixties, and consistently the current day numbers are discovered needing from various perspectives. We either criticize the uproarious ensemble or the trivial verses or the manner in which the artists have rendered and contrast them with the prior time which had significant verses, Indian old style based tunes and profoundly rendered, which consistently spoke to our heart, regardless of whether it was a sentimental number or an old style melody, whether it was enthusiastic or heartfelt or bhajans or even qawwalis.
At whatever point a Ghazal player is performing, we generally contrast him and the Ghazal King Talat Mehmood, a traditional or qawali artist with Mannada, a 'dard bhara' artist with Mukesh, a vocalist at higher pitch to Mahendra Kapoor, a Bengali Rabindra Sangeet entertainer to Hemant Da and a diverting artist to Kishore Da however KK himself was a flexible virtuoso. Who among the current day artists can render sexy numbers like Asha Bhonsle did and who can coordinate the 'Maa Saraswati', the adaptable Latadi in placing sentiments into a melody.
In the event that we can't actually contrast them and any of the above vocalists, at that point we generally have the most flexible Mohammed Rafi Sahab who was proficient at singing all kind of better than tunes as great and some of the time, surprisingly better than any other person. He hypnotized with his heavenly voice an entire age of music sweethearts during his profession of almost four decades.
Truth be told, when I tuned in to Kishore Da's "Aake Seedhi Lagi Dil Pe" from HALF TICKET, where KK sings in both male and female voice, I thought maybe this was one tune which Rafi Saab couldn't have rendered. No Sir, I thought too early. I wasn't right in light of the fact that, till at that point, I had not heard Rafiji's "Maike Se Aaja Biwiri" from DEVAR BHABHI, where he has changed his voice totally to coordinate the curious voice of the character entertainer Radhakrishna. Goodness, this man could have carted away any melodies without breaking a sweat with which he sang a portion of those record-breaking hits. Simply appreciate this tune.
In any event, warbling is constantly connected with KK, however what number of have heard Rafi Saab warbling in films like REPORTER RAJU (Gussa Fuzool Hai) and AGRA ROAD (Unse Rippi Tippi), he indicated that he is in the same class as KK even in this classification.
There are umpteen quantities of traditional tunes where Rafi Saab and the traditionally prepared flexible Mannada have sung together like 'Tu Hai Mera Prem Devta', 'Shud Bitar Gayi Aaz', and so on. The vast majority of the qawwalis were rendered by Rafi Ji and Mannada together and it is a treat as them two have contended at every single stage. Both have coordinated one another and we are profited by having such works of art in our CDs. He coordinated Mannada, however even RDB Pancham in "Yamma".
Rafiji exceeded expectations even in Classical Carnatic music numbers like "Kuhu" from SUVARNA SUNDARI.
What was so exceptional about him that significantly following thirty six years after his exit from this World, no day goes for any of the retro-music darlings without tuning in to his voice at any rate once. Truth be told, my day begins with my portable alert number itself, "Jai Raghunandan Jai Siyaram".
Thoroughly consider, what was so incredible about him? Truly, he had a heavenly voice which could be changed like Water into any tune. Valid, his voice fit the vast majority of the on-screen characters – legends, entertainers, character on-screen characters and even antagonists of the time so that while lip syncing, it never seemed odd. Concurred, he was exceptionally skilled having got contributions from such a significant number of stalwarts, however so were the majority of his peers. Most likely, his lingual authority was immaculate whether it was Hindi or some other language, an individual could get a handle on the verses at the primary endeavor itself. He could scale up and downsize his voice without losing 'Sur'. He was consistent at both higher Octaves just as lower. Obviously, he went through hours together in his 'riyaz' idealizing each expression of his melody.
We additionally realize that for him melody started things out and compensation later, so faithful was he to music. He never fretted over the notoriety of his Lyricists, Music Directors or on-screen characters. Likewise concurred that he was an intensive Gentleman, and liberal, which made us love him and regard him significantly more. Maybe his ever present grin likewise pulled in us to him and made us inclined toward him. Yet at the same time when one contrasts his singing ability and some other artist, he generally stuck out. What was that EXTRA and UNIQUE thing he had which made him such a singing Star.
Reasons can be many including all the above demonstrated characteristics. Be that as it may, I credit for the most part to his ability to place emotions into any melody. While rendering sentimental melodies, he would make sure that the audience would stare off into space with tunes – 'Jaane Bahar Husna' or 'Kahin Ek Masoom'. He caused us to sob with his heartfelt numbers – 'Babul Ki Duayen' or 'Aman Ka Farishta' or 'Dil Ek Mandir Hai'. He made us hit the dance floor with 'Aaja' or 'Dekho Abto'. He would have been similarly adroit at the present pop melodies as he appeared in tunes like 'Jaan Pehchaan Ho' or 'Laal Gaal'. His exotic numbers like 'Tumse Kahun' or 'Haseen Dilruba' excite energetic sentiments in the audience members. He carried tears with his enthusiastic numbers like 'Kar Chale' or 'Ae Watan'. He made us think with his progressive melodies like 'Yeh Mehlon' or 'Ye Kooche Ye Neelaam'. How delightfully the beat is worked from practically murmuring "Ye Mehlon Ye Takhton" first and foremost to the full throated "Jalado" at long last. Indeed, even a non-dim person however intrigued by Hindustani old style sangeet, would wonder about the interpretation of 'Madhuban Me Radhika' or 'Nache Man Mora'. A qawal couldn't want anything more than to imitate the mother of all qawalis, 'Na To Caravan' or 'Meri Tasveer Lekar' like Rafi Saab has recorded.
What would one be able to state about the GUIDE solo, "Racket Dhal Jaye", the melody had such a significant number of shades of feelings – harshness, dissatisfaction, love-lost, frustration and Rafi Saab drew out every one of those feelings into this one tune making it simple for the ever young Dev Anand to give maybe the best execution of his vocation. No big surprise, this tune is considered as a standout amongst other melody recorded in the Hindi Film Industry.
Truly, this is correctly what Rafi Saab gave with his melodies, the mind-set for the audience to hear those tunes in a similar state of mind. Maybe he was rendering those tunes to every one of the audience. The amount he probably battled in those fifteen or twenty days of 'practice' before the tune was at long last recorded, rehearsing to consummate the lingual authority, placing sentiments into every single word, a respite here and a 'harqat' there, full throated in one line and out of nowhere delicate warbling ("tumse bhi pyaar, inse bhi pyaar" from GANWAR's 'Duniya Haseen') with the goal that the last item goes directly to the audience's heart. On the off chance that one intently watches the manner in which he articulated words like 'Zaam', 'Nasha', 'Sharab', 'Khumar', and so forth it would show up as though this nondrinker himself had a peg before recording these melodies. Thus, if deliberately tuned in, one can encounter the tiredness in his voice when he articulates the word, 'thak' in the primary refrain in "Meri Aawaaz Suno". Rafi Saab had a special method for articulating 'Mohabbat' and 'Pyaar'. 'Mohabbat' was constantly articulated as 'Muhabbat' and his voice would turn out to be delicate while rendering 'Pyaar'. Tune in to "Phir Wo Bhoolisi Yaad" and cautiously tune in to his singing "Repetition Hi" in the last refrain, it shows up as though he himself is sobbing while at the same time articulating the word. The feelings he communicated while singing "Aman Ka Farishta" and "Babul Ki Duaen" can't be coordinated.
The title tune of AADMI was a success. In you-tube, we can get another variant sung by another mainstream playback vocalist, however one can without much of a stretch see the distinction. In spite of the fact that the subsequent variant has been sung well, yet the mistake, disarray and different feelings fit to the picturized scene in the Rafi Saab form is absolutely absent.
Well Rafi Saab, I have a protest, you have set such a high benchmark, that we generally want to contrast all the vocalists and you and in the process feel baffled. In any case, I fear to figure what might have happened to us all if Singers like you were not conceived. Indeed, even your most sentimental melodies carry tears to me, as I begin thinking whether any normal person can sing so superbly. They state any wonderful thing will cause your heart to sob, and I sob when I hear you out, on the grounds that your melodies are the most lovely stable one can hear in this World. You have won such huge numbers of grants, yet much after such a large number of years you are still in the hearts of such a significant number of individuals and that is the best honor, you have earned. People of prior age, however even youngsters including exceptionally little youngsters appreciate singing your tunes, as demonstrated in the numerous TV music rivalries.
At whatever point a Ghazal player is performing, we generally contrast him and the Ghazal King Talat Mehmood, a traditional or qawali artist with Mannada, a 'dard bhara' artist with Mukesh, a vocalist at higher pitch to Mahendra Kapoor, a Bengali Rabindra Sangeet entertainer to Hemant Da and a diverting artist to Kishore Da however KK himself was a flexible virtuoso. Who among the current day artists can render sexy numbers like Asha Bhonsle did and who can coordinate the 'Maa Saraswati', the adaptable Latadi in placing sentiments into a melody.
In the event that we can't actually contrast them and any of the above vocalists, at that point we generally have the most flexible Mohammed Rafi Sahab who was proficient at singing all kind of better than tunes as great and some of the time, surprisingly better than any other person. He hypnotized with his heavenly voice an entire age of music sweethearts during his profession of almost four decades.
Truth be told, when I tuned in to Kishore Da's "Aake Seedhi Lagi Dil Pe" from HALF TICKET, where KK sings in both male and female voice, I thought maybe this was one tune which Rafi Saab couldn't have rendered. No Sir, I thought too early. I wasn't right in light of the fact that, till at that point, I had not heard Rafiji's "Maike Se Aaja Biwiri" from DEVAR BHABHI, where he has changed his voice totally to coordinate the curious voice of the character entertainer Radhakrishna. Goodness, this man could have carted away any melodies without breaking a sweat with which he sang a portion of those record-breaking hits. Simply appreciate this tune.
In any event, warbling is constantly connected with KK, however what number of have heard Rafi Saab warbling in films like REPORTER RAJU (Gussa Fuzool Hai) and AGRA ROAD (Unse Rippi Tippi), he indicated that he is in the same class as KK even in this classification.
There are umpteen quantities of traditional tunes where Rafi Saab and the traditionally prepared flexible Mannada have sung together like 'Tu Hai Mera Prem Devta', 'Shud Bitar Gayi Aaz', and so on. The vast majority of the qawwalis were rendered by Rafi Ji and Mannada together and it is a treat as them two have contended at every single stage. Both have coordinated one another and we are profited by having such works of art in our CDs. He coordinated Mannada, however even RDB Pancham in "Yamma".
Rafiji exceeded expectations even in Classical Carnatic music numbers like "Kuhu" from SUVARNA SUNDARI.
What was so exceptional about him that significantly following thirty six years after his exit from this World, no day goes for any of the retro-music darlings without tuning in to his voice at any rate once. Truth be told, my day begins with my portable alert number itself, "Jai Raghunandan Jai Siyaram".
Thoroughly consider, what was so incredible about him? Truly, he had a heavenly voice which could be changed like Water into any tune. Valid, his voice fit the vast majority of the on-screen characters – legends, entertainers, character on-screen characters and even antagonists of the time so that while lip syncing, it never seemed odd. Concurred, he was exceptionally skilled having got contributions from such a significant number of stalwarts, however so were the majority of his peers. Most likely, his lingual authority was immaculate whether it was Hindi or some other language, an individual could get a handle on the verses at the primary endeavor itself. He could scale up and downsize his voice without losing 'Sur'. He was consistent at both higher Octaves just as lower. Obviously, he went through hours together in his 'riyaz' idealizing each expression of his melody.
We additionally realize that for him melody started things out and compensation later, so faithful was he to music. He never fretted over the notoriety of his Lyricists, Music Directors or on-screen characters. Likewise concurred that he was an intensive Gentleman, and liberal, which made us love him and regard him significantly more. Maybe his ever present grin likewise pulled in us to him and made us inclined toward him. Yet at the same time when one contrasts his singing ability and some other artist, he generally stuck out. What was that EXTRA and UNIQUE thing he had which made him such a singing Star.
Reasons can be many including all the above demonstrated characteristics. Be that as it may, I credit for the most part to his ability to place emotions into any melody. While rendering sentimental melodies, he would make sure that the audience would stare off into space with tunes – 'Jaane Bahar Husna' or 'Kahin Ek Masoom'. He caused us to sob with his heartfelt numbers – 'Babul Ki Duayen' or 'Aman Ka Farishta' or 'Dil Ek Mandir Hai'. He made us hit the dance floor with 'Aaja' or 'Dekho Abto'. He would have been similarly adroit at the present pop melodies as he appeared in tunes like 'Jaan Pehchaan Ho' or 'Laal Gaal'. His exotic numbers like 'Tumse Kahun' or 'Haseen Dilruba' excite energetic sentiments in the audience members. He carried tears with his enthusiastic numbers like 'Kar Chale' or 'Ae Watan'. He made us think with his progressive melodies like 'Yeh Mehlon' or 'Ye Kooche Ye Neelaam'. How delightfully the beat is worked from practically murmuring "Ye Mehlon Ye Takhton" first and foremost to the full throated "Jalado" at long last. Indeed, even a non-dim person however intrigued by Hindustani old style sangeet, would wonder about the interpretation of 'Madhuban Me Radhika' or 'Nache Man Mora'. A qawal couldn't want anything more than to imitate the mother of all qawalis, 'Na To Caravan' or 'Meri Tasveer Lekar' like Rafi Saab has recorded.
What would one be able to state about the GUIDE solo, "Racket Dhal Jaye", the melody had such a significant number of shades of feelings – harshness, dissatisfaction, love-lost, frustration and Rafi Saab drew out every one of those feelings into this one tune making it simple for the ever young Dev Anand to give maybe the best execution of his vocation. No big surprise, this tune is considered as a standout amongst other melody recorded in the Hindi Film Industry.
Truly, this is correctly what Rafi Saab gave with his melodies, the mind-set for the audience to hear those tunes in a similar state of mind. Maybe he was rendering those tunes to every one of the audience. The amount he probably battled in those fifteen or twenty days of 'practice' before the tune was at long last recorded, rehearsing to consummate the lingual authority, placing sentiments into every single word, a respite here and a 'harqat' there, full throated in one line and out of nowhere delicate warbling ("tumse bhi pyaar, inse bhi pyaar" from GANWAR's 'Duniya Haseen') with the goal that the last item goes directly to the audience's heart. On the off chance that one intently watches the manner in which he articulated words like 'Zaam', 'Nasha', 'Sharab', 'Khumar', and so forth it would show up as though this nondrinker himself had a peg before recording these melodies. Thus, if deliberately tuned in, one can encounter the tiredness in his voice when he articulates the word, 'thak' in the primary refrain in "Meri Aawaaz Suno". Rafi Saab had a special method for articulating 'Mohabbat' and 'Pyaar'. 'Mohabbat' was constantly articulated as 'Muhabbat' and his voice would turn out to be delicate while rendering 'Pyaar'. Tune in to "Phir Wo Bhoolisi Yaad" and cautiously tune in to his singing "Repetition Hi" in the last refrain, it shows up as though he himself is sobbing while at the same time articulating the word. The feelings he communicated while singing "Aman Ka Farishta" and "Babul Ki Duaen" can't be coordinated.
The title tune of AADMI was a success. In you-tube, we can get another variant sung by another mainstream playback vocalist, however one can without much of a stretch see the distinction. In spite of the fact that the subsequent variant has been sung well, yet the mistake, disarray and different feelings fit to the picturized scene in the Rafi Saab form is absolutely absent.
Well Rafi Saab, I have a protest, you have set such a high benchmark, that we generally want to contrast all the vocalists and you and in the process feel baffled. In any case, I fear to figure what might have happened to us all if Singers like you were not conceived. Indeed, even your most sentimental melodies carry tears to me, as I begin thinking whether any normal person can sing so superbly. They state any wonderful thing will cause your heart to sob, and I sob when I hear you out, on the grounds that your melodies are the most lovely stable one can hear in this World. You have won such huge numbers of grants, yet much after such a large number of years you are still in the hearts of such a significant number of individuals and that is the best honor, you have earned. People of prior age, however even youngsters including exceptionally little youngsters appreciate singing your tunes, as demonstrated in the numerous TV music rivalries.
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