Believe it or not, but when melody queen Lata ,Mangeshkar was first taken to a producer to see if she might sing for the heroine in his film, she was turned down on a plea that her voice was "too soft!" but her companion warned the producer that a day would come when producers and directors would fall at her feet and beg her to sing for their films - Lata took no more than a year to prove him right.

Lata's irate and outspoken companion on that occasion was none other than the celebrated Master Ghulam Haider, who took it upon himself to launch her in films. And Lata acknowledges her debt to him. Ghulam Haider first heard Lata when she was just 11 at a singing contest at Pune along with the showings of Pancholi's Khazanchi. When Lata approached him later requesting work in films, she sang a Noor Jahan number from Zeenat while he played on the harmonium. He asked her to come to the studio the next day but some how forgot all about it. While Lata waited nervously, Haider continued with rehearsing and recording for a song. Much later, when he emerged, the shy, young girl sang for him and Haider was, quiet simply, enchanted.

This was not an isolated incident so far as Ghulam Haider's knack for spotting talent, grooming and molding it, is concerned. In 1943, at a concert in Ferozpur he was enthralled by a thumri and a song in raag Malkauns sung by a young girl. His own orchestra, 20-strong, was on stage when he came forward, patted the girl on her back and forecast that she would become a famous singer one day. That girl was Sudha Malhotra. To Ghulam Haider, too, must go the credit of introducing on screen such outstanding singers as Noor Jahan, Shamshad Begum, Zeenat Begum and Surinder Kaur. His own wife, Umrao Zia Begum, was also an artiste in her own right.

Master Ghulam Haider was born in Hyderabad, Sind, in 1908 and after a few years of indifferent schooling, decided to try his hand at dentistry. Meanwhile, he started taking lessons in music from Babu Ganesh Lal. In five years, he gave up the dentist's profession and joined the Alfred Theatrical Company and then Alxendra Theatrical Company, in Calcutta as a harmonium player. In 1932, the year Haider joined Player Photophone, A, R. Kardar gave him an opportunity to compose music for his film Swarg Ki Seedhi, made in Lahore. Unfortunately, the film did not click at the box office. Then D M Pancholi asked him to write the musical score for his Punjabi venture Gul-E-Bakawali (1939) which was an instant hit. (Baby) Noor Jahan's song 'Shala Jawanian Mane' and 'Pinjran De Vich Qaid Jawani' were soon on the lips of every Punjabi film fan. But Ghulam Haider's glorious hour was still to come.

When the 2nd world war started in Sep, 1939, the decade in which some of the most purposeful, successful, and cinematically significant films had been produced was coming to an end. Music directors of the 30's who had embellished films with their exquisite creations set in classical ragas had almost reached the end of their capabilities and their compositions were even beginning to sound common place. As the war progressed, a vast amount of black money was generated which clandestinely found its way into film production. People who had not acknowledge of film technique were drawn into the industry seeking to turn their black money into white, since any cheaply made film was assured of success at the box-office.

In the war time, it was speed which counted and the new producers started churning out (formula) films at an incredible pace to cater to the needs of avid film fans. It became obvious that film music too needed re-orientation and the composer destined to bing this about was master Ghulam Haider. The film which literally launched him on his brilliant carrier was Pancholi's Khazanchi (1941) with such songs as (Diwali Fir Aayegi Sajni..) and (Ek Kali Naazon Ki Paali..). Film fans lapped up the tunes as they had never done before and Khazanchi broke all previous box-office records.

Ghulam Haider's repertoire in classical and Punjabi folk music was enormous; not merely in range but in quality too, his technique was immaculate. Like a master craftsman, he would chisel and shape each piece of the song before stringing them together. In this work, he hand picked musicians from the old princess courts and rubabis, who sang bhajans and shabads in Temples and Gurudwaras. There was, for instance, Ustaad Fateh Ali Khan, a Sitarist from the Patiala gharana and then Soni Khan, the clarinetist. Perhaps the best musician in the orchestra was the tabla player who would create (bols) to match the words of the lyrics. Naushad Ali was aptly described Ghulam Haider's style thus "he completely changed the complexion of the Indian film music. His asthaias and antras had a peculiar charm because of the perfect blending and exactitude of the compositions. He was also responsible for the introduction of the dholak. Another novel feature was the importance he attached to the lyrics which were stretched and broken to enhance the beauty and weight of the rhythm."

Ghulam Haider's association with Pancholi was to last until 1944 - a period during which he scored scintillating music for Chaudhary (1941) with the songs 'Sohne Peele Khet Nain', 'Bas Bas We Dholna' and 'Sajna Tere Bina Ji Nahion Lagda' sung by Noor Jahan; Khandan (1942) with the songs like 'Mar Gayi Re' and 'Too Kaun Si Badle Mere Chand Hai'; Zamindar (1942 - 'Jaake Sakhi Mere Pi Ko Sunade' and ' Armaan Tadapte Hain'); and Poonji (1943 - 'Jhalak Dikha Kar Chhupi' and ' Ab Koi Toote Dil Ka'). The last film also contained that immortal song; 'Ab Jaag uthe Hai Jum Kuchh Karke Dikha Denge..Aye Ma Tere Qadmon Mein Aakash Jhuka Denge.' A Masterpiece from Zamindar was the aarti 'Mohe Apne Hi Rang Mein Rang De' which was sung by Shanta Apte with unmatched lilt and sweetness.

Ghulam Haider's mind was always at work, creating new tunes, recasting and improving them. If a musician came up with a suggestion, he never brushed it aside, but tried it out and if he found it suitable, incorporated it into the tune. In this was, he encouraged creative ability in his musicians. C Ramchandra, in an interview, described how within an hour of his having recorded on of the many hit songs of Shehnai, Ghulam Haider called on him, embraced and congratulated him upon the beauty of the melodies. That was a time, reminisced Chitalkar, when music directors were not jealous of each other's work.

Ghulam Haider was responsible for raising the status of music directors. Film producers were dazed when he demanded Rs. 25,000 for a single contract. He amply proved - if proof were needed - that while a singer could add to the appeal of a tune, the music director as its creator, remained supreme. It was a result of his efforts that musicians too were recognized as an essential limb of the film industry and were paid wages commensurate with their labour

A great lover of Hindustani classical music and Punjabi folk music, of which he made liberal use, he revolutionized our film music at a most critical period of its history. His tunes gained an unprecedented popularity for a period spread over nearly a decade. In the words of producer-director D M Pancholi: "Both of us started our careers - I as a film producer and he as a music director - together in 1941. A humble and sincere worker, Ghulam Haider was a loyal friend. He wrote the music in an independent style and he had a passion for folk music. He had also a taste for poetry and contributed many a line to the songs he tuned."

According to Ghulam Haider, much of the popularity of a song would depend on its lyrics as well as the skill and style of the singer. It was also essential that the singer convey emotion enough to create the situation the scene demanded. It was opinion that the popularity of the songs generally depended on the success of the film. If a picture ran successfully for some time, many of its songs would become popular. But if the film flopped, even the best musical tunes would fall to win appreciation. Ghulam Haider was also the music director for Filmistan's Chal Chal Re Naujawan (1944), K Abdulla's Phool (1945), Standrad Picture's Bairam Khan (1946) and Minerva's Shama (1946). The song track of Shama was notable for a dexterous use of tabla in songs 'Gori Chali Piya Ke Desh', 'Hum Garibon Ka Bhi Poora Kabhi Armaan Kar De' and ' Ik Tera Sahara'. As Naushad put it, the tabla "Spoke the words." When husband in the film who can not forget his dead wife, sings "Ik Yaad Kisi Ki Yaad Rahi Aur Saari Duniya Bhool Gaye", his second wife counters "Ik Yaad Kisi Ki Yaad Rahi Kyun Saari Duniya Bhool Gaye" The simple change of 'Aur' to 'Kyun' conveyed their separate feelings.

While in Bombay, Ghulam Haider also composed music for Bombay Talkies' Majboor, featuring Lata's 'Dil Mera Toda..', Wali Saheb's Padmini, Diwan Pictures' Barsaat Ki Ek Raat, Pancholi's Patjhad and Filmistaan's Shaheed, all made in 1948. It was in the last film that he introduced Surinder Kaur ('Badnaam Na Ho Jaaye'). Shaheed also contained the unforgettable song 'Todi Bachche Re Teri Aisi ki Taisi' as the children teased the boy who is Pro-British. So far as material songs are concerned, none can match the vigor and appeal of "Watan Ki Raah Mein.." This was the song that brought Mohd. Rafi into the limelight - it was sung by him in company with Kahn Mastana.

Following the explosion of an ammunition laden ship in the Bombay docks towards the end of the 2nd world war, and the mass exodus of its citizen from the city, Ghulam Haider's musicians migrated to Lahore. In vain, did Haider plead with them to stay on: he offered them two months' salary in advance and a secure shelter. But they refused and bid them a tearful farewell. Later Ghulam Haider himself left for Lahore and floated his own concern 'Filmsaz', in partnership with Nazir Ajmeri and actor S Gul. Their maiden production Gulnar was released early in November, 1953, and a few days after, the great composer himself passed away. His funeral on November 10 was attended by prominent people from all branches of film trade. The news of his death cast a gloom over Bombay. The Cine Musicians' Association called a special meeting to mourn his death.

Ghulam Haider's advent on the film music scene and his phenomenal success encouraged other Punjabi music directors to enter films. They were Shyam Sundar, Pt. Amarnath, Husnlal Bhagatram, Khursheed Anwar, Rafique Gaznavi, Pt. Govindram and Hansraj Bhel. They too enriched our film music in their own way. But today, except for the occasional playing of his songs from Shaheed over Vividh Bharti, Ghulam Haider's name is almost forgotten now. A genius is dead - what remains are the work of others influenced by him.