I have selected some of the best Hindi Film Music Directors who have entertained us with their sweet melodious songs. Due to limitations of only TEN numbers, unwillingly, I have to exclude some of the finest music directors. The choice of the Music Directors is in the descending orders of my liking.
SHANKAR-JAIKISHAN is obviously my First Choice. I rate them as the no 1. This composer duo was the most versatile through the 50s and 60s. From the Barasat hit?Hawa Main Udadta Jayy?, Aawara hit'Ghar Aaya Mera Pardesi' to classical songs in Basant Bahar and Seema I still bet no one can give the classical music like Aamrapli. In fact Shankar-Jaikishan used Indian Classical Raags to compose most of his songs to the westernized An Evening In Paris, Zuk Gaya Aasman, 'Aaj Kal Tere Mere Pyar Ki Charche Har Zabaan Par'(Bramhachari). SJ could create a melody to suit any mood or emotion.
They were masters in conducting orchestra later on this place went to Pyarelal(of Laxmikant-Pyarelal) and now it is with AR Rehman. Accordian, Sitar, Sarod, Vina, Guitar were the special instruments for SJ. Shankar-Jaikishan won as many as 9 Filmfare Awards, (highest numbers by any music director) Chori Chori(1956), Anari(1959), Dil Apana Aur Preet Parayi(1960), Professor(1962), Suraj(1966), Bramhachari(1968), Pehchan(1970), Mera Naam Joker(1971), Beiman(1972).
SJ used to give around 4 to 5, some time all, hit songs in each of his film. SJ with Raj Kapoor have given some the memorable unforgetful musical hits like Barasat, Aan, Aawara, Shree 420, Jis Desh Main Ganga Behati Hai, Sangam, Mera Naam Joker. The other hits of SJ includes Halaku, Daag, Badshah, Aarzoo, Dil Ek Mandir, Hamrahi, Aai Milan Ki Bela, Teesari Kasam, Love In Tokyo and many more. Shankar-Jaikishan was terribly disturbed by the towering success of Laxmikant-Pyarelal. SJ could not believe that they are beatable. The entry of LP leads the down fall of SJ. Jaikishan died in 1971 and Shankar-Jakishan name became a history.
LAXMIKANT-PYARELAL duos are the most successful composers of Hindi film music. They were at the top of their profession in then mid60s, 70s, 80s and early 90s . It is doubtful that any other composer has given so many hit scores and so consistently. Laxmi-Pyare have won as many as 7 Filmfare Awards(Second Highest after SJ) Dosti(1964), Milan(1967), Jine Ki Raah(1969), Amar Akabar Anthony(1977), Satyam Shivam Sundaram(1978), Sargam(1979), Karz(1980), FOUR IN A ROW. India?s topmost filmmakers like V. Shantaram, Raj Kapoor, Subodh Mukherjee, Raj Khosla, Manoj Kumar, R.K. Nayyar, Rajashri Films, J. Om Prakash, Raj Khosla, Ramanand Sagar, H.S Rawal, L.V. Prasad, Yash Chopra, Manmohan Desai, Subhash Ghai and many more, swore by the music of Laxmikant-Pyarelal. The songs composed by the duo were an intrinsic part of director's creative output. L-P delivered truckloads of chartbusters often with one film.
LP had a much greater variety of song and tune and cast their net wide in terms of singer selection. They had an excellent sense of what would work at the common man's level and in cinema halls, more than in Internet forums. They had a vast command over Folk and Hindustani Tunes. They were also outstanding at exploiting several instruments, including their favorite Dholak, and also the Violin, Guitar, Bongo and Piano, Santoor, Sitar, Mendolian and French Horn. Plus they have conquered all their competitors all through the years whether its Shanker-Jaikishen or S D Burman, Madanmohan, Ravi, Chitragupt, C. Ramchandra, Naushad, O.P Nayyar, R D Burman or Kalyanji-Anandji, Rajesh Roshan(one time assistant to LP) or Bappi Lahri, Nadeem Sharvan, Anu Malik to A R rehman. Laxmikant-Pyarelal remained on top as far as Hindi Film Music is concerned.
When Bappi Lahiri, Ravindra Jain came it affected R D Burman(Specially when Bhappi Lahiri entered), but Laxmikant-Pyarelal again stood ahead with their variety of music and their ability to change with latest trends always kept them on the top then Bappi Lahri faced a downfall by the entrance of Nadeem Sharvan but Laxmikant-Pyarelal again kept going even in 90s with chartbusters like Narsimha, Chaalbaaz, Hum, Saudagar, Khuda Gawah, and Khalnayak then came A R Rehman who totally changed the style of hindi music still LP gave good scores in Rajkumar and Bhairavi but luck did'nt support Laxmi-Pyare as Laxmikant died in 1998.
The longest lasting partnership came to an end. Who can forget the immortal songs of 60s Parasmani, Lootera, Sati-Swaitri, Aaye Din Bahar Ke, Night In London, Patthar Ke Sanam, Shagird, Izzat, Anita and many more, 70s Do Raste, Intquam, Shor, Jal Bin Machhali.? Daag, Bobby, Roti Kapada Aur Makan, Dharmveer, Anurodh, and many more, 80s Premrog, Who 7 Din, Ek Duje Ki Liye, Utsav, Naam, Ram Lakhan, Mr. India, Eeshwar, Sursangam etc. Laxmikant-Pyarelal was the household name in India before the TV era. Please visit http://www.laxmipyare.com
NAUSHAD was the first superstar composer who brought home to the film industry what a composer can do for the success of a film. If K.L. Saigal can be considered the father of playback singing, to Naushad belongs the honor of defining what film music can be. You can always feel the Uttar Pradesh Folk style in most of his music. He has given music for about 90 films but all of them are outstanding.
O.P.NAYYAR Most of his compositions have a distinct Punjabi influence. The legend created unforgettable songs as'Ello main hari piya'(Aar Paar), 'Kahin pe nigahen kahin pe nishana(CID), 'Maang ke saath tumhara'(Naya Daur), 'Aaiye meherban baithiye jaanejaan'(Howrah Bridge), 'Zara holle holle challo more sajna'(Sawan Ki Ghata), 'Chain se humko kabhi'(Pran Jaye Par Vachan Na Jaye). OP never used Lata Mangeshkar throughout.
S.D.BURMAN brought a deep understanding of folk music of Bengal and also the classical music in the Hindi Film music. Simplicity was the hallmark of his tunes. He could compose a classical Thumri like'Jhan Jhan Jhan Payal Baaje'(Buzdil), but at the same time, create something so simple and lilting like'Thandi Hawayen' in Naujawan. Music of Jaal, Tere Ghar Ke Samane, Guide, Ziddi, Jewel Thief, Aaradhana, Abhiman etc have it?s own class.
MADANMOHAN Lata Mangeshkar christened him'The Emperor Of Ghazals'. She should know because it is in her voice that Madan Mohan created all those masterpieces that set an impossibly high standard for ghazals in films. The irony of the fact is that Madan Mohan couldn't combine class and mass appeal the way an S.D.Burman, Shanker-Jaikishan or Laxmikant-Pyarelal could. He composed the only way he knew to - with great respect for each of his tunes.
HEMANT KUMAR Besides talented music director he was a very good singer. He used excellent Bengal Folk in Hindi Film Music. Anadmath, Nagin, Sahib Bibi Aur Ghulam, Kohra, Anupama, Khamoshi etc.
C.RAMCHANDRA was the one who introduce western music in to Hindi Film Music of the films .Anarkali, Nasherw-E-Adil, Albela, etc are the best.
ROSHAN I like him as he has given some of the best melodious classical songs through Malhar, Baware Nain, Taj Mahal, Aarati, Barasat Ki Raat, Bahu Begam, Anokhi Raat(Na Na Na Na Meri Bairi Ke Ber Mat Todo Koi Kata), Dil Hi To Hai, Mamta, Devar, Chitralekha
A.R.REHMANI am amazed by his orchestra conduction. Roza and Bombay were superb, Dil Se and Taal were excellent. I think the best of ARR is yet to come. Some of his compositions will remain immortal. I am eager to listen to Indian Classical Ragas based song co
