Khemchand Prakash shows his immense diversity with Rimjhim which has Kishore Kumar’s Jagmag karta in KL Saigal style and some great Shamshad Begum songs such as Na tum aye na neend ayi. HB had a good number of films in the year with more outstanding songs by his favourite singers Suraiya, Rafi and Lata Mangeshkar.
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This film has some of the career-best songs of Suraiya. Badi Bahan was one of the biggest hits of the year on the strength of Husnlal-Bhagatram’s music. This film, too, has equally significant presence of the vintage era female singers like Zohrabai Ambalewali and Rajkumari. The Master’s Master Khemchand Prakash writes history with Ayega anewala in Mahal. We have discussed this in detail earlier in Patanga where this phenomenon is seen most prominently. His films, too, in the year show a similar transition from the Vintage to the would-be Gold Standard Lata Mangeshkar. C Ramchandra is even more prolific in numbers. Never before or later he gave music for as many films. These films show an interesting passing of the baton from Shamshad Begum to Lata Mangeshkar. This was the most prolific year for Naushad with Andaz, Chandni Raat, Dillagi and Dulari, all with outstanding music. But they show supreme confidence in breaking a new ground with orchestration which bore no similarity to anything hitherto known. At that age, one is awed by the towering giants.
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When they did Barsaat Shankar was 27 and Jaikishan barely 20. I consider 1949 not only as the most important watershed in the history of film music, but also the year which gave the largest number of all-time great songs for Lata Mangehskar and some other singers. There were several others such as Shyam Sundar, Ghulam Mohammad etc who gave everlasting songs. Earlier era stalwarts like Khemchand Praksh and Anil Biswas also gave some of their landmark songs in the year. S-J’s mentors and the first duo of Hindi films Husnlal-Bhagatram were near their top.
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Naushad and C Ramchandra were two titans vying of for supremacy. At a very young age they would break into the rarefied world of top music directors and would stay there for two decades. Shankar-Jaikishan with their very first film Barsaat shook the music scene with a different kind of orchestration and musical style which was easy on ears. Lata Mangeshkar who had an inconspicuous debut a couple of years earlier, and was gradually being noticed in 1948, burst forth on the scene in 1949 as the would-be defining voice of female playback singing, and marking the beginning of the end of the old courtesan/ theatrical style singing of the vintage singers. It also led to a new kind of sound and musical style which would herald the decline of erstwhile doyens like Naushad, C Ramchandra, OP Nayyar and Shankar-Jaikishan, leaving only SD Burman with his fresh sound unscathed, and emergence of RD Burman as the industry standard. One such tremor happened in 1969 with Aradhana which marked the resurgence of a new Kishore Kumar who became the voice of every hero. The evolution of Hindi film music can be seen as gradual changes, shaken with major tectonic shifts once in a while. In our journey in the Time Machine to yearwise review of the best songs of a year, we now enter what is the single most important year in the history of film music.