Picking the top tunes from the repertoire of such a legendary composer is difficult. I made an attempt though.

One: Bekas Par Rahem Kijiye Sarkare Madina from Mughal-E-Azam.

The reason is the lyrics and minimal music. People may rave about the song Pyaar Kiya Toh Darna Kya from the same film, but the fact is this song is more beautifully composed: Bekas Par Rahem Kijiye Sarkare Madina, Mushkil Mein Hai Takdeer, Bhawar Mein Hai Safina (Help the helpless, Oh! Prophet of Medina, My future is in trouble and my ship is caught in whirlpool).

Unfortunately, the track was not included in the colour version of Mughal-E-Azam released in 2004.

Two: Aiye Husn Zara Jaag Tujhe Ishq Jagaye from Mere Mehboob.

The song is played when Rajendra Kumar drops by Ashok Kumar’s residence. His sister Sadhna — who looks gorgeous in the film — is asleep in the other room when he sits on the piano and begins crooning. Kumar pleads: Aiye Husn Zara Jaag Tujhe Ishq Jagaye, Badle Meri Taqdeer Jo Tu Hosh Mein Aaye. (Oh beautiful woman, please wake up. My fate will change once you do).

A must hear.

Three: Mere Mehboob: Title track.

An all-time favourite for the romantic in search of their love. The song is about 5 minutes long, with almost no accompanying music. Rafi’s voice is enchanting and, with no major instruments playing, the camera catches Sadhna and Rajendra Kumar, who is singing on stage at a college function.

Naushad obviously knew when to use instruments and when not to.

Four: Dil-E-Nadaan: Mirza Ghalib

Sung by actress Suraiya, this is one of her most remembered tracks. Mirza Ghalib wrote the lyrics in the nineteenth century. Loosely translated, it means: ‘What has happened to you, oh my heart? What is the cure for this disease, love? I am dying to see my beloved, but is she bored of me? Oh God! What is this thing that has come up between us?’

Naushad heard Suraiya’s voice for the first time on the radio and chose her to sing for Kardar’s Sharda (1942). Mirza Ghalib won the President’s gold medal. Pandit Jawaharlal Nehru complimented Suraiya saying “Tumne Mirza Ghalib ki rooh ko zinda kar diya…”

Five: Madhuban Mein Radhika Nache: Kohinoor.

Simply beyond compare. There are rare examples of a musician blending a classical song so well in commercial cinema. This track also tells us why Mohammad Rafi is one of the greatest singers of Indian cinema. Few others could touch the depth he did, and it is all because of Naushad.

The lyrics then deviate to: Mridang baje titakitadhum titakitadhum ta ta. Naushad made Rafi sing these lines in one breath. Go, listen.

Snippets from the net-mohanflora
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Naushad regarded Mukesh as a imperfect singer but exploited his voice extremely well in Andaz for Jhoom jhoom ke nacho aaj, Tu kahe agar, and Hum aaj kahin dil kho baithe and Toote na dil toote na. In this film, he paired with Majrooh Sultanpuri and despite such great hits, the two did not work together till Saathi in the sixties. Another little known fact about Naushad is that he even composed songs in his dreams. One such song was Dharti ko aakash pukare, aaja aaja prem dware, aana hi hoga for Mela. The song was an instant hit. Rafi’s first big time solo hit was also from the same film, Yeh zindagi ke mele, duniya mein kum na honge.

Naushad also gave a break to a large number of young singers in the fifties and sixties. After winning the Murphy contest, Mahendra Kapoor sang his first song under his baton Husn chala ai ishq se milne for Sohni Mahiwal and Shanti Mathur for Nanha munna rahi hoon; for Son of India. He also had a grasp of western symphonies and his background score for Dastaan demonstrated that in big measure. In fact, the background score was to later become the signature theme of Aap ke hi Geet aired by Radio Ceylon for many years. His other composition, Aakhiyan mila ke jiye bharma ke for Rattan was on everyone’s lips and in Dil mein chupa ke pyar ka armaan le chale for Aan, Naushad perfected the horse hoofs as a part of his music, something which OP Nayyar later used extensively. .

Naushad is gone but his music shall live forever. Suhani raat dhal chuki, na jane tum kab aaoge’.

Not many would know that it was Naushad who along with Shankar Jaikishen played a major role in getting Lata Mangeshkar out of the Noor Jahan mould of singing. It was his Uthaye ja unke sitam which helped Lata to carve out her own identity. He used her voice for scores of memorable hits like mohe bhool gaye sawariyan and pyar kiya to darna kya

In fact, his famous bhajan, Man Tarpat Hari Darshan ko Aaj for Baiju Bawra is regarded as one of his greatest compositions. The film had won him the first Filmfare award for best musical score way back in 1953. The music of the movie also confirmed Mohammad Rafi’s position as the number one male playback singer. Naushad was a great Rafi fan, something which he confessed on a radio talk show many years after the great singer’s untimely demise. Rafi’s death also brought to a pre-mature end the career of many musicians including Naushad.

in reading sajdah’s post about nuashad saab……i am shocked to read some mention of him having ‘critics’…and…’harsh’ ones…???

i can not imagine who would have any criticism for his super fantastic compsoitions….

and if there are such persons who may have anything but praise for the genius of naushad saab, i really feel sorry for them…for they know not what they’re talking about!

hope god can forgive them!!!