xxx, naushad did not usher in tanga rhythm into film music. OP got the idea from someone else whom Naushad admired.

today peoples may put the shankar-jaikishan & sachin dev burman on their highest esteem and truly sj and sdb were most versatile and best , but i think naushad let the others to move in his way, the singer whom he promoted later became 1st choice of everyone was not at all coincidence(heere ki parakh sirf johari ko hi hoti hai), actually he was the first who birngs the freshness to hfm with “suhani raat dhal chuki”..he never sailed with the trends and norms, for what he really bothered, was always the quality music..

by the way op nayyar is credited to bring the tanga rhythms into the hfm but i think naushad brings this rhythm first with “dil mein chupake pyar ka toofaan le chale ” from aan(1952), pardon me if im wrong, here is the link to the song::
http://youtube.com/watch?v=tDFTkP-cRjg

talat,manna, kishore,hemant,mukesh all were the gems but rafi was kohinoor, all the indigenious composers and trendsetters were using the others in early 50s, sdb-talat,hemant,manna,kishore sj-mukesh,lata roshan-talat, mukesh
madan mohan- used rafi ji for his very first movie but madan got recognition in late 50s…
by the way here is my most fav dev-rafi-madan classic::
http://youtube.com/watch?v=YnLXLaQvJDg&feature=related

now just look at the naushad’s genious he completely changed the mind set of every genious composer, rafi was not the dada’s fav in early 50s but after baiju baawra equations changed but surprisingly it took four more years after baiju baawra for him to become rafi loyalist, from 1946-1956 dada used rafi ji only 6 times and notable songs among them were one duet with geeta dutt & devdas solo, but after ndg rafi became his fav…roshan,madan & sj immediately moved to rafi after baiju baawra…
1949-1969 known as the most melodious period and actually naushad based the foundation of this golden era by promoting lord rafi, talat & hemant were well known already and kishore and mukesh were also had great source as a dada muni and raj, but rafi ji who was very shy continuously ignored by musical greats but at last naushad bangs with baiju baawra and proved everybody wrong
here are some magical scores by naushad having rafi from 1949-55–
1.mela(1949)
2.dillagi(1949)
3.dulari(1949)
4.deedar(1951)
5.aan(1952)
6.baiju baawra(1953)
7.amar(1954)
8.udan khatola(1955)…….

all these movies were revolutionary and changed the face of the hfm, golden era started with these movies only … now iam ending up with song from udan khatola having pivotal role on rafi ji’s career…

http://youtube.com/watch?v=ZLfEKYmK–g

I was at the 77 concert,we were right behind the stage
in the nose bleed seats but we had a better view then
half of the hall,Rafi Sahib was awesome,fantastic and the
he sang O Duniya ke rakawale” in his own version and
the notes he sang on the “galan sonne”> was unabelievable,I still get goosebumps 31 years later.
Keep up the good work

Yes, it was a live program on tv; forgot to mention that rafi saab also sang “madhuban mein radhika”. kolkata’s streets looked much less crowded while the program was being broadcast.

If you hear this song in a dark night and you close your eyes you will
feel that it is a full moon night.That much rafi saab touch the nature in
this song.

Rafi’s performance of ‘o duniya ke rakhwale’ in London in the late 70’s was mind blowing and the audience’s reaction had showed this! I wished he would have lived longer for me to see him sing this all time great classic on stage.