Naqsh Lyallpuri
nNaqsh Lyallpuri was never a major “commercial” force in films and worked largely with small music directors like Sapan-Jagmohan and filmmakers like B.R.Ishara. In the ‘90s he shifted largely to television serials. But his name did spell quality.
Career-span:
His first released film was the 1952 Jaggu. His latest releases are Shaheed Bhagat Singh (2002), Akbar Khan’s Taj Mahal (2005) and Gautam Ghose’s Yatra (2007). Hum Jo Keh Na Paaye is in post-production.
Peak form:
Milap (1973), Dil Ki Rahen (1974), Dard (1981), Razia Sultan (1983), Shaheed Bhagat Singh (2002)
Claim to immortality:
Main to har mod par/Chetna
Kayi sadiyon se/Milap
Ulfat mein zamaane ki/Call Girl
Aisi haseen chandni/Dard
Chitthiye/Henna

Neeraj
nOne of the foremost and most-honoured Hindi poets of the 20th century, Neeraj resides in Aligarh. His famous poem Karavan guzar gaya was incorporated by Kidar Sharma in Nai Umar Ki Nai Fasal in 1965 and after with he went from one high to another with maestros Shankar-Jaikishan and S.D.Burman and filmmakers Raj Kapoor, Dev Anand and Vijay Anand in particular. His latest releases are Dev Anand’s Censor and the 2007 war film 1971.
Peak form:
Mera Naam Joker and Prem Pujari (1970), Sharmeelee, Tere Mere Sapne, Gambler and Kal Aaj Aur Kal (1971), Lal Patthar (1972)
Claim to immortality:
Likhe jo khat tujhe/Kanyadaan
Rangeela re/Prem Pujari
Chudi nahin yeh mera/Gambler
Ae bhai zaraa dekh ke /Mera Naam Joker
Khilte hain gul yahaan/Sharmeelee
Aap yahaan aaye kis liye/Kal Aaj Aur Kal

Santosh Anand
A poet who worked in a library in New Delhi, Santosh Anand was summoned by Manoj Kumar to write lyrics for his films with Purab Aur Paschim (Purva suhani aayi re). After Roti Kapada Aur Makaan, Santosh began writing in outside films too and worked till the early ‘90s with filmmakers like Raj Kapoor, K.Vishwanath and Mahesh Bhatt. He continues his poetic innings in New Delhi and has recently won a prestigious award for his contribution to literature.

Peak form:
Shor (1972), Roti Kapada Aur Makaan (1974),Kranti and Pyaasa Sawan (1981), Prem Rog (1982), Sangeet (1992)
Claim to immortality:
Ek pyar ka naghma hai/Shor
Main na bhoolunga/Roti Kapada Aur Makaan
Zindagi ki na toote ladi/Kranti
Mohabbat hai kya cheez/Prem Rog
Tera saath hai to/Pyaasa Sawan

Verma Malik
Verma Malik began writing songs for films in the ‘40s but had to wait for 1969 and Kalyanji-Anandji’s Yadgaar to break through commercially, followed by Sawan Bhadon and Pehchan in 1970. For the next decade and more, Malik was one of the busiest lyricists and also wrote songs in the 1990s for the occasional film. He has been indisposed for years.
Peak form:
Beimaan and Victoria No. 203 (1972), Dharma (1973), Roti Kapada Aur Makaan (1974), Nagin (1976), Jaani Dushmun (1979)
Claim to immortality:
Ek tara bole/Yadgaar
Do bechare/Victoria No. 203
Raaz ki baat/Dharma
Haaye haaye yeh
majboori/Roti Kapada Aur Makaan/
Hum bolega to bologe/Kasauti

Yogesh
Yogesh’s temperament did not make him join the rat-race. The poet was content with writing lyrics for select films and had his peak phase in the ‘70s. He seemed to vibe well with the Bengali filmmakers and worked extensively (given his limited repertoire) with Hrishikesh Mukherjee, Basu Chaterjee and Salil Choudhury. He worked last in the 2003 film Ssshhhh...
Peak form:
Anand & Annadata (1971), Rajnigandha (1974), Mili (1975), Chhoti Si Baat (1976), Priyatama (1977)
Claim to immortality:
Kahin door jab din dhal jaaye/Anand
Zindagi kaisi hai paheli/Anand
Rajnigandha phool tumhare/Rajnigandha
Jaaneman jaaneman/Chhoti Si Baat
Koi roko na/Priyatama
Rimjhim gire saawan/Manzil