A glittering star in the Indian music galaxy, Asha Bhosle, recently turned 92. Her voice has painted Hindi cinema with countless shades—sometimes in soulful romantic ballads, sometimes in fiery cabaret numbers, and at times in pure classical renditions. Widely celebrated as the “rainbow voice” of India, her versatility has carved her a unique place in the world of music. Yet, her journey—though melodious—has often been wrapped in controversies.
In recent years, some of her remarks about the legendary playback singer Mohammed Rafi sparked debates among music lovers. Rafi, long revered as the voice of divinity, is no longer alive to respond. But Asha’s comments, perceived as diminishing his legacy, raised uncomfortable questions about her own stature.
On this sensitive subject, Vinod Viplav, curator of the prominent YouTube channel Great Legends, engaged in an in-depth conversation with noted documentary filmmaker, author, and music expert Deepak Mahaan. This exclusive interview, now streaming on Great Legends YouTube Channel, not only explores Asha Bhosle’s musical depth but also throws light on her struggles, controversies, and the recent storm surrounding her statements.
The Versatile Voice and the Tumultuous Life
Vinod Viplav: Asha Bhosle’s talent is truly multidimensional, earning her the title of “Shatrangi Gayika” or the singer of seven colors. She has gifted us unforgettable songs—duets with legends like Mohammed Rafi and Kishore Kumar that remain priceless treasures of Hindi cinema. But her life was far from smooth. It was filled with struggles, disputes with composers, personal tragedies, and even professional rivalries with artistes like Sadhana. The most recent controversy, of course, stems from her remarks about Rafi Saab, which even prompted a sharp response from his son, Shahid Rafi.
Today, we’ll unpack these issues. Joining us is Deepak Mahaan, a seasoned documentary filmmaker and authority on Indian music. Deepak Ji, welcome. To begin, if we set aside the controversies, how would you describe Asha Ji’s singing?
Deepak Mahaan: Vinod Ji, coincidentally, today is Asha Bhosle’s birthday. So first, let me wish her—on behalf of myself, you, and every music lover—a heartfelt happy birthday. When I look at the golden age of Hindi film music, I see a sacred trinity: Mohammed Rafi, Lata Mangeshkar, and Asha Bhosle. Personally, Asha Ji is very dear to me. Her versatility often surpasses even Lata Ji in certain aspects. If Lata was the epitome of sweetness, Asha embodied flexibility, range, and classical finesse.
I recommend every true music lover listen to her non-film album Excy under the direction of Ali Akbar Khan, where she performed Tansen’s classical compositions—it’s on YouTube. The depth in her singing is extraordinary. With over 11,000 recorded songs, her name entered the Guinness Book of World Records. Interestingly, when Rafi Saab passed away, he held the record with around 5,700 songs. The inflated claim that Lata Ji sang 26,000 songs was later corrected.
Asha Ji’s life was never easy. As Gulzar rightly said, being the younger sister meant she was always seen in second place, though she was never less than Lata in artistry. Early on, her marriage forced her to leave home. Lata Ji was displeased, and she received little support. Yet through sheer resilience, Asha carved her place. That perseverance is her real triumph. But honestly, her recent remarks saddened me deeply. At this stage in life, saying such things feels like spitting at the sky—it only falls back on oneself.
Improvisation or Insecurity?
Vinod Viplav: Asha Ji claimed Rafi Saab didn’t improvise much and lacked the effort she herself put into songs. She cited examples like Aaja Aaja and Hai Re Hai from Kashmir Ki Kali. Do you think this was a targeted attack, or is there some truth?
Deepak Mahaan: The truth can be bitter, but I never shy away from it. Both sisters—Lata and Asha—have, at times, shown insecurity. Why, I cannot fathom. Manna Dey once said Rafi Saab was the finest male singer in the world. His versatility, tonal elasticity, and emotional expression were unmatched. He founded the “Rafi Gharana”—a school of singing no one could replicate.
Even decades after his passing, public surveys by Outlook, India Today, CNN-IBN, and Cine Blitz consistently ranked him the greatest. In CNN-IBN’s centenary poll on Hindi cinema, Rafi Saab outscored Lata Ji by 12%, and even surpassed the combined votes of Asha and Kishore by 17%. For the masses, he was simply the “Voice of God.”
So why this bitterness? Male singers never showed jealousy, but among female singers, rivalries persisted—perhaps out of pride or envy. Kishore Kumar fiercely defended Rafi, saying, “He is my elder brother, I can never sing like him.” Pandit Jasraj admitted that if Rafi had pursued classical music, even maestros like him would have been sidelined.
As for improvisation—listen to Abhi Na Jao Chhod Kar and feel how Rafi expressed incomplete longing through subtle tonal shifts. Yeh Chaand Sa Roshan Chehra became iconic because of his improvisations, as acknowledged by O.P. Nayyar and Shammi Kapoor themselves. To dismiss this is nothing short of fabrication.
Sadly, such remarks from Asha Ji at 92 reflect poorly. Rafi never belittled anyone—Dilip Kumar once said he never heard Rafi speak ill of a soul. Apart from the two sisters, no one has dared speak in such a disparaging manner.
The Natural Gift of Improvisation
Vinod Viplav: Both sisters admitted they often tried to tease Rafi during recordings. But he would effortlessly sing in a different style on the spot, transforming the entire performance.
Deepak Mahaan: Exactly. Look at his solos—Mohabbat Zinda Rehti Hai carries hope, Tune Mera Yaar Na Milaya soars with Arabic flair, Apni To Har Aah Ek Toofan Hai brims with variety, and Ehsaan Tera Hoga Mujh Par showcases multiple shades of the word mohabbat. Even in duets like Dilruba Dil Pe Tu, his voice became so thin it sounded like a third singer had joined in. That’s genius—unrehearsed brilliance, a diamond’s sparkle.
I must add, I deeply admire Asha Ji. In 1998, when I approached her for an Election Commission promotional track, she initially declined but later agreed after reading my script. She sang passionately, blending Sare Jahan Se Achha with Janam Samjha Karo, giving me four to five hours of her time and even serving me food. She is a generous, great artiste. Which is why her recent remarks are so disappointing. She should learn from Rafi’s humility.
The Royalty Dispute and Its Fallout
Vinod Viplav: During the royalty dispute, when Rafi refused to sing with Lata, Asha and Suman Kalyanpur gained opportunities. With O.P. Nayyar, the Rafi–Asha pair was iconic. Then why the resentment?
Deepak Mahaan: The dispute wasn’t personal—it was about royalties. Lata Ji’s stance was legally right, but Rafi Saab, being straightforward, had no interest in monetary wrangling. He would sing for even one rupee. Later, Lata claimed Rafi apologized in writing, but there’s no evidence—most likely untrue.
Ironically, she bore the greater loss. Recording studios prioritized Rafi. Asha and Suman benefited in that phase. In fact, Asha owes a great deal to Rafi. He helped elevate her from cabaret numbers into mainstream duets with O.P. Nayyar, Jaidev, Shankar–Jaikishan, and R.D. Burman. Without him, her career trajectory might have been very different.
Thus, belittling Rafi now only diminishes her own dignity. Asha Bhosle remains a phenomenal artiste, but Mohammed Rafi is a timeless jewel—forever celebrated as the immortal voice of Indian cinema.
The life of Asha Bhosle is a saga of brilliance, struggle, and contradiction—a singer who conquered every genre, yet couldn’t escape the shadows of rivalry. And Mohammed Rafi—gentle, divine, and peerless—remains untouched by such storms, his songs continuing to echo as the voice of eternity.