1949 – Lata Mangeshkar

Last month when I started the yearly review of Lata Mangeshkar’s songs, I was welcomed and adored by the readers. In addition to the comments on the post, some of the readers sent their responses on e-mail too. I’m thankful to all of them for their encouragement and good wishes.

I was aware of the difficulties I might face during the forthcoming posts. And surely when I started collecting information about her Hindi film songs from the year 1949, I came across a figure of 160+ songs. Majority of the songs were solos, the ratio of solos to duets being 2:1. In 1947, Lata Mangeshkar sang her first duet with Rafi, while in 1948 she sang her first duet with Mukesh and Kishore Kumar. Let’s see with whom did Lata Mangeshkar sing a duet for the first time in 1949? Among male singers, there were Shankar Dasgupta, S D Batish, Karan Dewan and Shoukat Haideri (Nashad). Among female singers, there were Rajkumari, Zohrabai Ambalewali and Mubarak Begum. Lata Mangeshkar had sung with Shamshad Begum before, but that was a trio. In 1949, she sang duets with Shamshad Begum for the first time.
Out of her 34 duets (this number won’t match with the books, I refer to, because her trios are not counted separately in the book, while I did) with male playback singers, half the songs, that is 17 were with Rafi, followed by 4 each with Chitalkar and G M Durrani and 3 with Mukesh. And she sang three duets each with Shamshad Begum and Geeta Dutt, while Rajkumari sang a couple of duets. There’s a single duet each with Zohrabai Ambalewali, Mubarak Begum and Meena Kapoor. There were a couple of duets in the film, Rakhi, where the name of her cosinger was not known.

Now I am not sure, how many songs would I be able to accomodate in this post! Surely 15 songs would be too small a number. Maybe I’ll have to go for 20 songs. I shall see.

And, while I was thinking about presenting the songs, I decided to divide the songs composer wise. Firstly I would take up the composers who offered her songs in the earlier year. Then I’ll go for the composers who offered her songs for the first time in 1949. So of course, the top two composers would be Khemchand Prakash and Anil Biswas. But C Ramchandra, Vasant Desai, Hansraj Behl were also the ones to offer her songs again in 1949. Naushad, Shankar Jaikishan, Shyam Sunder, Husnalal Bhagatram, Vinod, Ghulam Mohammad, Nashad (Shaukat Haideri) fall in another group as far as my division of composers goes. They offered her songs for the first time in 1949.

Let’s start today’s feast.

1. Khemchand Prakash –
After a spectacular start with Ziddi and Aasha in 1948, Khemchand Prakash chose her for Mahal once again. Though he offered an equal number of solos to Rajkumari, the songs were completely overshadowed by Lata’s songs. I feel bad for Rajkumari, who certainly excelled in her solos and duet. Lata Mangeshkar had three solos to her credit, all of which were picturised on Madhubala. The song to add is quite obviously,

Aayega Aanewala – Mahal (1949) / Khemchand Prakash – Nakshab Jarchavi
Need I say anything about this iconic song! It’s after the phenomenal success of this song that people noticed Lata Mangeshkar. There have been stories of its recording when no high-tech devices were available. To get the exact feel of a voice coming from a far away place, Lata Mangeshkar was supposed to start singing from a distance marked away from the microphone and advance slowly, singing her lines towards the microphone. The initial lines and their orchestration was quite unique in their own way. And Kamaal Amrohi’s impressive way of picturisation added a different dimension to the song. A mysterious lady singing on a swing at one moment, disappearing at another, only to reappear rowing a boat the next moment created quite a curiosity. Though the film got a censor certificate in 1949 (that’s why it’s always mentioned as a 1949 film), it was released in 1950 and Khemchand Prakash couldn’t enjoy the success of it. He unfortunately succumbed to death before its release.

2. Anil Biswas –
He was the one who taught her the breathing techniques while recording a song, so that the microphone is highly unlikely to catch your breath sounds. He taught her the fading in and out techniques during the recordings. He also emphasized the importance of correct and clear pronunciation of a word. He insisted that it is as important as the tune of the song. He helped her get rid of her Marathi accent. He also encouraged her to be original, develop her own style and not to follow Noorjahan.
In 1949, he composed for three films featuring Lata’s songs. Let me add one song each from these films.

Mast Pawan Hai Chanchal Dhara – Jeet (1949) Anil Biswas – Prem Dhawan
Picturised on Madan Puri and Suraiya Choudhari, it’s a melodious song. Utterly romantic and pleasant. The sound of Jaltarang instantly adds a sweetness to the song. And I must confess, I’m more in love with the Lata solos than Suraiya’s songs from the movie.

Tumhare Bulane Ko Jee Chahta Hai – Ladli (1949) Lata Mangeshkar / Lyrics – Behzad Lakhnavi
The song is wonderfully backed by absolutely enchanting piano pieces, and the interludes have different pieces, there is no repetition. Lata’s fresh, young and tender voice has a mesmerizing effect on the listeners.

Anil Biswas composed four songs for the movie, Girl’s School and it is said that, Lata’s first song with him was actually recorded for this movie. It was Tumhi Kaho Mera Man Kyun. But I always get enchanted with,

Kuchh Sharmate Hue Aur Kuchh Saham – Girl’s School (1949) / Anil Biswas – Pradeep
What a delightful song ! It’s quite a bold expression of confession of love. The lady is excited as well as nervous, as she steps into an entirely new magical world of love. Woven into a simple melody, Lata Mangeshkar sings it with spot-on expressions.

3. C Ramchandra –
In 1948, Lata Mangeshkar was just another singer in C Ramchandra’s musical team. He was more inclined to Shamshad Begum and Geeta Dutt. In 1949, he offered her songs in six films. Jigar, Roshni, Sanwaria would be among their initial films, where Lata Mangeshkar wasn’t his choice for the main lead. She had just a couple of duets with Chitalkar in Jigar, while in other two films, she played an insignificant part. The scenario was very interesting, when Shamshad Begum and Lata Mangeshkar both sang for the leading lady, Kamini Kaushal in Namoona. He didn’t keep a distinction, Lata Mangeshkar and Shamshad Begum both sang for Kamini Kaushal and Cuckoo, while Lata Mangeshkar also sang a mujra for an unknown female actress. It is quite noticeable that C Ramchandra chose Lata for soulful songs, while most of the peppy, happy songs were mainly offered to Shamshad Begum. Once again In Patanga, Shamshad Begum and Lata Mangeshkar got near equal opportunities, though this time they sang for different actresses. In Sipahiya, Lata Mangeshkar sang three solos and duets, while Shamshad Begum and Lalita Deulkar were reduced to singing for supporting characters’ duets. No wonder the last year of the decade and the 50s, saw a complete turn around. Lata Mangeshkar took over and all other female playback singers including C Ramchandra’s favourite Shamshad Begum, slowly disappeared from his musical team.
Let’s listen to a couple of songs,

Dil Se Bhoola Do Tum Humein – Patanga (1949) / C Ramchandra – Rajendra Krishan
I think as Chitalkar already had Shamshad Begum available for peppy, fast energetic numbers, initially he preferred Lata Mangeshkar for sad songs. She sang for Purnima in this film, while Shamshad Begum got many more songs offering playback for Nigar Sultana and Cuckoo. Nevertheless, even with three solos and one duet, Lata Mangeshkar made her presence felt. Her songs are remembered equally. I am very much fond of this song. In addition, the delightful stage performance, Pyar Ke Jahan Ki Nirali Sarkar (https://youtu.be/WMlOoaA_Njs), is my favourite where Lata Mangeshkar sang for Mohana. It’s Lata’s duet with Shamshad Begum.

Tadpake Mujhe Ab Chhod Diya – Namoona (1949) with Rafi / C Ramchandra – Gulshan Jalalabadi
I couldn’t get a good and complete video of the song. So finally I decided to go for audio. In Namoona, Lata Mangeshkar sang for both Kamini Kaushal and Cuckoo once again. And her songs for Kamini Kaushal were sad ones. Before Lata Mangeshkar completely took over in the forthcoming years, Shamshad Begum was a significant part of C Ramchandra’s musical team.

4. Hansraj Behl –
Hansraj Behl was among the composers who offered her songs right from the beginning. In 1949, he composed for Lata Mangeshkar in three films, Chakori, Zevraat and Raat Ki Rani. The latter film had a couple of duets by Rafi and Lata Mangeshkar. Though not popular, those songs are good.
I don’t think it would be difficult to guess my choice for today’s list. Yes, of course,

Haye Chanda Gaye Pardes – Chakori (1949) / Hansraj Behl – Mulkraj Bhakri
It’s an absolute delight to listen to the soulful rendition by 20 year old Lata Mangeshkar. Her tender and expressive voice just fills our soul. The cuteness of her voice appeals to us, and so do her expressions! Hansraj Behl offered her songs for a couple of years, only to go for other singers in the mid 50s.

Sajan Ki Ot Leke – Zevraat (1949) with Rafi / Hansraj Behl – Habeeb Sarhadi
Lata’s duets with Rafi from the years 1949 – 50 are such a beautiful treasure! I just adore their duets. Mainly their duets under the baton of Husnalal Bhagatram stand out. This one though sounds more like HB (Husnalal Bhagatram), is composed by the other HB (Hansraj Behl). Enjoy the simplicity, sweetness and innocence of the era.

5. Naushad –
After Lata Mangeshkar’s hit songs from the year 1948, Naushad’s recording room experienced a tsunami. He was at once attracted to the thin yet powerful voice. His first song with Lata Mangeshkar was most probably a duet with G M Durrani for the film, Chandni Raat, Hay Chhore Ki Jaat Badi Bewafa. Shamshad Begum was the main singer for Chandni Raat.
But so impressed was Naushad with Lata Mangeshkar that in the film, Dulari he offered her 9 songs including 7 solos and a couple of duets. Shamshad Begum was reduced to a couple of solos for Geeta Bali. And he chose her again for the prestigious film, Andaz, where she sang for Nargis. Of course, her dedication and hard work were responsible for such a big achievement. Just in a couple of years, she was the chosen voice of the majority of the composers of Hindi cinema.

Koi Mere Dil Mein Khushi – Andaz (1949) / Naushad – Shakeel Badayuni
I was about to choose Uthaye Ja Unke Sitam, when I remembered this joyous song that brought a smile to my face. I instantly followed my heart and added it. Such a wonderfully sung, simple sounding melody! Its picturisation exudes aristocracy in every possible way. Look at the modern staircase, Nargis’s attire, the grand sets! And Lata’s overjoyed voice adding more exuberance to the picture.

Mohabbat Hamari Zamana Hamara – Dulari (1949) / Naushad – Shakeel Badayuni
While the album had more sad songs than happy ones, I again chose a happy song. Naushad and Lata Mangeshkar combo had a huge number of sad songs and this film’s not an exception. It’s refreshing to watch Madhubala singing and dancing to this cheerful song. I was inclined to Mil Mil Ke Gayenge. Though its opening music and mukhda are very impressive, the tune of antara sounds flat to me, as if it’s just somehow managed to fit the tune. My opinion of course!

6. Husnalal Bhagatram –
The first popular duo of composers of Hindi cinema was Husnalal Bhagatram. Though Bhagatram was the elder brother and had composed earlier independently, he tasted success only when his younger brother, Husnalal joined in 1944 for the movie, Chand.
Husnalal was said to be close to Lata Mangeshkar. The duo offered her songs in seven films in the year 1949. Given that they didn’t offer her songs in 1948, the number is perhaps the highest among all the composers who offered songs to Lata Mangeshkar in her initial years in the industry. The films were, Badi Behen, Balam, Jaltarang, Naach, Rakhi, Sawan Bhadon and Bansariya.
Of these films, Balam and Naach are the only films where she didn’t sing solos. Balam and Naach both featured Suraiya.
Balam would always be remembered for her first duet with Suraiya.
Let’s have a look,

O Pardesi Musafir – Balam (1949) with Suraiya / Husnalal Bhagatram – Qamar Jalalabadi
Quite an impressive duet. Though Suraiya was senior to Lata Mangeshkar as far as the years of career are concerned, both were of the same age. It’s said that Suraiya was impressed with Lata’s voice.

Naach could be her first film with the duo. Suraiya was the main lead and Lata Mangeshkar was a part of trios with Rafi and Geeta Dutt. I would take the opportunity to add a trio,

Tu Ek Bulbula Pani Ka – Naach (1949) with Rafi & Geeta Dutt / Husnalal Bhagatram – Mulkraj Bhakri
The philosophical song has a tune sounding similar to a combination of Chup Chup Khade Ho and Woh Paas Rahen Ya Door. The harmonium pieces sound similar to the former song while the verses sound similar to the latter. Though not a popular song, it is good to listen to.

In Badi Behen, though Suraiya was the main lead, Geeta Bali was the second lead and had a couple of solos by Lata Mangeshkar. I’m in love with Suraiya’s solos, but at the same time, I enjoy Lata’s songs too. And I would take the opportunity to add the most popular song of the movie.

Chup Chup Khade Ho – Badi Behen (1949) with Premlata / Husnalal Bhagatram – Rajendra Krishan
Though it’s technically a duet, Premlata has very few lines to sing that too with Lata Mangeshkar. The song was hugely popular and also helped Lata Mangeshkar reach every corner of the country. It’s not lip synced by the main characters of the movie, but it’s surely the most popular and most talked about song of the movie. The harmonium pieces and the catchy rhythm add a charm to it, while Lata’s flawless rendition enchants the listeners.

Loot Gayi Umeedon Ki Duniya – Jaltarang (1949) / Husnalal Bhagatram – Sarshar Sailani
I was torn between this one and Zara Tumne Dekha. Then I noticed that I haven’t added Lata’s solo with Husnalal Bhagatram. I like both the songs, but the pathos in the former song just moved my heart. The emptiness in one’s life after betrayal by the beloved and the shattered dreams are conveyed so well. Full marks to Lata Mangeshkar and excellent orchestration by the composer duo.

7. Shankar Jaikishan –
The duo debuted in the film Barsaat which was Raj Kapoor’s second film under his own R K banner. The film had 10 songs and Lata Mangeshkar was a part of all the songs, singing 8 solos and a couple of duets. The entire cast and crew of the film was a bunch of newcomers. She sang for Nargis, Bimla Kumari, and the newcomer Nimmi. The film also introduced the lyricists, Hasrat Jaipuri and Shailendra. But I found myself selecting songs written by the other lyricists. It was difficult selecting just a couple of songs out of ten songs. The title track, though not included in the post, is also my favourite.

Hawa Mein Udta Jaye – Barsaat (1949) / Shankar Jaikishan – Ramesh Shastri
Picturised on Bimla Kumari, it’s one of the most popular songs of the movie. The song has a lively and flowing melody and Lata renders it with utmost perfection and perfect expressions. A young girl who has just stepped in youth and has colourful ideas. The song nicely mixes the indoor closeup shots with the outdoor shots of waterfall, mountains and roads.

Mujhe Kisise Pyar Ho Gaya – Barsaat (1949) / Shankar Jaikishan – Jalal Malihabadi
I love the jugalbandi between the violin and Lata Mangeshkar in the opening music of the song. To start a song at a slow pace with minimal orchestration only to burst into a fast paced melody was a typical style of SJ and it shows up here as well. Lata expresses the feelings of a shy girl, who ultimately announces her love to her beloved.

8. Shyam Sunder –
Shyam Sunder Gaba was one of the composers who brought a strong flavour of Punjab to Hindi films. He was active from the early 40s. Lata’s first song for him would most probably be the trio from Char Din (1949) where she sang with Iqbal and Zohrabai Ambalewali.
But the same year saw her singing as the main singer in a couple of films under Shyam Sunder’s baton. The films were Bazaar and Lahore. Let me present a couple of songs,

Sajan Ki Galiyaan Chhod Chale – Bazaar (1949) / Shyam Sunder – Qamar Jalalabadi
The song is now considered iconic and surely it deserves to be. The movie is full of excellent songs and Lata Mangeshkar is the main singer. One of the acclaimed songs from her initial years of her career. In addition to it, Ae Mohabbat Unse Milne Ka (https://youtu.be/mBiPAExrtXs) and Zara Sun Lo Hum Apne (https://youtu.be/hdBNP5y7srI) are my favourites too.

Baharen Phir Bhi Aayengi – Lahore (1949) / Shyam Sunder – Rajendra Krishan
Another classic by Lata Mangeshkar. What a deep pathos the song portrays! All the songs of this movie are my favourites, including the wonderful duet, Duniya Hamare pyar Ki. Enjoy the songs.

Though the songs of Lahore are generally credited to Shyam Sunder alone, Vishwas Nerurkar’s book, Gandhar Swaryatra, credits only Baharen Phir Bhi Aayengi to Shyam Sunder, while the remaining three solos along with the couple of duets are credited to Vinod. I found a thought provoking discussion on Atul’s blog, ASAD where the song, Ek Aas Bandhaye Jati Hai from Lahore was presented.

9. Vinod –
Eric Roberts alias Vinod was a talented composer who brought a prominent flavour of Punjab to Hindi films. Ek Thi Ladki was his first popular film and the majority of the songs of the movie were hugely popular. Along with the soulful songs of Mahal, the light vein of Ek Thi Ladki also helped Lata Mangeshkar reach masses. In addition to the added song, Lata’s couple of duets with Rafi are my favourites.

Lara Lappa Lara Lappa Lai Rakhda – Ek Thi Ladki (1949) with Rafi, G M Durrani & Chorus / Vinod – Aziz Kashmiri
Lata Mangeshkar has most of the song to herself, except one verse which Rafi and Durrani sing with the chorus. The mukhda was once thought to be just gibberish ,but it has a meaning alright. The song goes well with the bubbly image of Meena Shorey, or should I say it helped establish the same. The war of genders is depicted quite well in the song. The song has been popular in spite of being more than 70 years old and Lata Mangeshkar used to sing it in her concerts.

10. Ghulam Mohammad –
He started his career in 1943 as an independent composer. Around the same time he also joined Naushad as an assistant and continued till the early 50s. Ghulam Mohammad must have come across Lata, when she sang for Naushad. His prominent films with Lata Mangeshkar in the year 1949, include, Paras and Shair. I’ll take the opportunity to add a couple of duets. Incidentally in both the films, Lata Mangeshkar sang for Kamini Kaushal.

Yeh Duniya Hai – Shair (1949) with Mukesh / Ghulam Mohammad – Shakeel Badayuni
A popular duet with the well known Matka rhythm. I think the rhythm was very much popular then and was a part of many songs. Shair depicts a love triangle between Dev Anand, Suraiya and Kamini Kaushal. Lata Mangeshkar sang for the latter. She had a couple of solos and a couple of duets to her credit. And out of the four songs, Do Bichhade Hue Dil was the only cheerful song, a duet with G M Durrani. Though the film had five solos by Suraiya, the film is now mainly remembered for Lata’s songs, at least for me.

Dil Leke Chhupane Wale – Paras (1949) with Rafi / Ghulam Mohammad – Shakeel Badayuni
The song is a little slow paced for me and I assumed it must be a sad one until I saw its video during the research for this post. It could well be taken as a song of estrangement. Anyways, it’s a good song and needs to be counted among good duets by Rafi and Lata Mangeshkar. Paras features Kamini Kaushal, Madhubala, Rehman and Sulochana Chatterjee. Shamshad Begum songs are lip synched by Sulochana Chatterjee and Cuckoo. Lata Mangeshkar sings for Madhubala and Kamini Kaushal both. Madhubala has just one solo picturised on her, God knows why? Ejnoy a handsome Rehman and beautiful Kamini Kaushal.

I think I must stop now . But before I sign off, I want to mention some more films and composers. Nashad debuted as Shoukat Haideri with the film, Aaiye. He introduced Mubarak Begum and also recorded her first duet with Lata Mangeshkar for the same film. Vasant Desai composed for Lata Mangeshkar in three films, Nrusinh Avatar, Nai Taleem and Uddhaar. The latter film had six of Lata Mangeshkar’s solos. I’m sharing one of those, Raat Ja Rahi Hai.
Then, Pandit Govind Ram also composed for Lata Mangeshkar in a couple of films, Bholi and Maa Ka Pyar. Though the songs are not popular, I think ‘Dil Todne Wale Kya Tune Kiya Hai’ from Bholi is a bit popular. Here’s a link for both the solos from Bholi.
Lata Mangeshkar sang for Sudhir Phadke for the first time in a Hindi film. The film was Sant Janabai and the song was Gopi Gop Nandlala.
Then, there was the film, Bhedi Bangla and C Ramchandra’s assistant, P Ramakant composed it. Lata Mangeshkar sang a couple of solos.

I said I must stop a while back but I do go on a bit, don’t I! Anyway I can’t help myself.
I am now looking forward to your favorites.

Disclaimer –
Mehfil Mein Meri, claims no credit for any image, screenshots or songs posted on this site. Images on this blog are posted to make the text interesting. The images and screenshots are the copyright of their original owners. The song links are shared from YouTube, only for the listening convenience of music lovers. The copyright of these songs rests with the respective owners, producers and music companies.