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Know about Mohammed Rafi

Know about Mohammed Rafi

One of the best playback vocalists brought into the world in India, Mohammed Rafi is thought of as something like a virtuoso with regards to fluctuated styles of music. This extraordinary artist had the ideal mix of tune, feelings and energy, which came about into huge number of deep melodies. Be it the traditionally disposed tunes of Baiju Bawara or the foot tapping melodies of Kashmir Ki Kali, Muhammad Rafi gave every tune the treatment it merited.

His commitment to the Hindi entertainment world has been breathtaking and maybe no vocalist till date has figured out how to catch the hearts of fans the manner in which Mohamed Rafi has. Rafi was notable for his flexibility as he gave his voice to melodies going from old style numbers to energetic ones, miserable tunes to heartfelt numbers, qawwalis to ghazals and bhajans. For right around twenty years, Rafi was the most sought after artist in the Hindi entertainment world. In his celebrated lifetime, he got six Filmfare Grants and was respected with the Public Film Grant once.

Other than Hindi, he sang in a few Indian dialects including Konkani, Bhojpuri, Bengali, Odia, Punjabi, Marathi, Sindhi, Telugu, Kannada, Maithili, Gujarati, Magahi, and Urdu. Aside from Indian dialects, he gave his sweet voice to melodies in English, Arabic, Persian Sinhalese, Creole and Dutch dialects.

Mohammed Rafi was brought into the world in the town of Kotla Ruler Singh in Joined Punjab Area of English India on December 24, 1924. He was the fifth among the six children of Hajji Ali Mohammad and Allahrakhi Bai. Rafi showed his melodic tendency from an exceptionally youthful age and his ability was perceived by his senior sibling’s companion Abdul Hameed.

He persuaded Ravi’s family to sustain his melodic abilities. Mohammed Rafi began taking Hindustani Traditional music from Pandit Jiwan Lal Mattoo who showed him the complexities of Raag Shastra and Punjabi people ragas Pahaadi, Bhairavi, Basant and Malhaar. He later prepared under the tutelage of Ustad Abdul Wahad Khan of the Kirana Gharana and furthermore got illustrations from and Ustad Bade Ghulam Ali Khan of the Patiala Gharana. He was likewise prepared by Feeroze Nizami, a maker in the All India Radio Lahore. K.L. Saigal and G.M. Durani were his golden calves and in the first place he copied Saigal’s style. Rafi played out his most memorable stage show at 13 years old in Lahore. He began singing for the All India Radio in Lahore from the year 1941.

He likewise recorded his most memorable melody ‘Soniye Nee, Heeriye Nee’, a two part harmony with well known vocalist Zeenat Begam for the Punjabi film Gul Baloch, that very year. The film delivered in 1944.


Mohammed Rafi passed on from a monstrous coronary failure on July 31, 1980 at 10:25 PM at his home at Rafi Chateau, Bandra. His memorial service parade was joined by 10,000 grieving fans who went with him till the Juhu Muslim Burial ground where his human remaining parts were let go. A two-day public occasion was reported by the Public authority of India in his honor.

Grants and Praises

Rafi Saab’s renowned melodic vocation was regarded with various public and global honors consistently. He got 21 Filmfare Grants selections for playback singing out of which he won multiple times. He likewise won a Public Film Grant in 1977. He additionally stowed the Bengali Film Writers’ Honors threefold in 1957, 1965 and 1966. He was respected with the Padma Shri grant by the Public authority of India in 1967.

Albeit an intensive refined man all through his profession, Rafi got entangled into a contention with individual vocalist Lata Mangeshkar not once, yet two times. To begin with, during 1962, the two had a showdown in regards to the requests for sovereignty for playback vocalists. Lataji guaranteed that the playback vocalists are qualified for half of the 5% eminence asserted by the makers from the melodies recorded by them for a film.

She needed Rafi Saab’s help on the issue, yet he contrasted from her by expressing that a vocalist’s relationship with the melody finished when they were paid by the maker. As the monetary supporter of the undertaking, the monetary profits are to be gotten back to the maker and not to the vocalists who were paid fittingly for their work. Lataji disapproved of this and became unfriendly in her way of behaving towards Rafi at long last proclaiming her reluctance to work with him. Nonetheless, music chief Jaikishen arranged a compromise between the two and they team took care of business after that.

The second disputed matter happened when the Guinness Book of World Record distributed Lata Mangeshkar’s name as the craftsman recording most extreme number of melodies. He sent the Guinness specialists a letter testing the reality and expressing that he was the person who had sung a more prominent number of melodies in examination. The Guinness specialists didn’t bring down the posting, yet they changed it with the notice of Mohammed Rafi’s name and his conflict.

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