O. P. Nayyar: The King of Rhythm

A powerhouse of talent, O.P. Nayyar, gave new orientation to Indian film music.  His music studded with melodious rhythm is a sheer joy for the Opiums (music lovers). His compositions are like bright sunshine full of beauty and romance. He is particularly acclaimed for haunting, mesmerizing and enchanting peppy numbers with Punjabi flavour. He always disclaimed any knowledge of classical music, yet composed some of the best songs based on ragas. He was a born music director, who attained ecstatic heights with his divine music.

O.P. Nayyer (Omkar Prasad Nayyar) was born in Lahore on 16 January, 1926. He was initiated into classical music during his school days. He participated in children's show at Lahore Radio at the age of 11. He was not interested much in studies and used to frequent film shootings in Lahore. Luckily, he got the role of junior ‘Dulla’ in Punjabi film ‘Dulla Bhatti’ (1940) and also lent his voice in its chorus ‘Rabb Di Janab Wichon.. He also composed and recorded two Kabir dohas ‘Chalti Chakki Dekhke.., Kabira Rasse Paanv Mein..' for HMV.

After partition, he came to Amritsar and had a short stint with All India Radio. Then he went to Bombay to try his luck in films. Initially, he became an assistant to some big ticket music directors. He got a break for composing background music of ‘Kaneez’ (1949). Meanwhile, his private album with song ‘Preetam Aan Milo..’ sung by C.H. Atma in soulful Saigal-esque style became a rage. Dalsukh Pancholi, impressed by this composition, offered him to compose music of film ‘Aasman’(1952). A song ‘Pom Pom Baaja..’ of this film was adopted by Binaca Geetmala as their signature tune. His music got raving reviews but the film flopped. His next two films Chham Chhama Chham(1952) and ‘Baaz’ (1953), also could not help his career growth.

After the initial setbacks, he shifted the focus from melody to rhythm by fusing his Punjabi folk style with Western rock-'n'-roll. Geeta Dutt encouraged him to compose music for the film ‘Aar Paar’(1954), which proved a turning point. Nayyar conjured a memorable score for this film, unfurling a range of silken melodies like Babuji Dheere Chalna.., Sun Sun Zaalima... After this, Mr. & Mrs. 55 (1955) and CID (1956) films with chart buster swingers like Jaane Kahan Mera Jigar Gaya Ji.., O Leke Pahela Pahela Pyar.. and Aankhon Hi Aankhon Mein Ishara Ho..’ firmly established Opee as a trendsetter and catapulted him into the category of highly successful contemporary music directors. He reached the pinnacle of his success with films like Tumsa Nahi Dekha, Kashmir Ki Kali, Phir Wohi Dil Laya Hoon and Mere Sanam. In the songs ‘Reshmi Salwar Kurta Jali Ka..’ and ‘Urhen Jab Jab Zulfein Teri..’ (Naya Daur), he used Punjabi folk tunes in their purest form. Naya Daur assured  O.P. Nayyar that Punjabi rhythm was his forte.

In 1958, his ten films ‘12 O’ Clock’, ‘Howrah Bridge’, ‘Phagun’, ‘Raagini’ and ‘Sone Ki Chidiya’ etc. hit the screen. He created a new composition every week, without endangering the proclivity of producing sweet melody and foot-tapping rhythm. His signature tune with the hoof clicks in songs like Yuh To Humne.., Maang Ke Saath Tumhara.., Banda Parwar Thamlo Jigar.., Kisi Na Kisi Se.., Haule Haule Saajna.. etc. was unprecedented.

He was a much sought after composer despite an astronomical price of rupees one lakh for a film. For the music of film ‘CID 909’, he charged more than the lead pair together. The bill boards of the film read “O.P. Nayyar’s CID 909″. He is perhaps the only music director, whose name would appear on the billboards of the films over and above the cast and crew.

O.P. Nayyar was instrumental in building the careers of playback singers Geeta Dutt, Asha Bhosle, and Mohammed Rafi. He did produce great hits with Shamshad Begum, notably ‘Kajra Mohabbatwala.. (Kismat). After Geeta Dutt, Nayyar zeroed in on fledgling chanteuse Asha Bhosle. He helped Asha to realize her true potential and their association created magic. Once Mohammed Rafi Sahab came late, Nayyar rebuked him and packed up the recording for the day. With departure of Rafi, Mohinder Kapoor provided cadence and rhythm to Nayyar's style. He recognized Kishore Kumar’s talent and turned his eccentricity into greatness in films Baap Re Baap and Raagini.

The stubborn, O.P. Nayyar abnegated the siren call of Lata's honeyed vocals. The story was that he had called Lata for a recording at his Famous Studio music room, she came, but was a little late and he refused to allow her entry. Subsequently, he maintained that Lata’s thread-like voice was not suitable for his type of music. A major blow was Nayyar's split with Asha Bhosle after the pair had reached a crescendo with the Filmfare Award winning ‘Chain Se Humko Kabhie..’ (Pran Jaaye Par Vachan Na Jaaye). After he broke off with Asha, both the sisters were putting pressure on the studios and musicians from working with Opee. He was emotionally drained and eventually pulled down the curtain on his musical career.

O.P. Nayyar, faded in early 1970s, made a comeback attempt in the 1990s through films like Nishchay, Zid and Mangni. His last flickers of real brilliance were seen in Nishchay song ‘Kisee Haseen Yaar Ki Talaash’ a duet in the ‘Pukarta Chala Hoon..’ mould. His last film Muqaddar Ki Baat was released in 1995.

Majrooh Sultanpuri and Sahir Ludhianvi wrote some memorable lyrics for his earlier movies. Thereafter, he worked with Jan Nisar Akhtar, Qamar Jalalabadi, S.H. Bihari and Ahmed Wasi, who knew his meter and format. He was fond of the poetic flourish of the Urdu language for his more serious songs. Being a poet himself, he has written amazing mukhras/asthai of songs, but let the lyricists take the credit.

Despite his lack of formal education in classical music, a lot of his superb songs were composed in Raag Piloo. He could weave an intensely classical ‘Tu Hai Mera Prem Devata.., (Kalpana); Dekho Bijli Dole Bin Baadal..; Piya Piya Na Laage Mora Jiya.. (Phagun). It is unbelievable that in compositions like ‘Chhota Sa Balma..’ or ‘Woh Hans Ke Mile..’, every nuance of the ‘Harkatein’ and ‘Murkiyaan’ have been perfectly positioned.

He embellished his melodies with well-chosen accompaniments like sarangi, saxophone or piano. Some of these nuggets like Diwana Hua Badal.., Phir Miloge Kabhi.., Pukarta Chala Hoon Main.., Chain Se Humko Kabhi.., Woh Hanske Mile Humse..; Aap Yunhi Agar.., Aap Ke Haseen Rukh.. etc. make you to fall in love all over again. He had personally played harmonium in songs ‘Leke Pehla Pehla Pyar.., Kajra Mohabbat Wala.., Bikaner Ki Chundri.., etc.

O.P. Nayyar started the trend of recording three-minute long songs for the comedians. Johnny Walker performed on songs like ‘Aye Dil Hai Mushkil..’ (C.I.D); ‘Jaane Kahan Mera Jigar Gaya..’ (Mr. & Mrs. 55), and ‘Main Bambai ka Baaboo..’ (Naya Daur). He generally wrapped the song recording within the first 3 takes without compromising the quality. He was the force behind the system of advance payment to the musicians. He was always generous with struggling newcomers and marginalized artists.

When Guru Dutt refused to pay for the music of his films, a bitter Nayyar, started grabbing films being done by fellow composers. Roshan was removed from Mehbooba, Mohd. Shafi lost Mangu and Sabse Bada Rupaiyya was taken away from Nashad. Furious Lata garnered the support of Cine Music Directors’ Association, which boycotted O.P. Nayyar.

He used to receive the highest amount of royalty from HMV. He was not keen on composing music for the film ‘Johnny Walker’. O.P. Nayyar jokingly demanded the Latest Cadillac Limousin from its director. To his surprise, the car was delivered and he could not back out.

He brooked no interference from actors, producers or anyone else. During the making of Naya Daur (1957), Dilip Kumar would often turn up at the song rehearsals. But slowly, he started interfering in the music work. Nayyar just shooed him away: ‘Tujhe sangeet ka kya samajh hai? Tere se to Kaamran bhi achcha actor hai. Pehle acting seekh kar aa’. Stung to the bone, Yusuf beat a hasty retreat.

O.P. Nayyar composed brilliant music for a Telugu movie ‘Neerajanam’. Despite a very stiff competition from legendary South Indian composers like Ilayyaraja, K.V. Mahadevan etc., he bagged the prestigious Nandi Award. He signed two more Telugu movies ‘Andala Putallo Bhagyanagaram’ and ‘Premayatra’.

O.P. Nayyar weaved some great tracks in the album ‘The Loves Of Runa Laila’. Apart from Runa, he had composed music for ghazal singers Ashok Khosla and Peenaz Masani, giving famous ‘OP touch’ to each ghazal.

The vicissitudes of life dazed him but he remained a calm beatific demeanour. He lived a life of almost total oblivion till the coming of the satellite channels. He acted as a judge for the TV show, “Sa Re Ga Ma Pa”. Vividh Bharati presented his life-sketch through show titled as ‘Mujhe Yaad Sab Hai Zaraa Zaraa’.



The octogenarian genius left this world on 28 January 2007 due to cardiac arrest, leaving a repository of excellent music to devour. He would live on through his enchanting melodies for aeons.

‘Chal Akela Chal Akela… Tera Mela Peechhe Chhoota Rahi....is perhaps what he bade us adieu with….