2.yaad me teri

3.tumse izhare haal kar baithe

4.ai husn zara jaag

5.ai nargise mastana

6.ai phoolon ki rani

7.chhalke teri aankhon se

8.aji humse bachkar

9.aman ka farishta

10.aaj ki raat ye kaisi raat

11.humse to achchi

12.ye mera prempatra parhkar

13.tum kamsin ho nadan ho

14.o sanam tere ho gaye hum

15.aaye milan ki bela

16.aaja tujhko pukare mere geet re

17.khuda bhi aasman se

18.aajko juneli raat ma

19.kah do koi na kare

20. yaad na jaye

21.kaun hai jo sapnon me aaya

22.teri pyari pyari surat ko

23.husnwale terai jawab nahi

24.kya mil gaya kya

25.karke jiska intezar

26.chehre pe giri zulfein

27.kaha chal diye

28.itna hai tumse pyar

29.baharon phool barsao

30. mai rahi anjani rahon ka

31.peeke sharab khelunga

32 poochhe jo koi mujhse

2.kisne mujhe sada di-rafi,suman

3.dil ki mehfil sazi hai-rafi

4.pyar ki raah——-rafi,asha

5.saaz ho tum—rafi

To download, click the bottom link.

Dastaan(1950)

1.dhadak dhak dil(with suraiyya)

2.dil ko teri tasveer(with suraiyy

3.tarari tarari(with Suraiyya)

Shabaab(1954)

4.man ki been(with lata)

5.aye na balam(solo)

6.mehlon me rahne wale(solo)

7.yehi armaan lekar(solo)

Amar(1955)

8.insaaf ka mandir hai ye(solo)

uran khatola((1955)

9.chale aaj tum jaha se(solo)

10.muhabbat ki rahon me(solo)

11.na tufaan se khelo(solo)

Mother India(1957)

12.dukh bhare din(with shamshad, chorus)

13.gadi wale gadi dheere haank re(with shamshad)

14.matwala jiya(with lata)

15.Na mai bhagwan hu(solo)

Sohni Mahiwal(1958)

16.aaj galiyon me teri(solo)

17.aanewale ko(with lata)

18.dunia hai isi ka(solo)

19.mahiwal calls(solo)

20.mera bichhda yaar(with lata)

21.teri mahfil tera jalwa(solo)

Mughle Azam(1960)

22.ai muhabbat zindabad(solo)

Kohinoor(1960)

23.madhuban me radhika(with amirkhan/sd batish)

24.do sitaaron ka zameen(with lata)

25.tan ranglo ji (with lata)

26.zara man ki kewadiya khol(solo)

27.chalenge teer jab dil par(with lata)

28.dhal chuki shaame gham(solo)

29.koi pyar ki dekhe jadugari(with Lata)

and the link is

http://www.mediafire.com/?sharekey=ea625cdd65080ae04012e8015643d9c801d197438f5223f5

The voice had adopted a dare-devil attitude. Behind all these moods lay one man Mohammad Rafi. Professionally acclaimed, personally Mr. Rafi preferred to be an unknown. He hid his name and family from the eyes of the industry and the public. Today, eight years after his death, Mrs. Rafi resurrects the man behind the singer. The father behind the professional. The husband behind the Rafi saab that we all knew and loved.

I did not have a father only my mother and an elder brother. But from as far back as I can remember, Rafi saab was a household name. My sister had married his elder brother, and it was she who brought the proposal home. I was doing my sixth standard examinations and had just returned from school, when my sister told me, tomorrow you are getting married, I was 13 years old and Rafi Saab was 19. I didn’t know the meaning of the word shaadi, but did exactly as I was advised.
I don’t want to elaborate on the marriage, because I was probably too young to understand what was happening to me.

Rafi saab had been singing from the age of 10. So when we got married, he was well into singing ghazals (which were a rage at that time), and film songs. But since I came from a very conservative upbringing, I didn’t quite like music, it didn’t matter so much to me. Even when we were married, Rafi saab didn’t encourage me to listen to his songs. He’ld always smilingly look at me and joke. If you only paid attention to my singing, who will do the house work? We would share a good laugh about it.

We lived in a chawl at Dongri in the beginning of our marriage. I never felt anything, because I knew my young husband would be great one day. A little later, we shifted to a chawl in Bhendi Bazar, but Rafi saab didn’t quite like the area. So by the grace of Allah and fate, we soon took up an ownership flat at Colaba.

I never interfered in my husband’s work, but I realised that things were looking up for us. Even though Rafi saab never showed it,  he remained a simple man throughout his fame. In 1954, we shifted to our home in Bandra and have remained here ever since. It was here that we had six of our seven children, four sons and three daughters.

Rafi saab was a very simple human being. His life revolved around his children. In fact, I’ld say “unki zindagi bachche the“.
I can’t recall a single moment when he never asked about them. His was a routine: a home-to-recording-and-back-home schedule. After which, he’ld promptly ask me if the children wanted anything. There was nothing he wouldn’t give them. Only the Almighty above knows how they didn’t grow up spoilt. They adored their father and were very proud of him. The only thing the children disliked about their abba was that he didn’t encourage taking them to recordings, functions or movies. In fact, they hated going to the movies with their father, because it was always the case of entering late after the film begun and we’ll leave before it ended. The kids always complained that they didn’t know what the start and end was!

All this stemmed from the fact that Rafi saab disliked publicity of any kind. It was funny, because even if we were attending a marriage, he’ld promptly tell the driver to wait near the gate. He’ld enter, go straight to the bridal couple and after wishing them warmly, he’ld walk back to the car and we’ld drive home. It was quite a joke really.

Even the interviews he had to give, weren’t done by him. The previous night, he would sit with his elder brother Abdul Amin and he’ld explain to him how to answer. All Rafi saab’s interviews were done by his elder brother. Infact, he treated Abdul saab like a father, the man literally caught my husband’s finger and taught him to walk. Abdul saab figures very prominently in making my husband the celebrity he finally became.

Habits? Rafi saab as far back as I remember, would wake up every day at 3am and do his riyaaz. After about two-and-a-half-hours of that, he’ld go and play a game of badminton. Yes, the only funny habit he did have, was to fly kites. Even if he had a half-hour break between one recording and another, he would rush home, run up to the terrace and start flying his kites. He was like a child when it came to his kite flying. And he’ld sulk like a baby if his kites were cut. This habit was his only love till the end.

I think his greatness lay in his humble attitude towards people. He was very religious and never forgot to thank Allah for what he had become and achieved. The whole world around him had progressed, people had changed, but Rafi saab knew nothing of it, his ways never changed according to the times. For him, it was the togetherness of his family which mattered. I think he was at his best when he would call all of our relatives over, ask me to cook a lovely meal and sit and chat. The unity of our whole family, is what Rafi saab was very sentimental about.

My husband didn’t have any favourite singers. For any song that was sung well, he’ld praise the singer. And even if he did like someone more than another, it was never mentioned even to us. He always felt that if he took sides, he’ld be hurting so many others in the bargain. If anyone came and said, Rafi saab, you sang so well that that movie is a hit and the hero has become big, he’ld answer, if it wasn’t for the music director or that hero, I wouldn’t be singing that song. “Inki vajay se mujhe kaam mila“.

Every music director that he worked with was treated with equal respect. For example: when Rafi saab was already an established singer, Laxmikant-Pyarelal were violinists in Shankar-Jaikishen’s group. Yet, when Laxmi-Pyare became big, never once did Rafi saab consider them as mere violinists. He’ld always say, Mere ustaad hain, I will learn more by singing for him.

Favourite songs? I know he loved his song from Dulari under Naushad saab’s music  “suhani raat dhal chuki, na jaane tum kab aaogee“. But there were quite a few of his own songs which he liked. I knew it, because after his recording, he’ld gather the children, bring out the harmonium and sing the song. He’ld do this quite often when he was in a happy mood. What Rafi saab did quite enjoy, was when he had sung a song with a star like with Nanda in “Jab Jab Phool Khile” or with Saira in “Aman“. He always told us excitedly, today I sang with so-and-so.

Favourite films? God knows what he liked about it, but he saw Sholay thrice. He attended many trials, but I don’t remember him mentioning any film in particular.

As far as actors were concerned, Rafi saab did have a special liking for Sammiji and Dharamji. Shammiji, almost at every recording, would listen to Rafi saab and literally act out how he’ld do a particular line, or make an expression with a particular word. Dharamji was another actor who always openly showered his love on Rafi saab. Bada pyar tha in dono actoron ke liye. In fact, I am proud to say that I don’t think there is any film industry person who didn’t love my husband. And personally, he never spoke a word against anyone.

I spent the most wonderful 35 years of my life with Rafi saab before he passed away on July 31, 1980. He was going to be 54. I remember it even today. He had been requested to do a Bengali recording for their Kaali pooja album. The day before that, he told me I’m tired, I don’t think I’ll be able to sing this Bengali song. So I told him to tell the people to take somebody else. No, no they’re coming all the way from Calcutta in the hope that I will agree. I’ll do it this year, but next year I’ll say no.

The next day, he sat for rehearsal from 9:30am and was in pain, but he refused to tell us anything till 12:30 in the afternoon. We scolded him about it, but he told us, “those who come to the Rafi residence, should never return empty-handed”. These were his last words.

He was in a lot of pain and was sweating profusely. It was also in the month of Ramzan, so he was hungry. His hands and feet were yellow. The doctors asked us to shift him to a hospital, explaining that Rafi saab had suffered a very major heart attack. The end came soon after that.

Today, when I look back I am grateful for the children we have borne. They have been wonderful sons and daughters, and have been my strength for the last eight years, after his passing away. But yet there are moments when I wish I was 13 years old and Rafi saab was 19. There are times when I wish he’ld come to me like he would nearly every evening, sit beside me and ask me, “What is troubling you? Tell me your troubles and they’ll all go away”.

1. Chori chori ana na khidki tale tum
Singers:Rafi-Asha
Film:Miss Mala (1954)
MD: Chitragupt
(This song appears twice in the film, once on some other actor
and
Vaijayantimala. At the end of the film mukhada of this song is filmed
on Kishore-vaijayantimala)

2. Hume Koi Ghum Hai
Singers:Rafi-Asha
Film: Bhagam Bhag (1956)
MD: OP
(Rafi’s voice is used for both Kishore Kumar & Bhagwan)

3. Dil Diya daulat Ko
Singers:S D Batish-Rafi
Film: Bhagam Bhag (1956)
MD: OP

4. Maseeha Ban Ke Beemaron ka- Chale Ho Kaha karake Ji Bekrar
Singers:S D Batish-Rafi
Film: Bhagam Bhag (1956)
MD: OP

5. Man Mora Bawara
Singer:Rafi
Film: Ragini (1958)
MD: OP

6. Ajab Hai dasta teri Ae Zindagi (Part I and Part II)
Singer:Rafi
Film: Shararat (1959)
MD: SJ

7. Tu Mera copyright
Singer:Rafi
Film: Shararat (1959)
MD: SJ

8. Apni adat hai sabko salam karana
Singer: Rafi
Film: Pyar Diwana(1972)
MD: Lala-Sattar

9. Main iss masoom chehre ko
Singers: Rafi & Suman Kalyanpur
Film: Baghi Shehzada(1964)
MD: Bipin

10. Bin paise har khel hai jhootha
Singers: Kishore Kumar, Rafi, Asha, Lata
Film: Paisa hi Paisa(1956)
MD: Anil Biswas

11. Aye wadiye kashmir
Singer: Rafi
Film: Ladka Ladki(1966)
MD: Madan Mohan

Even at 72, the voice that took high pitch singing to unmatched levels still has a lot to offer. The affable veteran singer says that his sufiana album is something he wanted to do after he had his full in other genres of singing.

Dwelling at length on his relationship with the legendary playback singer Mohammed Rafi, Kapoor says: “Rafi saab had made it very clear, much before my career hit a high note, that we should not sing together, mainly because of two reasons. One because we shared a guru-chela relationship and there should be no competition between us and secondly because our voices are very similar.”

Kapoor crooned some unforgettable Bollywood chartbusters like “Chalo ek baar phir se” (“Gumraah”, 1963), “Aadha hai chandrama” (“Navrang”, 1959), “Neele gagan ke tale” (“Humraaz”, 1967) and “Laakhon hai yahan dilwale” (“Kismat”, 1968).

Even today, he has a music teacher who comes to his Carter Road residence in Bandra in central Mumbai twice a week.

The Amritsar-born singer, who began his career with “Madmast” (1953) is genial enough to sing a couple of lines of that lilting Sahir Ludhianvi gem “Aap Aye to Khayal-e-Dil-e-Nashaad Aaya” without the airs of a veteran for this correspondent.

Excerpts from an exclusive interview with IANS:

Q: How do you feel when you look back at your career?

A: Satisfied is what I would like to say. I have done what I always wanted to do as a child. I have sung in almost all genres – classical, qawwali, bhajans, romantic etc.
I perhaps missed out on sufiana music. So this new album will fulfil that aspect.

Q: Your voice was considered best for high pitched numbers like “Na Munh Chupa Ke Jiyo” and “Neele Gagan Ke Tale”…

A: It is goddess Saraswati’s gift and thankfully I could make use of it well in my career. Perhaps that also got me stereotyped as a singer of patriotic songs, making my voice an inseparable ingredient of actors like Manoj Kumar (known as ‘Mr.Bharat’ for his patriotic flicks) and Sunil Dutt saab.

Q: Your reverence of Mohammed Rafi and the subsequent initiation into classical music is Bollywood legend. Something on your relationship with the late singer?

A: In simple terms we shared a guru-chela (teacher-student) relationship. I often used to play the tanpura for Rafi saab during his performances. I used to call him Paaji (elder brother in Punjabi) and we used to speak in Punjabi mostly.

Once when we were stepping out of the All India Radio building after a performance and I was holding the tanpura behind him a group of school kids approached him for autograph.

He did not understand and asked me what the fuss was all about. When I told him what the kids wanted he, in a matter of fact manner, asked me to oblige them! And I signed their autographs as Mohammed Rafi! (Laughs) That shows the simplicity of the man. No airs, no arrogance. Just simple human being.

Q: What about your spat with him in connection with the B.R. Chopra-Yash Chopra clan? Is there any truth to it?

A: There was indeed a spat. But the problem was not between us. It was between Rafi saab and the Chopras where the latter totally ignored Rafi saab after he refused to sing a duet with me in one of their movies.

Rafi saab had made it very clear much before my career hit a high note that we should not sing together, mainly because of two reasons. One because we shared a guru-chela relationship and there should be no competition between us and secondly because our voices very similar.

Q: Can you pick out favourites in your songs and music directors?

A: In songs perhaps yes. One of my favourites is “Chalo Ek Baar”. I put in a lot of passion while singing it. It is also my favourite because perhaps this was one song that gave me a lot of recognition and a distinct identity. But it is difficult to pick out music directors. It would be an injustice to others.

Q: So can we have a small list of favourites?

A: It’s still difficult. All were greats. Naushad saab, C. Ramchandra, Kalyanji-Anandji, (O.P.) Nayyar saab.

Q: You rarely mention Ravi although most of your best songs were his creations and the Ravi-Mahendra Kapoor-B.R. Films combination held sway for a long time…

A: See this is what happens when I start listing out. It reminds me of the old story where while inviting relatives for a wedding one tends to forget the closest mostly as their presence is considered a ‘given’.

In fact I would say nobody understood and made use of my calibre as much as Ravi saab did.

During this so called low phase(as is called by media!) we made to hear the song TUM JO MIL GAYE GO.. from hanste zakhm ,
rafi- madan mohan combi at it best, as ever!
The inmitable bhajan SHYAM ABHIMANI… from ‘geet gaata chal’. , the zid of majnu YE DEEWANE KI JID HAI…,the charishma of expression with dual magic of YAARO GAALO MUSKURAALO ,..,the beautiful expression of love, YE JO CHIMAN HAI.. for Rajesh Khanna and tragedy as ever in the songs like MOHABBAT KE SUHANE DIN…DIL NE PYAR KIYA HAI IK BEWAFA SE….was from the same period.
During this period ,the trend of dance shifted from Shammi Kapoor to Jeetendra but Rafi saab still continue to rules the world with the
songs like KITNA PYARA WADA HAI ….Dev anand was still there and so the Rafi saab with the song like MERA MAN TERA PYASA…
One of the best song of this decade KAHI EK MASOOM NAZUK SI LADKI ….was from the film Shankar Hussain released in 1976.
There was some new brigade of stars like Vinod Mehra ,Kabir Bedi ,Anil Dhawan, Shatrughan Sinha and so Rafi Saab was there with the fresh songs like WO KYA HAI… JAB BHI YE DIL UDAAS HOTA HAI , BADI DOOR SE AAYE HAI and YE ZULF KAISI HAI…
One of the best duet of HFM TERI BINDIYA RE… was from the film ‘abhimaan’ and picturised on Amitabh.
Some of the other songs during this period –

Mujhe teri mohabbat ka sahara mil gaya hota...
Unke khyaal aaye to aate chale gaye……………..
Bade bewafa hai husn waale…………..
Ik na ik din ye kahani banegi……………
Patta patta buta buta haal hamara jaane hai………..
jaane kis roop ki jaadoo bhari..
O aaja teri yaad aayee…..
chura liya hai tumne jo dil ko……..

and so the magic continues as ever…….