February 17, 2020
This album contain fourteen (14) jhankar songs.
(AM Jhankar Enterprises)
01. Aap Ke Haseen Rukh
02. Ek Musaafir Ko Dunya
03. Ham Ko To Jaan Se
04. Ham Ko Tumhaare Ishq
05. Jaane Mera Dil Kise
06. Jab Dil Se Dil Takraata
07. Log Kehte Hain Keh
08. Mujhe Dekh Kar Aap
09. Sapne Jhare Phool Se
10. Subah Na aai Shaam
11. Thukra Ke Hamain Chal
12. Tum Hamain Bhool
13. Voh Ham Na The Voh
14. Yehi He Voh Saanjh Or
Rafi Sahab ought to have gotten filmfare grants for some different tunes
Rafi Sahab is recalled everywhere throughout the world on his introduction to the world commemoration on 24th December, 2019. He had stayed a motivation for various vocalists everywhere throughout the world. While he got filmfare for best male playback vocalist multiple times, there were a lot more melodies where he merited the filmfare grant.
1953 "O Duniya ke rakhwale" Naushad Ali The filmfare grants began in 1953 yet around then just a single artist grant was given. Rafi Sahab merited the honor for splendid bhajan andaz and otherworldly interpretation of the tune in film Baiju Bawra.
1954 "nanhe munne bachche teri mutthi me kya hai" Shankar Jaikishan The melody had incredible way of thinking identified with kids. It was from film Boot Polish which saved Indian and universal honors.
1955 "o entryway ke musafir murmur ko bhi saath le" Naushad Ali The melody had extraordinary chorale andaz and deplorable andaz. Dilip Kumar's "catastrophe lord" picture was supported by the verses and interpretation of the tune in film Uran Khatola.
1956 "duniya capture bhay" Shankar Jaikishan The tune had both old style andaz and reverential andaz. It was a melodic film with Shankar Jaikishan depicting distinctive ragas. Rafi Sahab adjusted the state of mind of film Basant Bahar.
1957 "chal udja re panchi ki abdominal muscle yeh desh hua begana" Chitragupt The tune was philosophical in nature. It had extraordinary message for society. Rafi Sahab communicated the message of chief in the film Bhabhi.
1958 "primary soya ankhiyan meeche" OP Nayyar The tune was a two part harmony melody with Asha Bhosle. Be that as it may, it had incredible sentimental andaz of OP Nayyar in the film Phagun.
1960 "madhuban me radhika nache re" and "zindagi bhar nahin bhoolegi barsaat ki raat" Naushad Ali and Roshanlal Nagrath Rafi Sahab won the filmfare grant for the melody "chaudhvin ka chand ho" however he merited the honor in "madhuban me radhika" for splendid interpretation of raag hamir and "zindagi bhar nahi bhulegi" for amazing ghazal andaz.
1962 "stomach muscle kya misaal doon" Roshanlal Nagrath Rafi Sahab ought to have won the honor for brilliant interpretation of ghazal andaz and delicate sentimental andaz
1963 "simple mehboob tujhe meri mohabbat ki kasam" Naushad Ali Rafi Sahab ought to have won the honor for the best ghazal and mushaira. Rafi Sahab by Naushad Ali's tunes and Shakeel's shayari shown the urdu ghazal culture of Lucknow, Aligarh.
1964 "kisi ki yaad mein apne ko hai bhulaye tint", "man re tu kahe na dheer dhare" and "apni azadi ko murmur hargiz mita sakte nahi" Madan Mohan Kohli, Roshanlal Nagrath and Naushad Ali. Rafi Sahab achieved the extraordinary ghazal culture of Lucknow, Aligarh and duplicated the history during Mughal period. Madan Mohan Kohli's music in film Jahan Aara had incredible ghazal andaz.
"man re" is considered as extraordinary compared to other bhajans Rafi Sahab sang in Pradeep Kumar's Chitralekha having philosophical andaz. "apni azadi" had fabulous devoted andaz and Rafi Sahab merited filmfare grant for rendering enthusiastic andaz in Dilip Kumar's film Leader.
1965 "yes watan yes watan humko teri kasam" Prem Dhawan Rafi Sahab merited filmfare grant for exceptional enthusiastic in the film Shaheed dependent on Shahid Bhagat Singh's life depicted by Manoj Kumar
1966 "aaja re aa zara aa" and "aapse maine meri jaan mohabbat ki hai" Shankar Jaikishan and OP Nayyar Rafi Sahab merited filmfare grant for western andaz of singing in Joy Mukherjee's Love in Tokyo in inebriating disposition and three step dance andaz tune in Biswajit's Yeh Raat Phir Na Aayegi
1967 "murmur intezar karenge tera qayamat tak" Roshanlal Nagrath Rafi Sahab merited filmfare grant for interpretation of regal style of singing during the time of Nawabs of northern India in Pradeep Kumar's film Bahu Begum.
1968 "babul ki duayen leti ja" Ravi Shankar Sharma Rafi Sahab merited filmfare grant for singing the best melody dependent on getting little girls wedded. The sentiment of the guardians of the little girls is brought by Rafi Sahab in Balraj Sahni's Neel Kamal.
1969 "teri aankhon ke siva duniya me rakha kya hai" Madan Mohan Kohli Rafi Sahab merited filmfare grant for interpretation of amazing quality ghazal with sentimental andaz in Sunil Dutt's film Chirag.
1971 "unke khayal aaye to aate chale gaye" Shankar Jaikishan Rafi Sahab merited filmfare grant for singing melodies having mujra andaz the manner in which it was sung in illustrious courts of nawabs in Raj Kumar's film Lal Patthar.
1973 "tum jo mil gaye ho" Madan Mohan Kohli Rafi Sahab merited filmfare grant on the grounds that the arrangement was identified with development of star in vehicle in the film and Rafi Sahab acquired the sentimental state of mind stormy mood in Navin Nischal's Hanste Zakhm.
1976 "barbad mohabbat ki dua saath liye ja" Jaidev and Madan Mohan Kohli Rafi Sahab merited filmfare grant for introducing style of singing in center east dependent on life of Laila Majnu in Rishi Kapoor's film Laila Majnu.
1977 "parda hai parda" and "shirdiwale Saibaba" Laxmikant Pyarelal Rafi Sahab merited filmfare grant for introducing style of qawwali in "parda hai" and rendering splendid otherworldly tune with bhajan andaz in "Shirdiwale Saibaba" in Rishi Kapoor's film Amar Akbar Anthony.
The verses of greater part of these tunes were composed by famous artists, shayars like Shakeel Badayuni, Shailendra, Hasrat Jaipuri, Majrooh Sultanpuri, Raja Mehdi Ali Khan, Rajinder Krishan, Sahir Ludhianvi, SH Bihari and others. The standard of singing was high. The scope of Rafi Sahab was boundless. So the way that the best artist of the century Rafi Sahab getting just 6 filmfare grants never show the extraordinary commitment for those 35 years where he sang undying tunes and offered articulation to the considerations of executives, makers, journalists, writers, performers.
Rafi Sahab is recalled everywhere throughout the world on his introduction to the world commemoration on 24th December, 2019. He had stayed a motivation for various vocalists everywhere throughout the world. While he got filmfare for best male playback vocalist multiple times, there were a lot more melodies where he merited the filmfare grant.
1953 "O Duniya ke rakhwale" Naushad Ali The filmfare grants began in 1953 yet around then just a single artist grant was given. Rafi Sahab merited the honor for splendid bhajan andaz and otherworldly interpretation of the tune in film Baiju Bawra.
1954 "nanhe munne bachche teri mutthi me kya hai" Shankar Jaikishan The melody had incredible way of thinking identified with kids. It was from film Boot Polish which saved Indian and universal honors.
1955 "o entryway ke musafir murmur ko bhi saath le" Naushad Ali The melody had extraordinary chorale andaz and deplorable andaz. Dilip Kumar's "catastrophe lord" picture was supported by the verses and interpretation of the tune in film Uran Khatola.
1956 "duniya capture bhay" Shankar Jaikishan The tune had both old style andaz and reverential andaz. It was a melodic film with Shankar Jaikishan depicting distinctive ragas. Rafi Sahab adjusted the state of mind of film Basant Bahar.
1957 "chal udja re panchi ki abdominal muscle yeh desh hua begana" Chitragupt The tune was philosophical in nature. It had extraordinary message for society. Rafi Sahab communicated the message of chief in the film Bhabhi.
1958 "primary soya ankhiyan meeche" OP Nayyar The tune was a two part harmony melody with Asha Bhosle. Be that as it may, it had incredible sentimental andaz of OP Nayyar in the film Phagun.
1960 "madhuban me radhika nache re" and "zindagi bhar nahin bhoolegi barsaat ki raat" Naushad Ali and Roshanlal Nagrath Rafi Sahab won the filmfare grant for the melody "chaudhvin ka chand ho" however he merited the honor in "madhuban me radhika" for splendid interpretation of raag hamir and "zindagi bhar nahi bhulegi" for amazing ghazal andaz.
1962 "stomach muscle kya misaal doon" Roshanlal Nagrath Rafi Sahab ought to have won the honor for brilliant interpretation of ghazal andaz and delicate sentimental andaz
1963 "simple mehboob tujhe meri mohabbat ki kasam" Naushad Ali Rafi Sahab ought to have won the honor for the best ghazal and mushaira. Rafi Sahab by Naushad Ali's tunes and Shakeel's shayari shown the urdu ghazal culture of Lucknow, Aligarh.
1964 "kisi ki yaad mein apne ko hai bhulaye tint", "man re tu kahe na dheer dhare" and "apni azadi ko murmur hargiz mita sakte nahi" Madan Mohan Kohli, Roshanlal Nagrath and Naushad Ali. Rafi Sahab achieved the extraordinary ghazal culture of Lucknow, Aligarh and duplicated the history during Mughal period. Madan Mohan Kohli's music in film Jahan Aara had incredible ghazal andaz.
"man re" is considered as extraordinary compared to other bhajans Rafi Sahab sang in Pradeep Kumar's Chitralekha having philosophical andaz. "apni azadi" had fabulous devoted andaz and Rafi Sahab merited filmfare grant for rendering enthusiastic andaz in Dilip Kumar's film Leader.
1965 "yes watan yes watan humko teri kasam" Prem Dhawan Rafi Sahab merited filmfare grant for exceptional enthusiastic in the film Shaheed dependent on Shahid Bhagat Singh's life depicted by Manoj Kumar
1966 "aaja re aa zara aa" and "aapse maine meri jaan mohabbat ki hai" Shankar Jaikishan and OP Nayyar Rafi Sahab merited filmfare grant for western andaz of singing in Joy Mukherjee's Love in Tokyo in inebriating disposition and three step dance andaz tune in Biswajit's Yeh Raat Phir Na Aayegi
1967 "murmur intezar karenge tera qayamat tak" Roshanlal Nagrath Rafi Sahab merited filmfare grant for interpretation of regal style of singing during the time of Nawabs of northern India in Pradeep Kumar's film Bahu Begum.
1968 "babul ki duayen leti ja" Ravi Shankar Sharma Rafi Sahab merited filmfare grant for singing the best melody dependent on getting little girls wedded. The sentiment of the guardians of the little girls is brought by Rafi Sahab in Balraj Sahni's Neel Kamal.
1969 "teri aankhon ke siva duniya me rakha kya hai" Madan Mohan Kohli Rafi Sahab merited filmfare grant for interpretation of amazing quality ghazal with sentimental andaz in Sunil Dutt's film Chirag.
1971 "unke khayal aaye to aate chale gaye" Shankar Jaikishan Rafi Sahab merited filmfare grant for singing melodies having mujra andaz the manner in which it was sung in illustrious courts of nawabs in Raj Kumar's film Lal Patthar.
1973 "tum jo mil gaye ho" Madan Mohan Kohli Rafi Sahab merited filmfare grant on the grounds that the arrangement was identified with development of star in vehicle in the film and Rafi Sahab acquired the sentimental state of mind stormy mood in Navin Nischal's Hanste Zakhm.
1976 "barbad mohabbat ki dua saath liye ja" Jaidev and Madan Mohan Kohli Rafi Sahab merited filmfare grant for introducing style of singing in center east dependent on life of Laila Majnu in Rishi Kapoor's film Laila Majnu.
1977 "parda hai parda" and "shirdiwale Saibaba" Laxmikant Pyarelal Rafi Sahab merited filmfare grant for introducing style of qawwali in "parda hai" and rendering splendid otherworldly tune with bhajan andaz in "Shirdiwale Saibaba" in Rishi Kapoor's film Amar Akbar Anthony.
The verses of greater part of these tunes were composed by famous artists, shayars like Shakeel Badayuni, Shailendra, Hasrat Jaipuri, Majrooh Sultanpuri, Raja Mehdi Ali Khan, Rajinder Krishan, Sahir Ludhianvi, SH Bihari and others. The standard of singing was high. The scope of Rafi Sahab was boundless. So the way that the best artist of the century Rafi Sahab getting just 6 filmfare grants never show the extraordinary commitment for those 35 years where he sang undying tunes and offered articulation to the considerations of executives, makers, journalists, writers, performers.
آپ کی کمپوزنگ بہت کمال ہےمیں آپکو یوٹیوب پر بہت ڈھونڈا آخر کافی عرصے کے بعد آپ کو ڈھونڈ لیا
ReplyDelete