O.P. Nayyar (16 January 1926 – 28 January 2007), was a legendary Indian film music composer. Born in Lahore, British India (now in Pakistan), and known to have a very distinctive musical style, Nayyar was interested in music from an early age. He learn music, mastered the harmonium and joined All India Radio (AIR) as a singer where he composed “Preetam aan milo” in 1943, He was know in AIR to sing his own compositions.
He gained prominence in the 1950s and ’60s, creating timeless melodies that captivated audiences. O.P. Nayyar’s music was characterized by its rhythmic beats, catchy tunes, and innovative orchestration. His collaborations with leading playback singers like Geeta Dutt, Mohammed Rafi, and Asha Bhonsle produced numerous chartbusters.
He started his career in films by composing the background score for Kaneez (1949), his first film as a music director was 1952’s Aasmaan, produced by Dalsukh M. Pancholi and starring Nasir Khan, Shyama and Veena. Next come Chham Chhama Chham (1952) and Baaz (1953) which has haunting “Ae Watan Ke Naujawan”. OP Nayyar’s breakthrough movie comes with Gurudutt’s Aar Paar (1954), which established him as a coming-of-age music director. Songs like “Babuji Dheere Chalna,” “Kabhi Aar, Kabhi Paar,” “Sun Sun, Sun Sun Zalima,” and “Ja Ja Ja Ja Bewafa” become a rage.
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Willum Skeener
The Star Musician
In 1956 comes “Naya Daur” starring biggies Dilip and Vyjayanthi which has a superlative chorus song (Saathi haath badhana), an infectious patriotic song (Ye desh hai veer jawano ka), unforgettable Maang ke saath tumhara, all time blockbuster “Uden Jab Jab Zulfen Teri and a Nushad brand of song Aana hai to aa, a song that has been described as sheer perfection. Naya Daur won him the Filmfare award for best music.
O.P. Nayyar, renowned as a maestro of Indian film music, gave music to 79 films, leaving an indelible mark on Bollywood. His compositions were not just music; they were feelings translated into tunes. Known for their positivity, infectious rhythms, and orchestral brilliance, Nayyar’s songs became timeless classics. Geeta Dutt, on of the great playback singer, remarked, “ He composes with feelings, not words.” Madhubala, enchanted by his music, even offered to reduce her fee for films featuring his compositions.
He made the foot-tapping “tonga beat” songs his trademark. OP live shows in India’s metros always feature songs such as Maang ke saath tumhara (Naya Daur, 1957); Piya piya piya (Baap Re Baap, 1957); Ae dil hai mushkil (CID, 1956) and Yun to hamne lakh haseen (Tumsa Nahin Dekha, 1957).
In the ’50s, his famous chartbusters included Asha Bhosle-Kishore Kumar’s “Piya piya piya” (Baap Re Baap), Geeta- Rafi’s “Aye Dil Hai Mushkil Jeena Yahaan”(CID) & “Jaane Kahan Mera Jigar Gaya Jee”(Mr. & Mrs. 55), Asha’s “Aaiye meherbaan”(Howrah Bridge), and Geeta Dutt’s “Mera naam Chin Chin Chu” (Howrah Bridge), Mohammed Rafi’s “Raat bhar ka hai mehmaan andhera” (Sone Ki Chidiya), Kishore-Shamshad Begum’s “Meri neendon mein tum” and Asha-Rafi’s “Ek pardesi mera dil le gaya” (Phagun).
The 1960s continued to be golden for Nayyar with a relentless conveyor-belt of hit scores like Ek Musafir Ek Hasina (1962), Phir Wohi Dil Laya Hoon (1963), Kashmir Ki Kali (1964), Mere Sanam (1965), Baharen Phir Bhi Aayengi (1966), Yeh Raat Phir Na Aayegi (1966), Kismat (1968), Humsaya (1968), and Sambandh (1969)
Rafi and “Asha’s Aap yoonhi agar” (Ek Musafir Ek Haseena), Mohd Rafi’s enchaning “Aap Ke Haseen Rukh” (from Baharen Phir Bhi Aayengi), “Banda parvar, Thaam lo jigar “(Phir Wahi Dil Laya Hoon) ,”Deewana Hua Badal, Sawan Ki Ghata Chhayi” from Kashmir ki Kali, Asha’s “Yeh Hai Reshmi Zulfon Ka” from Mere Sanam, Mahendra Kapoor’s “Badal Jaaye Agar Maali, Chaman Hotaa Nahi Khaali” in (Bahaaren Phir Bhi Aayengi), “Kajra mohabbatwala” by Asha and Shamshad (Kismet), Mukesh’s “Chal Akelaa, Chal Akelaa(Sambandh), and many more hits also adorned that phase.
The Asha-OP partnership which was started with Naya Daur, ended with film Pran Jaaye Par Vachan Na Jaaye. It was a bitter parting. Though Asha’s ethereally beautiful song in the film Chain se hum ko kabhi won the Filmfare award, Asha didn’t accept it. Why they parted ways in 1974, neither of them ever talked about it.
Sadly, Nayyar could not be his old self when he attempted several comebacks – Khoon Ka Badla Khoon and Heera Moti in the late ’70s and Nischaiy and Zid in the early 1990s.
He died on 28 January 2007, survived by his wife, three daughters and a son.
Beyond his musical genius, Nayyar was known for his unique personality and idiosyncrasies. He never worked with Lata Mangeshkar and said that Lata lack the khanak Geeta, Shamshad Begum and Asha Ji have in their voices. He famously fought with his favourite singer Rafi saab, and vows he will produce another Rafi and for almost three years worked exclusively with Mahendra Kapoor. But his love for Rafi saab overcomes his anger and he comes back to Rafi.
He often preferred simplicity in his arrangements, shunning complex orchestrations. Despite facing professional challenges, his impact on the golden era of Hindi film music remains enduring. O.P. Nayyar’s legacy lives on through the timeless melodies that continue to resonate with music lovers, making him a revered figure in the history of Indian film music.
Blockbusters like CID, Mr & Mrs 55, Naya Daur, Tumsa Nahin Dekha, Sone Ki Chidiya, Howrah Bridge, Ek Musafir Ek Haseena, Kashmir Ki Kali, Mere Sanam, Phir Wohi Dil Laya Hoon, Baharen Phir Bhi Aayengi stand testament to his unparalleled contribution to the golden era of Bollywood music.
Even in Pakistan, he was hailed as “the son of the soil,” showcasing the universal appeal of his musical genius.
