14th April 1919- 23rd April 2013
In the year 2004, many newspapers published a report that Shamshad Begum, the noted playback singer had passed away , when she was very much alive and living with her daughter , son-in-law, and grandchildren, in Powai, Mumbai. No doubt it was sheer negligence by the media. It was also a reflection on the famous short-lived public memory . To some extent, it was also due to her own decision to stay away from the film industry, having been disillusioned with the politics in film industry. Actually, it was another Shamshad Begum, a lesser-known actress and happened to be the grandmother of actress Saira Banu who had passed away , which the media reported wrongly! Surprisingly this was much before the social media and fake news dominated world in which we live today!
In the early decades of Hindi films, singers with a resonating, powerful voices ruled the music scene. Singers like Ameerbai Karnataki, Kanan Devi, Zohrabai Ambalewali, Noorjahan, Suraiyya, Khursheed and Shamshad Begum are some of the famous female playback singers from that era. Among them, few like Noorjahan and Khursheed migrated to Pakistan after the partition of our country, whereas other singers faded into oblivion with Lata Mangeshkar, Geeta Dutt , Sudha Malhotra, Suman Kalyanpur , Asha Bhonsle gradually replacing them.
However, it was Shamshad Begum ( I will refer to her as SB for brevity) who remained successful even till the 60’s despite many other new singers entering the industry. Her decision to stay away from limelight was partly due to the disillusionment with the politics in the industry and partly due to the sudden demise of her husband in a road accident in 1955. It is good to note that the government honoured with the Padma Bhushan award when many other legendary singers had to be content with lesser awards or no awards at all!
During her peak years, she commanded a price that was unbelievable for those times. In one of her interviews , she had stated that her father’s advice to her always kept her in good stead. “Do not be too sweet that people would take you for granted and at the same time do not be too bitter so that everyone would avoid you.” She maintained a dignified relationship with all her associates and simply focused on her singing alone.
Born in Lahore in the undivided India on 14th April 1919, to Mian Hussain Baksh and Ghulam Fatima , she was one among the eight children of her parents . She started singing at the age of 12 in weddings, social functions and being from a conservative family , her father did not allow her to be photographed , although he reluctantly agreed to her singing career. As she had promised to her father that her face would not appear in public , it is said that only , much later , in 1970’s people could see her photograph!
Right from her school days, she was recognized for the quality of her voice and used to lead the school prayers. She had no formal training in music and though her parents were not much in favour of a career in singing , her uncle supported her and took her to a recording company Jenophone/Xenophone ( that was later taken over by HMV) . The well-known composer Ghulam Haider, who had given breaks for many legendary singers gave her a contract and it is said that she got around Rs 5000 for completing many songs for that recording company. Unfortunately those songs and many other songs that she would go on to sing live for All India Radio in Peshawar and Lahore are not available as they were never recorded but broadcast live.
When she was around 15 years old , she met Ganpat Lal Bhatto , a Hindu lawyer and married him , despite opposition from her family due to religious difference. They had a daughter Usha Ratra who married an Army Colonel Yogesh Ratra and she spent her last days with them and her grandchildren who were very much devoted to her.
She got her musical skill honed by Hussain Bakshwale Saheb a sarangi maestro and also by Ghulam Haider himself. She was one of the highest paid singers in Hindi film industry, with a voice that some compared to that of a temple bell , resonating , majestic , and flowing like a river effortlessly. She could sing a western style or cabaret song , a folk song , a peppy romantic duet , a sad ‘ bidaiee’ song, a qawwali -all with equal fervour. The 1941 film Khazanchi was a landmark film for her as she sang all the eight songs in that movie with the film and songs becoming a great hit.
She was once that most favoured female playback singers for all the top music composers of the 1940’s and 50’s . During the vintage era she sang for Ghulam Haider, Pt Govindram , Ghulam Mohammad followed by the legendary Naushad, C Ramachandra , S.D Burman & O.P Nayyar. In the industry she was a senior to most of the later day legends like Rafi, Talat, Kishore , Mukesh, Lata , Geeta Dutt, Asha Bhonsle etc . Even Naushad was junior to her and he had acknowledged publicly the fact that it was mainly due to Shamshad lending her vocals to many of his early hits, he got immense fame.
It is SB’s bad luck that all these four music directors, who worked with her in many hit songs, gradually shifted their focus to other female playback singers. C Ramachandra and Naushad started giving more songs to Lata, S.D Burman to Geeta Dutt , Asha Bhonsle initially and later on to Lata. O.P Nayyar initially worked with SB & Geeta Dutt but later on he shifted to Asha till they had their bitter rift. Although I could not get any authentic information on exactly how many songs SB had sung, it is estimated to be around 2000. Not only in Hindi, she also sang in Punjabi, Bengali, Marathi, Gujarati and even 2-3 songs in Tamil! I have given the link to a rare Tamil song by her in dubbed version of the hit film Aan at the end of this blog.
It is really difficult to select few songs from her vast repertoire , especially when we see that most of her songs during the golden era were super hits!
I have tried to select a few to the best of my ability , trying to showcase the huge variety in her singing. Songs are arranged in the chronological order of the song, film ,year of film’s release, co-singer, music director and lyricist mentioned in that order.
< Though I have tried to embed almost all the songs that can be played here itself, there are two songs which are not allowed by the respective uploader in YouTube and so you may have to click and view it in YouTube seperately>
- Sawan Ke Nazare Hain-Khazanchi-1941-Ghulam Haider-Ghulam Haider-Wali Khan
The film Khazanchi was adapted loosely from a silent English film The Way of All Flesh made by Victor Fleming in 1927and it is considered to be one of the early blockbuster movies of Hindi cinema. It is to the credit of Shamshad Begum that she sung all the songs in this movie, mostly solos and one or two duets with Ghulam Haider himself.
2. Kahe Koyal Shor Machaye Re – Aag -1948-Ram Ganguly-Behzad Lucknowi
Whenever I listen to the songs of the film Aag, I always wonder why Ram Ganguly could not recreate the magic in later films. It is my personal observation that the music in this film was something far ahead of its times. Apart from this solo, Shamshad had a superb duet “ Solah baras ki bayee umariya” with Rafi , a funky Raat ko Jab Chamke Tare with Mukesh and another solo Dil Toot Gaya Ji in this film.
3. Dharti Ko Aakash Pukare – Mela-1948-Mukesh-Naushad -Shakeel Badayuni
Mela had some of the excellent scores of Naushad from his early years. Mukesh had his Gaye Jaa Geet Milan Ki, Rafi had his Ye Zindagi Ke Mele but it was Shamshad who sang a whopping 9 songs in the film! Dharti Ko Aaksh Pukare, though a very brief song , tugs at your heart with the pathos rendered soulfully by SB.
4. Mein Bhanwara Tu Hai Phool- Mela-1948-Mukesh-Naushad-Shakeel Badayuni
A vintage Naushad composition , with a superb combination of Mukesh’s soft voice and SB’s powerful voice providing a unique melody!
5. Chandini Aayee Banke Pyaar O sajna-Dulari-1949-Naushad-Shakeel Badayuni
One more quintessential Naushad composition. However we can notice how Naushad changes track by giving Lata around 9 songs and only 2 for SB! Must be the effect of the immense success of Barsaat when Lata stormed the industry and slowly started replacing other singers.
6. Na Bol Pi Pi More Angna-Dulari-1949-Naushad-Shakeel Badayuni
With just two songs given to her in this film by Naushad as compared to the lion’s share to Lata, SB makes the best out of them with these two evergreensongs.
7. Mera Piya Gaye Rangoon-Patanga-1949-Chitalkar-C Ramachandra-Rajendra Krishan
One of the most famous songs by Chitalkar ( C Ramachandra) and Shamshad Begum, this is a duet that sounds as fresh as if it was composed yesterday. One of the TV channels I used to watch earlier and also our good old Vividh Bharati might have made an over-kill of playing this song almost every day and for a moment I thought if I should include any other CR ‘s composition instead of this, but on second thoughts, this is a great iconic song to be left out!
8. Woh Aayenge- Khel- 1950-Sajjad Hussain-Zia Sarhadi
I had included this song in my blog on the genius composer Sajjad Hussain and generally I try not to repeat the songs. But I have to make an exception to my own ‘ unwritten’ rule! This song, though I heard it very recently is a hidden gem that I do not understand how it remained an obscure one till now. A fantastic composition that is typical of the maestro Sajjad, superbly rendered by SB.
9. Chod Babul Ka ghar – Babul-1950-Naushad-Shakeel Badayuni
One of the most famous “ bidayee” ( when the bride leaves for her husband’s house after marriage) , SB has once again given an immortal song with Naushad. It was Naushad’s firm belief in keeping the orchestration to the minimum in such songs and let the singer elevate the song to the height it deserves.
10. Milte Hi Aankhen Dil Hua- Babul-1950-With Talat Mehmood-Naushad-Shakeel Badayuni
I read somewhere that the newcomer Talat Mehmood was a bit nervous during the rehearsals for this song and it was the veteran Shamshad who boosted his morale by encouraging him to shed his inhibitions and what an evergreen duet this turned out to be. Whenever the Begum sings a duet , her voice overpowers the male singer!
11.Sharmaye Kahe Ghabraye Kahe- Baazi-1951-S D Burman-Sahir Ludhianvi
Shamshad delivers a superb foot-tapping cabaret number in this SDB composition.
12. Saiyyan Dil Mein Aana Re -Bahaar-1951-S D Burman-Rajendra Kumar
A 32-year-old SB singing for an eighteen-year-old Vyjantimala! A peppy song by the great Burman da to suit her breezy style of singing. Though I hate the concept of remixing old classic gems ( and mostly spoiling them!) I see that many of SB’s songs are popular with the remixing guys!
13. Duniya Ka Maza Lelo – Bahaar -1951- S D Burman- Rajendra Krishna
SDB takes us through Arabia and Hawaii with the fabulous interludes , superbly enacted on the screen by the great dancer Vyjanthimala and last but not least, a power-packed singing by the Begum!
14. Chaman Mein Reheke Veerana – Deedar -1951-Naushad-Shakeel Badayuni
I think the songs she sang for Naushad are of excellent quality. This is one of the lesser heard songs of SB.
15. Door Koi Aaaye Dhun – Baiju Baawara 1952- Rafi & Lata- Naushad-Shakeel Badayuni
Although this song is a triad, Rafi has only a small part humming “ O jee ho…” throughout the song and Lata also has an equal stanza, somehow SB, with her resonating voice, dominates the song.
16. Badi Mushkil Se Dil Ki Beqaraari- Naghma- 1953-Nashad-Nakshab Jaravachi
There is always confusion between the names Naushad and Nashad. I wonder why Shaukat Hussain Dehlvi/Shaukat Ali Hashmi called himself Nashad , which in Urdu signifies “ joyless,” “cheerless” . Maybe it was an intentional , antonym to his bitter rival Naushad which means , cheerful, happy! Anyhow, leaving that aside, this is a complex , difficult composition which SB renders with effortless ease.
17. La De More Baalma Aasmani Chudiyan – Rail Ka Dibba -1953- Rafi-Ghulam Mohammad-Shakeel Badayuni
Long before terms like ‘ breathless singing’ , ‘rap songs’ became a rage, SB and Rafi gave this superb , peppy rap song. Both of them render a breathless antara , effortlessly!
18. Kabhi aar kabhi paar – Aar Paar-1954- O P Nayyar-Majrooh Sultanpuri
SB’s best songs in the early years were with the stalwarts like C.Ramachandra, Naushad , S.D.Burman , and later on , it was the turn of another great composer from the musical land of Punjab, O.P Nayyar with his foot-tapping rhythm and beats to give equally great songs for her.
19. Boojh Mera Kya Naam Re- C.I.D- 1956- O P Nayyar-Majrooh Sultanpuri
The film C.I.D had some of Shamshad’s most memorable songs like the solos Boojh Mere Kya Naam Re, Kahni Pe Nigahen Kahin Pe Nishana and the triad with Rafi & Asha that remains so popular till now, Leke Pehla Pyaar Bharke.
20. Kahin Pe Nigahen Kahin Pe Nishana – C.I.D-1956-O P Nayyar-Majrooh Sultanpuri
An iconic song that defines the singing style of Shamshad Begum. OPN ‘s interludes mostly get repeated throughout the song but one does not feel bored as he makes it so catchy!
21. Leke Pehla Pehla Pyaar -C.I.D-1956-Rafi & Asha-O P Nayyar-Majrooh Sultanpuri
I am now running short of words as I cannot keep thinking of synonyms to words like evergreen/immortal/fresh /masterpieces for all the songs of SB! This only shows a whopping 75-80 % of her songs have been super-duper hits!
22. Mere Neendon Mein Tum Naya Andaaz -1956- Kishore Kumar-O P Nayyar-Jaan Nissar Akhtar
One of the rare duets of SB with Kishore , the two voices match each other perfectly well. And what a mesmerizing tune by OPN! The song lingers in your mind long after you have stopped listening to it.
23. Gaadiwale Gaadi Dheere- Mother India-1957-Rafi-Naushad-Shakeel Badayuni
By mid-50’s , Shamshad had reduced her singing due to the sudden demise of her husband in 1955 in a road accident. It was mainly due to the persistence of the producer-director Mehboob Khan , who managed to convince her to sing for this film after her brief hiatus.
24. Teri mehfil Mein kismat-Mughal-E-Aazam-1960-Lata-Naushad-Shakeel Badayuni
In the early years Lata and Shamshad had sung many songs together. This famous qawwali from Mughal-E-Azam was the last time they sung together. When it comes to qawwali, Shamshad was way ahead of others , but to her credit, Lata has also sung this well , despite this genre not being one of her strong points.
25. Kajra Mohabbat wala Kismet-1968-Asha-O.P.Nayyar-S.H. Bihari
One may observe the huge gap between the years-from 1960, we now straight away come to 1968! It is to the credit of OPN that he gave the Begum a last memorable song. Technically this is not her last song as she sang for few films like 1970 Heer Ranjha ( Nache Ang Ve in Madan Mohan’s music with Jagjit Kaur) and I understand the song Main Papi Tum Bakshankar was her last recorded song.
As a bonus song, I am providing a link to her Tamil song ( Naan Raaniye Rajavin-Tamil dubbed version of Aan-Naushad-Kambadasan) . It is always a pleasure to listen to a legend from Hindi films rendering a song in my native language! This is from the dubbed version of the famous film Aan..the Hindi equivalent of this song was Mein Rani Hoon Raja Ki
Acknowledgement & Disclaimer
I sincerely thank the publishers of following blogsites & Internet sources for the information that I could gather for this article:
- You Tube
- Wikipedia
The songs mentioned are from the popular, public domain and have been embedded here only for the listening pleasure of the music lovers. The photograph is taken from the internet, duly recognizing the full copyrights for the same to the original creator or the site where they were originally displayed .This blog does not claim any copyright over them, which rests with the respective owners of the rights.
Music Unrestricted 