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Naushad Ali
Naushad in 2005
Background information
Birth name	naushe miyan
Born	(1919-12-25)December 25, 1919
Died	May 5, 2006(2006-05-05) (aged 86)
Genres	Hindustani classical music, Indian film music
Occupations	composer, music director, film producer, writer
Instruments	harmonium, sitaar
Years active	1940–2005

Naushad Ali (Hindi: नौशाद अली, Urdu: نوشاد علی; December 25, 1919 – May 5, 2006) was an Indian musician. He was one of the foremost music directors for Bollywood films, and is particularly known for popularizing the use of classical music in films.

His first film as an independent music director was Prem Nagar in 1940. His first musical success film was Rattan (1944), following it up with 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award in 1982, and the Padma Bhushan in 1992.^[1]

Early life and education[link]

Naushad was raised as a Muslim in Lucknow, a city with a long tradition as a center of Muslim culture. His father, Wahid Ali, was a munshi (court clerk). As a child, Naushad would visit the annual fair at the Deva Sharif in Barabanki, 25 km from Lucknow, where all the great qawwals and musicians of those days would perform before the devotees. He studied Hindustani music there under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb, and others. He also repaired harmoniums.

As a lad, he joined a junior theatrical club and was appointed the club's music maestro for their theatrical presentations. He used to watch silent films at the Royal theatre in Lucknow. Theatre owners would hire a team of musicians to play the tabla, harmonium, sitar and violin. The musicians would watch the film first, make notes, finalise the scales required. When the show began in the evening, they would sit in front of the screen and play music for the scenes. This was a great way to be entertained and learn music at the same time. It made him grasp the nuances required in composing a film's background music score.

In time Naushad formed his own Windsor Music Entertainers or just Windsor Entertainers, so named because he had seen the word "Windsor" around Lucknow and liked its ring. It led to the Indian Star Theatrical Company in a theatre at Golagunj colony in Lucknow. He was trained under Laddan Khan until he became capable of working independently as a composer. There he also developed the sense to pick rare musical jewels from the folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company's sojourns in those regions. The traveling players got as far as Viramgam in Gujarat, where they discovered penury, even after selling off theatrical props and musical instruments. The company limped back to Lucknow through the kindness of one of Naushad's friends.

Naushad had already become a cinema fan in the silent era, and then, in 1931, Indian cinema got voice and music that further fascinated the 13 year old boy. But his family was strict follower of Islamic diktat of prohibition of music and his father gave him ultimatum to leave music if he wanted to stay at home. He ran away to Bombay (now called Mumbai) in the late 1937 to try his luck as a musician.

Career[link]

In Bombay, he initially stayed with an acquaintance from Lucknow (U.P.) at Colaba and after a while, shifted to Dadar opposite the Broadway theater where he would sleep on the footpath. He assisted music director Ustad Jhande Khan who was at the peak of his success those days, at a monthly salary of Rs 40. The producer was a Russian and the studio was at Chembur. The film could not be completed. Naushad was a piano player so he worked as a pianist in composer Ustad Mushtaq Hussain's orchestra. He then polished off an unfinished film score and got a credit as assistant to Hussain. Then the film company collapsed. Composer Khemchand Prakash took him on as his assistant for the film Kanchan at Ranjit Studio at a salary of Rs 60 per month, for which Naushad remained extremely grateful and, in interviews, had called Khemchand his guru.

His friend, lyricist D N Madhok trusted Naushad's unusual talent for composing music and introduced him to various film producers. Chandulal Shah, the owner of Ranjit Studios, offered to sign Naushad for one of his forthcoming films. Naushad composed a thumri for this film, ‘Bata de koi kaun gali gaye Shyam’, but the film never got on the floors. He was assistant music director for the Punjabi film 'Mirza Sahib' (1939).

He composed for his first independent film Prem Nagar in 1940 that had a story set in Kachchh for which he did a lot of research into the folk music of the area. With A.R. Kardar's film Nayi Duniya (1942), he got first credit as "music director" and he began to work regularly for Kardar Productions. He however had a flexibility that he could work outside Kardar Productions, and this arrangement continued ever after. He first got noticed with A.R. Kardar's film Sharda (1942) wherein 13-year-old Suraiya debuted with the song "Panchhi Ja" for the playback for heroine Mehtab. It was Rattan (1944) that took Naushad right to the top and enabled him to charge Rs 25,000 a film then.

But his Lucknow based family remained against music and Naushad had to hide from his family the fact that he composed music. When Naushad got married, the band was playing the tunes of the super hit songs of Naushad's film Rattan. While Naushad's father and father-in-law were condemning the musician who had composed these songs, Naushad dared not tell them that it was he who had composed the music.

From 1942 until the late 1960s, he was one of the top music directors in Bollywood. While he did less than a hundred films during his lifetime, 26 of those films celebrated Silver jubilees (25 weeks run) -- 8 celebrated golden jubilees (50 weeks run) and 4 celebrated diamond jubilees (60 weeks run). (inclusive count - a diamond jubilee film also celebrated Silver and Golden jubilee)

Naushad worked with several lyricists, including Shakeel Badayuni, Majrooh Sultanpuri, D. N. Madhok, Zia Sarhadi, and Khumar Barabankvi.

Mother India (1957), for which he had composed music, was the first Indian film that got nominated for Oscar.

In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema.

He composed the tunes of Taj Mahal: An Eternal Love Story (2005) at the age of 86.

Amongst his assistants, Mohammed Shafi, Jerry Amaldev, and Ghulam Mohammed stand out prominently.

Five films have been made on his life and work. Biographical books published are Dastaan-E-Naushad (Marathi) by Shashikant Kinikar; Aaj Gaawat Man Mero (Gujarati); Hindi and Urdu biographical sketches in Shama & Sushma Magazines respectively, titled "Naushad Ki Kahani, Naushad Ki Zubani"; the last one was translated into Marathi by Shashikant Kinikar. Kinikar also came up with a book titled "Notes of Naushad" which puts together some interesting anecdotes of Naushad's life.

Last days[link]

Naushad died on 5 May 2006 in Mumbai. He was buried at the Juhu Muslim cemetery.^[2]

He is survived by six daughters Zubeda, Fehmida, Farida, Sayeeda, Rashida, and Waheeda, and three sons Rahman Naushad, Raju Naushad & Iqbal Naushad. Rahman Naushad and Raju Naushad had assisted him in some of his films. Also, Naushad composed music for two movies directed by Rahman Naushad, 'My Friend' and 'Teri Payal Mere Geet'.

Naushad had requested the Maharashtra state government to sanction a plot for an institution for promoting Hindustani music. This was sanctioned during his lifetime and the 'Naushad Academy of Hindustani Sangeet' was formed.

Writer[link]

Naushad was also a respected and published poet and formally launched his book of Urdu poetry entitled Aathwan Sur ("The Eighth Note") and the Navras label's album titled "Aathwan Sur – The Other Side of Naushad" having 8 ghazals as part of Hounslow's book fair and festival "Bookmela" in November 1998. The album has lyrics and composition by Naushad, arranged by Uttam Singh.

Track list:

1. Aabadiyon Mein Dasht Ka Munzar Bhi Aayega - A. Hariharan - 7:08
2. Aaj Ki Baat Kal Pay Kyun Taalo - A. Hariharan & Preeti Uttam Singh - 6:17
3. Ghata Chhaayi Thi Saawan Khul Ke Barsa - Preeti Uttam Singh - 7:19
4. Kabhi Meri Yaad Unko Aati To Hogi - A. Hariharan & Preeti Uttam Singh - 6:18
5. Mujh Ko Muaff Kijiye - A. Hariharan - 5:35
6. Peenay Waalay Bekhudi Say Kaam Lay - A. Hariharan & Preeti Uttam Singh - 8:13
7. Saawan Kay Jab Baadal Chhaaye - A. Hariharan - 6:50
8. Tanhaa Khud Say Baat Karoon - Preeti Uttam Singh - 7:49

Music style[link]

Naushad was known for his deft adaptation of the classical musical tradition for movies. For some movies like Baiju Bawra, he composed all scores in classical raga modes and arranged for the well-known vocalist Amir Khan to be a music consultant for the film. He could easily work with Western instruments, including the clarinet, the mandolin, and the accordion. He could incorporate Western musical idioms in his compositions, and compose for Western-style orchestras.

During early 1940s, recordings were done in quiet parks and gardens after midnight because the studios did not have sound-proof recording rooms. In the gardens there would be no echo and disturbances, unlike the studios where the sound reverberated because of the tin roofs.

For films like Uran Khatola and Amar, he recorded the voice of a particular artiste on a scale of 90, then recorded it on 70, then on 50 and so on. After the complete recording, it was played for the scene and the impact it created was terrific.

He was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Bollywood film music and was among the first to concentrate on background music to extend characters' moods and dialogue through music. But perhaps his greatest contribution was to bring Indian classical music into the film medium. Many of his compositions were inspired by ragas and he even used distinguished classical artistes like Amir Khan and D.V. Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra (1952) demonstrated Naushad's grasp of classical music and his ability to bring it to the masses, for which he won the first Filmfare Best Music Director Award in 1954.

For Aan (1952), he was the first to use a 100-piece orchestra, He was the first composer to have developed the system of western notation in India. The notation for the music of the film Aan was published in book form in London.

In Uran Khatola (1955), he recorded an entire song without the use of orchestra, having replaced the sound of musical instruments with choral sound of humming.

For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus of 100 persons. He asked Lata Mangeshkar to render a part of the song "Pyaar Kiya To Darna Kya" in a bathroom that had glazed tiles and then recorded the music to get the echo effect.

For Ganga Jamuna (1961), he used lyrics in chaste Bhojpuri dialect.

He used just six instruments in the title song of Mere Mehboob (1963).

In 2004, a colorized version of the classic Mughal-e-Azam (1960) was released, for which Naushad had the orchestral music specially re-created (in Dolby Digital) by today’s industry musicians, while maintaining all the solo vocals from the original soundtrack. To elaborate, the playback vocals (though not the chorus) recorded four decades ago are mixed with orchestra tracks created in the present millennium.

As Indian film music gradually assumed a Western bend starting in the late 1960s, Naushad came to be considered old-fashioned. Composers who could compose rock-and-roll and disco-inflected music started getting increasingly popular. Naushad was still esteemed as a maestro, but his talents were sought mostly for historical movies where traditional scores were appropriate.

Filmography[link]

Music Director[link]

Non-film album[link]

• Aathwan Sur - The Other Side of Naushad : This was a Ghazal album released in 1998 and had all its songs composed by Naushad and sung by Hariharan.

English film[link]

• Such a Long Journey (1998), Director: Sturla Gunnarsson, Music: Jonathan Goldsmith, Cast: Roshan Seth, Soni Razdan, Om Puri, Nasiruddin Shah,

In this film, the song from film "Pakeezah" (1971), "Thaade rahiyo", lyrics: Kaifi Azmi, rendered by Lata Mangeshkar, was played during the end casting.

Producer[link]

• Maalik (1958) Music Director for this film was Ghulam Mohammed
• Uran Khatola (1955)
• Babul (1950)

Storywriter[link]

• Palki (1967)
• teri payal mere geet(1989)

Awards and recognition[link]

• 1954: Filmfare Best Music Director Award - Baiju Bawra
• 1961: Bengal Film Journalists' Association's best music director Award for Gunga Jumna
• 1975: "Naushad Ali", a 30-minute documentary film produced by Television Centre, Bombay
• 1981: Dada Saheb Phalke Award
• 1984: Lata Mangeshkar Award (Madhya Pradesh state government's)
• 1987: Amir Khusro Award
• 1992: Sangeet Natak Akademi Award
• 1992: Padma Bhushan
•  : Maharashtra Gaurav Puruskar
•  : Best Music for "The Sword of Tipu Sultan"

Positions Held[link]

• President of Cine Music Directors Association
• Chairman of Indian Performing Rights Society
• President of Maharashtra State Angling Association
• President of Alam-E-Urdu Conference (Delhi)
• The title of Special Executive Magistrate, Bombay

Naushad and Raaga[link]

This unreferenced section requires citations to ensure verifiability.

This is a list of Naushad's songs based on different raagas. (raaga, song, singer, movie)

Ahir Bhairav:

1. aj hai pyar ka faisala sanam - lata - leader

Alahaiya-Bilawal:

1. dil mein chupake pyar ka - rafi - aan

Bageshri:

1. chah barbaad karegi - saigal - shah jahan
2. milke bichad gaye - amirbai - rattan

Bahar:

1. man ki been - lata, rafi - shabab (with a line in basant)

Bhairavi:

1. kya mil gaye bhagwan - noorjahan - anmol ghadi
2. aye dil tujhe kasam hai - lata - dulari
3. teer khate jayenge - lata -dewana
4. na toofan se - rafi - udan kha tola
5. haal e dil main lata - udan kha tola
6. dooba tara ummeedon ki sahara - lata - udan kha tola
7. kya rang-e-mehfil hain - lata - dil diya dard liya
8. allah bachaya naujawan - lata - mere mehboob
9. yaad mein teri jag - lata, rafi - mere mehboob
10. aai diwali - zohrabai - rattan
11. diya na bujhe re aj hamara - lata - son of India
12. zindabad ae mohabbat zindabad - rafi - mughal e azam
13. insaf ka mandir - rafi - amar
14. khamosh hain khewan - lata - amar
15. milte hain aankhen - samsad, talat - babul
16. lagan more man ki - lata - babul
17. huye hum jinke - rafi - deedar
18. dekhliya maine - rafi, lata - deedar
19. jadugar katil - asha - kohinoor
20. zara man ki kewadiyain khol - rafi- kohinoor
21. aanewalon ko ana hoga - rafi, lata - sohni mahiwal
22. chand chupa aur tare duba - mahendra - sohni mahiwal
23. Tumhare Sang Main Bhi Chalungi - lata - sohni mahiwal
24. mera bichda yaar mila de - lata, rafi - sohni mahiwal
25. rat gazab ki aye - mahendra - sohni mahiwal
26. dil hai pyar zara - sanu, sadhana - guddu
27. dil kahe hardam ishq - suresh, aziz - guddu
28. baat sabse karo pyar humse karo - sp bala - tere payal mere geet
29. jab dil hi toot gaya - saigal - shah jahan
30. tu ganga ki - rafi, lata - baiju bawra
31. ayi sawan rut ayi - samsad - mela
32. manzil ki dhun mein - mukesh - anokhi ada
33. gaon tarane - samsad, lata, rafi - aan
34. man mera ehsan - rafi - aan
35. do hanson ka joda - lata - ganga jamuna
36. main to payar se teri piya - lata - saathi
37. mere jeevan saathi - lata - saathi
38. husn-e-jana idhar aa - mukesh - saathi
39. Tute Na Dil Tute Na - mukesh - andaz
40. yeh zindegi ki mele - rafi- mela
41. mere paas aao nazar to milao - lata - sanghursh

Bhimpalasi:

1. aj mere man me - lata - aan
2. tere sadke balam - lata - amar
3. Manasa Nilayil, Yesudas - dhwani (Malayalam)
4. afsana likh rahi hoon - uma - dard
5. aj purani rahon se - rafi - aadmi

Bihag:

1. mari ladli re - lata - andaz
2. tere payar mein dildar - lata - mere mehboob
3. tere payel mere geet - sp balasubranium - tere payel mere geet

Bilawal:

1. meri ladli hai - lata - andaz
2. bachpan ki mohabbat - lata - baijubawra
3. mere mehboob tujhe - rafi/lata - mere mehboob (most people think it is Jheenjhoti)

Brindavani Sarang:

1. sawan ki badalo - zohrabai, karan - rattan
2. jab tumhi chale - karan - rattan
3. aja meri barbad - anmol ghadi
4. tu mera chand - suraiya, shyam - dillagi
5. jhule mein pawan - rafi, lata - baijubawra
6. Saavan Aye Ya Na Aye - asha, rafi- dil diya dard liya ( some say its Suddha sarang)

Darbari Kanada:

1. daiya re daiya laj mohe lage - asha, rafi - leader
2. gujre hai aj ishk mein - rafi - dil diya dard liya
3. kabhi dil dilse takrata - mukesh - anokhi ada
4. mohabbat ki jhuti kahani - lata - mughal e azam
5. o duniya ki rakhwale - rafi - baiju bawra
6. duniya badal gayi - talat, samsad - babul
7. hue hum jin ke - rafi - deedar
8. darbari alap - ustad amir khan - baiju bawra
9. bich bhainwan mein - suraiya - dard

Desh:

1. door koi gaaye - samsad, lata, rafi - baiju bawra
2. kal rat zindagi se - rafi - palki

Desi:

1. aaj gaawat man mero - ustad amir khan, pandit d v paluskar - baiju bawra

Dani/Dhani:

1. ajnabi thehero jara - hariharan, preeti uttam - taj mahal
2. mere mehboob mein kya nahin - lata, asha - mere mehboob

Dhanasri:

1. mere mehboob tujhe - rafi/lata - mere mehboob (most people think it is Jheenjhoti)

Gara:

1. mohe panghat pe - lata - mughal e azam
2. jab rat ho aisi matwali - lata - mughal e azam (sometimes mistaken as jaijawanti)

Gaud Sarang:

1. aaye na baalam waada kar ke - rafi - shabab

Gorakh Kalyan:

1. dil ki kashti - lata - palki
2. o balam tere pyar ke - rafi, asha - ram aur shyam

Gowda Sarang:

1. mera salam le ja - lata - udan kha tola

Hamir:

1. madhuban mein radhika nache re - rafi - kohinoor

Jaijaivanti :

1. Zindagi Aaj Mere Nam Se Sharamati Ha - rafi - son of India
2. mohabbat ki rahon mein - rafi - udan kha tola

Jainpuri:

1. dil ko laga ke - uma - anokhi ada
2. guzre hain aj - rafi - dil diya dard liya

Janasamohini/shubha kalyan:

1. koi sagar dil ko - rafi - dil diya dard liya (some say its kalawati)
2. mere mehboob tujhe - rafi/lata - mere mehboob (most people think it is Jheenjhoti)

Jhinjhoti:

1. mere mehboob tujhe - rafi - mere mehboob
2. mere mehboob tujhe - lata - mere mehboob

Jogiya:

1. o mere lal aja - lata - mother india

Kafi/Misra Kafi:

1. gham diye mustaqil - saigal - shah jahan
2. angdaye tera hain bahana - manju - rattan
3. jhum jhum ke nacho - mukesh - andaz
4. meri payari patang - samsad, uma - dillagi
5. duniya badal gaye - samsad, talat - babul
6. janewale teri khuda hafiz - lata - palki

Kalingda/bhairav:

1. mohe bhool gaye - lata - baiju bawra

Kedar:

1. uthaye ja unke sitam - lata - andaz
2. bekas pe karam - lata - mughal e azam
3. kal rat zindagi se - rafi - palki

Khamaj/Misra Khamaj:

1. chunariya katati jay re - manna de - mother India
2. dhal chuki sham e gham - lata, rafi - kohinoor
3. kaun gali jayo shyam - parveen - pakeezah
4. nain lad gay hain - rafi - ganga jamuna

Lalit:

1. Ek Shahenshah Ne Banvaa Ke Hasin Tajmahal - lata, rafi - leader (shyam-lalit)

Madhu-Bilwal:

1. Bachpan ki mohabbat - lata - baijubawra

Madhumad-sarang:

1. dukh bhar din - rafi, samsad, lata, manna - mother india
2. o gadiwale gadi - rafi, samsad - mother india
3. holi ayi re - samsad - mother india
4. matwale jiya - lata, rafi, samsad, manna - mother india
5. aj mere man mein - lata - aan
6. aj khushi ki irade - rafi - aan
7. udi udi chayi ghata - lata - amar
8. tan rang lo - lata, rafi - kohonoor

Malgunji:

1. hum aj kahi dil - mukesh - andaz

Malkauns/ Malkaush/ Kaushik:

1. man tarapat hari darshan - rafi - baiju bawra

Mand:

1. Bachpan Ki Mohabbat Ko - lata - baiju bawra
2. Jo Me Jaanthi Bisarat - lata - shabab
3. Phir teri kahaani yaad aayi - lata - dil diya dard liya
4. Mar gaye hum jeete jee - lata - shabab
5. Kal raat zindagi se mulaqat - rafi - palki
6. duniya wale duniya sare - lata - guddu

Maru-Bihag:

1. ai dil bekarar jhum - saigal - shah jahan
2. challenge teer jab dil - lata, rafi - kohinoor
3. hamare dil se na jana - lata - udan khatola
4. na milta gam - lata - amar

Marwa:

1. payaliya bawari - lata - saaz aur aawaz

Megh:

1. Ghanan Ghanan ghan garjo re - ustad amir khan - baiju bawra
2. sawan aye ya na - rafi, asha - dil diya dard liya (brindabani sarang)

Megh malhar:

1. dukh bhare din - asha, manna, rafi, samsad - mother India
2. tan rang lo ji - lata, rafi - kohinoor

Misra desi:

1. aye shahare lucknow - rafi - palki

Miya Malhar:

1. apni zulfein - hariharan - taj mahal (slight use of jhinjhoti)

Multani:

1. daya kar he giridhar - ustad amir khan - shabab

Narayani:

1. der ki basti - lata - palki

Nayaki kanada:

1. Chala Diye Deke Gam - lata - son of India (some say its Bilaskhani todi)
2. mehlon mein - rafi - shabab

Pahadi:

1. Aaj Ki Raat Mere Dil Ki Salami Le Le- rafi - ram aur shaym
2. Awaz De Kahan Hain - noorzahan, surendra - anmol ghadi
3. mere bachapan ki - noorjahan - anmol ghadi
4. tere nainon ne - suraiya - anmol ghadi
5. jawan hain mohabbat - noorjahan - anmol ghadi
6. rimjhim barse - zohrabai, amirbai - rattan
7. Bata De Sakhi Kaun Gali Gayo Shyam - parveen sultana - pakeezah
8. Dil Todnewale - lata, rafi - son of India
9. Do Sitaron Ka Zamin - lata, rafi - kohinoor
10. Javaan Hai Muhabbat - noorzahan - anmol ghadi
11. Koi Pyara Ki Dekhe Jadugari - lata, rafi - kohinoor
12. O Dur Ke Musaphir Hamko - rafi - udan khatola (some identify it as raaga Durga)
13. Suhani Raat Dhal Chuki - rafi - dulari
14. Tod Diya Dil Mera Tune Ai Bewafa - lata - andaz
15. Tora Man Bada Papi Sanvariya Re - asha - ganga jamuna
16. duniya mein hum - lata - mother india
17. tasveer banata hoon - rafi - deewana
18. na main bhagwan - rafi - mother india
19. kisne mujhe pukara - rafi, suman - saz aur awaz
20. chod babul ka ghar - samsad - babul

Pilu:

1. Chandan Ka Palna Resham Ki Dori - hemant, lata - shabab
2. Dhoondho Dhoondho Re Saajna - lata - ganga jamuna
3. Hai Hai Rasiya Tu Bada Bedardi - asha - dil diya dard liya
4. Jhule Mein Pavan Ki Ayi Bahar - lata, rafi - baiju bawra
5. Mera Pyar Bhi Tu Hai - mukesh, suman - saathi
6. More Sainya Ji Utarenge Paar - lata - udan khatola
7. na maanu na maanu - lata - ganga jamuna
8. pi ke ghar aaj pyari dulhaniya - samsad - mother India
9. gunghat nahin - lata - mother india
10. chehre se apne aj - rafi - palki
11. aankhiya mila ke - zohrabai - rattan
12. main bhanwara tuhe phool - mukesh, samsad- mela
13. le ja meri duaein - lata - deedar
14. bachpan ke din - lata, samsad - deedar
15. dil ki halat - rafi, asha - dharam kanta
16. humise muhabbat - rafi - leader

Patdeep:

1. jis rat ki khwab - rafi - habba khatun
2. anuraga lola gathri - yesudas, s janaki - dhwani (malayalam)
3. saaz ho tum Awaz hoon main - rafi - saaz aur Awaz (patdeep and Madhuvanti mixed)

Puriya:

1. yeh kaun mujhe yaad - ajay chatterjee - taj mahal (puriya kalyan mixed)
2. pyar kiya to darna - lata - mughal e azam (pilu + megh + sarang + sahana + bahar + darbari + other ragas)

Puriya Dhanashree:

1. tori jai jai kartaar - ustad amir khan - baiju bawra
2. Tareef e Meena Bazaar - couplet - taj mahal
3. Mumtaz Tuze Dekha - hariharan - taj mahal
4. hum kasam kaise - rafi - shabab

Rageshri:

1. shubhadina aayo rajadulara - bade gulam ali - mughal e azam

Shahana:

1. mehalon mein rehne waale - rafi - shabab

Sarang:

1. aja meri barbad - noorjahan - anmol ghadi

Shivranjani:

1. ishq ki dastaan - kavita, preeti uttam - taj mahal (yaman mixed)
2. gam diye mushkil - saigal - shehjahan
3. ye hi arman lekar - rafi - shababa
4. mera pyar bhi - mukesh, suman - saathi
5. dharti ko akash - mukesh, samsad - mela

Sindhu-bhairavi:

1. koyi mere dil mein - lata - andaz

Sohni:

1. prem jogan - bade gulam ali - mughal e azam

Suddha Sarang:

1. gayeja geet milan ke - mukesh - mela
2. dur koyi gaye - lata, samsad, rafi - baijubawra

Tilang:

1. Meri Kahani Bhulnevale - rafi - deedar
2. Yahi Arman Lekar Aaj Apne - rafi - shabab

Todi:

1. insaan bano - rafi - baiju bawra

Yaman/Kalyan/Yaman Kalyan:

1. dilruba Maine tere - rafi - dil diya dard liya
2. dil e betab ko - rafi, suman - palki
3. janewale se mulaqat na hone - lata - amar
4. tere husn ki - lata, rafi - leader
5. ai ishq zara jaag tujhe husn jagaye - rafi - mere mehboob
6. khuda nigehbaan ho tumharaa - lata - mughal e azam
7. mera jeevan sathi - talat - babul
8. nagri nagri - lata - mother india
9. kaun gali gayo - parveen - pakeezah
10. do sitaron ke - rafi, lata - kohinoor
11. dil tod ne wale - rafi, lata - son of india
12. khuda nigahban - lata - mughal e azam

Raagmala:

1. piu piu re karat, room jhoom badariya barse, ajab tori prabhu, he ri he main kaise - rafi - baiju bawra - traditional bandishes in four ragas (lalit, gaur malhar, puriya, bageshri)

References[link]

External links[link]

• Dr. Amjad Parvez (April 28, 2011). "Naushad Ali - Music composer with rich melodies". Daily Times. http://www.dailytimes.com.pk/default.asp?page=2011%5C04%5C28%5Cstory_28-4-2011_pg9_14. 
• Khayyam remembers Naushad
• Naushad: Composer of the century by Raju Bharatan
• Glowing tribute to Naushad: the Hindu
• Pandit Jasraj on Naushad
• Biography at upperstall.com
• Naushad at the Internet Movie Database
• Naushad Ali Naushad Ali's Relationship with Mohammed Rafi
• Fan Site of Naushad
• Naushad's book Aathwan Sur
• Read a ghazal by Naushad
• Naushad's Letterhead

Lata Mangeshkar
Mangeshkar in 2008
Background information
Born	(1929-09-28) September 28, 1929 (age 82) Indore, Central India Agency, British India
Genres	Film music (playback singing)
Occupations	Singer
Instruments	Vocals
Years active	1942–present

Lata Mangeshkar (born September 28, 1929) is a singer from India. She is one of the best-known and most respected playback singers in India.^[1][2] Mangeshkar's career started in 1942 and has spanned over six and a half decades. She has recorded songs for over a thousand Hindi films and has sung songs in over thirty-six regional Indian languages and foreign languages, though primarily in Hindi. She is the elder sister of singer Asha Bhosle, Hridayanath Mangeshkar, Usha Mangeshkar and Meena Mangeshkar. She is the second vocalist to have ever been awarded the Bharat Ratna, India's highest civilian honour.^[3]

Mangeshkar was featured in the Guinness Book of World Records from 1974 to 1991 for having made the most recordings in the world. The claim was that she had recorded approximately 25,000 solo, duet, and chorus-backed songs in 20 Indian languages between 1948 to 1974. Over the years, while several sources have supported this claim, others have raised concerns over its veracity, claiming that this number was highly exaggerated and that Mangeshkar's younger sister, Asha Bhosle, had more song recordings than she had.^[4][5] In 2011 Guinness officially acknowledged Bhosle as the most recorded artist in music history.^[6]

Early life[link]

Lata Mangeshkar was born in Sikh Mohalla,^[7] in the princely state of Indore, part of the Central India Agency (now part of Madhya Pradesh). Her father, Pandit Deenanath Mangeshkar who belonged to a Gomantak Maratha Samaj family from Goa, was a classical singer and theater actor. Her mother Shevanti (Shudhamati) who was from Thalner, Maharashtra, was Deenanath's second wife. The family's last name used to be Hardikar; Deenanath changed it to Mangeshkar in order to identify his family with his native town, Mangeshi in Goa. Lata was named "Hema" at her birth. Her parents later renamed her Lata after a female character, Latika, in one of her father's plays, BhaawBandhan.^[8] Lata is the eldest child of her parents. Meena, Asha, Usha and Hridayanath are her siblings in sequence.

Mangeshkar took her first lessons from her father. At the age of five, she started to work as an actress in her father's musical plays (Sangeet Natak in Marathi). On the first day in the school, she started teaching songs to other children. When the teacher stopped her, she was so angry that she stopped going to the school.^[8] Other sources cite that she left school because they would not allow her to bring Asha with her, as she would often bring her younger sister with her.

Singing career[link]

Early career in the 1940s[link]

In 1942, when Mangeshkar was 13, her father died of heart disease. Master Vinayak (Vinayak Damodar Karnataki), the owner of Navyug Chitrapat movie company and a close friend of the Mangeshkar family, took care of them

Mangeshkar sang the song "Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari" which was composed by Sadashivrao Nevrekar for Vasant Joglekar's Marathi-language movie Kiti Hasaal (1942), but the song was dropped from the final cut. Vinayak gave her a small role in Navyug Chitrapat's Marathi movie Pahili Mangalaa-gaur (1942), in which she sang "Natali Chaitraachi Navalaai" which was composed by Dada Chandekar.^[8] Her first Hindi song was "Mata Ek Sapoot Ki Duniya Badal De Tu" for the Marathi film, Gajaabhaau (1943). Mangeshkar moved to Mumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Amanat Ali Khan . She sang “Paa Lagoon Kar Jori” for Vasant Joglekar's Hindi-language movie Aap Ki Seva Mein (1946),^[8] which was composed by Datta Davjekar. Mangeshkar and her sister Asha played minor roles in Vinayak's first Hindi-language movie, Badi Maa (1945). In that movie, Lata also sang a bhajan, “Maata Tere Charnon Mein.” She was introduced to music director Vasant Desai during the recording of Vinayak's second Hindi-language movie, Subhadra (1946).

Following the partition of India in 1947, Ustad Amanat Ali Khan migrated to newly formed Pakistan, so Mangeshkar started to learn classical music under Amanat Khan Devaswale. Pandit Tulsidas Sharma, a pupil of Ustad Bade Ghulam Ali Khan, also trained her.

After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. Haider introduced Mangeshkar to producer Sashadhar Mukherjee, who was working then on the movie Shaheed (1948), but Mukherjee dismissed Mangeshkar's voice as "too thin."^[8] An annoyed Haider responded that in the coming years the producers and the directors would "fall at Lata's feet" and "beg her" to sing in their movies. Haider gave Lata her first major break with the song “Dil Mera Toda,” from the movie Majboor (1948).^[8]

Initially, Mangeshkar is said to have imitated the acclaimed singer Noor Jehan, but later she developed her own style of singing.^[8] Lyrics of songs in Hindi movies are primarily composed by Urdu poets and contain a higher proportion of Urdu words, including the dialogue. Actor Dilip Kumar once made a mildly disapproving remark about Mangeshkar's Maharashtrian accent while singing Hindi/Urdu songs; so for a period of time, Lata took lessons in Urdu from an Urdu teacher named Shafi.^[9]

One of her first major hits was “Aayega Aanewaala,” a song in the movie Mahal (1949), which was composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.

1950s[link]

Mangeshkar as a young woman

In the 1950s, Mangeshkar sang songs composed by various music directors of the period, including Anil Biswas (in films such as Tarana and Heer), Shankar-Jaikishan, Naushad, S. D. Burman, C. Ramchandra, Hemant Kumar, Salil Chowdhury, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna.

Mangeshkar sang many raga-based songs for Naushad in movies such as Baiju Bawra (1952), Mughal-E-Azam (1960), and Kohinoor (1960). Ae Chorre Ki Jaat Badi Bewafa, a duet with G. M. Durrani, was her first song for composer, Naushad. The duo, Shankar-Jaikishan, chose Mangeshkar for Aag, Aah (1953), Shree 420 (1955), and Chori Chori (1956). Before 1957, composer Sachin Dev (S. D.) Burman chose Mangeshkar as the leading female singer for his musical scores in Sazaa (1951), House No. 44 (1955), and Devdas (1955). However a rift developed between Lata and Burman in 1957, and Lata did not sing Burman's compositions again until 1962.^[8]

Mangeshkar won a Filmfare Best Female Playback Award for Salil Chowdhury's composition “Aaja Re Pardesi,” from Madhumati (1958). In the early fifties, Lata Mangeshkar's association with C. Ramchandra produced songs in movies such as Anarkali, Albela, Asha, Pehli Jhhalak, Shin Shinkai Bublaa Boo, Azad and Amardeep. For Madan Mohan, she performed for films like Adalat, Railway Platform, Dekh Kabira Roya and Chacha Zindabad.

1960s[link]

Mangeshkar's song "Pyar Kiya To Darna Kya" from Mughal-E-Azam (1960), composed by Naushad and picturized on Madhubala, still remains famous . The Hawaiian-themed number "Ajeeb Dastaan Hai Yeh" from Dil Apna Aur Preet Parai (1960) was composed by Shankar-Jaikishan and picturized on Meena Kumari.

In 1961, Mangeshkar recorded two popular bhajans, "Allah Tero Naam" and "Prabhu Tero Naam", for Burman's assistant, Jaidev. In 1962, she was awarded her second Filmfare Award for the song "Kahin Deep Jale Kahin Dil" from Bees Saal Baad, composed by Hemant Kumar.

On June 27, 1963, against the backdrop of the Sino-Indian War, Mangeshkar sang the patriotic song "Aye Mere Watan Ke Logo" (literally, "Oh, People of My Country") in the presence of Jawaharlal Nehru, the then Prime Minister of India. The song, composed by C. Ramchandra and written by Pradeep, is said to have brought the Prime Minister to tears.^[8][10]