Shamshad Begum, the versatile playback singer of early Indian cinema left this mortal world on April 23, 2013. She was 94. A look back into the life and times of the “Nightingale” of early Hindi Cinema – an account of her special contributions to the film music. And to know how she was different from the popular playback singers we know about !!
“Dharti Ko Aakaash Pukaare, Aaja Aaja …… “ – this song, a background song from the Hindi film “Mela” (1948) gives an indication of her popularity, the magic of her soulful voice. Those days 78 rpm records of only popular numbers from the films were released. In this particular case, the song had two versions – one in the voice of Mukesh and other in the voice of Shamshad Begum. 78 rpm of the Shamshad Begum version was not released at first. The film was a huge hit, and music composed by Naushad was a governing factor for the box office success of the film. Shamshad Begum’s soulful rendering of the song had its magic on the hearts of the audience and fans of Shamshad Begum. There was enormous demand from the people for the 78 rpm record of Shamshad Begum’s rendering of the song for their repeated hearing on gramophone players. The serial number of this record itself is indicative of the fact that it was not released along with the records of other hit numbers from the film. Other songs were released under Columbia label, whereas this song was released under HMV label, bearing number N -15920. This was a rare instance – the composer or the director or the producer of the film were not confident, or even thought of such a popularity and demand for the song. And, the fact that the song had two versions – in the voice of Mukesh and Shamshad Begum; the demand was for the rendering of Shamshad Begum !!. That was the magic of her voice. This is just an example of the popularity and demand for her songs during 1940’s and 1950’s.
Shamshad Begum was born on April 14, 1919 in Lahore. Her father Miyaan Hussain Baksh Maan was engaged in building construction business. Mother Ghulam Fathima was housewife. Shamshad Begum had five brothers and three sisters. A traditional Jatt family in Lahore (Sub caste – Maan) . Shamshad Begum’s paternal uncle Amirudin encouraged Shamshad Begum’s singing talents. Shamshad begum studied only upto 5th standard. Jien-o-phone gramophone company in Lahore was looking for new talents. Those times it was not considered appropriate for ladies of good and respectable families to sing commercially. Shamshad Begum’s father was a conservative and was against Shamshad Begum singing for Gramophone records. Amirudin convinced his elder brother that Shamshad ‘s singing talents was a god given gift and it would be a sin to curb the talents on blind beliefs. Her father agreed, though quite reluctantly. He put forward the conditions that Shamshad Begum should not attend parties and public functions and should not allow to take photographs.
Amirudin took Shamshad to Jiel o Phone company, where she was introduced to music composer Gulam Haider who was in charge of music department in the company. During the audition, Shamshad Begum sang a Bahadue Shah Zafar’s Ghazal – “Mera Yaar Gar Mile Mujhe Jaan Dil Fida Karoon…… “. Gulam Haider, whom she consider and respect as her mentor, was so much impressed that she was made to sign the contract for singing the same day at the rate of Rs.12-50 per song (At that period One rupee could get around 50 Kg of rice – from an interview with Shamshad Begum) Shamshad was around 12-13 of age then. Gulam Haider advised her she does not require any training in singing and that her voice can absorb the nuances of singing and music. Gulam Haider was very much impressed by the singing talents of Shamshad Begum. Soon after Shamshad Begum became Gulam Haider’s protégé.
The earliest non film song recorded by Shamshad Begum (confirmed with her during her life time) was a Hindu devotional – an “Arti” . The Arti became a hit – “Jai Jagdish Hare…… “ . The singer was shocked when the 78 rpm of the song was released. In the record label the singers’s name was inscribed as Uma Devi. It was the record company’s commercial wisdom that led to this – the company did not find it wise to put a Muslim name on the Hindu Arti. Shamshad was very much upset by this. But it was commonly approved practice – change of name according to the circumstances and situations. The Parsee lady Khursheed Manchershah Minocher Homji, one of the most popular Music Director of early Hindi Cinema , was popularly known by her screen name – Saraswathi Devi. The conservative Parsee community was against women entering the cinema world or in public.
The Punjabi song – Haath Jodiya Pankhiya Da Kasam Khuda Di….. “ was a huge hit and it was the first song that came with Shamshad Begum’s name on the record labels( Record No. JP 568 – Jiel O Phone record) The record company was so much benefited with the sales of the 78 rpm records (shellac records – made from a mixture of silica, carbon and some adhesive – with playing time – 3 minutes 20 seconds on both sides) that the company paid her Six rupees above her contracted rate per song. Shamshad sang good number of non film numbers for Jiel –O-Phone company.
All India Radio station at Peshawar was setup in 1935. Shamshad Begum got an offer to sing for the station. Shamshad begum worked for three years in AIR, Peshawar. Before this assignment she was offered to sing for AIR, Delhi , but was not able to take up the assignment , she fell ill that time. Shamshad changed her residence to Peshawar during her tenure in AIR, Peshawar. Her eldest brother Fazaldeen stayed with her in Peshawar. Hundreds of songs – gazals, devotionals, patriotic, she sang all genres of songs. Direct broadcast, these songs were not recorded. AIR, Lahore was set up in December, 1937 Shamshad Begum returned back to Lahore and worked for AIR, and became popular as a radio singer and announcer.
Shamshad Begum’s film career began in early 1940s. But most of such songs are unconfirmed of the authenticity. It was a time when Shamshad Begum was under contract with Jiel O Phone, Lahore and she was not supposed to sing for other record companies. 78 rpm records of film songs were released mostly by companies like HMV, Columbia, Odeon, etc and the producers themselves preferred these companies for release of records for commercial reasons and marketability. Hence a good number of her early film songs were available only on film tracks and 78 rpms of these numbers were not released for the aforesaid contract with Jiel O Phone company. Most of the early films for which she sang – film prints are lost for ever and hence the songs also.
Shamshad Begum’s singing career in films emerged with “Khazanji” released in 1941. Produced by “Pancholi Pictures”, Lahore, this crime story was remake of the Hollywood movie “The Way of All Flesh” (1940) directed by Louis King. Music composed by Gulam Haider was the main factor for the enviable success of this “Golden Jubilee” film. For the first time in Hindi cinema, Gulam Haider used Punjabi Folk tunes in this film. Shamshad sang all the 9 songs in this film, which is considered as her debut film. She sang playback for both the leading ladies – heroine Ramola and supporting actress Manorama. The chorus led by her “Sawan ke nazaare hain….. “ became a sensation for the years to come. Whistling was used effectivlely in the song, the artists cycling while they sing. The Punjabi folk tune used for the song made the listeners dance. The song was picturised on Ramola, S D Narang and others. Another solo that she sang for Ramola – “ Laut Gayee, Laut Gayee Papan, ……. “ became a super hit. Shamshad remembers (from an interview with her) that the audience used to throw coins at the screen during this scene in theatres, greeting and congratulating her for her powerful rendering of the song. Her first ever duet in cinema, “Nainom ke baan kee Reet Anokhi….. “, a romantic duet, she sang with Gulam Haider. !! Her first duet was with her mentor and composer Gulam Haider. All the songs became hits and super hits. Probably Shamshad Begum was the first playback singer who sang all the songs in female voice in her debut film itself !!
Gulam Haider revolutionized the musical scene with his “Gust of Fresh Air “ rhythmic score of Khazanchi. The unique orchestra employing the famous “Patiala Gharana” specialists – Sitar player Fateh Ali Khan, clarinet player Soni Khan, violinist Shyam Sunder and some eminent percussionists to serve a feast of new rhythmic tunes.
Mehboob Khan’s Hindi film “Taqdeer” (1943) became instrumental in her passage to the tinsel city Bombay. Mehboob Khan was very much impressed by Shamshad’s singing in “ Khazanchi” and films like “Khandan” (1942), “Zamindar” (1942) “Nishani” (1942) etc. Mehboob Khan invited Shamshad Begum to sing for his film “Taqdeer” (1943). Her father was reluctant to send her to Bombay for the project. Mehboob Khan convinced her father and the offer made to her was high. Shamshad Begum was offered a house to reside, a car and servants to manage the household !! Contracted rate per song was Rs.300/- Nargis was the heroine of the film, and hero the versatile actor Motilal. Shamshad sang duets with Motilal. All the songs became hits and Shamshad became very popular in Bombay also. The warm welcome she received in Bombay prompted her to shift to Bombay from Lahore. Music director of “Panna” (1944) produced by “Navyug Chithra” was Amir Ali, nephew of Gulam Haider. A musical hit, Shamshad Begum was invited to sing for this film. Thereafter she made Bombay her permanent residence. The songs became super hits, but the songs of the film that are in circulation are in the voice of Rajkumari. Shamshad Begum was under contract obligations with Jiel O Phone company, and the 78 rpm records of the film were released under HMV labels. Shamshad Begum sang playback for the heroine Geeta Nizami in this film. The perennial hit “Kalee Ghataa Chhaaee Ho Raja…. “ is considered as one of the best songs of Shamshad Begum’s contemporary playback singer Rajkumari who sang this for the 78 rpm. But very few know that this song is sung by Shamshad Begum in her soulful voice on the film track. (Record No.HMV label N-26571). A song becomes sensation when it impresses the audience who enjoy in the theatres, in the case of this song it was Shamshad’s sweet rendering of this lullaby that impressed the audience and because of which the 78 rpm records were sold out like hot cakes!!. By this statement , the fine rendering of Rajkumari should not be under estimated. Rajkumari also sang the song quite impressively. Later HMV company took over the Jiel O Phone company and thus Shamshad’s contract obligations with it came to an end she became a free “Nightingale” who sang for films under different banners and released songs under all popular labels like Colimbia, Odeon, Young India, HMV etc.
In Bombay her mentor, her Masterji Gulam Haider and his wife Umraozia Begum were her friends, caretakers, guides. Shamshad Begum became the integral factor of the Bombay film industry. But her basic nature made her keep away from the crowd. It was a time when singing stars like Kanan Devi, Shanta Apte, Noorjehan, Suraiya, Devika Rani, and playback singers like Zorabai Ambalawali, Rajkumari , Amirbai Karnataki, Umadevi, Naseem Akhtar, Mohantara Talpade, Hamida Banu, Parul Ghosh, Lalita Deodkar, etc were active in Hindi film music. Within a short time after her shifting to Bombay, she became the pet playback singer of music directors like Naushad, Pandit Gobindram, Gulam Mohammed, Hansraj Behl, Bulo C Rani, Chitragupta , C Ramchandra etc. In later period she was one of the favourite playback singer of S D Burman, O P Nayyar etc. Her voice was like sharp edged knife. It had its own identity. The transparency in her voice attracted the millions.
After the partition of India , Shamshad Begum decided to remain in India, while most of her relatives chose Pakistan as their abode. Singing stars like Noorjehan, Khursheed, Neena, etc migrated to Pakistan. A singer loved and respected in India and Pakistan as well, some of the songs of her Hindi films produced in India were released in records in Pakistan! She was a link between the people of both countries. Shamshad was a legend of the unity – she married a Hindu, her only daughter Usha also married a Hindu. Her husband Ganpatlal Batto was an advocate (M.A, LLB). Her daughter Usha was married to Lieutenant Col. Yograj Ratra. Shamshad was married at the young age of 15. Her only condition for the marriage was that her service to the film music should not be obstructed, and her husband always encouraged her in her career. Her husband died in 1956.
What made this great playback singer the “Aapa” (Elder Sister) of Hindi Film world ? A genial soul, portly and jovial, Shamshad Begum was tolerant and benevolent. With an elder sister nature, she became lovable and was accomplished for the new Music Directors and singers as well. She was a guide and a great support to the people who approached her. She was flexible in her rates , and many producers were benefited by her generosity. Her total quality was very impressive . Very sharp in grasping the tune and in rendering it soulfully. Her singing pulsates with gaiety and light heartedness of the youth. For example, the popular songs like “Leke Pehla Pehla Pyaar….. “ (C I D ), “Kahim pe nigaahen…. “ (C I D ), “Kabi Aar Kabhi Paar…. “ (Aar Paar) etc. Her voice was so much suitable and was expressive of pathos that the heart of the listeners melted on listening to them. For example the all time hit “Dharti ko aakaash pukaare….. “ (Mela), “Pee ke Ghar Aaj Pyari Dulhaniya….” (Mother India), “Chhod Babul Ka Ghar….. “ (Babul), etc . The Vidaai Geet (Farewell song) from Babul, “Chhod Babul Ka Ghar…. “ , the bride bidding goodbye to her home and migrating to her in-laws became so popular that , the sweet in rendering and sour in its literature number , was played during the farewell time of the bride – in clarinet and like musical instruments. The composer Naushad himself, bid goodbye to his two daughters by playing this captivating melody. Vidai Geet from “Mother India” – “Pee Ke Ghar aaj …. “ also was a favourite number for the occasion.
Singing voices of some of the playback singers have resemblance and one will get confused to distinguish the voice at the first resonance. But not in the case of Shamshad Begum, her voice had the unique resonance, penetrating into the ears, reaching the depths of the hearts. In the South, the old time singing star U R Jeevaratnam of Tamil cinema and P Madhuri of Malayalam cinema have such voice quality. Shamshad Begum sang hilarious and comedy numbers also. For example “ Namaste Namaste…. “ (Patanga), “Mere Piya Gaye Rangoon…. “ (Patanga), “Aana mere jaan Sunday ke Sunday…. “ (Shehnai) etc. Shamshad Begum was not trained in classical singing. But the melodies composed with classical base also were sung by Shamshad with perfection. For example the Peelu Raga based “Pee ke ghar aaj… “ (Mother India), “ Bhool gaye kyom deke sahara…. “ – with Mukesh (Anokhi Ada) based on Raga Bhoopali. Etc. For the composers like Gulam Haider, Naushad, Pandit Gobindram etc , it was very easy for them to chisel her voice to sing any kind of song. Due to the ‘human touch’ in all her dealings, whether personal or commercial (with producers, music directors, co –singers) she was different from other singers. In one of her interviews, she openly commented on her character . She always adapted in her life the teachings of her Guru, her Masterji, Gulam Haider. Masterji advised her to be a “Good Person” and to be like water. The water takes the shape of the utensil, and like that he advised his disciple also to mould herself according to the situation. The “Chaumukhiya” (versatile) disciple of Gulam Haider followed the teachings of her Masterji till her farewell to this mortal world, and becoming immortal by the richness of her life, the immortal melodies she left behind – film and non film.
Now let us have a glance of her career, special contributions, curios on her melodies :
1. Shamshad’s debut film (widely accepted, though there might be unconfirmed songs by her earlier to this) “Khazanchi” (1941) became instrumental to the entry of the “Nightingale of Indian Cinema”, our Lata Didi, our Lata Mangeshkar to Hindi cinema. Following the tremendous success of the film and its music, the producers “Pancholi Pictures” conducted a nation wide music competition , a talent search compaign. The wonderful voice of Lata Mangeshkar was discovered in this contest. Lata Mangeshkar won the first prize in the contest. Following this music composer Datta Dawjekar , Shyam Sunder, Gulam Haider etc gave her chance to sing in their films. Lata’s entry to Hindi cinema was through “Aap Ki Seva Mein” (Music – Dutta Dawjekar) in 1946.
2. “Khazanchi” (1941) is considered as debut film of Shamshad begum. She sang all 9 songs in the film. . Her first recorded number was “Ek Kalee Naazom ke Palee… “ (Record No.JP 999/ and subsequent , later issue under Columbia label No.GE 5139). This finding based on the serial number/matrix number of the records which is indicative of the chronological order of recording) She sang the song for the supporting actress Manorama (character/comedy actress of later years. “Chaachi” in Seeta aur Geeta, comedy pair to Bhagwan in “Jhanak Jhanak Payal Baaje” etc)
3. Her first male duet was with her mentor, Guru, Guide – her masterji Gulam Haider who gave her chance to sing non film , as well as film songs. The duet from “Khazanchi”, - “ Nainom ke baan ki reet anokhi… “ was picturized on the hero S D Narang and heroine Ramola A super ht, one of the best in Romantic genre.
4. In the film “Panna” (1944) she sang playback for the heroine Gita Nizami. Shamshad was under singing contract with Jiel O Phone Company of Lahore and according to the contract terms she was not allowed to singfor other record companies. The 78 rpms records of “Panna” were released by HMV. Rajkumari sang the songs for the 78 rpm gramophone records . The all time hit lullaby “Kaali ghata Chhaayye ho raja…. “ which Shamshad sang on the film track was a sensation of the film. The gramophone version of this song sung by Rajkumari is considered as one of the best of Rajkumari.
5. Shamshad Begum sang playback for Damayanti Sahni (Wife of actor Balraj Sahni) for the film “Ek Kadam” which was not completed due to her sudden death abroad . The song “Ek kadam Ek aur Kadam….. “ (Music – Prakashnath Sharma) was recorded in 1947 – Record No.Columbia – GE 3931) and the song in the voice of Shamshad remain in memory of the actress on whom the song was picturised – Devyani Sahni.
6. Shamshad Begum sang some multilingual songs in Hindi films. For example the perennial hit from the Dilip Kumar starrer Box office hit “Shabnam” (1949 – Music – S D Burman) -
The song- “ Ye Duniya Roop ki chor…. “ picturised on Kamini Kaushal was spread in lyrics in Hindi, Gujrathi, Punjabi, Marathi, Bengali and Tamil. The song became a super hit. After such a multilingual from “Prabhat Film CO.” production “Aadmi” in 1939 – “Kis Liye Kal Ki Baat….” Sung by Shanta Hublikar and chorus, this was probably the noted one from Hindi films under the Multilingual genre. Song from Aadmi is considered as the first multilingual in Indian cinema.
The same year the chorus led by Shamshad Begum for the Hindi film “Nishan” (Remake of Tamil film “Apoorva Sahodararkal” ) was a multilingual number – “Jaayiye Sipayiya Baazaar…. “
Another Multilingual number from “Jashan” (1955 – Music – Roshan) - “Mhaaree Chamanee Ko Bol Gayo Tel….. “ also became popular. It is doubtful whether any other playback singer has so many Multilingual songs to their credit.!!
7. Song of duration 8 minutes 50 seconds. The chorus led by Shamshad Begum and Rafi from the film “Mirza Sahibaan” (1957) – “ Subah Uth Ke Mirze Yaar… “ (Music – Sardul Kwatra) is a unique number . Usually the duration of a song is limited to 3 minutes 20 seconds. Lengthy songs of duration 6 to 6 minutes 30 seconds also are there. But this number from the film is a different one with a duration of almost nine minutes.
8. Raj Kapoor’s Hindi film “Aag” (1948). The popular folk number “Kahim ka Deepak kahim kee baati…. “ was sung by Shailesh and Meena Kapoor on the film track. For 78 rpm it was Shamshad Begum who sang with Shailesh. The song became a super hit. Music – Ram Ganguly.
The catchy tune, even if the refrain and stanzas all sound the same was sensation of the time and stood in the first row in listeners “Farmaayish” (Requests for playing) to radio stations. The “Ripe” voice of Shamshad Begum had its magic on the radio listeners.
9. Shamshad Begum sang two songs in the 1934 film “Kismet Ka Shikar “ – “Anjame Mohabat hai Sharabi O Ruswayi…” and “ Ho Gaya Diwana Gam Bhi Khubiye…. “ The details from an interview with the singer. No gramophone records available. The print of the film also not in existence. Shamshad Begum acted in the Sohrab modi’s Hindi film “Hamlet” or “Khoon Ka Khoon” (1935). In the film “Prem Yatra” (1937) she performed the role of the vamp. All these details from the memory of Shamshad Begum who was noted for her sharp memory even in her old age. History of Indian Cinema – books published so far are silent on the early career of Shamshad Begum.
10. The memorable duet that she sang with the singing star Surendra in “Anokhi Ada” (1948), “Kyom Unhem Dil Diya…. “ (Music – Naushad) , her soulful rendering the playback for Naseem Banu impressed the audience. The remarkable 6 beat cycle song is considered as one of the best love duets communicating the inner feelings between the lovers. Shamshad Begum’s soulful voice conveyed the inner feelings and emotions of the character performed by Naseem Banu.
11. The duet from the film “ Sunhere Din” (1949) – “ Maine Dekhi Jag Ki reet….. “ sung with Mukesh. (Music – Gyan Dutt). From the male perspective (sung by Raj Kapoor in the film) , it is a song of dejection. The hero singing in the radio station, while from the heroine Rehana ‘s view point, it was more like a song of “Let’s kiss and make up” . She could not see the hero standing and singing in the radio station. This genre of song first introduced by George Gershwin in 1927, was probably successfully introduced in Hindi cinema through this song. Shamshad Begum sang the female part of the duet as imagined by the composer Gyan Dutt. This is considered as one of the best of the composer as well as Shamshad Begum.
12. The medium paced Gazal from the classic film “Babul” – “Milte hi aankhem…. “ Shamshad sang with Talat Mehmood. The song kick started by piano is picturised as the hero (Dilip Kumar) teaching the Gazal to Munawar Sultana, one of the two leading ladies in the film. This song was released in Pakistan also in gramophone records. Shamshad Begum sang the song as if she is taking training to sing the song, the style in which she sang matched perfectly with the situation in the film. This style was later carried on in Hindi Cinema, for example the song – “Sawan Ka Mahina Pavan Kare…. “ from “Milan”
13. The horse trot number from “Deedar” (1951), Shamshad Begum sang playback for the child star Parikshit Sahni while Lata sang for Baby Tabassum. The female duet – “Bachpan ke din bhula na dena…. “ is one of the best among the several Lata-Shamshad duets. The popular song was released in instrumental music – in clarinet. Very popular songs were released as instrumental tunes during those days. Shamshad Begum could modulate her voice to match with the child star.
14. The famous Spanish tune based number from “Jadoo” (1951) – “Lara Loo Lara Loo…. “ picturised on Nalini Jaywant. Shamshad Begum sang the song with the perfection that the composer Naushad expected from the singer. Sensational guitar work, super castanets, amazing accordion pieces and Shamshad’s piercing voice- the Spanish music based dance number made the listeners dance in ecstasy .!!
15. Among the special numbers of Shamshad Begum, the duet she sang with Lata in “Patanga” - the singing style of the versatile singers is worth mentioning. The splendorous score with an array of catchy foot tapping charmers – the immortal song “Pyar ke jahaan ki….. “ , the oscillating style of this song and the soulful rendering , what a perfect work of the singers and the composer, Shamshad-Lata- C Ramchandra. !! And from the same film the perennial hit, “Mere Piya Gaye Rangoon…. “ picturised on Gope and Nigar Sultana – probably this was the full text song that was picturised as the hero and heroine communicating through telephone ! The song sequence was enacted enticingly on the screen by Gope and Nigar Sultana.
16. The all time hit – “Aana Meri Jaan Sunday Ke Sunday….. “ from “ Shehnai” ( 1947 – Music by C Ramchandra) Shamshad sang with Chitalkar (playback singing name of C Ramchandra) and Meena Kapoor. It is said that while dining in a Goan Restaurant , the butler singing a folk number – “Mazhya ektyachi Mazhya ektyachi…. “ caught the attention of C Ramchandra. The composer deftly used it in the foot tapping Two Part song used in the film. On the gramophone record – 78 rpm - on one side the song was sung by Chitalkar, Meena Kapoor, Binapani Mukherji and chorus. On the other side the rendering was by Shamshad Begum and Chitalkar. The Shamshad-Chitalkar rendering became more popular. (Record No. HMV Label – N-26963)
17. Songs sung by Shamshad for the film “Patanga” became popular. The music that stormed the nation – Shamshad Begum’s contribution to the success of the music was acknowledged with great respect. The immortal numbers – “Oh Dilwale…. “ (Shamshad, Chitalkar), “Gore Gore Mukhde Pe…. “ (Shamshad) , “Boloji Dil Loge to Kya Doge…. “ (Rafi, Shamshad), “Balam Tujhe Mera Salaam…. “ (Shamshad), “Namaste Namaste…. “ (Shamshad, Mohantara Talpade, Chitalkar, Rafi) - all the songs became super hits and led the light comedy film to tremendous success.
Now, the statistics of the songs sung by her. The details compiled from various sources which also includes interviews had with her by film journalists published in magazines.
Total number of songs - Around 1700
Of which -
- Hindi film songs - 1330
- Non film (Hindi) - 30
- Non film (Urdu/Islamic religious) - 48
- Rajasthani film - 5
- Bhojpuri film -3
- Tamil - 8 (Dubbed versions of Hindi films)
- Punjabi films 139
- Punjabi (Non film) 36
Around another 100 and odd songs which are claimed to her credit by some film music critics do not have any sort of documentary evidence. These songs claimed to be sung are, most of them, are chorus songs. In such chorus songs it is assumed/doubted that her voice is there. But this has no authenticity – song booklets indicative of this or the 78 rpm labels or catalogues of records companies published are not available for confirmation of the facts.
Songs sung by her – Year wise – Number of films/Songs (list is not exclusive – But almost authentic)
YEAR NO OF FILMS NO OF SONGS
- 1946 30 100
- 1947 29 81
- 1948 31 128
- 1949 42 154
- 1950 54 146
- 1951 41 89
- 1952 42 111
- 1953 24 51
- 1954 49 82
- 1955 34 50
- 1956 32 85
- 1957 39 56
- 1958 23 26
- 1959 12 17
- 1960 13 19
During 1940s and early 1950s, ears would stay glued to the radio, the ears would be anxious to hear a number, any number from their favourite singer Shamshadji , to be mesmerized by her piercing voice!! Ceylon Radio and Vividhbharathi film music based programmes were flooded with the super hits of Kanandevi, Shanta Apte, Suraiya, Noorjehan etc among the “Singing Stars” (stars who sang in their own voices) and among the playback singers Shamshad Begum also was prominent along with Zorabai Ambalawali, Amirbai Karnataki, Rajkumari etc. And by the emergence of Lata Mangeshkar in late 1940s and the early years of 1950s the scene changed. Lata Mangeshkar’s playback went to Nargis and Shamshad Begum’s to the dancer Cuckoo and such supporting actresses. This can be seen very well in Mehboob Khan’s “Andaaz” (1949). In the all time hit female duet – “Darna Mohabat Kar Le …… “ (Music – Naushad) – Lata sang for Nargis and Shamshad sang for Cuckoo. !!. The producer and director, Mehboob Khan who brought Shamshad Begum to Bombay to sing for the heroine Nargis in his film “Taqdeer” (1943) now opted for Lata to sing for the same heroine in his 1949 film “Andaaz”. After the tremendous success of the musical hit “Mahal” (1949. Music – Khemchand Prakash) , the heroine of the film , Madhubala insisted for Lata Mangeshkar as her singing voice. The perennial hit “Aayega ayega aanewala…. “ in Lata’s voice from the film was so much in unison with the actress. In a radio interview Lata Mangeshkar herself confirmed this. Madhubala, while signing contract for films put this condition in the contract, that her songs will be sung by Lata Mangeshkar. Changing trends in the tinsel world, but Shamshad Begum remain unchanged. Never going for premiere shows, attending parties, posing for film magazines. The quite introvert singer lived in her own world. Away from the crowd, never running after money and fame, and sticking up strictly to the teachings of her Masterji. And also to the teachings of her father – “ One should not be so sweet that others take advantage of you and should not be so sour that people start ignoring “
Introvert by nature, Shamshad never laughed or gossiped with people. She believed that being a woman, she should behave appropriately at all times. Her introvert nature and the lack of wide contacts in the film world had its own setbacks also. Suraiya, Noorjehan, singing star Sitara Devi etc, even after their withdrawing from the scene, they were in limelight. By 1970s, Shamshad Begum was totally away from the film world, leading a peaceful life with her daughter in Powai, outskirts of Bombay city.
In 1998, the Week and Tribune, popular magazines flashed news like this “ Noted singer of yester years Shamshad Begum died in Bombay on 10th of August, 1998. Her family was with her when she passed away. She was the mother of actress Naseem Banu and grandmother of actress Saira Banu “ The bound-to-confuse story astonished many a music lover, and the fans of Shamshadji were immersed in unbearable grief. Once the Queen of Melody and most sought after playback singer, her death news was flashed when she was alive by popular print media like Week and Tribune. How cruel it was !! Think about the feelings of Shamshadji that time. Matter of total neglect and ignoring. Here the saying applies – “Out of sight, Out of mind” .
A feature and character of showy world of cinema.
Another episode of neglect towards the singer. The “Aapa” of the Bombay Film world was totally neglected during a historical event held in Bombay in 1982. 50 years of sound in Indian cinema was celebrated by a colorful programme – “MORTAL MEN IMMORTAL MELODIES’ organized at the Shanmukhananda Hall, Bombay on 11th February, 1982. All those connected with the programme – co singers, music directors etc involved in the programme did not call or contact her during the function. Singers, music directors, composers, lyricists and all popular artists were invited for the function. Even Noorjehan came from Pakistan for the first time after her migration to Pakistan to participate in the function. The media celebrated the arrival of the “Mallika – e – Tarannum” (Queen of Melodies) Noorjehan. But the ungrateful world, they forgot their Aapa, who was a contemporary of Noorjehan and who was popular like Noorjehan .
In an interview Shamshad Begum expressed her feelings, that she would have loved to meet Noorjehan. Old time singers like Rajkumari were present in the function. And to Shamshadji as well as to her fans, the programme took a pitiless turn. Commemorating the 50 years of Sound in Indian cinema, the musical programme held at the function presented 36 film songs on the stage. And the list of these 36 songs - not even a single song sung by Shamshad Begum. The list of 36 songs included the golden greats of yester years by legendary singers like Kanan Devi, Shanta Apte, Devika Rani, Rajkumari, Noorjehan, Meena Kapoor, Khursheed, Geeta Dutt, K L Saigal, Pankaj Mullik, G M Durani, Surendra, Talat Mohammed, Lata Mangeshkar, Asha Bhosle, etc etc. Kavitha Krishnamoorthy, Anwar, Nitin Mukesh, Shabbir Kumar etc rendered these songs on the stage; some of the songs were sung by the original singers themselves – for example, Ashok Kumar, Surendra, Rajkumari, G M Durani, Mahendra Kapoor, Noorjehan , Meena Kapoor etc. What a disappointment to the fans of Shamshad Begum !!. If she was there in the function, they could have got a chance to see her and listen to her voice once again live on the stage. And no excuse to the organizers of the programme – they could have ascertained her presence for the event. She sang her last song for the Hindi film “Ganga Maang Rahi Balidaan” produced in 1981 under the music of Prem Dhawan. Yes, she was introvert by nature and she might be keeping away from the crowd. But that does not mean she was reluctant to participate in such prestigious functions commemorating the 50 years of sound in cinema, in other words the Golden Jubilee of singing in Indian cinema. One of the highly preferred playback singer of the composers during 1940s and 1950s was totally ignored.
Here is the statistics of her work with noted composers (list not exclusive) The list highlights her popularity – noted composers preferring her voice !!
Composer No. of films No. of songs
- Hansraj Behl 44 116
- Gulam Haider 17 98
- Pandit Gobindram 22 88
- Gulam Mohammed 30 82
- Naushad 10 61
- C Ramchandra 25 57
- Chitragupta 21 53
- Bulo C Rani 16 46
- Husnlal-Bhagatram 18 41
- O P Nayyar 23 38
- Shyam Sunder 9 37
- S N Tripathi 16 32
- S D Burman 15 29
- Madan Mohan 15 23
- Ram Ganguli 6 22
- Sardul Kwatra 9 22
- Pandit Amarnath 7 20
- Khemchand Prakash 6 20
- Vinod 12 20
- S Mohinder 14 19
- Anil Biswas 8 15
- Gyan Dutt 5 15
- Roshan 8 12
Shamshad Begum sang the lyrics written by 201 lyricists, and gave soul to these lyrics by the magical rendering of the tunes composed by 152 composers.
The list given above evidence the confidence the great composers had on her voice – legends like Naushad, Gulam Haider, Pandit Gobindram, Gulam Mohammed, C Ramchandra, Chitragupta, Khemchand Prakash etc preferred her voice during 1940s and 1950s till the emergence of Lata as the leading playback singer. Of course Geeta Dutt, Zorabai Ambalawali, Amirbai Karnataki etc were there. But among the early play back singers the present generation also remembers Shamshad Begum much, more than her contemporaries like Lalita Deodkar, Madhubala Zaveri, Mohantara Talpade, Veenapani Mukherji , Naseem Akhtar, Zeenat Begum, Surinder Kaur, Parul Ghosh , Umadevi etc. Of course, one reason for this was the Re-Mixes of old songs. Quite a good number of songs that are of high demand and appeal are the remixes of Shamshad numbers like – Saiya dil mein aana re (Bahar), Mere Piya Gaye Rangoon… (Patanga), Aana meri Jaan Sunday ke Sunday… (Shehnai) etc. In this context please remember that favourite oldies of the by-gone era only are presented as remixes , mixing the oldies with orchestra of the new generation.
Her songs in Mehboob Khan’s “Taqdeer” (1943) attracted finest composer to use her soulful voice for memorable “Musical hits” like “Shahjehan” (1946), “Anmol Ghadi” (1946), Dard (1947), “Anokhi Ada” ( 1948), “Mela” (1948), “Chandni Raat” ( 1949), “Jadoo” (1951) , “Aan” (1952) etc. S D Burman became popular with her duets with Mukesh and four solos for the film “Shabnam” (1949). All the five solos sung by her in “Bahar” (1951) became super hits. And these five solos she sang for the heroine Vyjayanthimala, and this was the debut film of the dancing sensation from the South who reigned the Bollywood for decades. This is a unique feature of Shamshad’s career – In the film “Taqdeer” , the debut film of Nargis as heroine, Shamshad sang all the songs for Nargis. And so also in Bahar for Vyjayanthimala. Shamshad Begum sang for almost all the top heroines of 1940s and 1950s , ranging from Nargis, Ramola, Naseem Banu, Mehtab, Rehana, Mumtaz Shanthi, Geeta Bali, Kamini Kaushal, Nigar Sultana, Veena, Nalini Jaywant, Meenakumari, Padmini, Madhubala, Nadira , etc. She sang for Wahida Rehman in her debut film in Hindi – “C I D “ (1956). Shamshad Begum sang for P Bhanumathi in
“Nishaan” (1949) and “Mangala” (1950). Bhanumathi was a popular singing star from the South and used to sing in films in her own voice. She sang in her own voice in Hindi films like “Shamsheer” (1953). She preferred Shamshad Begum to sing for her in “Mangala”. Remake of the Tamil classic film “Mangamma Sapatham” (1943) with Vasundhara (Vyjayanthimala’s mother) in the lead role, a dance number which was a blend of a Spanish tune and Indian folk music, Bhanumathi preferred Shamshad to sing for her instead of she imitating the tune of the original Tamil number sung by Vasundhara . Shamshad Begum ‘s piercing voice was loved by music lovers in the South also, and great artists like Bhanumathi also loved her voice. By mid 1950s , Shamshad Begum was made to sing for supporting actresses, dancers and even extra-artists . But for Shamshad Begum, singing to the satisfaction of the listeners was more important. She sang for dancers like Cuckoo, Minu Mumtaz etc and supporting actors like Yashodhara Katju, Sheela Naik, Nirupa Roy, Shantakumari, Roopmala etc.
Shamshad Begum sang in Tamil also. The dubbed versions of “Aan” (1952) under the same title in Tamil, and for “Aayiram Vilakkukal” , the Tamil dubbed version of the Hindi film “Hazaar Raaten” (1953) – Shamshad sang the Tamil lyrics in the tunes that Naushad and Gulam Mohammed composed respectively for the Hindi originals. Songs sung by her in the Tamil dubbed version of Aan became hits though her Tamil diction was not at all good. The Tamil people loved her voice, and the songs became hits. She sang the corresponding tamil songs in the dubbed versions.
A typical Punjabi woman, 5 ‘3” tall, extremely shy – she sang much talked less. Abstained from the limelight . She had a quite charm and unaffected manners that reflected her simple way of life and living. Though she was a reputed playback singer and was at the zenith of singing career in 1940s and early 1950s, she remained away from media . Her first stage show was arranged when she was 50. Quite exceptionally, she attended some functions related to her close friends. One such occasion was the marriage of Gurudutt with her playback singer friend Geeta Dutt. The premiere show functions of films like “Mother India” or “Mughal E Azam” , which are now and then telecast in TV channels, you can see every one associated with these films except Shamshad Begum ! This shows the simple nature of Shamshadji who never pushed herself forward for popularity. The popularity followed her, that was the fact. The magic of her voice. !
Good at heart, Shamshadji supported her co singers and the composers also upto her best. Here is an example. It was Talat Mehmood’s early days in playback singing. Naushad chose him to sing in “Babul” (1950) . A duet with Shamshad Begum – “Milte Hi aankhen dil huva…. “ Talat had a very soft voice and a unique tremor which was the highlight of his singing. During the rehearsal Talat became very nervous. The thought that Talat is singing with the top female playback singer Shamshad Begum and that too the composition of the most popular compose Naushad made Talat nervous. Repeated rehearsals, Naushad was not at all happy with Talat’s singing. The composer who went to any level for the perfection of his compositions considered even replacing Talat. The quite passionate “Aapa” of her co singers, Shamshad convinced Naushad that encouraging and consoling words will relieve Talat from his nervousness and will rise to the expectation of the composer. Yes, Aapa was right in her assessment of Talat. Naushad went to the recording room and gave Talat a ‘thumbs up’ sign. Talat got relieved of his nervousness. And in the final take, Naushad congratulated Talat for singing the soulful duet with Shamshad Begum. Shamshad advised Talat to recite a small prayer before the final take of the songs. To consider the co singers and the composers as colleagues. The duet from “Babul” remains one of the best of Talat.
Composer Chitragupta also was benefited by Shamshad Begum’s supportive hands. Chitragupta composed music for stunt films also in 1950’s. Shamshad Begum was one of the favourite singers of the composer. Some of the songs sung by Shamshad Begum in such stunt films became super hits . For example the perennial hit from the film “Sindbad the Sailor” (1952) The romantic duet “Adaa se jhoomte hue , Dilom ko choomte hue….. “ (Shamshad Begum, Mohammed Rafi) became an all time hit and is considered as one of the best among Rafi-Shamshad duets. The song was picturised on the stunt star Ranjan and Naseem Banu (mother of Sairabanu). The duet now quite often featured in TV channels reminds us of the “Beauty Queen” of 1930s Naseembanu. Shamshad Begum thus helped composers like Chitragupta by singing for them in such stunt, adventurous films etc which were categorized as “B class” and “C class “ films for which other reputed playback singers hesitated to sing and kept away. Composer Nashaad , who is confused with Naushad due to the similarity in their names was not so popular. During those days based upon popularity the composers as well as the singers were graded as artists of First rung, second rung etc. Shamshad Begum sang in many films of Nashaad. To this day he is remembered for the super hit number from “Naghma” (1953) sung by Shamshad Begum, “Kaahe Jadoo kiya Mujhko itna bataa…. “ Shamshad Begum sang in Chitragupta’s films like “Naya Raasta” (1953), “Alibaba & Forty Thieves” (1954), “Miss Mala” (1954) etc. Duets sung by her in “Alibaba & Forty Thieves” - “Chalo Chalo Chale Hum…… “ , and “ Dekho Dekho Huzoor…. “ (Both songs with Rafi) picturised on comedian Maruti and Sharda became so popular that the same tunes were copied in the Tamil remake of the film with MGR and Bhanumathi in the lead roles “Alibabavum 40 Thirudarkalum” (1956) . The films of Nashaad for which she sang include “Darwaza” (1954), “Sabse Bada Rupaiya” (1955), “Hathkadi” (1958) etc.
Shamshadji’s dedication to her profession and the sacrifice she made for the success of the composers and producers who depended on her is evident from “Mother India” songs. Shamshad’s husband expired in 1955. It was a big shock to her. She left singing and was leading the life in prayers, crying in grief. Mehboob Khan wanted her to sing in the film. Shamshad Begum was not ready to sing at first. Naushad informed about her reluctant mood to MehboobKhan. Mehboob Khan convinced Shamshad Begum. Excellent artists like Shamshad Begum can bring the right emotions on the mike even if the internal emotions running within them are different. Shamshad Begum had great regards for Mehboob Khan and Naushad. She made up her mind and got ready to sing in “Mother India” (1957). The first song that was recorded was “Holi Aayee Re Kanhaayi…. “ and the song got cleared within one take !! Unbearable grief within her mourning on the death of her beloved husband, Shamshad sang this famous “Holi song” with all the pleasant and happy feelings of the harvest festival Holi in her voice !! What a fine artist she was. !!
Shamshad Begum never used to cancel recordings, whatsoever may be the reasons and obstacles that come in between. In an interview Shamshad Begum’s daughter narrated the instance when she went for the recordings ignoring her health. She was having high fever and her temperature was 102 degrees. Commenting on this instance, Shamshadji’s explanation was like this. If she does not go for the recordings, recordings of other singers also will be cancelled putting them to hardships. And the composers also will be put to trouble. This kind of a playback singer was Shamshad Begum, the real “Aapa” of her fellow beings in the cinema world.
Shamshad Begum sang several hits under the music of C Ramchandra. The all time hit “Aana meri jaan Sunday ke Sunday…. “ (Shehnai) “Mere piya gaye Rangoon …. “ (Patanga) etc to quote the super hits. C Ramchandra was not having a full fledged rehearsal studio . He was staying in a single room accommodation in Bombay. Shamshad Begum used to go to his room for the rehearsals , an exceptional case it was. Other popular singers like her , most of them with few exceptions like Shamshad, insisted luxurious rehearsal rooms with Air Conditin etc. But the “Down to the Earth” playback singer was always considerate to her co workers.
Shamshad Begum did two public shows around 1970. For the publicity of these shows she agreed for a photo shoot. This was the first instance that she posed for the camera. The photos were taken at the office of “Madhuri” , a popular magazine of that time. In a radio interview, Shamshad Begum described a funny incident connected with this. Shamshad Begum was going for the photo shoot. While Shamshad Begum was in the lift in the multi storied building where office of “Madhuri” was functioning, a journalist was talking with much enthusiasm about the interview she was going to have with her favourite singer Shamshad Begum without knowing that the lady standing near her, almost touching her, was none other than Shamshad Begum.!! The photos that we see and are in circulation (of her younger age) were from this photo shoot.
Shamshad Begum sang with all the popular playback singers and singing stars of her times. She even sang in a K L Saigal starrer film- “Shahjehan” (1946). Music by Naushad. The songs “ Jab Usne gesu bikhraaye, baadal aaya jhoomke…. “ and “ Jawani ke daman ko rangeen banaa le…” became very popular. She did not get a chance to sing with Saigal. Here is a brief statistics of her duets with other singers :
- Mohammed Rafi - 131
- G M Durani - 33
- Kishore Kumar - 23
- Chitalkar (C Ramchandra) - 22
- Mukesh - 22
- Chitragupta - 13
- S D Batish - 12
- Ram Kamlani - 9
- Talat Mehmood - 8
- Manna Dey - 7
- S Balbir - 7
- Trilok Kapoor - 6
`
- Khan Mastana, Mahendra Kapoor,
T A Moti, Motilal, Satish Batra, - 4 each
- Sunder, S Saahin - 3
- Chandu Sivdasani, Devendra,
Madan Mohan (Music Director)
Rafiq Gaznavi, Hemant Kumar,
Surendra, Shailesh Mukherji,
Vinod - 2 each
- Anil Biswas, Arun Kumar, Alaudin,
Ismail Azad, Ishoo Jagirdar,
A R Oza, S Goojar, O M Verma,
Karan Dewan, K S Ragi, Khurshid Bawra,
Chander, Zawar Hussain, Narayan Dutt,
Bande Hassan, B N Bali, Master Sonik,
Ravi (Music Director), Raja Gul,
Ram Panjwani, Shamkumar, Shivram,
P B Sreenivas, Sunil, Surendra Kohli - 1 each
It is doubtful whether any other female playback singer has sung with so many male voices ! That too with the voices of music directors also like Anil Biswas ( in Bhookh – 1947), Chitragupta (13 films), Madan Mohan ( in “Ankhen” – 1950, “Shabistan”-1951) ), Rafiq Gaznavi (in “Chal Chal Re Naujawan” – 1944 & “Saathi” – 1946), Ravi ( in “Dakoo ki Ladki” – 1954), etc.
Her female co singers list goes on like this :
- Asha Bhosle - 32
- Lata Mangeshkar - 23
- Zorabai Ambalawali - 11
- Geeta Dutt - 10
- Meena Kapoor - 5
- Suman Kalyanpur, Surinder Kaur
Rajkumari - 4
- Suraiya, Sudha Malhotra, Kamal Barot,
Kalyani - 3
- Naseem Akhtar, Pramodini Desai,
Meenu Purushotham, Mubarak Begum,
Hamida Banu, - 2
- Amirbai Karnataki, Uma Devi (Tun Tun),
Krishna Kalle, Nirmala Devi (Superstar
Govinda’s mother)., Premalata, Pushpa Hans,
Basant Kumari, Mohantara Talpade,
Lalita Deodkar, Sitara Kanpuri,
Sulakshana Pandit, Sulochana Kadam - 1
- Shamshad Begum also sang with Noorjehan,
Meena Mangeshkar, Usha Timothi,
Jagjit Kaur, Shanti Sharma, Indira, Kausalya etc in chorus .
Shamshad Begum sang 174 Punjabi film songs (`49 films), and 5 Rajasthani film songs ( 3 films),
3 Bhojpuri film songs (2 films). Also sang in Tamil dubbed versions of Hindi films – Aan and “Hazaar Raten”
Some of the actresses for whom she sang playback – among the heroines of 1940s and early 1950s – she sang more songs for Naseem Banu (once a singing star, by late 1940s she sang in the voices of playback singers, her preferred voice being of Shamshadji), Geeta Bali. Other heroines and actresses for whom she sang - Ramola, Rehana, Vyjayanthimala, Nimmi, Nargis, Shyama, Nadira, Kamini Kaushal, Nalini jaywant, Poornima, Munawar Sultana, Kumkum , Paro, Kammo, Bhanumathi, Chithra, Krishnakumari, Madhubala, Padmini etc. Supporting actresses and dancers like Sheela Naik, Nirupa Roy, Shanthakumari, Cuckoo, Minu Mumtaz, Roopmala, Sulochana etc also sang in the voice of Shamshad Begum.
In early films like “Deedar”, “Anmol Ghadi” etc Shamshad Begum sang playback for child artists also ( Songs - “ Bachpan ke din bhulaa na jaana…. “ & “ Udan Khatole pe ud jaaoon… “ ) Her voice, as she cultured by rigorous training and rehearsals might have changed the quality, the elasticity of its modulation. It is said that Naushad tried her voice for the children song in “Son Of India” (1962) – his experience with her songs for child artists in “Deedar” and “Anmol Ghadi” might have prompted him for this. Naushadji was not satisfied with her singing the songs - “Nanna Munna Raahi hoon……. “ and “ Aaj ki Taaza Khabar…… “ The songs were recorded in the voice of Shanti Mathur and included in the film. Master Sajid was the child artist. Probably this was the only instance where she could not fulfill the assignment entrusted to her.
, and that was just because of the technical reason that her voice was a bit matured that it did not suit the character. And the composer Saab, he was always particular about his compositions – the quality of the voice to suit the nature of the character.
Now a list of her super hit songs, popular songs – lists compiled from various surveys –
First of all the most popular Film music based programme and hit list – Binaca Geetmala which commenced in 1952. Shamshad Begum’s peak time in Hindi cinema was 1948 to 1950 period.
Her numbers in the Binaca Geetmala Hit list might have been more if the Geetmala had begun during this period. Even during the period when her songs per year were less, she got to her credits the hits as follows in the Binaca Geetmala hit list chart:
Year Song Film No. in the Hit Chart Music
- 1953 Kaahe Jadoo kiya mujhko… Nagma 12 Nashaad
- 1954 Kabhi Aar Kabhi Paar……. Aar Paar 11 O P Nayyar
- 1956 Meri Neendom mein tum Naya Andaaz Runner Up * O P Nayyer
(with Kishore Kumar)
- 1956 Leke Pehla Pehla Pyaar C I D 6 O P Nayyar
(with Rafi)
- 1957 Reshmi Talwaar Kurta Jaali… Naya Daur Runner Up O P Nayyar
(with Asha Bhosle)
- 1958 Oh Gaadiwaale…… Mother India Runner Up Naushad
(with Rafi)
- 1959 Main Main Qartoon….. Mr Qartoon M A 30 O P Nayyar
(with Rafi, Asha Bhosle)
- 1960 Teri Mehfil mein kismet Mughal E Azam Runner up) Naushad
- 1969 Kajra Mohabbetwale.. Kismet 13 O P Nayyar
Runner up - Those songs which ranked for the final list for the competition, but were not selected in the final hit chart on the basis of the nominations that these songs got.
An analysis of the list co relates the playback singer to her Lucky Composers – O P Nayyar and Naushad !
“Nai Duniya” , the popular news paper published from Indore conducted a survey and compiled the hit songs down the years . See year-wise list of Shamshad hits that come up in the survey of Nai Dunia.
Year Song Film Music Director
- 1942 Saawan ke Nazaare Hain…….. Khazanchi Gulam Haider
- 1943 Gaadiwale Dupatta Uda Jaaye… Poonji Gulam Haider
- 1947(i) Moti chugaane gayi re……. Chheen Le Aazaadi Hansraj Behl
(with Mukesh)
- 1947 (ii) Haai re u dud jaaye …. Mirza Sahiban Husnlal Bhagatram
(With Zorabai, Noorjehan )
- 1947(iii) Aana meri jaan Sunday ke….. Shehnai C Ramchandra
(with Chitalkar & Binapani Mukherji)
- 1948 (i) Kahim ka Deepak,…… Aag Ram Ganguli
(with Shailesh)
- 1948 (ii) Oh Motorwali Chhori… Grihasthi Gulam Mohammed
(with Hamida Banu)
- 1948 (iii) Aji Khushiyan Manaye Kyom… Khidki C Ramchandra
(with Chitalkar, Mohantara, Rafi, Lata)
- 1948 (iv) Dharti ko Akash pukare… Mela Naushad
- 1949 (i) Chhalla De Jaa teri Meherbani … Baazaar Shyam Sunder
(with Rafi, Satish Batra)
- 1949 (ii) Tam Tam Se Jhaanko…. Namoona C Ramchandra
- 1949 (iii) Mere Piya Gaye Rangoon… Patanga C Ramchandra
(with Chitalkar)
- 1949(iv) Tu Mahalom mein rahnewali… Shabnam S D Burman
(with Mukesh)
- 1949 (v) Meine Dekhi Jag Ki Reet…. Sunhere Din Gyan Dutt
(Mukesh)
- 1950 (i) Chhod Babul ka ghar …. Babul Naushad
- 1950 (ii) Milte hi aankhen….. Babul Naushad
- 1951 (i) Ek Do Teen , Aaja Mausam… Awara Shanker-Jaikishan
- 1951(ii) Bachpan ke din bhula na dena.. Deedar Naushad
(with Lata Mangeshkar)
- 1951 (iii) Chaman mein rahke diwana. .. Deedar Naushad
- 1951 (iv) Saiya Dil Mein Aana re…. Bahar S D Burman
- 1951 (v) Duniya ka maja le lo….. Bahar S D Burman
- 1952 Aag lagi Tan Man mein…. Aag Naushad
- 1953 Badi mushkil hai dil ki bekarari… Nagma Nashaad
- 1956 Meri Neendom mein tum…. Naya Andaaz O P Nayyar
- 1957 (i) Holi Aayee re kanhaayi….. Mother India Naushad
- 1957 (ii) Oh Gaadiwaale Gaadi Dheere.. Mother India Naushad
(with Rafi)
- 1968 Kajra Mohabatwala…. Kismet O P Nayyar
(with Asha Bhosle)
You can see from the list that her popularity was at the peak during late 1940s and early 1950s.
Another list, a realistic and scientific one. A compilation made by the oldest music magazine in India – “Sangeet “ published from Hathras, UP. This list was compiled by the magazine which analyses music on its merit, historical aspects of the song, its popularity etc. See the Shamshad numbers from the list
Year Song Film Music Director
-
- 1941 Sawan ke nazaare hain… Khazanchi Gulam Haider
- 1942 Duniya Mein Garibom ka…. Zamindar Gulam Haider
- 1943 Gaadiwale dupatta….. Poonji Gulam Haider
- 1946 Ik Yaad Kisiki …. Shama Gulam Haider
(with G M Durani)
- 1947 Moti Chugne Gayi…… Chheen le Aazaadi Hansraj Behl
- 1947 Aana Meri Jaan……… Shehnai C Ramchanfdra
(with Chitalkar, Meena Kapoor) – the song has different versions. In this list this particular version finds place.
- 1948 Dharti ko aakaash pukaare…. Mela Naushad
- 1948 Kahim ka Deepak….. Aag Ram Ganguli
(with Shailesh)
- 1948 Oh Motorwaali Chhori….. Grihasthi Gulam Mohammed
(with Hamida Banu)
- 1949 Challlaa de jaa nishani……. Baazaar Shyam Sunder
(with Rafi, Satish Batra)
- 1949 Mere Piya Gaye Rangoon….. Patanga C Ramchandra
(with Chitalkar)
- 1949 Tu Mahalom me rehnewali….. Shabnam S D Burman
(with Mukesh)
- 1949 Maine dekhi jag ki reet….. Sunhere Din Gyan Dutt
(with Mukesh)
- 1950 Chhod Babul ka ghar…… Babul Naushad
- 1950 Milte hi aankhem….. Babul Naushad
(with Mukesh)
- 1951 Bachpan ke din bhula na dena…. Deedar Naushad
(with Lata)
- 1951 Saiyan dil mein aana re ….. Bahar S D Burman
- 1951 Dunia ka maja le lo….. Bahar S D Burman
- 1952 Aag Lagi Tan Man Mein ,……. Aan Naushad
- 1953 Teer Chala, oh teer chalanewale…. Nagma Nashaad
- 1953 Badi mushkil hai…. Nagma Nashaad
- 1956 Meri Neendom Mein tum…. Naya Andaaz O P Nayyar
(with Kishore Kumar)
- 1957 Holi Aayee re Kanhaayi…… Mother India Naushad
- 1957 Oh Gaadiwaale …… Mother India Naushad
(with Rafi)
- 1968 Kajra Mohabatwala…. Kismet O P Nayyar
(with Asha Bhosle)
As you have seen from the various lists , hit charts etc and the details of her career, Shamshadji’s zenith of popularity was late 1940s and early 1950s. But she has given several immortal melodies during her early days, in early 1940s also. Most of these songs were not carried over to the “Vinyl period”. The 78 rpms were the source of early film songs. These songs were transferred to the vinyl records – Long Play Records ( LP s – 33 1/3 rpms) with the advent of recording technology in 1960s. In this process , some of the gems of the early Hindi Film songs were lost. They were just ignored by the people who supervised and managed the process. The 78 rpms were just discarded by the music companies like HMV, the most popular music company that released the film songs. Now these rare songs are available only with some 78rpm record collectors ! In Kamal Amrohi’s “Pakeezah”, two songs sung by Shamshad Begum were not included in the film. Thanks to SAREGAMA for releasing these songs in CDs. The songs – “Kothe Se Bada Lamba Hamara…. “ and “Hatkar Tere Qadam Se…. “ (with Rafi and chorus) became popular when they were released years after the release of the film.
Shamshad Begum’s last film was “Ganga Maang Rahi Balidaan” (1981). Lyrics & Music – Prem Dhawan. The songs that she sung with Mubarak Begum were – “Hamem Mitaane Aya jo Khud…..” , “ Kar Lo jitna sitam….. “, “ Ho sanam ho sanam…… “ The songs as well as the film failed to impress the audience.
Here are few examples of such “gems” of Shamshad Begum which were not transferred to the vinyl records or are not in circulation now. (The list is not exclusive. The songs given are findings of the author, which may not be 100 % correct.)
- Angna Bole Kaahe Udjaa Man Ka ………. Film - Doli (1947) Music- Gulam Mohammed
- Man Bhooli Kathaayen…… Doosri Shaadi (1947) Pt. Gobindram
- Aye Dil Na Mujhe Yaad Dila…. Sawan Aaya Re (1949) Khemchand Prakash
- Ashkom pe huva khatm mere …. Bairam Khan (1946) Gulam Haider
- Mausam Bahar ka aaya…..(with Zorabai) Sasi Punnu (1946) Gobindram
- Baag mein koyaliya…… (with Zorabai) Ghar Ki Izzat (1948) Gobindram
- Mohe Lehnga la de Makhmal ka…. Maa Ka Pyar (1949) Gobindram
- Kaise Batavoon un se …. (with Mukesh) Anjuman (1948) Bulo C Rani
- Dil se tera khayaal…. Mitti Ke Khilaune (1948) Bulo C Rani
- Jawani ke jamane mein….(with Talat) Madhubala (1950) Lachhiram
- Masti Bhari bahar ne… Pugree (1948) Gulam Mohammed
- Jaao Sajan Haraaee…. Daasi (1944) Pt. Amarnath
- Chand Chamka Andhere Mein… Humayun (1945) Gulam Haider
- Baanka Chaila Motorwala … Bhookh (1947) Anil Biswas
- Hai Dil hi dil mein….. Mehandi (1947) Gulam Haider
- More Angana Baalam ka…. (Parody) Actress (1948) Shyam Sunder
(This Parody song was a sensation of that time. Probably this was the first popular parody in Hindi cinema)
In 1982, HMV came up with an album compiling 50 Golden Greats of 50 years, presenting the evolution of motion picture music in India. This was in commemoration of 50 years of sound in Indian cinema. In this album, among the 50 “Golden Greats” – the most memorable songs of Hindi Cinema down the years 1931 to 1981, Shamshad Begum’s “Vidaai Geet” from the 1950 film “Babul” was included – “Chhod Babul Ka Ghar….. “ (Music – Naushad) .
In 1987, again HMV came up with a 12 LP records set “Yaadon Ki Manzil” – commemorating 50 years of playback singing in Hindi films. The following songs in the voice of Shamshad Begum were featured in this set of LP records:
- Sawan Ke Nazaare Hain……. Khazanchi (1941)
- Jawani Ke Daaman Ko ……… Shahjehan ( 1946)
- Meri Neendom Mein Tum… Naya Andaaz (1956)
- Kajra Mohabatwala… Kismet (1968)
In this context, a word on the “Kismet” song. Shamshad Begum was called back by O P Nayyar to sing this super hit with Asha Bhosle. Probably O P Nayyar might have felt that his favorite singer of his early career, Shamshad Begum is the apt voice to join with his later period favorite voice – Asha Bhosle. And what a marvelous song it proved to be. This was the last song that Shamshad sang under the music direction of O P Nayyar. The Desh Raga based Punjabi folk mould super hit – the rich orchestra of it !! Babu Singh excelling with his spirited Harmonium support. The present generation also dance to this super hit. And remixes of this song – still finding revised versions.
Heard melodies are sweet, those unheard are sweet er!! Yes, in the case of Shamshad Begum’s songs also it applies more – because as mentioned in this write up, we have not heard a good number of her early hits. Dear readers, we have some of her early hits with us. We have included in the play list some of her rare songs that are not in circulation. If you want to listen to any of her early period melodies, write to MSI. As far as possible, depending on availabilityof the track, we will try to upload it in the write up (subject to quality of the song for such process and other technical factors).
Some of the facts narrated in the article are with reference to her interviews broadcast over All India Radio like –“ Ujale Un Ki Yadom ki “presented by Kamal Sharma and others. The curio information about her songs – the authors compilation of such information over the years . Source of such information is musical programmes presented by Vividh Bharathi and Ceylon Radio. Readers/visitors to MSI may add to this any such information they have to share. Let us pay tribute to the versatile playback singer who deserved much more honors than that we could do during her life time.
Shamshad Begum gave only very few interviews. That too after her retiring from playback singing. In one of her interviews to Filmfare magazine in 2012 Begum dislosed “The more hits I gave, the less work I got. When I helped new composers I never told them to give me all their songs to sing. I believed only God could give, not them Her final interview was in 2012. In 2009
Shamshad Begum was conferred with the prestigious O. P. Nayyar award for her contribution to Hindi film music. She was also conferred the Padmabhushan in 2009. But is that enough ? Of course, No. She deserved more honors and support from the film industry and the Government. Malayalam Playback singer Udayabhanu was awarded Padmashree at the same function. Like Shamshad Begum our beloved singer Udayabhanu also deserve more honor and awards from the film industry and the Government.
Mourning on the death of Shamshad Begum , Information and Broadcasting minister Manish Tewari said, "The film industry has lost one of its most versatile singers. Shamshadji's style of singing set new benchmarks. Her melodious voice with powerful lyrics gave us songs that have remained popular even today Prime Minister Manmohan Singh said "She was an artist of extraordinary talent and abilities, and the songs she has left behind in her long career, which she started with AIR in 1937, will continue to enthrall music lovers."
We salute you Shamshad ji. Such a great singer, and a great human being. A true elder sister – Aapa , you were to your co workers and fans. You will be remembered for ever as long as the Film Music is being enjoyed in this country and across the world also. Your melodies from “Awara” , “Aan” etc crossed the borders of the country and are beloved to music lovers all over the world, especially in Russia and Germany. 78 rpm records of your songs from “Aan” were said to be manufactured and released in Germany also. “Dharti Ko Aakaash Pukaare , Aaja Aaja….. “ Yes the Heavens send their invitation and called you back ! It is destiny. A life ‘richly’ spent on “Dharti” (Earth) , now may your soul enjoy the richness of the life in Heavens !! All our prayers for our Aapa .
Tailpiece:
Episodes of neglect and injustice towards the versatile artists in Indian Cinema is a “Serial” in the tinsel world. Examples are Meenakumari, Sulochana , playback singer Rajkumari etc in the North and “the Father of Malayalam Cinema” J C Daniel, script writer, actor Muthukulam Raghavan Pillai, etc in Malayalam Cinema . M K Thyagaraja Bhagavathar, a real “King” in the cinema world in his peak time, was totally neglected by the film world during his bad days. The showy cinema world never cared for these artists during their ‘bad’ days when they were in need of support. And a living example – Udayabhanu now in Malayalam Cinema, are we keeping justice to this great singer who gave us the immortal songs like “Vellinakshathrame Ninne Nokki…. “ , “Anuraga Nadakathil….. “ , and evergreen duets like “Thamarathumbi Vaa…. “ and “Kanana Chhayayil Aadu Meykkaan… “ . Let the Cinema world and the concerned departments of the state Government open their eyes, rise up to the occasion. Honor this great artist, extend support to the struggling artist. Let us not hang our heads in shame in future for not doing so.
B VIJAYAKUMAR.
Miscellaneous Pictures
Tamil Songs by Shamshad Beegum
APAVATHAM ENAI SERNTHIDUME Shamsad Begum Music Naushad 1952 Film Aan
KELI RANGAMAM LATHA MANGESHKAR,SAMSAD BEGAM Music Nau
Mannane Shamshad Begum Janardhan Music Gulam Mohammed 1
NAAN RAANIYIN SHAMSAAD BEGAM Music Naushad 1952 Lyric Kambadasan Film AANN
Famous Hindi Songs by Shamshad Beegum
01 ADA SE JHOOMTE HUYE INH100501778
02 MERE PIYA GAYE RANGOON INH109343520
1941_Khazaanchi_02_Laut Gayi Paapan Andhiyari_shamshad_vali Saheb_gulam Haidar
1946_Bairam Khan_05_Ashkon Pe Hua Khatm Mere_shamshad_vali Saheb_gulam Haidar
Babul_1950 TalatMahmood&ShamshadBegum MilteHiAankhen ShakeelBadayuni_NaushadAli
Bahar_1951 ShamshadBegum SaiyanDilMeinAana RajinderKrishan_SDBurman
ChandiniRaatRafi&Shamshad KaiseBajeDilKaSitar
Chhod Babul Ka Ghar... Babul
Deedar Lata&Shamshad BachpanKeDIn
Khazanchi_1942 ShamshadBegum&MaleVoice NainonKiBaan WaliSahab_GhulamHaider
Khazanji Sawan Ke Nazaare
Mere Piya Gaye Rangoon...
Patanga_1949 Shamshad&Co NamasteNamaste RajinderKrishan_CRamchandra
Shabnam Multilingual Song
Shehnai_1947 Chitalkar,MeenaKapoor&ShamshadBegum SundayKeSunday PLSantoshi_CRamchandra
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