OP Nayyar's music came stamped with his own, distinct class - the freshest brew of melody and rhythm, and probably the most innovative choice and use of instruments. Though the superficial listener might just associate him to the hoof-beats, the more ardent listener would smile contently whenever those Sarangi, Santoor, Sitar or even the Harmonium would cast a spell in those magical pre-ludes/interludes. And, discounting his occasional use of the other singers, there is no doubt about his choice of THE male voice for his songs. I guess Rafi Sahab not only sounded the freshest when singing for OPN, but also elicited an unmatched painful-romanticism (I do not know how else to describe the feeling in Aanchal mein sajaa lena kaliyan, Deewana Hua Baadal or Hai Duniya Usiki). In fact, one can go, and has gone, no ends to talk about these songs.
For this post, however, let us take one of those songs which do not carry that stamp. A song that - if you did not have prior knowledge of its details - would never make you think that Rafi Sahab is with OPN in the recording room. The duo in disguise, so to say.
Here goes this stunning disguised composition from the Balraj Sahni-Nutan starrer Sone Ki Chidiya.
Maut kabhi bhi mil sakti hai
Lekin jeevan kal na milega
Marnewale soch samajh le
Phir tujhko ye pal na milega
Raat bhar ka hai mehmaan andhera
Kiske roke ruka hai savera
Raat jitni hi sangiin hogi
Subah utni hi rangiin hogi
Gham na kar gar hai baadal ghanera
Kiske roke ruka hai savera
Lab pe shikwa na laa ashq pii le
Jis tarhe bhi ho kuchh der jee le
Ab ukhadne ko hai gham ka dera
Aa koi milke tadbeer soche
Sukh ke sapnon ki taabir soche
Jo tera hai wohi gham hai mera
Kiske roke ruka hai savera
The video of this song is available here, and it gets more pertinent if we have a look at the situation in the film.
A song of such profundity, had to be created and sung adequately as well. The moment Rafi Sahab's voice rings in the opening lines, the song attains a level that tells us that it can only become more thought-provoking from there. In the film, there is a duet version of this song with Asha Ji and a part of that song is added towards the end of this video.
It is worthwhile to notice the striking difference in Rafi Sahab's singing in the two versions, even if it is the same song. The duet version is sung during times of hope, while this solo version is at a time of abject despair. Even though it is the same philosophy, the duet version professes it while this version brings it to practice. This subtle difference is understood and executed (yes, one more time) by Rafi Sahab in his own inimitable way. The texture of the voice changes as the hope gets trapped in the quagmire of pathos. The prophecy, however, remains unchanged. For, giving up is - somehow - never an option. Words cannot completely express what the voice does. Hear it yourself, listen to the same line sung at 1:07 minutes and then again at 4:53 minutes. I call him the Sublime Sorcerer for countless tricks like this that only he could unleash, with that innocent smile undiminished.
It is worthwhile to notice the striking difference in Rafi Sahab's singing in the two versions, even if it is the same song. The duet version is sung during times of hope, while this solo version is at a time of abject despair. Even though it is the same philosophy, the duet version professes it while this version brings it to practice. This subtle difference is understood and executed (yes, one more time) by Rafi Sahab in his own inimitable way. The texture of the voice changes as the hope gets trapped in the quagmire of pathos. The prophecy, however, remains unchanged. For, giving up is - somehow - never an option. Words cannot completely express what the voice does. Hear it yourself, listen to the same line sung at 1:07 minutes and then again at 4:53 minutes. I call him the Sublime Sorcerer for countless tricks like this that only he could unleash, with that innocent smile undiminished.
3 comments:
Samarjit, I am now watching the video of this fabulous song - Raat Bhar Ka Hai Mehman Andhera -and also reading your passionate description {even as I take time off to scribble my own comments here - fortunately it can be given in a separate pop-up box} You are absolutely right in coining the word "The Subtle Sorcerer". The magician in Rafi Sahab was too obvious and this is one more reason why he could never have been replaced. He had many tricks under his belt - modulation of the words and the lines - attuning it to the situation being one of its prime attributes. The 'ehasas' of the exact meaning of the poet's description of any word of Hindi/Urdu and the demand of the picturization was a 'left hand job' for Rafi Sahab - if I may use that common phrase. Such a lovely write by you should not go unnoticed by a vast majority of very ardent Rafi-bhakts across the country and hence I am sending the same (copy & paste though) in our egroup on google/yahoo. I hope you understand and will agree to this. Keep writing and send me the link whenever you express your thoughts on such lovely creative songs of Rafi Sahab as I cherish them and look forward to hearing them again and again.
It made a very nice reading Samarjit. Observation, Details and description all spot on.
Words aren't enough to describe the Rafi-Nayyar combo which unfortunately is always downplayed.
--sachin
Your blog keeps getting better and better! Your older articles are not as good as newer ones you have a lot more creativity and originality now keep it up!
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