Even today I hum Shamshad Begum song ‘Ohde Naal Hone Giyan Taan Galaan Goorhian Jehra Ajj Lehya Kei Daivey Kutch Diyan Choorian’ for the reason that her voice is very powerful in this song and yet very pleasing to ears. Of course the tune is catchy as well. Another of her Punjabi hits is a duet with Muhmmad Rafi ‘Saari Umraan Dei Pei Gaye Vichore’. There are many other songs which can be quoted to appreciate Shamshad Begum’s prowess in singing. In my childhood, I had heard that she did not allow her photograph to be taken and published in any newspaper. She probably thought that she was not very good looking, not realising that the moment she sang she started looking beautiful. The readers must have come across somebody in their lives who may not have had good looks but his/her conversation and behavior was such that the onlooker became totally unaware of the looks and that person started looking beautiful. Shamshad Begum’s voice was very suited for Punjabi numbers but when I heard music maestro Naushad Ali using her voice in his films, she sounded perfect for Urdu songs as well. For example the duet ‘Milte Hi Ankhain Dil Hua Diwana Kisi Ka’ by Shamshad Begum and Talat Mahmud from the film ‘Babul’ filmed on Munawar Sultana and Dilip Kumar is a lilting song. As a specimen let us talk about the two films and Shamshad Begum’s role in their success. The movie ‘Khazanchi’ (treasurer) was made in 1941, produced by DM Pancholi (Pancholi Productions, Lahore) with music by Master Ghulam Haider who composed poet Wali Saheb’s poetry. The movie starts with boys and girls riding bicycles singing ‘Sawen Kei Nazare Hain’ sung by Shamshad Begum and Master Ghulam Haider. For 1941 they were in modern attire; boys in shirts and pants and girls in frocks. This film is a captivating murder mystery based onlife of Shadi Lal, a bank cashier in Lahore. His son Kanwal wants to marry Madhuri, the daughter of a rich man, Durga Das. A wicked man named Ajmal also wants to marry Madhuri. One day, Shadi Lal goes to Bombay for some bank work and the news comes from the city that Shadi Lal had murdered an actress and stolen her jewelry and money. The movie’s cast was M. Ismail (who later gave excellent character roles to Lollywood), S.D. Narang, Ramola Devi, Manorma, Ajmal (a very talented character actor) and Jankidas. Pali Chandra in her TV programme ‘100 years of Indian Cinema’ states that this movie was a success because of its music. Vijay Jumar Balakrishenen, researcher gives credit of success of music to the use of Punjabi folk in the songs by Master Ghulam Haider. All nine songs were sung by Shamshad Begum which are ‘Mun Dheere Dheere Rona’, ‘Nainon Kei Baan Ki Reet Anokhi’ (with Ghulam Haider), ‘Laut Gayi Papan’, ‘Mohe Bhabi La Do Bhaiyya’, ‘Peene Kei Din Aaye Piya G’, ‘Mori Churiya Aaei Gi Aali’, ‘Aik Kali Nazon Ki Pali’ and ‘Diwali Phir Aa Gai Sajani’ apart from ‘Sawen Kei Nazare Hain’ mentioned above. The inimitable Shamshad Begum was the reigning queen of film music in its earliest years from the 1940s to the early 1960s till Lata Mageshkar was given preference by music composers Another Shamshad Begum jewel is from 1959 film ‘Bhangra’ filmed on Nishi, ‘Mul Vikda Sajan Mil Jave Lei Lawaan Main Jind Vaich Kei’. This song is rare combination of acting and content of any Punjabi song. Shamshad Begum has made herself immortal by singing this song. She sounded soft on higher notes. No shrillness was seen. According to one fan, had she not sung any other song in her life, this one song would have sufficed to make her popular in the sub-continent.?This was pre-1965 era and this film was released in Pakistan also. It was a blockbuster film and Nishi visited Lahore to celebrate its success. Music was by Hansraj Behel. Muhammad Rafi also excelled in the song ‘Chitte Dand Hasnon Nahi Rehnde’. Shamshad and Muhammad Rafi sang a duet on Bhangra beat ‘Jutt Kurian Taun Darda Maara’. It was a comedy movie with funny scenes between Khairati and Nishi. Sunder, the short-height comedian played the lead. Romantic was in the air whenSunder, the son of the moneylender Kaude Shah, goes to a poor farmer, Bulaki, in the village of Rangpur to get money-with-interest back from him, but falls instead in love with his daughter Banto. Another nine years had passed and Master Ghulam Haider apart from discovering Shamshad Begum had by now discovered Lata Mangeshkar. Before proceeding ahead I must talk about Master Ghulam Haider’s role in shaping Shamshad Begum’s career. Shamshad Begum and Master Ghulam Haider: As reiterated above, it was music director Ghulam Haider who groomed the young singer Shamshad Begum and she sang for him in a few successful films including Yamla Jatt, Khazanchi and Khandaan. I have stated in my submission on Master Ghulam Haider in my forthcoming book ‘Melody Makers 2’, “Shamshad Begum has said in one of her interviews that Master Ghulam Haider was like her Guru (teacher). He was the one who guided her during her inception stage and helped her develop her style of singing. She stated that she had learnt two ‘lessons of life’ from him, first, to be a good person and the second, just like water takes the shape of the vessel, the same way, one should adjust with the circumstances. She remained good and adjusted to the circumstances when music composers started taking Lata instead of her for their songs. She did not complain unlike Geeta Roy (who was in the same situation as Shamshad) who protested to OP Nayyar when she was replaced by Asha Bhonsle. Some rough estimates say that Shamshad Begum rendered about two hundred songs composed by Master Ghulam Haider. Despite probing, very little detail is available about these songs. Before departing for Pakistan he used the services of Shamshad Begum for the film ‘Kaneez’. This movie also had Hansraj Behl as the composer for few songs. Ghulam Haider composed a lovely parting song for Shamshad; a duet with singer G.M. Durrani, ‘Tum Kya Jaano More Maathe Ki Bindiya Ka Mol’. The song is extremely pleasant and is befitting saying goodbye to each other. Since Shamshad Begumhad decided to stay back in Bombay, this was the last time they recorded a song together. Earlier in 1944, Ghulam Haider had moved to Bombay. His association with Ghulam Haider continued and they worked for Gyan Mukherjee’s movie ‘Chal Chal Re Naujawan’ starring Ashok Kumar andPari Chehra (fairy face) Naseem. Shamshad rendered five songs for the movie which became reasonably popular. The songs include ‘Mere Devta Lo Meri Aarti, Laaye Balamwa Mere Liye Haar, Ho Gori Pyar Bhara Dil and So Ja Meri Laadli’. Their partnership continued in the movie ‘Humanyun’ starring Nargis. Shamshad sang the songs for the film which were immensely popular. One of the songs wasNaina Bhar Aaye Neer. It was a chartbuster song of its time. Master Ghulam Haider also gave music for the movie ‘Phool’ the same year. The songs sung by Shamshad Begum and Suraiyya were appreciated all over. In 1946, the duo had worked together for the movie‘Bairam Khan’. All the six songs featured Shamshad Begum and were admired by all. Two of those songs were ‘Tum Kis Liye Aate Nahin’ and ‘Ashkon Pe Khatam Hua Mere Gham Ka Fasaana’. There even was a lovely song sung by ShamshadBegum in chorus with the then new singers Geeta Roy and Munawwar Sultana. It was‘Jab Chaand Jawaan Hoga’. Ghulam Haider was thus, whipping out more and more melodious songs. Ghulam Haider continued this trend in 1942 with the movies Khandaan and Zamindaar both of which had songs sung by Shamshad Begum. The songs of both the movies were also big hits. Movie Khandaan was a Nurjehan starrer film but Shamshad Begum also had a few songs in it like‘Pee Le More Raja Pee Le’. Movie Zamindaar also had lovely music and Ghulam Haider was by then developing popular style of music compositions. Examples are ‘Duniya Mein Gareebon Ko Araam Nahi Milta’ and ‘Mere Haal Par Bebasi Ho Rahi Hai’ sung by Shamshad Begum. The movie ‘Shama’ was an even a greater hit. It had lovely actress Rehana in a supporting role (She later moved to Pakistan). Her dance on Shamshad Begum and Zohrabai duet, Gori Chali Pee Ke Des’ was noticed and appreciated. With the movie ‘Hamida’, Shamshad Begum delighted music lovers with the song, ‘Dil Thandi Hawa Mein Ura Jaaye’. I have special memories attached with the song ‘Ik Yaad Kisi Ki Yaad Rahi Aur Saari Duniya Bhool Gaye’, a G. M. Durrani-Shamshad Begum duet that I rendered with Suraiya Khanum years later in PTV’s programme Sargam. It was a delightful experience”. Shamshad Begum’s role in the success of movie ‘Babul’: Both Lata and Shamshad sang songs for SU Sunny’s film ‘Babul’ in 1950 in Naushad Ali’s music starring Dilip Kumar, Nargis and Munawar Sultana. This blockbuster film was the second highest earner of 1950. It had fifteen songs penned by Shakeel Bidayuni on the theme of love and joys of love. Shamshad Begum rendered another duet ‘Duniya Badal Gai’ with Talat Mahmud, a sad sequence filmed on Dilip Kumar and Munawar Sultana. Theme song ‘Chor Babul Ka Ghar Mohe Pi Kei Nagar Aaj Jana Para’ fell in Shamshad Begum’s lap with all the pathos surrounding this song, played twice in the film, the second time in a slow beat by Talat Mahmud. Shamshad Begum sang the songs ‘Dharke Mera Dil’, ‘Jadu Bhare Nainon Main’ and ‘Na Socha Tha Yeh’. Lata and Shamshad rendered the duet ‘Kisi Kei Dil Main Rehna Tha’. The best song however remains‘Chor Babul Ka Ghar’ (now you must leave your father’s house). Such songs are performed when a newly married girl departs from her maternal home and village.This theme is amply available in Punjab’s folk in the form of songs such as ‘Saada Chiriyan Da Chamba Aei Babul Asaan Ud Jaana Aei’. With these details I must suffice to say that Shamshad Begum’s voice played a major role in the success of this film’s music. Initial career: The inimitable Shamshad Begum was the reigning queen of film music in its earliest years from the 1940s to the early 1960s till Lata Mageshkar was given preference by music composers Anil Biswas, Naushad Ali, Shankar Jaikishen et al. Meanwhile she managed to give memorable songs such asKaahe Koyal Shor Machaye Re (Aag), Pee Ke Ghar Aaj Pyari Dulhaniya Chali (Mother India, music: Naushad), and Kajra Mohabbat Wala (Qismet, music: O. P. Nayyar).The role of music maestro Sajjad Sarwer Niazi (father of Pakistani singer Nahid Niazi) must be emphasized here how he introduced Shamshad Begum through his composition ‘Ik Baar Phir Kaho Zara’ as Shamshad Begum was never trained to be a singer. It was by chance that she strayed into a career in music when the Jenaphone music company signed her as their artist following an audition. Years later, Shamshad Begumdisclosed in an interview that it was Mera Yaar Mujhe Mile Agar, a ghazal by Bahadur Shah Zafar that she had sung on the occasion.She spent a few weeks learning the bearings of studio singing before her first recording. Once she was ready, the record was cut and marketed as the voice of ‘Miss Shamshad’. After a successful stint with Jenophone Records, she worked for a couple of other gramophone record companies including Columbia at Anarkali in Lahore. Her repertoire included Punjabi folk, devotional and ghazal songs. In a very short span of time, she developed a popular appeal for her crispy, youthful and lively voice. Singing for Radio: Shamshad soon began singing on the Lahore Radio, gaining popularity with the song Ik Baar Phir Kaho Zara.On Dec 16, 1937, Radio Lahore went on air and so did Shamshad Begum. She was selected to perform at the debut broadcast for her popularity among Punjabi music enthusiasts. As an approved singer in the folk singing category, she sang Punjabi solos, duets and chorus songs composed mostly by music composers Master Inayat Hussain and Budh Singh Taan. As a radio artiste, she would also regularly visit Radio Peshawar for broadcast. Sajjad Sarwar Khan Niazi belonged to the Punnu Khel Clan of the Mianwali Niazis. Family anecdotes indicate that he was a free mason too. He was a cousin of Imran Khan’s father. Sajjad was a lyricist and music composer at the same time. His above referred poem originally released in 1930s sung by Shamshad Begum was later rendered by his daughter Nahid Niazi in 1971.As reiterated above it is sufficed to say that the fruition of Shamshad Begum’s professional career is inextricably linked to the rise of music composer Master Ghulam Haider, the man with the Midas touch who later groomed Nurjehan, gave chance to Mohammad Rafi, Surinder Kaur and of course Lata Mangeshkar. Since Shamshad Begum was his first discovery, he diligently and dedicatedly mentored her until she had zoomed past divas of the time. Subsequent success: A string of subsequent successes spread Shamshad Begum’s fame to Bombay. Shamshad Begum shifted to the city in the mid-1940s and established herself with such films as Taqdeer, Anmol Ghadi, and Shahjehan.Shamshad Begum’s distinct nasal voice and ghazal-inflected folk style of singing made her a favorite of the leading music directors of the time, including O.P. Nayyar, Naushad Ali, and C. Ramchander. Under their truncheon, she molded her voice to sing songs of every mood; the teasing tone in ‘Kahin Pei Nigahen Kahin Pei Nishana (film: CID), the tragic mood in ‘Hum Dard Ka Afsana Duniya Ko Suna Dain Gei’ (film: Dard), the romantic mood in ‘Kabhi Aar Kabhi Paar Laaga Teer-e-Nazar (film: Aar Paar), and the incensed Qawwali in ‘Teri Mehfil Main Qismat Aazma Kar Hum Bhi Daikhain Gei’(film: Mughal-e-Azam, filmed on Nigar Sultana). Wikipedia states that Shamshad was at the peak of her career right from 1940 to 1955 and was the most in demand female singer and highest paid female playback singer from 1940-1955[citation needed] but after her husband’s accidental death in 1955, Begum became a recluse and stopped accepting singing assignments, including recordings, for a year. Though she had stopped recording for her songs in the year 1955 after her husband’s death, the songs released between 1955 and early 1957 including songs from films such as CID, Naya Andaz, Baradari, Mr. & Mrs. ’55 and other hits continued to be popular . At this juncture Mehboob Khan approached her in 1957 and said he wanted a full-throated voice for Nargis in Mother India. The first song she sang after returning to her career was “Pee Ke Ghar Aaj Pyari Dulhaniya Chali” for Mother India. She made a successful comeback, and subsequently recorded many notable songs for films such as Howrah Bridge, Jaali Note, Love in Simla, Bewaqoof, Mughal-e-Azam, Bluff Master, Gharana and Rustom-e-Hind. The well-known later playback singer, Lata Mangeshkar, started to sing when Begum was at the peak of her career, and Begum’s break after her husband’s death boosted Mangeshkar’s career, helping her to be offered high-quality songs. In the early careers of Mangeshkar, as well as her younger sister, Asha Bhosle, between 1944 and 1956, they had often been asked by producers and music directors to imitate Begum’s style of singing, because producers could not afford Begum’s fees. In their first song together, Mangeshkar was a part of the chorus while Begum was the main singer. Many of the songs sung by Lata like “Ayega Ayega” were sung in Shamshad Begum’s style. Even Asha Bhosle’s songs like her first duet with Kishore – “Aati Hai Yaad Humko” from the 1948 film Muqaddar bear direct resemblance to Shamshad Begum’s style. From 1949 to 1960, beginning with the song “Dar Na Mohabbat Karle” from Andaz (1949), Mangeshkar and Begum have sung many duets together, with the most famous being “Pyar Ke Jahan Ki” from the 1949 film Patanga, “Bachpan Ke Din” from 1951’s Deedar; their last song together was Mughal-e-Azam’s song “Teri Mehfil Mein Qismat” in 1960. Begum sang songs together with Mangeshkar and Bhonsle, including “Mubarak Ho Woh Dil Jisko” from Benazir 1964 .[14][15] It was the period between 1958 and 1963, that career of Lata got major boost as music directors started gradually preferring her soft voice, until then Geeta Dutt and Begum were the most preferred singers but Shamshad Begum continued to be at the top from 1940 till 1963 non-stop.[citation needed] From 1965, her songs started to be mimed by actresses other than the heroine. Beginning in 1965, songs for her in films started getting reduced but the songs she sang instantly became hits through 1968. She then declared a self-imposed retirement in 1965. But she kept having certain composers asking her to sing songs in few films and among them her songs from films like in Daku Mangal Singh, Upkar, Qismat (1969), Heer Ranjha (1970), Johar Mehmood in Hong Kong (1971), Teri Meri Ik Jindri (1975) and Main Papi Tum Bakhshanhaar (1976). Her song “Kajra Mohabbat Wala” from the 1968 film Qismat and “Nathaniya Hale To Bara Maza” from the 1971 film Johar Mehmood in Hong Kong remains popular. Birth and entry into films: Originally hailing from Amritsar based family Shamshad Begum was born on April 14, 1919 in Lahore to Mian Hussain Bukhsh who was opposed to the idea of her singing for films. She had a house on Mohini Road, Lahore. In 1924 when she was in school and only ten years old, she was picked up by the head mistress to lead the morning prayers recitation. This scene was reproduced later in her voice in the shape of the song ‘Hum Dard Ka Afsana Duniya Ko Suna Dain Gei’ in the film ‘Dard’. In 1933 she started giving public performances. Despite her father’s resistance, her maternal uncle took her to a recording company for audition where she was offered a contract to sing. He father agreed on only one condition to allow her to fulfill the contract that she would not allow any of her pictures taken and printed in newspapers.She agreed and her singing career as a professional singer took off. Shamshad Begum hailed from a conservative family she had promised her father never to appear onscreen as well. During K. L. Saigol’s hey days, Shamshad Begum was offered a role opposite him but for her promise to her father not to appear in public. Her group Crown Theatrical Company of Performing Arts used to perform in All India Lahore and Peshawar Radio Stations. Since Radio played her songs repeatedly and she was now offered with film songs such as ‘Mere Piya Gaye Rangoon’ filmed on Nigar Sultana against actor Gope in the film ‘Patanga’ in 1949. Male lead was with Chitalkar C. Ramchander, the music director. Naushad Ali used her voice amicably well and has admitted in his interviews that Shamshad’s voice gave him initial stand to become a popular music composer.Unfortunately Naushad however took no time in dumping Shamshad for Lata as his lady lead singer.S. D. Burman had similar views. O. P. Nayyar who knew Shamshad from Lahore composed outstanding melodies of mass-appeal in Shamshad’s voce (Kabhi Aar Kabhi Paar Laaga Teer-e-Nazar from film ‘Aar Paar’). He stated that her voices resembled bells of a Mandir (temple). Her songs have been remixed like ‘Kahin Pei Nigahain Kahin Pei Nishana’. She told her daughter Usha Ratra to keep her funeral to herself and inform the media after her demise. She had been conferred with Padma Bhushan Award in 2009. Sheraz Hyder comments “When Lata Mangeshkar heralded the advent of a new era in film music with Andaz (1949) and Barsat (1949), Naushad took no time in dumping Shamshad as his lead woman singer. The other composers gradually followed suit. But Shamshad remained on the scene throughout the 1950s. Ganesh Anantharaman writes that she tried valiantly to ward off Lata’s onslaught and even went to the extent of learning classical singing at that late stage but had to contend with the stray songs that came her way from O.P. Nayyar and Naushad. Shamshad held her professional grace by never refusing to sing along Lata even when the latter’s vocals was never lip-synched by the heroine. They sang dozens of songs together and gifted the world such beautiful duets as Bachpan Kay Din (Deedar 1951) and Teri Mehfil Mei (Mughal e Azam, 1960)”. Demise: Although her style was never imitated or challenged, Shamshad Begum went into semi-retirement with the advent of younger singing stars in the late 1960s. Shamshad Begum sang her last three songs in 1981 for Ganga Maang Rahi Balidan. After leading a quiet life, she diedin hospital in Mumbai on Wednesday April 23, 2013. She was 94. Notable Songs: Aag Lagi Tan Man Mein Dil Ko Para Thamena/Raam Janey Kab Ho Ga Saiyyan G Ka Samena, Hum Dard Ka Afsana Duniya Ko Suna Dain Gei, Saiyan Dil Mein Aana Re Aa Kei Phir Na Jaana Ri, Cham Chama Cham Cham (filmed on Vyjanti Mala, film: Bahar, Music: SD Burman), ‘Aik Do Teen Aaja Mausam Hei Rangeen’ (film: Aawara, Music: Shankar Jaikishen, Lyricist: Shailinder), ‘Roop Ki Dushman’, ‘Kabhi Aar Kabhi Paar Laaga Teer-e-Nazar/Saiyyan Ghayel Kiya Re Tu Nain Mera Jiger’, ‘Yeh Afsana Nahin Zalim’, ‘Kahe Koyal Shor Machaye Re’, ‘Yeh Duniya Roop Ki Chore’, ‘Na Bol Pee Pee More Angana Panchi Ja Re Ja’, ‘Duniya Ka Maza Lei Lo Duniya Tumhari Hei’, ‘Dharti Ko Aakash Pukare Aa Jaa Aaa Prem Duware Aana Hi Ho Ga’, ‘Raat Ko Chamke Taare’, ‘Dil Toot Gaya G’, ‘Lei Kei Pehla Pehla Pyar Bhar Kei Aankhon Maun Khumaar Jadunagari Sei Aaya Hei Koi Jadugar’ (with Asha & Rafi), ‘Na Socha Tha Yei Dil Lagane Sei Pehle’, ‘Mohan Ki Muraliya Re’, ‘Dharke Mera Dil Mujha Ko Jawani Raam Qasam Na Bhaye’ (filmed on Nargis for the film ‘Babul’ – 1950), ‘Aai Sawen Rut Aai Sajan Mora Dole Hei Mun Laagi Teri Lagan’ (filmed on Nargis for the film ‘Mela’, music by Naushad) ‘Bari Mushkil Sei Dil Ki Beqarari Ko Qarar Aaya’ (film: Naghma – 1953, music: Naashaad), ‘Kaani Aankhon Ki Izzat Hei’ (film: Khushboo – 1954, music: Shankalal), ‘DharkeRehReh Kei Dil Banwara’ (film: Naata, Music: S. Muhider, with Muhammad Rafi and Lata – based on Punjabi Mahiya)- Main Cast:Madhubala, Abhi Bhattacharya, Kanhaiyalal, Chanchal, Vijayalaxmi, Gope’ ‘Inhi Logon Nei Li Ri Na Dopatte Mera’ – film: Himmet – 1941, ‘Nighahen Milte Hi Dil Ka Tarapna Daikhte Jaao’, (film: Hyderabad Ki Nazneen 1952, penned by Noor lucknavi,composed by Vasant Desai and film was directed by veteran Director S.M.Yousuf,who migrated to Pakistan after completing his last film Mehndi 1958,the first film of Jay Shree after divorce from V.Shantaram)’, ‘Main Rani Hun Raja Ki’ (film: Aan, Stars: Nimmi, Dilip Kumar, Nadra, Music: Naushad – 1952), ‘Ghum Ka Fasana’ (film: Mela, Lyrics: Shakeel Bidayuni, Music: Naushad, filmed on Nargis), ‘Kahin Pei Nigahain Kahin Pei Nishana’ (film: CID, music: OP Nayyar, Poetry by Majrooh Sultanpuri), ‘Kahe Koyal Shor Machaei Re’ (based on Punjabi folk, Music: Ram Ganguli, Lyricist: Bahzad Lakhnuwi, film: Aag, Cast: Nargis), ‘Kahe Jadu Kiya Mujh Ko Itna Bata Jadugar Baalma’ (film: Naghma, Lyrist: Nakhshab, Music: Naashad), ‘Zara Pyar Kar Lei Babu’ (film: Mangu, Music OP Nayyar ‘Boojh Mera Kaya Naaav Re’ (film: C.I.D. (1956) starring Dev Anand, Shakila, Waheeda Rehman, Johnny Walker, Director: Raj Khosla, Producer: Guru Dutt, Music: O P Nayyar) ‘Gaari Waale Gaari Dheere Haank Rei’ (with Muhammad Rafi, music: Naushad), ‘Bolo G Dil Lo Geu Tau Kaya Kaya Do Gei’ (with Muhammad Rafi), ‘Bheega Bheega Pyar Ka Samaan Bata Dei Tujjhe Jaana Hei Kahaan’ )with Muhammad Rafi), ‘Kaise Bajje Dil Ka Sitar Thais Lagi Toor Gaye Taar’ (with Muhammad Rafi, Music: Naushad Ali), ‘Muhabbat Choome Jin Kei Haath’ (with Muhammd Rafi, Music: Naushad), ‘Khabar Kaya Thi Keh Ghum Khana Pare Ga Muhabbat Kar Kei Pachtana Pare Ga’ (with Muhammad Rafi, Music: Naushad). ‘Main Jaan Gai Tujhe Saiyyan’ (with Muhammad Rafi, Music: OP Nayyar), ‘Hum Ne Jab Dil Tha Diya Koi Waada Tha Kiya Huzoor Aap Nei’ (with Muhammad Rafi, Music: OP Nayyar), ‘Nadi Kinare’ (with Talat Mahmud and Muhammad Rafi, film: Babul, Music: Naushad Ali) Song ‘Dharti Ko Akash Pukare’ by Shamshad Begum and Mukesh from 1048 film Mela however remains my all time favourite. Published in Daily Times, June 22nd 2018.