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S D Burman had employed Shamshad Begum's voice to great effect in the boisterous Kamini Kaushal hit Yeh duniya roop ki chor bacha le mujhe babu (Shabnam). That is probably why he chose Shamshad Begum's rollicking vocals to match teenaged debutant Vyjayanthimala's famed twinkle toes in her first Hindi film, Bahar. And what a fortuitous match it turned out to be in a string of dance numbers such as O pardesiya, Kusoor aapka huzoor aapka, Duniya ke maze le lo, Chhodoji chhodoji, and especially (the much remixed) Saiyan dil mein aana re, aake phir na jaana re. Naushad had constantly collaborated with Shamshad Begum from the mid 1940s - ever since Jab usne gesu bikhraye from Shahjehan (1946). In the late 1940s and early 1950s, he would broadly divide the female playback duties between his two favourites - Shamshad Begum and Lata Mangeshkar. In Dulari, if Lata sang for Madhubala, Shamshad lent her voice to Geeta Bali. If Lata was the playback singer for Nimmi in Deedar, Shamshad Begum sang for Nargis.
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And sometimes Naushad made both sing for the same heroine in a film (Nalini Jaywant in Jaadoo). Increasingly, however, he veered towards Lata.
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