Early life and educationNaushad was raised in Lucknow, a city with a long tradition as a center of refined North Indian culture. His father, Wahid Ali, was a munshi (court clerk). As a kid, 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, and Naushad would sit there, listening to those wondrous melodies. He studied classic Hindustani music there under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb, and others. He repaired harmoniums.
As a lad, he joined a junior theatrical club and was appointed as 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 Khanhad where 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 has to stay at home. He ran away to Mumbai (then called Bombay) in the late 1937 to try his luck as a musician.
CareerIn Mumbai, 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 lilting bhajan 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 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 Nai 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 debut with Panchhi Ja song 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 the fact that he composes music from his family. 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.
1946 brought Anmol Ghadi in which he worked with Noorjehan and Shahjehan and paired with K L Saigal, both films and the music became super hit.
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.
Naushad completed Pakeezah (1972) after its Music Director, Ghulam Mohammed's death, who had worked earlier as his assistant for several films.
In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema. In 1988 he worked in a Malayalam Film Dhwani starring Ever Green Hero Prem Nazir. In 1995 he gave music for Shahrukh Khan starrer, Guddu of which a few songs became popular. In 2004, when a colorized version of the classic Mughal-e-Azam was released, Naushad was a guest of honor at the premiere.
Amongst his assistants, Mohammed Shafi, Jerry Amaldev, and Ghulam Mohammed stand out prominently.
He composed the tunes of Taj Mahal: An Eternal Love Story (2005) at the age of 86, thus becoming the world's oldest composer.
5 films have been made on his life and work Naushad Ka Sangeet, Sangeet Ka Badshah, Naushad (T. V.) 1972, Biography-by Doordarshan; B. C. LONDON T. V. 's Movie Mahal Naushad, and T. V. Serial 'Zinda Ka Safer Biographical books published are Dastaan-E-Naushad (Marathi) by Shashikant Kinikar; Aaj Awat 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.
Amongst his assistants, Mohammed Shafi, Ghulam Mohammed, and Jerry Amaldev stand our prominently.
He set Prime Minister Atal Bihari Vajpayee's verse, Unki yaad kare, to song in 2006, rendered by A. Hariharan in lead voice with 40 chorus singers, produced by Keshav Communications. The poem is dedicated to those who have lost their lives defending the country's border.
He also loved Angling and the beauty of Nature. In 1962, he caught his largest fish, a 52 lb. CATLA.
Last daysNaushad died on 5 May 2006 in Mumbai. He was buried at the Juhu Muslim cemetery. His tomb was demolished in 2010 to make space for new bodies.
He is survived by six daughters Zubeda, Fehmida, Farida, Sayeeda, Rashida, Waheeda & 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 in two movies 'My Friend' & 'Teri Payal Mere Geet' which was directed by Rahman Naushad.
Naushad had requested Maharashtra state government to sanction a plot for the Academy for promoting Hindustani sangeet which was sanctioned during his life time & 'Naushad Academy of Hindustani sangeet' was formed.
There also was an announcement that Carter Road, where Naushad's residence was, would be renamed to 'Sangeet Samrat Naushad Ali Marg' and it was done by Maharashtra government (M.C.G.M.) on 5 May 2008.
WriterNaushad 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, are arranged by Uttam Singh.
- Aabadiyon Mein Dasht Ka Munzar Bhi Aayega - A. Hariharan - 7:08
- Aaj Ki Baat Kal Pay Kyun Taalo - A. Hariharan & Preeti Uttam Singh - 6:17
- Ghata Chhaayi Thi Saawan Khul Ke Barsa - Preeti Uttam Singh - 7:19
- Kabhi Meri Yaad Unko Aati To Hogi - A. Hariharan & Preeti Uttam Singh - 6:18
- Mujh Ko Muaff Kijiye - A. Hariharan - 5:35
- Peenay Waalay Bekhudi Say Kaam Lay - A. Hariharan & Preeti Uttam Singh - 8:13
- Saawan Kay Jab Baadal Chhaaye - A. Hariharan - 6:50
- Tanhaa Khud Say Baat Karoon - Preeti Uttam Singh - 7:49
Music styleNaushad 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. 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. The echo effect he used in Rattan was achieved through a very crude but effective technique when he kept a microphone in a toilet which had ceramic tiles and then played the music so that the sound reverberated against those tiles, producing an echo effect.
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 6-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
|Prem Nagar||1940||Mohan Dayaram Bhavnani||Ramanand, Bimla Kumari, Husn Banu, Rai Mohan, Nagendra, Salu, Gulzar|
|Darshan||1941||Chimanlal Muljibhoy Luhar||Raj Kapoor, Suraiya|
|Mala||1941||Balwant Bhatt||Jayant, Rose, Jairaj, Nazir, Daya Devi, Heera|
|Nai Duniya||1942||Abdul Rashid Kardar||Jairaj, Shobhna Samarth, Wasti, Azurie, Mazhar Khan. Hari Shivdasani, Jeevan||Debut of Singer Surayya in the song "Boot Karoon main Polish" |
|Sharda||1942||Abdul Rashid Kardar||Ulhas, Mehtab. Wasti, Nirmala, Badri Prasad||Silver Jubilee|
|Station Master||1942||Chimanlal Muljibhoy Luhar||Prem Adib, Pratima Devi, Gulab|
|Kanoon||1943||Abdul Rashid Kardar||Mehtaab, Shahu Modak||Silver Jubilee|
|Namaste||1943||Mohammed Sadiq Sani||Wasti, Protima Das, Jagdish Sethi, Misra||Silver Jubilee|
|Sanjog||1943||Abdul Rashid Kardar||Charlie, Anwar Hussain, Mehtab||Silver Jubilee|
|Geet||1944||S. U. Sunny||Shahu Modak, Nirmala, Amir Ali|
|Jeevan||1944||Mohammed Sadiq||Wasti, Mehtab, Badri Prasad, Anwar, Shyam Kumar|
|Pehle Aap||1944||Abdul Rashid Kardar||Shamim, Wasti, Anwar Hussain, Jeevan, Dixit||Rafi's first song for Naushad "Hindustan Ke Hum Hain" in a chorus |
|Rattan||1944||S Sadiq||Amir Banu, Karan Dewan, Swarnalata||Diamond Jubilee|
|Sanyasi||1945||Abdul Rashid Kardar||Shamim, Amar, Misra, Shyam Kumar, Naseem Jr., Gulam Mohamad||Silver Jubilee|
|Anmol Ghadi||1946||Mehboob Khan||Noorjehan, Surinder, Suraiya||Diamond Jubilee|
|Keemat||1946||Nazir Ajmeri||Amar, Sulochana Chatterjee, A Shah, Sharda, Badri Prasad, Sofia, Anwari, Nawab|
|Shahjehan||1946||Abdul Rashid Kardar||Kundan Lal Saigal, Ragini||Silver Jubilee|
|Dard||1947||Abdul Rashid Kardar||Uma Devi, Suraiya||Debut of Singer Uma Devi (Comedy Actress Tuntun) in the song "Afsana Likh Rahi Hoon" |
|Elan||1947||Mehboob Khan||Himalaywala, Leela Mishra, Shah Nawaz|
|Natak||1947||S. U. Sunny||Suraiya, Amar, Sofiya, Kanwar, Sham Kumar, Pratima Devi||Silver Jubilee|
|Anokhi Ada||1948||Mehboob Khan||Surendra, Naseem Bano, Murad, Cuckoo||Golden Jubilee|
|Mela||1948||S. U. Sunny||Dilip Kumar, Nargis, Jeevan||Golden Jubilee|
|Andaz||1949||Mehboob Khan||Dilip Kumar, Raj Kapoor, Nargis||Golden Jubilee|
|Chandni Raat||1949||Mohammed Ehsan||Shyam, Naseem Bano|
|Dillagi||1949||Abdul Rashid Kardar||Shyam, Suraiyya, Sharda, Amir Banu, Amar||Silver Jubilee|
|Dulari||1949||Abdul Rashid Kardar||Suresh, Madhubala, Geeta Bali||Silver Jubilee|
|Babul||1950||S. U. Sunny||Dilip Kumar, Nargis||Also as Producer |
|Dastan||1950||Abdul Rashid Kardar||Raj Kapoor, Suraiya, Veena, Suresh||Also as Co-producer |
|Deedar||1951||Nitin Bose||Dilip Kumar, Nimmi, Nargis, Ashok Kumar||Golden Jubilee|
|Jadoo||1951||Abdul Rashid Kardar||Suresh, Nalini Jaywant||Also as Co-producer |
|Aan||1952||Mehboob Khan||Dilip Kumar, Nimmi, Nadira||Golden Jubilee|
|Baiju Bawra||1952||Vijay Bhatt||Bharat Bhushan, Meena Kumari||Debut of singers Amir Khan and D. V. Paluskar in the song "Aaj gaavat man mero jhoomke" |
|Deewana||1952||Abdul Rashid Kardar||Suraiya, Suresh, Sumitra Devi, Shyam Kumar||Silver Jubilee|
|Amar||1954||Mehboob Khan||Dilip Kumar, Nimmi, Madhubala|
|Shabaab||1954||Mohammed Sadiq||Bharat Bhushan, Nutan||Silver Jubilee|
|Uran Khatola||1955||S. U. Sunny||Dilip Kumar, Nimmi.||Also as Producer |
|Mother India||1957||Mehboob Khan||Nargis, Raj Kumar, Rajendra Kumar, Sunil Dutt, Kanhaiyalal||Diamond Jubilee|
|Sohni Mahiwal||1958||Raja Nawathe||Bharat Bhushan, Nimmi||Debut of singer Mahendra Kapoor in the song "Chaand Chhupa Aur Taarey Doobey"|
|Kohinoor||1960||S. U. Sunny||Dilip Kumar, Meena Kumari, Kumkum, Jeevan||Golden Jubilee|
|Mughal-e-Azam||1960||Karim Asif||Dilip Kumar, Madhubala, Prithviraj Kapoor, Durga Khote, Ajit||Debut of singer Bade Ghulam Ali Khan in the songs "Shubh din aayo" and "Prem jogan ban ke" |
|Gunga Jumna||1961||Nitin Bose||Dilip Kumar, Vyjayantimala Bali||Lyrics of several songs were in Bhojpuri dialect |
|Son of India||1962||Mehboob Khan||Kamaljit, Kumkum, Sajid, Simi Garewal, Jayant|
|Mere Mehboob||1963||Harnam Singh Rawail||Rajendra Kumar, Sadhana, Ameeta, Ashok Kumar, Nimmi||Silver Jubilee|
|Leader||1964||Ram Mukherjee||Dilip Kumar, Vyjayantimala Bali|
|Dil Diya Dard Liya||1965||Abdul Rashid Kardar||Dilip Kumar, Waheeda Rehman, Pran||Silver Jubilee|
|Saaz Aur Awaaz||1966||Subodh Mukherji||Saira Banu, Kanhaiyalal, Joy Mukherjee||Golden Jubilee|
|Palki||1967||S. U. Sunny||Rajendra Kumar, Waheeda Rehman, Rehman, Johnny Walker||Also as Writer |
|Ram Aur Shyam||1967||Tapi Chanakya||Dilip Kumar, Waheeda Rehman, Mumtaz, Pran, Nirupa Roy, Leela Mishra||Golden Jubilee|
|Aadmi||1968||A. Bhimsingh||Dilip Kumar, Waheeda Rehman, Manoj Kumar||Golden Jubilee|
|Saathi||1968||C. V. Sridhar||Rajendra Kumar, Vyjayantimala Bali, Simi Garewal||Silver Jubilee|
|Sunghursh||1968||Harnam Singh Rawail||Dilip Kumar, Vyjayanthimala, Balraj Sahni||Silver Jubilee|
|Gunwaar||1970||Naresh Kumar||Rajendra Kumar, Vyjayantimala Bali, Nishi||Silver Jubilee|
|Pakeezah||1971||Kamal Amrohi||Raj Kumar, Meena Kumari, Ashok Kumar||Background Score and a few songs |
|Tangewala||1972||Naresh Kumar||Mumtaz, Sujit Kumar|
|My Friend||1974||M Rehman||Rajeev, Prema Narayan, Utpal Dutt, Jagdeep, Asit Sen, Tuntun|
|Sunehra Sansar||1975||Adurti Subba Rao||Rajendra Kumar, Hema, Mala Sinha|
|Aaina||1977||Kailasham Balachander||Mumtaz, Rajesh Khanna|
|Paan Khaae Sainyyan Humaar||1985||Sujit Kumar||Sujit Kumar, Bandini, S. N. Tripathi||Bhojpuri film|
|Chambal Ki Rani||1979||Radhakant||Mahendra Sandhu, Dara Singh, Chand Usmani|
|Dharam Kanta||1982||Sultan Ahmed||Raj Kumar, Waheeda Rehman, Jeetendra, Reena Roy, Rajesh Khanna, Sulakhshana Pandit||Golden Jublee|
|Love and God||1986||Karim Asif||Sanjeev Kumar, Nimmi, Pran|
|Teri Payal Mere Geet||1989||Rehman Naushad||Govinda, Meenakshi Seshadri|
|Aawaz De Kahan Hai||1990||Sibte Hassan Rizvi||Bindu, Annu Kapoor, Satyendra Kapoor|
|Guddu||1995||Prem Lalwani||Shah Rukh Khan, Manisha Koirala, Mukesh Khanna|
|Taj Mahal: An Eternal Love Story||2005||Akbar Khan||Kabir Bedi, Sonia, Monisha Koirala|
|Hubba Khatoon||Unreleased||B. R. Chopra||Sanjay Khan, Zeenat Aman||"Jis Raat Ke Khwaab Aaye", sung by Rafi is released|
- 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.
- Such a Long Journey (1998), Director: Sturla Gunnarsson, Music: Jonathan Goldsmith, Cast: Roshan Seth, Soni Razdan, Om Puri, Nasiruddin Shah,
- Maalik (1958) Music Director for this film was Ghulam Mohammed
- Uran Khatola (1955)
- Babul (1950)
- Palki (1967)
- teri payal mere geet(1989)
Awards and recognition
- 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
- 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 RaagaHere is a list of Naushad's songs based on different raagas. (raaga, song, singer, movie)
- chah barbaad karegi - saigal - shah jahan
- man ki been - lata, rafi - shabab (with a line in basant)
- aye dil tujhe kasam hai - lata - dulari
- teer khate jayenge - lata -dewana
- haal e dil main lata - udan kha tola
- kya rang-e-mehfil hain - lata - dil diya dard liya
- allah bachaya naujawan - lata - mere mehboob
- aai diwali - zohrabai - rattan
- diya na bujhe re aj hamara - lata - son of India
- insaf ka mandir - rafi - amar
- na toofan se - rafi - udan kha tola
- huye hum jinke - rafi - deedar
- dekhliya maine - rafi, lata - deedar
- aanewalon ko ana hoga - rafi, lata - sohni mahiwal
- khamosh hain khewan - lata - amar
- jadugar katil - asha - kohinoor
- chand chupa aur tare duba - mahendra - sohni mahiwal
- baat sabse karo pyar humse karo - sp bala - tere payal mere geet
- jab dil hi toot gaya - saigal - shah jahan
- tu ganga ki - rafi, lata - baiju bawra
- ayi sawan rut ayi - samsad - mela
- manzil ki dhun mein - mukesh - anokhi ada
- gaon tarane - samsad, lata, rafi - aan
- dooba tara ummeedon ki sahara - lata - udan kha tola
- do hanson ka joda - lata - ganga jamuna
- main to payar se teri piya - lata - saathi
- Tumhare Sang Main Bhi Chalungi - lata - sohni mahiwal
- Tute Na Dil Tute Na - mukesh - andaz
- yeh zindegi ki mele - rafi- mela
- mere paas aao nazar to milao - lata - sanghursh
- aj mere man me - lata - aan
- tere sadke balam - lata - amar
- Manasa Nilayil, Yesudas - dhwani (Malayalam)
- ai dil bekarar jhum - saigal - shah jahan
- challenge teer jab dil - lata, rafi - kohinoor
- hamare dil se na jana - lata - udan khatola
- mari ladli re - lata - andaz
- tere payar mein dildar - lata - mere mehboob
- Saavan Aye Ya Na Aye - asha, rafi- dil diya dard liya ( some say its Suddha sarang)
- daiya re daiya laj mohe lage - asha, rafi - leader
- gujre hai aj ishk mein - rafi - dil diya dard liya
- kabhi dil dilse takrata - mukesh - anokhi ada
- mohabbat ki jhuti kahani - lata - mughal e azam
- o duniya ki rakhwale - rafi - baiju bawra
- duniya badal gayi - talat, samsad - babul
- darbari alap - ustad amir khan - baiju bawra
- yaad mein teri jag jag - lata, rafi - mere mehboob
- door koi gaaye - samsad, lata, rafi - baiju bawra
- aaj gaawat man mero - ustad amir khan, pandit d v paluskar - baiju bawra
- ajnabi thehero jara - hariharan, preeti uttam - taj mahal
- mohe panghat pe - lata - mughal e azam
- aaye na baalam waada kar ke - rafi - shabab
- dil ki kashti - lata - palki
- madhuban mein radhika nache re - rafi - kohinoor
- Yeh Dil Ki Lagi Kam Kya Hogi - lata - mughal e azam
- Zindagi Aaj Mere Nam Se Sharamati Ha - rafi - son of India
- koi sagar dil ko - rafi - dil diya dard liya (some say its kalawati)
- mere mehboob tujhe - rafi - mere mehboob
- mere mehboob tujhe - lata - mere mehboob
- gham diye mustaqil - saigal - shah jahan
- mohe bhool gaye - lata - baiju bawra
- uthaye ja unke sitam - lata - andaz
- bekas pe karam - lata - mughal e azam
- chunariya katati jay re - manna de - mother India
- dhal chuki sham e gham - lata, rafi - kohinoor
- Ek Shahenshah Ne Banvaa Ke Hasin Tajmahal - lata, rafi - leader
- man tarapat hari darshan - rafi - baiju bawra
- Bachpan Ki Mohabbat Ko - lata - baiju bawra
- Jo Me Jaanthi Bisarat - lata - shabab
- Phir teri kahaani yaad aayi - lata - dil diya dard liya
- Mar gaye hum jeete jee - lata - shabab
- Kal raat zindagi se mulaqat - rafi - palki
- payaliya bawari - lata - saaz aur aawaz
- Ghanan Ghanan ghan garjo re - ustad amir khan - baiju bawra
- dukh bhare din - asha, manna, rafi, samsad - mother India
- tan rang lo ji - lata, rafi - kohinoor
- aye shahare lucknow - rafi - palki
- apni zulfein - hariharan - taj mahal (slight use of jhinjhoti)
- daya kar he giridhar - ustad amir khan - shabab
- Chala Diye Deke Gam - lata - son of India (some say its Bilaskhani todi)
- Aaj Ki Raat Mere Dil Ki Salami Le Le- rafi - ram aur shaym
- Awaz De Kahan Hain - noorzahan, surendra - anmol ghadi
- Bata De Sakhi Kaun Gali Gayo Shyam - parveen sultana - pakeezah
- Dil Todnewale - lata, rafi - son of India
- Do Sitaron Ka Zamin - lata, rafi - kohinoor
- Javaan Hai Muhabbat - noorzahan - anmol ghadi
- Koi Pyara Ki Dekhe Jadugari - lata, rafi - kohinoor
- O Dur Ke Musaphir Hamko - rafi - udan khatola (some identify it as raaga Durga)
- Suhani Raat Dhal Chuki - rafi - dulari
- Tod Diya Dil Mera Tune Ai Bewafa - lata - andaz
- Tora Man Bada Papi Sanvariya Re - asha - ganga jamuna
- Chandan Ka Palna Resham Ki Dori - hemant, lata - shabab
- Dhoondho Dhoondho Re Saajna - lata - ganga jamuna
- Hai Hai Rasiya Tu Bada Bedardi - asha - dil diya dard liya
- Jhule Mein Pavan Ki Ayi Bahar - lata, rafi - baiju bawra
- Mera Pyar Bhi Tu Hai - mukesh, suman - saathi
- More Sainya Ji Utarenge Paar - lata - udan khatola
- na maanu na maanu - lata - ganga jamuna
- pi ke ghar aaj pyari dulhaniya - samsad - mother India
- chehre se apne aj - rafi - palki
- o ghadiwale - samsad, rafi - mother India
- jis rat ki khwab - rafi - habba khatun
- anuraga lola gathri - yesudas, s janaki - dhwani (malayalam)
- saaz ho tum Awaz hoon main - rafi - saaz aur Awaz (patdeep and Madhuvanti mixed)
- yeh kaun mujhe yaad - ajay chatterjee - taj mahal (puriya kalyan mixed)
- tori jai jai kartaar - ustad amir khan - baiju bawra
- Tareef e Meena Bazaar - couplet - taj mahal
- Mumtaz Tuze Dekha - hariharan - taj mahal
- shubhadina aayo rajadulara - bade gulam ali - mughal e azam
- mehalon mein rehne waale - rafi - shabab
- ishq ki dastaan - kavita, preeti uttam - taj mahal (yaman mixed)
- prem jogan - bade gulam ali - mughal e azam
- Meri Kahani Bhulnevale - rafi - deedar
- Yahi Arman Lekar Aaj Apne - rafi - shabab
- insaan bano - rafi - baiju bawra
- dilruba Maine tere - rafi - dil diya dard liya
- dil e betab ko - rafi, suman - palki
- janewale se mulaqat na hone - lata - amar
- tere husn ki - lata, rafi - leader
- ai ishq zara jaag tujhe husn jagaye - rafi - mere mehboob
- khuda nigehbaan ho tumharaa - lata - mughal e azam