By: H.A.K. Walijah

A tribute to the forgotten legend – Shamshad Begum

There are few singers for whom the listener feels such personal & emotional attachment as for Mohammad Rafi, for few have so eminently possessed the magic gift of identifying themselves with their singing. We hear his songs every day, and grow into familiar intimacy with him as we listen. The artless benevolence that beams throughout his singing; the whimsical, yet amiable views of human life and human nature; the unforced humor, blending so happily with good feeling and good sense, and singularly dashed at times with a pleasing melancholy; even the very nature of his mellow, flowing, and softly-tinted style, all seem to bespeak his moral as well as his intellectual qualities, and make us love the man at the same time that we admire the singer. While the other singers of loftier pretension and more sounding names are suffered to molder on our shelves, those of Mohammad Rafi are cherished and laid in our bosoms. We do not quote them with ostentation, but they mingle with our minds, sweeten our tempers, and harmonize our thoughts; they put us in good humor with ourselves and with the world, and in so doing they make us happier and better listeners.

Rafi Sahab fondly used to address Shamshad Begum “Aapaji” (an elderly sister), the legendary undisputed melody queen and playback singer of yesteryear who captivated the hearts of listeners with the enchanting depth of her voice. Shamshad Begum is an Indian singer who was one of the first playback singers in the Hindi film industry. We can judge the popularity of her songs by the number of remixed songs which are storming the music market today. Most of these remixes were originally sung by Shamshad Begum. And by the popularity of these remixes one can easily judge her popularity in ‘her’ days. Many yesteryear singers and composers are against this remixing of the old songs but Shamshad Begum feels that there is no harm if the younger generation is enjoying the old songs in their new ‘avtaar’. Some of the popular songs of Shamshad Begum’s remixes are ~

• Mere Piya gaye Rangoon (Patanga, 1949)
• Saiyan Dil main aana re (Bahar, 1951)
• Kabhi aar kabhi paar (Aar Paar, 1954)
• Kajra Mohabbat wala (Kismat. 1968)
• Leke pehla pehla pyar (CID, 1956)
• Kahin pe nigahen (CID,1956)
• Bhooj mera kya naam re (CID, 1956)
• Mere Ghunghar Wale Baal (Pardes, 1950)

In the words of Shamshad Begum, “I was rendering a song, ‘La De Mohe Balamaa Aasmaani’ with Mohammed Rafi for Rail Ka Dibba (1953). There were about 8-10 lines that both of us had to sing breathlessly. I managed to do it, he couldn’t even after five takes. After the song was okayed he came to me and said Aapaji maan gaye aapko”. (Source:-Shamshad Begum’s interview conducted by Rachana Dubey). Shamshad Begum became a legend very early in life and her generosity was even more legendary. Her magnanimity, non-assertive nature and professional approach earned her the fond nickname ‘appa’ in the film industry.

Mohammed Rafi and Shamshad Begum sang almost 160 duets together in Hindi Films. Their first duet together was with Zohra Bai Ambala Wali Chotisee ek banayenge naiyya from Hamara Sansar (1945) with music scored by Pandit Govindram.  Some of their best known duets were composed by Naushad and O.P Nayyar. While Naushad gave them the folksy O ghadi wale ghadi dheere haank re (Mother India, 1957) and romantic Mohabbat chumme jinke haath (Aan, 1952), O.P Nayyar on the other hand gave them the westernized Thoda sa dil laga ke dekh (Musafirkhana, 1955) and heart-stopping Leke pehla pehla pyar (CID, 1956). Infact, Leke pehla pehla pyar arguably remains their most popular duet together.

Lahore-based composer Master Ghulam Haider used her voice skilfully in some of his earlier films like ‘Khazanchi’ (1941) and ‘Khandan’ (1942). When he shifted to Bombay in 1944, Shamshad Begum went with him as a member of his team. In 1944, when Mehboob Khan launched his historical venture ‘Humayun’, Master Ghulam Haider used Shamshad Begum’s voice in the film. That was the time when Amirbai Karnataki was considered number one playback singer in Bombay. With the introduction of Shamshad Begum to the film, contemporary composers almost fell over each other in booking her for the recording of their songs leading to an extremely prolific career till the mid to late 1950s. Music directors like C Ramachandra, SD Burman and Naushad used her as their prime female vocalist in the early part of their careers.

Shamshad Begum created sensations with her songs in her very first film ‘Khazanchi’, the song that gained that became most popular was ‘Ek Kali Nazon Se Pali’. After that, she gave countless hit songs like ‘Duniya Me Ghareebon Ko Aaram Nahi Milta’ (Zamindaar, 1942), ‘Armanon Ki Basti Me Hum Aag Laga Baithe,’ (Shirin Farhad, 1945), ‘Dil Thandi Hawa Me’ (Shama, 1948), ‘Mere Piya Gaye Rangoon..’ (Patanga, 1949), ‘Milte Hi Aankhen,’ (Babul, 1950), ‘Saiyyan Dil Me Aana Re,’ (Bahaar, 1951), ‘Boojh Mera Kya Naam Re’ (C.I.D, 1956), ‘Kabhi Aar Kabhi Paar’, (Aar Paar, 1954), ‘Maine Dekhi Jag Ki Reet,’ (Sunehre Din, 1949), ‘Kahin Pe Nigahen Kahin Pe Nishana,’ (C.I.D, 1956), ‘Pee Ke Ghar Aaj’ (Mother India, 1957), etc. Even the one rendered as late as 1968 for ‘Kismat’ under OP Nayyar, after her retirement; ‘Kajra Mohabbat Wala Ankhiyon Mein Aisa Dala’ proved a superhit. Her duet with Kishore Kumar, ‘Meri Neendon Mein Tum’ from ‘Naya Andaz’ (1956), similarly, remains almost a touchstone of melodious romance. She began singing — it is for her immortal voice and unforgettable songs like Piya ke ghar aaj pyari dulhaniya chali (Aan), Kahin pe nigahen kahin pe nishaana (CID), Kahe koyal shor machaye re (Aag), O leke pehla pehla pyar (CID) and Ye duniya roop ki chor (Shabnam).

Shamshad Begum was born in Amritsar, Punjab on April 14, 1919; she belonged to a large family of 12 children. She discovered her love for music early in life, but her conservative father didn’t encourage her to train in music. Fortunately, her uncle loved music and persuaded her father to send her for a music test which was being held by the popular music company Jenaphone. She was selected as the company’s artiste when she was just 13. Her first songs were non-film numbers which became so popular that she was invited to sing on the radio. For five years, Shamshad ruled the radio. When films did happen to her finally, she was already a known name.  Making her debut on radio in Lahore in 1937, the Amritsar-born singer captivated the hearts of listeners with the enchanting depth of her voice. The then AIR Lahore helped her in entering the world of movies as frequent broadcasting of her songs induced music directors to use her voice for film songs.  Her voice was unmistakable. Saawan ke nazare hain (Khazanchi) drove audiences crazy across the country. It was at this time that Shamshad Ji was invited to Bombay. She refused to leave her beloved Lahore till Mehboob Khan personally requested her to. This was in 1942 for the film Taqdeer, which marked the Nargis’s debut. Shamshad came to Bombay, she sang and she conquered. Mehboob Khan signed her on to sing for all his films.

In 1943, K Asif made Phool and Shamshad was the lead playback singer in the film. Yet again, this film went on to become a big hit and reaffirmed Shamshad’s status as the reigning superstar. Subsequently, she was considered to be the lucky mascot for every budding composer. Her spontaneous, open-throated style of singing brought alive each and every word of a song. All the composers approached her to lend her voice to their songs. She obliged, and often, for less than her usual fee because newcomers could not afford her. Looking back, Shamshad says, “I really don’t know how I got into films. I had no training or encouragement at home. But I had been singing as far back as I can remember. When I joined school in Lahore, we used to sing a prayer before our classes started. All of us sang in chorus. One day the principal announced that there was one voice that stood out among the rest. It was me. I was made to stand on a school bench and lead the school prayer after that. It was my first public exposure.” There was not a single big name she didn’t work for in Bombay. Leading music composers like Naushad Ali, Anil Biswas Sajjad Khan, C Ramchandra, Chitragupt, Shankar-Jaikishen snapped her up. She sang for practically all of Mehboob Khan’s films.

Naushad got her to sing for as many as 19 super hit films. Who can forget the beautiful songs from Aan, Mother India, Mela, Shahjehan and so on? Chhod babul ka ghar (from Aan) remains the favourite bidaai song till today. She sang over 1650 songs in languages including Hindi, Punjabi, Urdu and Tamil.

Rafi Saab – Shamshad Begum Duets:

Mohammed Rafi and Shamshad Begum sang almost 160 duets together in Hindi Films.

Rafi-Shamshad Duets Song	Co-Singers	Film	Year
Chotisee ek banayenge naiyya	Zohra Bai	Hamara Sansar	1945
Bala jobanwa sambhala na jaye		Rupa	1946
Watan kee amanat meree zindagee hai		Rupa	1946
Too Bhee Rah Mein		Ek Kadam	1947
Solah Baras Kee Bhai Umariya		Aag	1948
Dheere Dheere Bol Koyee Sun Na Le		Actress	1948
Aji Mera Bhi Koyi Haal Suno	Chitalkar	Khidki	1948
Aree O Albeli Naar		Lal Dupatta	1948
Chalo Jamuna Ke Paar		Lal Dupatta	1948
Nanhee See Jaan Mein.. Do Chaar Din Pyaar	Nadiya Ke Paar		1948
Ek Abre Siah Chaayaa Aajaa Mere Saathi		Rehenuma	1948
Chhalaa De Jaa Nishaani Teri		Bazaar	1949
Chheen Ke Dil Kyon Fer Lee		Chandni Raat	1949
Khabar Kyaa Thee Kee Gham		Chandni Raat	1949
Nigahen Ruk Gayeen..Kaise Baaje		Chandni Raat	1949
Ay Saamne Aane Wale Bata		Gareebi	1949
Musaphir Sadaa Geet Gaaye Chalaa Chal		Jal Tarang	1949
Mil Kar Jaayen Ham Preet		Jeewan Saathi	1949
Muhabbat Rog Ban Kar		Jeewan Saathi	1949
Dil Se Diyaa Hai Tujhko		Naach	1949
Taaron Kaa Yeh Khazana Yeh		Nisbat	1949
Mere Dil Kee Ho Mere Dil Kee		Paras	1949
Mohobbat Mein Kise Maalum		Paras	1949
Bolo Ji Dil Loge To Kya		Patanga	1949
Namaste namaste, pahele tho ho	Chitalkar, Mohantara	Patanga	1949
Kaliyon mein jawani aayee	Chitalkar	Roshni	1949
Mere paas aao mere bhole sajan	Lata, Chitalkar	Roshni	1949
Ai Dil Naa Mujeh Yaad		Sawan Aaya Re	1949
O More Balama		Shair	1949
Ai Jee Zindagi Hai Roshan		Apni Chhaya	1950
Ho Kaale Kaale Badal		Apni Chhaya	1950
Nadiya mein	Talat	Babul	1950
Sajaniya Kit Bhage		Birha Ki Raat	1950
Ladka Aur Ladki Mile Pyaar		Chhoti Babhi	1950
Chori Chori Mat Dekh Balam		Hamara Ghar	1950
Rang Bhare Holi Aayi		Hamara Ghar	1950
Teri Thirachi Nazar		Hamara Ghar	1950
Mohobbat Karne Walon Se		Hanste Aasun	1950
Toot Gaya Hai Toot		Magroor	1950
Chod Diya Ghar Baar Rani		Meena Bazaar	1950
Gori Baahon Mein Chodiyan		Meena Bazaar	1950
Le Lo Ji Maharaja Dupatta Mera		Meena Bazaar	1950
Mein Hun Bada Naseebonwala		Pardes	1950
Apni Nagariya Chod Ke		Raj Mukut	1950
Lo Pakado Sajanwa		Raj Rani	1950
Chupati Mein Tujhse Kal Jo		Afsana	1951
Halla Gulla Laaee Laa		Dholak	1951
Lelo Lelo Do Phool	Zohra Bai	Jaadu	1951
Nakhre Dikhla Ke Dil Le		Naazneen	1951
My My My My My Dear Aao Aao		Nagina	1951
Yaa Raa Raa raa Dholak Khoob Bajao		Rajput	1951
Ek Din Lahore Ki Tandi Sadak	Chitalkar	Sagaai	1951
Mein Mali Ka Chokra		Sarkaar	1951
Mohobbat Chumme Jinke Haath		Aan	1952
Gao tarane man ke	Lata, Shyam	Aan	1952
Bata Dil Ke Kafas Mein Kyon Jawaani		Alladin & The Wonderful Lamp	1952
Ho Sake Tho Dil Ke Badle Dil	Asha, Chitragupta	Alladin & The Wonderful Lamp	1952
Alar Yaamaa Choom Chakaare Rote		Ambar	1952
Anndaata Anndaata Oonce Parwat		Annadaata	1952
Labon Pe Dekho Ji Pyar Karo		Annadaata	1952
Door Koi Gaaye Dhun	Lata	Baiju Bawara	1952
Lad Gayi Meri Nazar Meri Lad Gayi		Hangama	1952
Ae Dil Mein Basne Wale		Jiwan Nauka	1952
Kya Kiya Khoon Bachhe Kaa		Jiwan Nauka	1952
Preet Ke Suhane Geet Gaa		Jiwan Nauka	1952
Yeh Phoolon Kaa Mausam Yeh Thandi		Jiwan Nauka	1952
E Ghanan Ghanan Ghan Garje		Sapna	1952
Lakdi Ke Tukde Maar Katari		Sapna	1952
Ada Se Jhoomte Huve		Sindbad The Sailor	1952
Zindagi Sanwar Gayi		Sindbad The Sailor	1952
O Ho Tum Hase Tho Gam Sharamaaye		Dana Pani	1953
Tera Mera Ho Gaya Prem		Farmaaish	1953
Mere Dil Ke Musafir Khaane Mein		Hazar Raten	1953
Rajaji Rajaji Tum Mere Kehna Kya		Hazar Raten	1953
La De Mohe Balamaa Aasmaani		Rail Kaa Dibba	1953
Chalo Chalo Chalen Ham Babool Ke Tale		Alibaba & Forty Thieves	1954
Gadhon Par Baitkar Ham Shahar Ke		Alibaba & Forty Thieves	1954
Chalti Chakki Dekh Kar Ek		Durga Pooja	1954
Jhoom Jhoom Kar Bahaar Nache		Guzara	1954
Ghar Ke Andar Parda Karen		Khushboo	1954
Haay Re Haay Aji Darwaaza		Ladla	1954
Aate Jaate Aankh Bachaana		Mehbooba	1954
Mera Pardesi Meheman Kaha Mera Maan		Ander Nagari Chaupat Raja	1955
O Leke Pehla Pehla Pyar	Asha	CID	1955
Mast Qalandar Damaa Dam		Mast Qalandar	1955
Thoda Sa Dil Laga		Musafir Khana	1955
Dhadke dhadke rah rahke dil bawra	Lata, Balbir	Naata	1955
Ek Haath Mein Talvaar Thi		Raj Kanya	1955
Thandi Hawayen Kaali Ghatayen		Sitara	1955
Hamne Jab Dil Tha Diya		Chhoo Mantar	1956
Bhai Re Maine Is Alam		Gul-e-bakwali	1956
Aaj Suhaani Raat Re Aahaa Aahaa	Kishore	Naya Andaz	1956
Jab Teri Nazar Ka Teer Chale		Noor-e-yaman	1956
Pyar Kiye Jaana		Panna	1956
Itna Tho Bata Do O Rasiya		Roop Kumari	1956
Bolre Munna Duniya Mein	Asha	Sab Se Bada Rupaiya	1956
Is Raat Diwali Yeh Ujaala Yeh Kaisa	Asha	Sab Se Bada Rupaiya	1956
Gulabchand Ki? Hey Bhagwan Kit Jaaye		Shrimati 420	1956
Tu Meri Heroin Mein Tera Hero		Zindagi Ke Mele	1956
Ay Jee O Jee Kaho Badi Aaj Ki		Chandi Pooja	1957
Yaaraa Liya? Husn Jawan Ishq Jawan		Chengiz Khan	1957
Ghanan Ghanan? Aayi Mohan Milan		Janam Janam Ke Phere	1957
Kehelaata Hai Jag Mein Tu Itni Si Hai Meri		Laxmi Pooja	1957
Thodi Si Zindagi Kyon Na Govind		Laxmi Pooja	1957
Subah Ut Ke Mirze Yaar Ne		Mirza Sahiban	1957
O Ghadi Wale Ghadi Dheere Haank Re		Mother India	1957
Dukh Bhare Din Bite	Manna Dey, Asha	Mother India	1957
Dil Mein  Parda Utaavo Saamne		Pak Daman	1957
Mein Jaan Gayi Tujeh		Howrah Bridge	1958
Iski Topi Uske Sar		Miss Bombay	1958
Unchi Edi Hai Maang		Miss Bombay	1958
Aji Na Na Na Karoji Karo Haan		Naya Paisa	1958
Koyi Bura Na Maane		Ram Bhakhti	1958
Main Jaadugar		Ram Bhakhti	1958
Khayaalon Mein?Ham Pe Dil Aaya	Asha	Do Ustaad	1959
Yahoo Mere Gore Gore Gaal		Dulhan	1959
O Mere Maalik O Mere Daata		Maa Ke Ansu	1959
Ek Meri Gali Ka Ladka		Milan	1959
Lamba Chora Jaat		Milan	1959
Bhiga Bhiga Pyaar Ka Sama		Sawan	1959
Haaye Kuch Ho Gaya		Sawan	1959
Mere Ghanghre Nu		Sawan	1959
Bhingchak Bhingchak Chakachak		Lal Quila	1960
Jhin Chak Jhin Chak		Lal Quila	1960
Husnwale Wafa Nahin Karate		Love In Shimla	1960
Baagon Mein Kabutar Kaale		Mud Mud Ke Na Dekh	1960
Raat Kaali Jugnu Chamke		Mud Mud Ke Na Dekh	1960
Dil Ki Haalat Jaan Gaye Ham		Superman	1960
Gori Kaabul Aur Bukhaara		Khiladi	1961
Jhukakar sar ko baithe hain	Balbir	Pyase Panchhi	1961
Zulfon walon se na bhool ke bhi pyar keejiye		Baghdad ki Raatein	1962
Jaate jaate ek nazar bhar dekh lo		Qawaali Ki Raat	1964
Naadaan hain samajhte nahin samjhana		Fauladi Mukka	1965
Aaya holi kaa tahwar		Daku Mangal Singh	1966
Nadi ka kinara mendak kare shor	Asha, Manhar	Shararat	1972

The following list further shows some of Shamshad Begum’s solo songs as well as duets sang with other singers ~

Jab Usne Gesu Bikharaye (Shahjehan)

Singers: Asha Bhosle, Shamshad Begum Music Director: Naushad Lyricist: Majrooh Sultanpuri

 

Kahe Koyal Shor Machaye (Aag)

Singer: Shamshad Begum Music Director: Ram Ganguly Lyricist: Behzad Lucknavi

 

Dharti Aakash Pukare (Mela)

Singer: Shamshad Begum Music Director: Naushad Lyricist: Shakeel Badayuni

 

Na Tum Aaye Na Neend Aai (Rim Jhim)

Singer: Shamshad Begum Music Director: Khemchand Prakash Lyricist: Bharat Vyas

 

Ek Baar Tu Ban Ja Mera (Shabnam)

Singer: Shamshad Begum Music Director: SD Burman, Lyricist: Qamar Jalalabadi

 

Udan Khatole Pe Ud Jauoon (Anmol Ghadi)

Singers: Shamshad Begum, Zohra Bai Music Director: Naushad Lyricist: Tanvir Naqvi

 

Tam Tamse Jhanko Na Raneeji (Namoona)

Singer: Shamshad Begum Music Director: Ramchandra C Lyricist: Santoshi

 

Mere Ghunghar Wale Baal (Pardes)

Singer: Shamshad Begum Music Director: Ghulam Mohammed Lyricist: Shakeel Badayuni

 

Dhadke Mera Dil (Babul)

Singer: Shamshad Begum Music Director: Naushad Lyricist: Shakeel Badayuni

 

Mere Dil Mein Aaye (Dholak)

Singer: Shamshad Begum Music Director: Shyam Sunder Lyricist: Aziz Kashmiri

 

Ek Do Teen (Aawara)

Singers: Shamshad Begum Music Director: Shankar-Jaikishan Lyricist: Shailendra

 

Lagi More Man Ki (Shabab)

Singer: Shamshad Begum Music Director: Naushad Lyricist: Shakeel Badayuni

 

Jadoogar Balma (Nagma)

Singer: Shamshad Begum Music Director: Naushad Lyricist: Nakshab

 

Meri Neendon Mein Tum (Naya Andaz)

Singers: Kishore Kumar , Shamshad Begum Music Director: Nayyar OP Lyricist: Jan Nisar Akhtar

 

Mohabbat Karne Walon Ka (Ankhen)

Singer: Shamshad Begum Music Director: Madan Mohan Lyricist: Raja Mehdi Ali Khan

 

Chaman Mein Rahke Veeraana (Deedar)

Singer: Shamshad Begum Music Director: Naushad Lyricist: Shakeel Badayuni

 

Maine Dekhi Jag Ki Reet (Sunehre Din)

Singers: Mukesh, Shamshad Begum Music Director: Gyan Dutt Lyricist: Madhok DN

 

Jaam Tham Le (Shehnshah)

Singer: Shamshad Begum Music Director: Burman SD Lyricist: Sahir Ludhianvi

 

Boojh Mera Kya Naam Re (CID)

Singer: Shamshad Begum Music Director: Nayyar OP Lyricist: Majrooh Sultanpuri

 

Zara Pyar Karle Baboo (Mangu)

Singer: Shamshad Begum Music Director: Nayyar OP Lyricist: Majrooh Sultanpuri

 

Ab To Ji Hone Laga (Mr & Mrs 55)

Singer: Shamshad Begum Music Director: Nayyar OP Lyricist: Majrooh Sultanpuri

 

Aji Bas Shukriya (Qaidi)

Singer: Shamshad Begum Music Director: Nayyar OP Lyricist: Jan Nisar Akhtar

 

Holi Aai Re Kanhai (Mother India)

Singer: Shamshad Begum Music Director: Naushad Lyricist: Shakeel Badayuni

 

Saiyan Dil Mein Aana Re (Bahar)

Singer: Shamshad Begum Music Director: Burman SD Lyricist: Rajinder Krishan

 

Kajra Mohabbatwala (Kismet)

Singers: Asha Bhosle, Shamshad Begum Music Director: Nayyar OP Lyricist: Bihari SH

 

Chhod Babul Ka Ghar (Babul)

Singer: Shamshad Begum Music Director: Naushad Lyricist: Shakeel Badayuni

 

Pee Ke Ghar Aaj (Mother India)

Singer: Shamshad Begum Music Director: Naushad Lyricist: Shakeel Badayuni

 

Are Tauba Yeh Teri Ada

Singers: Geeta Dutt, Mohd Rafi, Shamshad Begum

 

Matwali Ankhon Wale (Chhote Nawab)

Singers: Lata Mangeshkar, Mohd Rafi, Shamshad Begum

 

Payal Mori Baje (Paisa Hi Paisa)

Singers: Lata Mangeshkar, Shamshad Begum

 

Naache Ang Ve (Heer Raanjha)

Singers: Jagjit Kaur, Noor Jehan, Shamshad Begum Music Director: Madan Mohan Lyricist: Kaifi Azmi

 

Lara Loo Lara Loo (Jadoo)

Singer: Shamshad Begum

 

Dar Na Muhabbat Kar Le (Andaz)

Singers: Lata Mangeshkar, Shamshad Begum

 

Leke Pehla Pehla (C I D)

Singers: Asha Bhosle, Shamshad Begum

 

Tumhi Se Pyar Tumhi Se Qarar (Naya Andaz)

Singer: Shamshad Begum Music Director: Nayyar OP Lyricist: Jan Nisar Akhtar

 

O Piya Piya (Nau Jawan)

Singer: Shamshad Begum Music Director: Burman SD Lyricist: Sahir

 

Chana Jor Garam Babu Main Laya (Naya Andaz)

Singer: Shamshad Begum Music Director: Nayyar OP Lyricist: Jan Nisar Akhtar

 

Mere Piya Gaye Rangoon (Patanga)

Singers: Chitalkar, Shamshad Begum Music Director: Ramchandra C Lyricist: Rajinder Krishan

 

Milte Hi Ankhen (Babul)

Singers: Shamshad Begum, Talat Mahmood Music Director: Naushad Lyricist: Shakeel Badayuni

 

Kahin Pe Nigahen (CID)

Singer: Shamshad Begum , Music Director; O.P. Nayyar

 

Na Tum Aaye Na Neend Aai (Rim Jhim)

Singer: Shamshad Begum Music Director: Khemchand Prakash Lyricist: Bharat Vyas

 

Ek Baar Tu Ban Ja Mera (Shabnam)

Singer: Shamshad Begum Music Director: SD Burman  Lyricist: Qamar Jalalabadi

 

Chali chali kaisi yeh hawa yeh, (Bluffmaster)

Singer: Shamshad Begum, Usha Mangeshkar, Music Directors: Kalyanji Anandji

 

Reshmi  Salwar kurta  Jaali Ka (Naya Daur)

Singer: Shamshad Begum, Asha Bhosle, Music Director: O.P. Nayyar

 

Teri Mehfil main kismet aazma kar (Mughal-E-Azam)

Singer: Shamshad Begum, Lata Mangeshkar, Music Director: Naushad

 

TRIVIA:

1)    One has to praise Shamshad’s multilingual talent after listening “Ye Duniya Roop Ki Chor” film Shabnam starring Dilip Kumar and Kamini Kaushal, music composed by S.D.Burman.

2)    Shamshad still remembers her first impression of the young Kishore Kumar. Says she, “He was a fine boy, always full of life, but professionally low because he wasn’t reaching where his brother had. I remember telling him, ‘destiny is a great thing tomorrow you may become more popular than anybody else.’ And he actually did.”

3)    Shamshad Begum sang many songs for Punjabi movies as well which were very popular. In addition, She has sung few songs in other languages like Tamil, Bhojpuri and Rajasthani also. She has sung for non-film records in Hindi, Punjabi, Urdu and Pashto also. She has sung over 1600 songs in all.

4)    When Shamshad was right at the top even Lata Mangeshkar once told her, “No one has seen the kind of stardom and respect that she did!”

5)    If anyone could claim to have taught Shamshad anything, it was Master Ghulam Haider. He is the one who gave a professional touch to her singing.

6)    Her songs gave the careers of several music directors a boost — Naushad (Nagma), O P Nayyar (Aar Paar), Chitragupt (Sindbad Sailor).

7)    Such was the demand for Shamshad Begum that film-makers waited for her to be free to sing for them. Tarachand Barjatya wanted her to come to Madras to sing for his film. But she couldn’t spare the time, so he came to Bombay. In his film Bahar, she sang Dil ka qarar leke aaja re aaja pardesiya and Duniya ko laat maro. Guru Dutt had a superb singer at home in Geeta Dutt, but if he decided that Shamshad had to sing a particular number, then he awaited her pleasure and convenience.

8)    The singer has been living with her daughter Usha Ratra and son-in-law in Mumbai, ever since her husband Ganpat Lal Batto, a Punjabi lawyer died in 1955. Recently, she celebrated her 89th birthday at her elder sister’s house and now she stays at – Hiranandani Gardens, Powai, Mumbai.  She was conferred the Padma Bhushan in 2009.

9)    Shamshad was very much conscious of her not so beautiful face and she never posed for any pictures and not many people saw her pictures anywhere. Until the end of the 1970s, nobody knew her face at all, though everybody could recognise her melodious voice as it was used by the great maestros like Naushad Ali and O. P. Nayyar. Even today, her songs from the 1950s, 1960s and early 1970s are popular and continue to be remixed by music directors.

10) Her crystal-clear voice caught the attention of sarangi maestro Ustad Hussain Bakshwale Saheb, who took her as his disciple. Lahore-based composer Ghulam Haider used her voice skillfully in some of his earlier films like Khazanchi (1941) and Khandaan (1942).

11) In one of his rare T.V. interviews, O.P. Nayyar described Shamshad’s voice as that of a “temple bell” for its clarity of tone.  Begum became a national rage between the 1940s and the late 1950s, having a voice different from her peers like Lata Mangeshkar, Asha Bhonsle, Geeta Dutt and Amirbai Karnataki.

12) Shamshad Begum was never trained to be a singer. It was music director Ghulam Haider who groomed the young singer and she sang for him in a couple of successful films including Yamla Jatt, Khazanchi and Khandaan. A string of subsequent successes spread her 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.

13) Shamshad Begum was Nargis’ voice before Lata took over. Shamshad sang many superhit songs for Nargis in Babul, Mela, Deedar etc. She also sang for Nargis’ debut film as heroine – Taqdeer (1943).

14) In the 1950?s, O.P Nayyar gave Shamshad perhaps the most popular songs of her career. Shamshad sang 40 songs for Nayyar and many of these songs especially Kabhi aar kabhi paar, and Leke pehla pehla pyaar appear in the popular remixes today. Shamshad sang for Nayyar the first time in Chham Chamma Chham (1952), a duet with Kishore Kumar – Taraste hain tarapte hain. However, her first hit song for Nayyar was Kabhi aar kabhi paar from Aaar Paar (1954).  O.P. Nayyar was responsible for giving Shamshad’s voice a different angle and making her sing Westernized tunes in songs like Mai ki masti aur hai (Mehbooba), Thoda sa dil laga kai dekh (Musafir Khana) and Meri neendoun mein tum (Naya Andaz). The last mentioned song is perhaps the best duet of Shamshad with Kishore Kumar and one of her favorites. Shamshad’s last song for Nayyar was that smashit Kajra mohabbat wala from Kismat (1968), and after that she was out of O.P. Nayyar’s recording room.

15) Shamshad Begum has fond memories of her contemporaries — Zohrabai Ambalewali, Amirbai Karnataki, Begum Akhtar, Noor Jehan, Juthika Roy, Rajkumari. “When we were together, we were great friends,” she claims. “We had a pleasant relationship, though we didn’t socialize with each other after work. At least, I didn’t. But our professional association was good. We were all fans of K L Saigal. No one thought of harming the other, nor did we try to snatch work away from anyone.”

16) Shamshad says, “My greatest regret is that I never got to sing with K L Saigal, though we did sing for the same film, Shahjehan. I was really shy of getting photographed. Once the two of us ran into each other at the recording company, but he didn’t know me because no one had seen my pictures. It was funny because we were then introduced and he said, ‘arre kudiye … tera bhala ho… tu kitna sona gaati hai… (God bless you, girl, you sing so well).’ Her eyes glint as she narrates this incident, recalling every nuance in the voice of her favorite singer. It also makes one realize the kind of talent these singers had and the respect they commanded from each other.

Thus speaks for the talent and virtuosity of this forgotten singer, particularly when one sees how replaceable some others have been. Today, she leads a retired life with memories of another day to keep her company. But she retains that regality which made her rule musicdom once. The inimitable Shamshad Begum was the reigning queen of film music in its earliest years, although her style was never imitated or challenged.

In conclusion, an acquaintance with the biography of Mohammad Rafi lets us into the secret of his gifted singing. We there discover it to be little more than human of his own heart and of his fortunes. There he shows himself the same kind, artless, good?humored, sensible and intelligent being that he appears in his singing. Many of his most melodious songs and heart-warming incidents have been drawn from his own simple life.

I am deeply indebted and grateful to my friends and well-wishers who have provided the source material while preparing this write-up and guided me as and when I was in need of their guidance. I would like very much to convey my thanks in advance to all of rafi fans who will read this write-up and post their feedback / comments and above all correct me if I am out of track anywhere in this article.

This blog was published on Sunday, November 20th, 2011 at 8:38 pm and is filed under Meri Awaaz Suno. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.