December 24, one of the most celebrated singers of Bollywood would have turned 100 had he been with us. Mohammed Rafi, born on December 24, 1924, is celebrated as one of Bollywood’s most prolific and versatile playback singers. His melodious voice and adaptability have inspired numerous artists, including Sonu Nigam, K J Yesudas, S P Balasubrahmanyam, and Mohammed Aziz, who regard him as their spiritual and musical guru.
While there are pages that can be written about Rafi Sahab (or Saheb as many of his contemporaries and yesteryear musicians fondly called him), I would like to put a spotlight on a lesser-known facet of Rafi’s versatility – his proficiency in yodeling.
Yodeling is a vocal technique that involves rapid shifts between chest and head voice, producing a distinct sound and has always been a part of Austrian and Swiss folk music but was popularised in the US and thus globally by Jimmie Rodgers in the 1920s and later. While Kishore Kumar is often synonymous with yodeling in Indian cinema, Rafi’s experimentation with this technique in the 1950s and early 1960s is lesser known but showcases his adaptability and willingness to explore diverse musical styles.
Rafi’s yodeling can be heard in several Hindi and Punjabi songs, including:
- Unse Rippy Tippy Ho Gayee from Agra Road (1957)
- Hello Sweet Seventeen from Dr. Z (1959)
- Do Kadam Aur Ae Sathi from Khubsoorat Dhoka (1959)
- Mat Samajh Mujhe Tu from Do Dost (1960)
- Thodi Thodi Gori Hai from Superman (1960)
- Chale Ho Kahan from Reporter Raju (1962)
- Apni Apni Pasand Hai from Raja (1963)
- Ye To Kaho Kaun Ho from Akeli Mat Jaiyo (1963)
- Dil Ke Aaine Mein from Aao Pyar Karen (1964)
In the Punjabi music scene, his song “Kanu Saban Daien Tera” also features yodelling elements.
Despite Rafi’s skilful incorporation of yodeling, these songs did not achieve the same level of popularity as some of his other hits. This could be attributed to the compositions themselves or the musical trends of the time. By the late 1960s, Rafi had largely moved away from yodelling, just as the technique was gaining mainstream popularity through Kishore Kumar’s performances.
Kishore Kumar’s association with yodeling became prominent with songs like Main Hoon Jhum Jhum Jhumroo from Jhumroo (1961) and Zindagi Ek Safar Hai Suhana from Andaz (1971). His energetic and playful style resonated with audiences, leading to a surge in the popularity of yodeling in Bollywood music during the 1970s.
It’s noteworthy that Rafi’s foray into yodeling predated Kishore Kumar’s widespread use of the technique. However, the differing trajectories in their musical journeys meant that Kishore Kumar became more closely associated with yodeling in the public consciousness.
For enthusiasts interested in exploring Rafi’s yodelling prowess, several compilations and recordings are available that highlight this unique aspect of his talent. These tracks offer a glimpse into Rafi’s experimental side and underscore his commitment to diversifying his musical repertoire. This aspect of his career adds another layer to his rich legacy, reminding fans of his unparalleled contribution to Indian music.
For a visual and auditory experience of Rafi’s yodeling, you might enjoy this compilation on youtube:
