Madanmohan’s utilization of Mohammad Rafi during Rafi –Lata spat.
By Souvik, 1st Apr 2012 | Follow this author
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Posted in WikinutCelebritiesMusic
The article speaks about Rafi and Lata spat during 1963 to 1967 and the use of Rafi by composer Madanmohan during those days.
Madanmohan’s utilization of Mohammad Rafi during Rafi –Lata spat.
It is known to the entire film world that Madanmohan Kohli was very close to both Mohammad Rafi and also Lata Mangeshkar. When the spat took place between Mohammad Rafi and Lata Mangeshkar over the issue of royalty, between 1963 to 1967, both of them did not sing any duet songs. Lata contended that singer should receive royalty for their entire life for songs sung in films. Rafi contended that if singers don’t share the losses suffered by the film industry, they should not also share the profits.
Composers in bollywood industry had to decide either to choose Rafi or Lata in respect of duet songs. It was a very difficult decision. Ghazal Ka Shezada Madanmohan Kohli handled the situation in his own royal style. He concentrated more of the solo songs where he could devote them to both Rafisahab and Lataji. In respect of duet songs, where the song required the treatment of female singer he asked Manna Dey or Talat Mehmood to sing the duet with Lata. When the song required the treatment of male singer he asked Suman Kalyanpur or Asha Bhosle to sing with Mohammad Rafi.
In 1963, Madanmohan Kohli composed music in the film Akeli Mat Jaiyo. But in 1964, there were many films where Madanmohan composed music including Aap Ki Parchaiyan, Gazal, Haqeekat, Jahanaara, Pooja Ke Phool, Sharabi, Suhaagen, Wo Kaun Thi. In 1965, Madanmohan composed music in the films Neela Akash, Naya Kanoon, Rishte Nate, Bombay Racecourse. In 1966, Madamohan composed music in the films Daakghar, Dulhan Ek Raat Ki, Ladka Ladki, Mera Saaya, Neend Hamari Khwab Tumhari. In 1967, Madanmohan composed music in the film Naunihal, Jab Yaad Kisi Ki Aati Hai, Nawab Sirajuddaula. In 1967, there was compromise between Rafi and Lata and the first duet song they sung together was “dil pukaare” in the film Jewel Thief under composition of SD Burman.
It is important to examine the treatment of Madanmohan in these few years, when he balanced the excellence of Rafi and Lata and yet continued to do justice to the duet songs. In 1964, Madanmohan composed music in 8 films. In Aap Ki Parchaiyan, Rafi had sung solo songs “ek matwala aaj chala aapni manzil ko”, “mai nigahen tere chehere se”, “yehi hai tamanna tere dark ke”, while Lata sang the solo “agar mujhse muhobbat hai”. When the question came to duet Madanmohan used Rafi and Asha in the song “kabhi ithla ke chalte ho”.
Suman Kalyanpur and Asha Bhosle sang the duet songs with Rafi.
Madanmohan showed his immense skills in composing ghazals in the film Ghazal in 1964. Rafi’s solos “ishq ki garmiyan”, “rang aur nor ki baraat”, etc., were very popular as well as Lata’s solo “naghma o sher ki”. It was sheer brilliance of Madanmohan that he did not compromise with Rafi in the song “mujhe ye phool na de”. The duet song of Rafi and Suman Kalyanpur had their own spaces and both had contributed with their unique style.
Madanmohan created magic in the film Jahanaara in 1964. In that film while Rafi sung his solo in style “kisiki yaad me”, Lata sung her solo in style “wo chup rahen to”, Talat Mehmood sung his solo with ghazal andaz “phir wohi sham teri ankh ki ansoo”, there were sequences for duet songs. The one where Madanmohan composed it keeping Rafi in mind, he created the duet with Suman Kalyanpur “baad muddat ke ye ghari aye”. The one where Madanmohan composed it keeping Lata in mind, he created the duet with Talat Mehmood “aye sanam aaj aye”.
In Haqeekat, in 1964, there were hardly sequences for duets. Lata sang her solo sang in style “zarasi aahat hoti hai”. Rafi had many solos and he competed against himself. “yeh sochkar” was as brilliant as “kar chale hum fida”, “mastee me chedke”, etc. In fact Rafi sang the song “hoke majboor usne bulaya hoga” with Bhupinder Singh, Manna Dey and Talat Mehmood.
In Sharaabi, in 1964, Madanmohan’s solo songs for Rafi like “sawan ke mahine me”, “mujhe le chalo”, “kabhi na kabhi” were mostly in intoxicating moods. So the problems relating to duets were managed in a big way. In Pooja Ke Phool in 1964, Rafi sang the song “hay jamalo” with Asha Bhosle, Madhumati, and others. Lata sang the song “meri ankhon se koi neend” in the film very well. Wo Kaun Thi had many sequences for female playback so Madanmohan gave solos like “naina barse”, “lagja gale”, etc. which became smash hits. Rafi and Asha’s duet “tiki riki tiki riki” also was impressive.
In 1965, Madanmohan still gave important duet songs during Rafi Lata spat. In Neela Akash, Rafi and Asha’s duet “tere paas aake mera waqt” became big hit. The solo of Rafi with ghazal andaz “akhri geet muhobbat ka sunayun” was marvelous. In Naya Kanoon in 1965, the solos given to Rafi by Madanmohan were impressive like “khuch aisi pyari shakal”, “unne qisa e gham” and Asha Bhosle “ankh mei rehti hai” were excellent.
1966 was very successful year for Madanmohan. His songs in Mera Saya all did strike gold. While he managed solos for Rafi like “aapke pehloo me akar ro liye”, Asha “jhumka gira re”, he gave excellent ghazals to Lata like “tu jahan jahan chalega” and “nainon me badra chaye”. In Dulhan Ek Raat Ki, Rafi’s solos created magic like “ek haseen sham ko dil mera kho gaya”, while Lata’s “sapno mei agar mere” created attention.
Neend Hamari Khwab Teri created sensation in 1966. Madanmohan used Rafi and Asha’s duet songs “husn jab jab ishq se takra gaya”, “kabhi tera daman na” created sensation. In 1967, Madanmohan created magic with Rafi in the landmark ghazals “meri awaaz bhi sun” and “tumhari zulfon ke saye me sham kar lunga”.
In 1967, the patch up happened and Lata agreed to sing duet songs with Rafi. But it was sheer brilliance of Madanmohan that he utilized the sweetness of voice of Rafi and Lata and solo songs and yet in the duets justified the presence of Suman Kalyanpur and Asha Bhosle with Rafi. Many other composers lke Shankar Jaikishan, Naushad Ali, Roshan Lal Nagrath had to make adjustments in those years. Madanmohan Kohli also faced the challenge and did rise up to the occasion.
Comments
1st Apr 2012 (#)
When elephants fight, better to keep a safe distance. Madanmohan came out unscathed in the end for sure though his diplomacy. Thanks for the share, Souvik - siva
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1st Apr 2012 (#)
Excellent post Souvik
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2nd Apr 2012 (#)
Dear Sivaji,
Thanks for the comments. In fact the new generation hardly know about the Lata Rafi spat over royalty during 1963, and the information should go to the new generation. Other composers also did their best to maintain high quality of music including Shankar Jaikishan, Roshanlal Nagrath, etc.
Souvik Chatterji.
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2nd Apr 2012 (#)
Dear Madanji,
Thanks a lot for the patient reading and kind words.
Souvik Chatterji.
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2nd Apr 2012 (#)
Great feature article, Souvik. Thank you.
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2nd Apr 2012 (#)
Dear Buzz, thanks a lot for the kind words.
Souvik Chatterji.
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3rd Apr 2012 (#)
excellent work!...though it made other singers shine under Madanmohan's magic....Lata ji rules the roost!....:)
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3rd Apr 2012 (#)
....And Rafi ji .....no other will ever be....the magic the team created still vibrates and echoes!!
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4th Apr 2012 (#)
Dear Veeraji,
Thanks a lot for your comments in respect of Madanmohan's combination.
Souvik Chatterji
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18th Apr 2012 (#)
Priya Pakanati: "Madanmohan Kohli also faced the challenge and did rise up to the occasion...loved this last sentence very much souvik.......well written article."
Souvik Chatterji "Dear Priyaji, thanks a lot for going through the article and understanding Madanmohan's balanced thinking."
Souvik Chatterji.
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19th Apr 2012 (#)
Very good article. But I had heard Madanji had preference for Talat over Rafi...true?
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20th Apr 2012 (#)
Dear Shailendraji,
Thanks for reading the article.
Madanmohan Kohli was called the prince of ghazals. Both Mohammad Rafi and Talat Mehmood had brilliance in rendering ghazals. So Madanmohanji utilized the skills of both of them. In the film Jahanara itself, both Rafi's song "kisiki yaad me apnako hai bhulaye hue" was as strong as Talat Mehmood's song "phir wohi shaam wohi gaam wohi tanhaayi hai".
Souvik Chatterji.
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15th Aug 2012 (#)
A nice article on Madan Mohan ji handling the critical situation.
Carry on.
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20th Aug 2012 (#)
Dear Sudarshanji,
Thanks a lot for your patient reading and brilliant comments.
Souvik Chatterji
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