Begum CeRtainly meant no gham

Although I was aware of the fact that there was a film titled Patanga (which released in 1949), I didn’t know what the word meant. When I looked it up online, I read that it could be translated to, “Moth”.

And just as that insect is attracted towards light, Hindi film music buffs were drawn to the most popular song in the film – Mere Piya Gaye Rangoon.

It was penned by Rajinder Krishan.

C Ramchandra did not just compose the track, but he rendered it too.

He was joined behind the microphone by Shamshad Begum.

This Lata classic was haunting

From a chronological standpoint, Aayega Aanewala – the haunting track from Mahal, which released in 1949 – was the first song I heard, but since I wasn’t aware of other songs from Hindi films released in the 1940s, I listened to a few more over the years before creating this playlist.

By no means would it be incorrect to state that this was the song with which Lata Mangeshkar shot to fame.

Naqshab Jaarchavi penned the Khemchand Prakash composition, which was originally offered to Uma Devi (Tun Tun), who refused owing to her contract with Kardar Productions.   

Lata RendereD this lively track

Eric Roberts may be a unfamiliar name to most Hindi film music aficionados, but music buffs of a certain vintage would certainly be familiar with his stage name – Vinod.

He was a composer, and one of his most popular songs was the lively Lara Lappa from the 1949 film Ek Thi Larki (shouldn’t it have been spelled Ladki?)

The track, which had a Punjabi hook, was penned by Aziz Kashmiri.

It was rendered by the one and only Lata Mangeshkar, who was joined behind the microphone by Mohammed Rafi and his idol, G M Durrani.

Rafi rendered this marvellous solo

The soundtrack of Dulari, which released in 1949, feature the mind-blowing Suhani Raat Dhal Chuki, a solo by the one and only Mohammed Rafi.

And by no means would it be incorrect to state that its next line, which went, “Na jaane tum kab aaoge” (which could be translated to, “I don’t know when you will come”), was what fans of Hindi film music of the Golden Era were telling that era and its melodies.

The track, which was three minutes and 29 seconds, was composed by Shakeel Badayuni.

It was composed by Naushad Ali.

Shyam sang it many ‘moon’S(uraiy)ago

Dillagi released in 1949.

And there’s no two ways about Tu Mera Chand Main Teri Chandni was the most popular track in the film.

The soundtrack of the film featured a couple of versions of the track, and one was a sad version.

While Shyam – the film’s male lead – rendered both the versions, the version on this blog was rendered by Suraiya, who was the film’s female lead as well.

He was joined behind the microphone by Geeta Dutt for the sad version.

The track, which was penned by Shakeel Badayuni, was composed by Naushad.

It was MeLodious and foot-tapping

I have to sheepishly admit that the first time I heard Patli Kamar Hai was when I chanced upon a video of Nitin Mukesh singing and dancing on stage to the song from Barsaat.

The song was originally rendered by his father Mukesh Chand Mathur, who was joined behind the microphone by none other than Lata Mangeshkar.

It was the longest of the seven tracks from the film on this blog – it was five minutes and 17 seconds long.

The track, which was penned by Shailendra, was composed by Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal.

Ms Mangeshkar’s beqaraari was doubled

One of the songs on the soundtrack of Barsaat was a track everyone hopes to sing at some point in his/her youth.

And it was rendered by none other than Lata Mangeshkar, whose beqaraari – which, in this context, could be translated to, “excitement” – was doubled.

The track in question was O O O Mujhe Kisi Se Pyaar Ho Gaya.

A couple of minutes and 46 seconds long, it was penned by Jalal Malihabadi. It was his only contribution to the soundtrack of the film.

The song was composed by Shankarsingh Raghuvanshi and Jaikishan Dayabhai Panchal.