October 02, 2018
This album contain fourteen (14) jhankar songs.
(AM Jhankar Enterprises)
01. Hoga Tum Se Kal
02. Insaan Bano Kar
03. Janam Janam Ka Saath
04. Koi Mujh Se (Happy)
05. Koi Mujh Se (Sad)
06. Mera Gadha Gadhon
07. Mera Man Tera Pyasa
08. Salaam Aap Ki Meethi
09. Sun Le Tu Dil (Happy)
10. Toote Hoy Khaabon
11. Tu Bemisaal He Teri
12. Tum Ne Kisi Ki Jaan
13. Utho Ae Momino
14. Zindagi Bhar Nahi
The crowd of film music in India recalled honorable author Naushad Ali on his introduction to the world commemoration on 26th December, 2017. He was a virtuoso arranger and formed Indian film music with his old style gharana during the 40s from where it just developed with assortment and advancement.
Naushad Ali is associated with his splendid tunes over a time of 50 years down the world of fond memories. During the 40s, he created music in numerous movies including Anmol Ghadi, however he raged bollywood with sentimental melodies in Dulari, including "suhani raat dhal chuki" sung by Rafi, all the tunes of Andaz, where he formed Rafi's tunes for Raj Kapoor and Mukesh's tunes for Dilip Kumar.
During the 50s, Naushad's creation in Baiju Bawra made the audience members puzzled. He won filmfare grant for the best writer for his splendid old style introduction in melodies like "o duniya ke rakhwale", "man tarapata", "tu ganga ki mauj", and so forth., sung by Rafi and Lata. Rafi's range was utilized to flawlessness and from that time the Rafi Naushad mix gave a great many diamonds. The distinctive ragas and their timings were clarified by Naushad in the film. Bharat Bhushan and Meena Kumari gave capable lips in the melodies made by Naushad. Melodies of Uran Khatola, as "wo dur ke musafir" sung by Rafi for Dilip Kumar additionally shook bollywood in the mid-50s.
During the 60s Naushad was relentless. His structure in Kohinoor for Rafi titled "madhuban me radhika nache re" and "do sitaron ka zameen" picturised on Dilip Kumar showed the splendor of Hindustani ragas. Naushad's organization in Rajender Kumar's Mere Mehboob, Naushad showed the ghazal culture of Lucknow and Aligarh. The tunes "negligible mehboob tujhe meri mohabbat ki kasam", "ai husn zara jaag", and so forth sung by Rafi and picturised on Rajendra Kumar was in essence great. Naushad created light melodies in Mughal-I-azam for Lata including "pyar kiya to darna kya", "mohe panghat pe nandlal", and again made thumri sung by Bade Ghulam Ali Khan in a similar film.
Naushad likewise created Bhojpuri music for Dilip Kumar in the film Ganga Jamuna. The melodies "nain fellow jai hai" sung by Rafi was one of the instances of Naushad's control of Bihari society tune. Naushad was at his best in Dilip Kumar's Leader. All the tunes in the film sung by Rafi and Lata floored the audience members, including "ek shahenshah ne banwa ke haseen taj mahal", "tere husn ki kya tareef karu", "mujhe duniya walo", and so on. Naushad was great in Dilip Kumar's Ram Aur Shyam. All the tunes sung by Rafi and Lata in the film including "aaye hai baharen dekho", "yeh raat dulhan boycott gayi", "fundamental hoon saqi", and so forth.
Pundits consider Dil Diya Dard Liya as probably the best formation of Naushad. All the melodies in the film turned out to be super hit including Rafi's "dilruba maine tere", "koi sagar dil ko behlata nahi". Naushad Rafi and Dilip Kumar proceeded with their degree of greatness in the film Aadmi, with Rafi's tunes like "na aadmi ka koi bharosa", "aaj purani rahon se", and so forth. Furthermore, Naushad formed superb music in Rajendra Kumar's Palki, Saathi, Ganwar, and so on. Rafi's hit tunes in those movies included "dil-e-betaab ko seene se lagana hoga" sung with Suman Kalyanpur.
Naushad blurred away from film music during the 70s, making colossal misfortune the film business. The traditional gharana identified with thumris, kajris, ghazals, and so forth., blurred away with Naushad. Music got famous, yet lost its class. Naushad got Dadasahab Phalke for his astounding commitment to bollywood music. His tunes and the movies ought to be safeguarded and reestablished.
Naushad Ali is associated with his splendid tunes over a time of 50 years down the world of fond memories. During the 40s, he created music in numerous movies including Anmol Ghadi, however he raged bollywood with sentimental melodies in Dulari, including "suhani raat dhal chuki" sung by Rafi, all the tunes of Andaz, where he formed Rafi's tunes for Raj Kapoor and Mukesh's tunes for Dilip Kumar.
During the 50s, Naushad's creation in Baiju Bawra made the audience members puzzled. He won filmfare grant for the best writer for his splendid old style introduction in melodies like "o duniya ke rakhwale", "man tarapata", "tu ganga ki mauj", and so forth., sung by Rafi and Lata. Rafi's range was utilized to flawlessness and from that time the Rafi Naushad mix gave a great many diamonds. The distinctive ragas and their timings were clarified by Naushad in the film. Bharat Bhushan and Meena Kumari gave capable lips in the melodies made by Naushad. Melodies of Uran Khatola, as "wo dur ke musafir" sung by Rafi for Dilip Kumar additionally shook bollywood in the mid-50s.
During the 60s Naushad was relentless. His structure in Kohinoor for Rafi titled "madhuban me radhika nache re" and "do sitaron ka zameen" picturised on Dilip Kumar showed the splendor of Hindustani ragas. Naushad's organization in Rajender Kumar's Mere Mehboob, Naushad showed the ghazal culture of Lucknow and Aligarh. The tunes "negligible mehboob tujhe meri mohabbat ki kasam", "ai husn zara jaag", and so forth sung by Rafi and picturised on Rajendra Kumar was in essence great. Naushad created light melodies in Mughal-I-azam for Lata including "pyar kiya to darna kya", "mohe panghat pe nandlal", and again made thumri sung by Bade Ghulam Ali Khan in a similar film.
Naushad likewise created Bhojpuri music for Dilip Kumar in the film Ganga Jamuna. The melodies "nain fellow jai hai" sung by Rafi was one of the instances of Naushad's control of Bihari society tune. Naushad was at his best in Dilip Kumar's Leader. All the tunes in the film sung by Rafi and Lata floored the audience members, including "ek shahenshah ne banwa ke haseen taj mahal", "tere husn ki kya tareef karu", "mujhe duniya walo", and so on. Naushad was great in Dilip Kumar's Ram Aur Shyam. All the tunes sung by Rafi and Lata in the film including "aaye hai baharen dekho", "yeh raat dulhan boycott gayi", "fundamental hoon saqi", and so forth.
Pundits consider Dil Diya Dard Liya as probably the best formation of Naushad. All the melodies in the film turned out to be super hit including Rafi's "dilruba maine tere", "koi sagar dil ko behlata nahi". Naushad Rafi and Dilip Kumar proceeded with their degree of greatness in the film Aadmi, with Rafi's tunes like "na aadmi ka koi bharosa", "aaj purani rahon se", and so forth. Furthermore, Naushad formed superb music in Rajendra Kumar's Palki, Saathi, Ganwar, and so on. Rafi's hit tunes in those movies included "dil-e-betaab ko seene se lagana hoga" sung with Suman Kalyanpur.
Naushad blurred away from film music during the 70s, making colossal misfortune the film business. The traditional gharana identified with thumris, kajris, ghazals, and so forth., blurred away with Naushad. Music got famous, yet lost its class. Naushad got Dadasahab Phalke for his astounding commitment to bollywood music. His tunes and the movies ought to be safeguarded and reestablished.
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