Shaukat Hussain Dehelvi, known commonly as Nashad, was a music director who composed music for 29 Hindi films from 1947 to 1963. He moved to Pakistan in 1964 and continued to make music for Pakistani films till the 1970s. He passed away in 1981. For his work in India, Nashad is best remembered for his music for the film “Baradari” (1955) which included hits like “Tasveer Banata Hoon”, “Bhula Nahin Dena Ji” and “Mohabbat Ki Bas Itni Daastan Hai”. Here are five of my picks by this forgotten music director.
“Naghma” was the first film in which Shaukat Hussain Dehlvi was credited as Nashad. He wasn’t actually the first choice of the film’s producer/director, Nakshab Jarchavi. It was only when the in-demand Naushad declined to compose for the film that Shaukat landed the film and the Nashad moniker. Nakshab Jarchavi was apparently getting back at Naushad by giving Shaukat a name similar to his. The film’s music was reasonably successful and the name Nashad stuck. My pick from the film is the Shamshad Begum solo “Jadugar Baalma”.
Talat Mahmood was one of Nashad’s favorite singers. Talat’s low-key singing style went well with Nashad’s understated compositions. “Ek Dil Do Hain…” is a fine Talat Mahmood-Suman Kalyanpur duet. A slide guitar and a saxophone, atypical instruments for the time and genre, featured prominently in the song.
“Baradari” was Nashad’s most accomplished work and the album that he is best remembered for. At one end of the spectrum was “Bhula Nahi Dena Ji”, a playful, foot-tapping duet by Rafi and Lata filmed on a strapping Ajit, who was still playing lead roles, and one of the leading actresses of the time, Geeta Bali. At the other end was my “Tasveer Banaata Hoon”, a melodious ghazal in Talat Mahmood’s silken vibrato. One of the things that stood out for me in the score for “Baradari” in general and “Tasveer Banaata Hoon” was the more elaborate arrangement used by Nashad, giving the music a fuller and richer sound. While Nashad’s assumed name may have helped him get more attention, it also led to people attributing his popular songs to his more famous peer. Sadly, even Saregama wrongly attributes “Baradari” to Naushad and not Nashad.
“Jawab” was another film in which Nashad and Khumar Barabankvi got together. Khumar’s lyrics for “Aaj Gham Kal Khushi” are simple but effective. In a song that does not require him to do much, Rafi emotes with his voice like only he can.
Nashad continued to compose for Hindi films but couldn’t quite strike a chord with the audience. He migrated to Pakistan in 1964 and continued to make music for films across the border with limited success. Memories of Nashad in India were fading when things turned around and his song “Rafta Rafta Woh Meri Hasti Ka Saaman Ho Gaye” sung by Mehdi Hassan for the Pakistani film “Zeenat” became immensely popular. The ghazal, written by Tasleem Fazli, became a staple in Khan Sahab’s concerts and sustained its popularity over the years. The song’s success unearthed the fact that Tasleem Fazli had actually based his lyrics on a song written by Qamar Jalalabadi for the Hindi film “Hum Kahan Ja Rahe Hain” (1966). The original version sung by Asha Bhosle and Mahendra Kapoor perhaps had better lyrics (or at least more original!) but Nashad’s music won more hearts that Basant Prakash’s original. Interest in the song was resurrected in 1995 when Anu Malik adapted the music of “Rafta Rafta…” for “Dheere Dheere Aap Mere” in the Aamir Khan starrer, “Baazi” (1995). Nashad’s song continues to spawn covers and his music stays alive.
[This post originally appeared here.]