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Naushadnama ➹ [Read] ➵ Naushadnama By Raju Bharatan ➼ – The seven letters in Naushad’s name are like the seven notes of Hindustani classical music After just a few years in films Naushad 1919 2006 went to rule the Hindi cinema music world for around two The seven letters in Naushad’s name are like the seven notes of Hindustani classical music After just a few years in films Naushad went to rule the Hindi cinema music world for around two decades beginning with the landmark Rattan His oeuvre from to consists of an unmatched list of jubilees many of which are musical milestones such as Andaz Baiju Bawra Mother India and Mughal e Azam No individual stays supreme without putting in tremendous efforts to reach the pinnacle and to stay there as long as possible as our maestro did And no composer probably moved so cleverly behind the scenes than did Naushad to sustain his hold on the public imagination Although we continue to marvel at the incredible variety of his mellifluous creations that have withstood the test of time how little most of us know about Naushad the man Renowned song historian Raju Bharatan fleshes out the real Naushad – his triumphs and tragedies – bringing into play than years of personal interaction with the tuneful titan In the process the author makes the book sparking with a string of anecdotal gems For instance How Naushad and his contemporaries despite their professed bonhomie were fiercely competitive both musically and monetarily in their attempts to occupy the ‘top spot’ How many days of rehearsal were needed for some of the Baiju Bawara masterpieces How the immortal compositions of Mughal e Azam were recorded in a studio no better than a tin shed This volume also throws new light on the relations and interactions between Naushad and his singers especially Suraiya Mohammed Rafi Lata Mangeshkar Asha Bhosle and Shamshad Begum; his songwriters mainly DN Madhok Shakeel Badayuni and Majrooh Sultanpuri; and his ‘unsung’ instrumentalists some of whom were geniuses in their own right.

5 thoughts on “Naushadnama

  1. Alok Agarwal Alok Agarwal says:

    The book although great from information point of view is poor from story telling point of view It is not a good read as compared to many other books of this genre In patches the story telling becomes interesting especially while talking about the dual between Shamshad begun and Lata and also while talking about early days of Suraiya The author who used to write for the illustrated weekly has written the book I thought as if he is writing an extended article

  2. Vikas Datta Vikas Datta says:

    A brilliant most readable account of the life and work of a remarkable and refined man

  3. Nate Rabe Nate Rabe says:

    Fascinating information packed book but one of the WORST examples of English writing Almost impossible to follow It reads like a literal translation from HindiUrdu into English Despite the poor English it’s a book chocker block full of great info

  4. Madan Madan says:

    I cannot say I enjoy Raju Bharatan's writing style very much and that is putting it mildly He is too fond of a clever turn of phrase at the expense of one that might sound elegant Ironic if I may for one who considers Naushad his musical inspiration That said there is no doubt that he can relate to you a few out of an endless treasure trove of filmy anecdotes derived from a decades long association with the industry in a time when they seem to have permitted closer interaction between entertainer and journalist As Anil Biswas dryly remarked to Bharatan once Nobody can beat your knowledge of the history of film music If this magnum opus celebrating Naushad's work is anything to go by that assessment rings true There's just so much of interest to those of us still obsessed with the 'golden era of film music' Also unlike many other chroniclers of our celebrities Bharatan does not let his fanboyish enthusiasm for Naushad get in the way of humanizing him by presenting his many shades as well as of his rivals Biswas C Ramachandra Shankar Jaikishan and O P Nayyar We understand through the many anecdotes that Naushad had the ability to manipulate proceedings to secure what he needed while giving the appearance of being well above such dirty business For instance he secured a Dadasaheb Phalke award in the very year that Khaiyyam scored a big success with Umrao Jaan thus stealing the limelight from him Naushad was also the first music director to command a six figure salary back in the 1950s as also a profit sharing deal with distributors Not even Ilayaraja at his most dominant went as far as that latter stepWe also however get an insight into what separated him from his rivals and which allowed him to ride into a third successful decade the 60s in Hindi cinema He understood the potential of Mohd Rafi long before the others and boldly dispensed with both Talat and Mukesh with whom he had had successful outings in favour of developing a semi classical vision built around Rafi's virtuosity This of course caused his critics to say he owed all his success to Rafi and to Dilip Kumar but that's another story but think what would our film music look like without Naushad's tireless efforts to get the best out of Rafi and arguably also Lata Mangeshkar Naushad was also a total composer and in the words of the late Kersi Lord himself gave his arrangers exact instructions as to what he wanted where the others left it to the arrangers and saw to it that he did including giving them the notations for his music He sought total control over the finished product and demanded plenty of time to compose as well as several rehearsals O Duniya Ke Rakhwale was rehearsed over 21 days to get the song right Traits that again seem to have earned many a pithy uip from his rivals but perhaps this obsession with realising his vision in entirety is what made his soundtracks timeless It could be argued that Naushad's music especially from Baiju Bawara onwards was old fashioned or too classical but never mediocre or crass The book is filled with many insights into why for instance did Naushad part ways with Talat hint it wasn't about Talat's smoking habit at least not only that his role in sabotaging a possible Dev Anand Suraiya alliance why he did not migrate to Pakistan during partition his role in completing the music of Pakeezah and beyond and so on There's almost too much to take in as Bharatan reels out anecdotes at a freuency that would leave Wikipedia bedazzled There is a wonderful chapter dwelling on Naushad's own recollections of the Mughal E Azam soundtrack To fully grasp the import of his observations I would have to spend time on the soundtrack itself for a few days at a stretch if not a month or two such is the extent of detail in that chapter If there is a complaint it is as I mentioned with Bharatan's own writing and what perhaps comes across as surprisingly dubious taste in one so closely associated with the greats of Hindi film music praise for Preeti Uttam Singh's vocals on Taj Mahal really? But for these complaints I would as a certified Naushad fanboy myself give it five stars without hesitation though I wouldn't uite go so far as to crown him composer of the century as Bharatan does As it stands four stars just for the sheer abundance of uality content

  5. Pradeep Venkatesh Pradeep Venkatesh says:

    A great read The author showed how the Great Naushad composed his music that we are hearing all these days Now after reading this book I started regarding Naushad's with interest A very good book My only complaint is that the book is written in no particular order It would have been nice if it was written in a chronological order And Bharatan saab could you please publish all of your books especially Lata one in Kindle?

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