This effortlessness is perhaps his unique quality. Who else could have sung songs of the patriotic ( Kar chale hum fida, Haqeeqat), romantic ( Aye husn zara jaag, Mere Mehboob), bidaai ( Babul ki duwaein, Neel Kamal), melancholic ( Yaad na jaaye, Dil Ek Mandir), philosophical ( Yeh mahlon yeh takhton yeh tajon ki duniya, Pyaasa), devotional ( Duniya na bhaye, Basant Bahar), classical ( Nache mann mora, Meri Soorat Teri Aankhen), and qawwali ( Na to carvaan ki talash, Barsaat Ki Raat) genres with so much fervour and effortless ease? Just a cursory glance at Rafi's repertoire shows us his mind-boggling versatility. Rafi had all of the above plus an extra something, or, as the French would put it, je ne sais quois. Kishore Kumar had zany songs as well as gravitas. All of this was accomplished without resorting to antics like yodelling. Rafi's ability to generate the complete range of emotions and draw the listener into the song, mood, and character remains unsurpassed. His playback singing enhanced the careers of many a star like Shammi Kapoor, Rajendra Kumar, and Biswajeet, to name only a few. His mellifluous voice worked wonders for many songs and for more than 30 years. I run the risk of penning meaningless platitudes in an attempt to do so. W hat does one write about the great Mohammed Rafi?
0 kommentar(er)
