Duets of Mohammad Rafi and Shamshad Begum
By: H.A.K. Walijah
A tribute to the forgotten legend – Shamshad Begum
Mohd Rafi
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 We do not quote them with ostentation, but they mingle with our minds, sweeten our tempers, and harmonize our thoughts; they put us in good humor with ourselves and with the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.
Mohd Rafi and Shamshad Begum
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.
Dear fellow rafians,
Aadab Rafi,
Many many thanks for your valuable comments. The distinguished rafians like Ahamad Kutty Saab, Dr. Khaja Aliuddin Saab, J.K. Bhagchandani Saab, Hans ji, Anees, Almas, Man Mouji saab, Kabeer Aman, Prem Kumar, Raja, Hashmat Alvi Sahab, Jasbir singh Saab, Binu Nair Ji, Roma Prakash Ji, Ashok ji, R.L. Arora ji and others have written anmol comments which fills the empty space I left for fellow rafians to filled in.
Moreover Hans Ji, Your comments are top-notch and well deserved to be noteworthy not only in this article but in other threads as well. You have vast knowledge obout HFM.
My special thanks to Mr. Anees who provided the information which I forget during the preparation of this write up.
I have special attraction to the duets of Rafi Saab and Shamshad Begum even Rafi Saab & Geeta Dutt which are close to my heart always.
Once again I thank you all from depth of my heart and wishing you a happy Christmas and New Year in advance.
Best Regards
H.A.K. Walijah
I have one suggestion to the administration of this site to create alphabetically names of the authors who have written write-ups and articles which will be much easier to find out articles by name of the author. I request fellow rafians to ponder over on this matter and see it can reach to the administrator of this site. If necessary I can send separate email to the administrator.
This write up is not only informative but educative too. Very useful for reference purposes when talk about the legend Mohd. Rafi and co-singers.
Moderator ji
My post just disappeared under moeration, kindly publish
wonderfully well researched article by walijah saab. on two greatest immortal voices which can not be forgotten..their songs are great pleasure to hear n enjoyed by millions all over the world…in fact smamshad was the first successful playback singer before even latajee n ashajee…..she led the way to immortal melodies…
Articles such as this is an asset to the site where the reader get all at one place with regard to the legend of legends Mohd. Rafi. This site is unique all about music.
I suggest one suggestion to the administration of this site to create alphabetically names of the authors who have written write-ups and articles which will be much easier to find out by name of the author. I request fellow rafians to ponder over on this matter and see it can reach to the administrator of this site. If necessary I can send separate email to the administrator.
Please feed back your suggestion to know how useful it is for general reader to check the articles of the same author at one place.
mr. anees
nice information. madan mohan’s first film ankhen mentioned by you had a super popular shamshad-mukesh duet ‘huse nain milana ba paas karke’, which has been missed by walijahji. you are right mukesh and shamshad had a very high success ratio.
More informative pieces from the distinguished rafians is definitely going to bringing the colorfulness to this article. I have been noticed the comments are top-notch by the distinguished rafians and added the spices, flavour and color to the article in its truest sense. Especially those of Mr. Anees and Mr. Man Mouji. Very much laudable and noteworthy.
Some of the finest and rare duets of Rafi Saab & shamshad Begum
Film – Naach (1949) …….. “Dil de diya hai” ….
Film – Saawan aaya re (1949)– …..”ae dil na mujhe yaad dila”
MD – Khemchand Prakash, Lyricist – Bharat Vyas,
Film – Rail ka Dibba(1953) ….. ”La de mohe balma aasmani churiyan”
MD – Ghulam Mohammad, Lyricist – Shakeel Badayuni
Film – Meena Bazaar……”Lelo lelo ji dupatta mera”
Film – Khirki (1948)………. “Fifty fifty” ( mohd rafi, shamshad begum & chitalkar).
Film – Mastana ……” Nache more angna mein munna pyara pyara “
(mohd Rafi, Kishore Kumar & Shamshad
Film- Nadiya Ke Paar (1948)…… “Do char din pyar se”
Music Director : C. Ramchandra…
ASA, Anees Sahab,
Bahut khoob, Shukriya aur meherbani for your grand posts.
Regards to Rafi lovers,
Dr. Khaja Aliuddin
Mr. Anees
Very nice informative posts. Thanks
Anees Saab,
What fantastic posts you have written, I really enjoyed to read all of your posts.
Thanks
Prem Kumar
There have been quite a number of popular female singers since the times KL saigal. But rarely any female singer made as much impact as Noorjehan. But soon she moved across the border and Bollywood lost its emerging Gem. This paved the path for the earliest sensations in Bollywood. It was Shamshad Begum who with nasal voice was a craze for a long long time (till early 1960’s). In order to gauge her popularity and variety, just listen to some of her following numbers.
Teri Mehfil Mein Kismat Aajma Kar Hum Bhi Dekhenge (Mughal-E-Azam)
Chup Chup Baithe Ho Jaroor Koi Baat Hain (Badi Bahen)
Leke Pehla Pehla Pyaar (CID)
Jawan Hain Mohabbat Khushi Ka Khazana (Anmol Ghadi)
Aana Meri Jaan Meri Jaan Sunday ke Sunday (Albela)
Her voice is so clear in spite of the nasal effect that you can clearly identify that she had a very sound classical background. Her songs had more Punjabi folk touch than anything else as in ’’Dilli Shaher Ka saaaaraa Meena Bazar Leke’’.
She survived being in the industry as uniquely as she started despite the fact that Asha-Lata duo reigned.
Shamshad Begum was used as a platform by all Music directors to move on to Lata and Asha Bhosle including O.P. nayyar, Chitragupta, Madan Mohan, C.Ramchandra, Naushad, S.N. Tripathi and S.D. Burman. She helped all new music directors and supported them to acquire a secure place in film industry, who later left her for either Asha or Lata and started to gave her raw deals. Some examples include, Shabnam (*ing Dilip Kumar,1949) music by S.D. Burman (primary singer was shamshad and all of the songs were super hits which helped S.D. Burman alot). Ankhein (1950, *ing:- Nalini Jaywant, first film of Madan Mohan), all of the songs were sung ny Shamshad, as Madan Mohan was new comer and lata refused to sang for him, and Shamshad helped him. Sinbad the Sailor (1952, *ing:- Naseem Bano), music by Chitragupta had that famous duet of Mohd Rafi and Shamshad “Ada see jhoomtey huwey, nainoun kou choomtey huwey”, that boosted his career, and helped him get A grade movies. Even Naushad said “whatever sucess I have got until now, usmein Shamshad begum ka buhut bara haath hai”. As Shamshad was a favorite singer of Naushad along with Lata.
Even those music directors who didn’t like her nasal voice and gave her only 1 or 2 songs, were amazed at the success her songs bought for them. For example, Shankar Jaikishan gave her only one solo in Awaara (*ing Raj Kapoor, Nargis) “ek do teen, aaja mausam hai rangein”, which broke all success records at that time. Other example is Salil Chawdhury, who gave her only 3 songs, one solo and two duets with Manna dey, all of them were great songs. Those were “Teri meri humsey phirey sarie duniya, 2. deshi kiya videshi kiya, sunder bhi kitna, 3. dil mera na jaane re na jaane re”. Even Anil Biswas who didn’t like her voice at all, Shamshad made her songs of Veena(1948) very popular including “Panchi aur pardesi dono nahin kisie kai meet re”.
She was the favorite singer of Naushad, O.P Nayyar, Ghulam Mohammed and Ghulam Haider, who used her voice to the full extent and range as possible.
Shamshad Begum along with Geeta dutt were the ONLY singers, who survived the onslaught of lata, in the 50’s. All three of them were the numero unos, and all other singers including Asha Bhosle (till 1958) used to come to second place. Shamshad Begum along with Mukesh have the highest average song success ratio. This means 95% or more of her songs were popular and are still popular today. She sang her most famous duets with all male singers, including Kishore Kumar, Mohd Rafi, G.M Durrani, Talat Mahmood, Mukesh and Manna dey and Hemant Kumar were super hits at that time. She also gave us the most famous duets with all female singers including, Noor-Jehan, Lata, Asha Bhosle, Geeta Dutt and Suraiya. According to the Geet Kosh , she sang 27 duets with Lata and 54 with Asha Bhosle, making her the only non-mangeshkar singer (excluding Usha Mangeshkar), who sang the maximum number of songs with Lata and Asha.
The Mangeshkar sisters had not even been introduced to filmdom when Shamshad Begum had already attained celebrity status. After Lata Mangeshkar’s entry in 1948, many of Shamshad Begum’s contemporaries faded away, but she didn’t. She made up her mind to renounce singing when she was at the peak of her career. She says, “I decided to quit gracefully before I was thrown out. I walked out of the film industry in the late 60’s and never looked back. I’m happy I did that.”
Shamshad Begum Hit Songs: Kabhi Aar Kabhi Paar, Saiyan Dilmain Aana Re, Kajra mohabbatwala ankhiyon mein aisa dala, Leke pehla pehla pyar, Kahin pe nigahen kahin pe nishana, Boojh Mera Kya Naam Re, Dekh chand ki or, Milte hi aankhen dil hua, Jadoogar Balama,O Gadiwale, Ek do teen.
She was also famous in home remedies which was always worked for Mukesh who would often fall ill. He always told her “ aapaji aapka formula hit hai.”
THE songs sung by Shamshad ji became popular while three of her films – Mughal-e-Azam, Mother India and CID – made her immensely popular. No prize for guessing that we are talking of Shamshad Begum who ruled the playback industry for two full decades – ‘40s to ‘60s. Throughout her film singing career, she remained a particular favorite with Naushad and Nayyar who used her voice not only to its fullest range but to the maximum extent possible. Best Of Shamshad Begum:
* Leke pehla pehla pyaar (C.I.D.)
* Mohabbat choome jinke haath (Aan)
* Mere Piyaa Gaye Rangoon (Patanga)
* Kajra Mohabbat Waala (Kismat)
* Maine Dekhi Jag Ki Reet (Sunhere Din)
The first mentioned eight songs are the trademark songs of Shamshad Begum which turns out to be the biggest remixes with the young generation
naushad was using various female singers johrabai, amirbai, shamshad, suraiyya, umadevi etc. suddenly he used lata in dulari alongwith shamshad. lata had 7 solos all on the heroine madhubala and shamshad had two solos on geeta bali. rafi had one solo ‘suhani raat dhal chuki’ which became the trade mark of rafi and as per him the best song sung by him. there were two duets of rafi-lata, ‘raat rangeeli mast nazare’ and ‘mil mil ke gayenge’. shamshad’s solos were ‘chandni aayi banke pyar’ and ‘na bol pee pee more angana’.
while rafi’s solo and his duets with lata stood the test of time, both of shamshad’s solos got similar success. of the 7 solos of lata only one ‘ae dil tujhe kasam hai’ is remembered now. i am not saying that her other songs were lesser in quality. but even after such performance shamshad was discarded for heroines after 1951. i am baffled why naushad did that. can anyone provide the answer.
While reading the article, the duets Mohd . Rafi has sung with Shamshad Begum echoed through my mind, and i realised that Mohd. Rafi not only changed his singing style to suit the actor on screen, he also changed his style to suit the co-singer! The manner in which he has sung with Geeta Dutt is different from the manner in which he has sung with Shamshad Begum and quite different from the manner in which he has sung with Lata Mangeshkar or Asha Bhonsle. His voice seems to blend in with each of them in the duets, instead of standing out as a typical, solitary “Rafi” style in all songs. What do you think? Do you think this is just my imagination as an ardent Rafi fan?
This is one stop shop for ‘All-You-want-to-know-about Mohd Rafi.
Coincidentally, for the past few days, I have had one of my favorite mostly-Shamshad Begum songs, “Door Koi Gaye Dhun Ye Sunaye” (Baiju Bawra) running through my head over and over. I had only been familiar with Shamshad Begum for her duet with Lata Mangeshkar in Mughal-e-Azam’s great “Tere Mehfil.”
Thanks for introducing me to so many delightful songs!
The duets sung by Rafi Sahab and Shamshad ji under Naushad Saab and OP Nayyar saab were the best among of all duet songs. The songs are the everlasting treasure of bygone era.
Those first eight songs in the article pop up as remixes are classic ones, those were very popular in olden days, I repeat those songs below:
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)
Especially the last song I was able to watch & listen in youtube “Mere ghunghar wale baal” picturised on cuckoo was a simply a masterpiece composed by Ghulam Mohammad and lyrics provided by Shakeel Badayuni Sahab.
GREAT INFORMATON. WE WERE NOT EVEN BORN BUT THE SONGS ARE POPULAR EVEN TODAY. I ALWAYS LISTERN TO MOHD. JI SONGS ON THE NET AND REMEMBER INDIA AND GOOD OLD DAYS. KEEP IT UP. GOD BLESS
Walijah Saab,
What an amazing write up, mindblowing and superb!!!!
The information and details about the legend are very minutely written keeping in mind the popularity of Shamshad ji’s songs enjoyed in olden days. I like it very much and wish you would write such fine essays in future.
I do not have anything to comment on this excellent essay. I just want to say that your essay is very much commendable praising the two greatest legends namely Rafi Sahab and Shamshad Begum.
Very best regards
Lucky
Excellent knowledge-adding facts. i wish i wud hv born earlier to hear the songs of the Legnds. Mohd.Rafi Saab, Shamshad Begam, Lata Mangeshkar, Asha Bhonsle, Mukesh ji, Mana Dey etc etc cant be compared at all. My hats off to all of them
R L Arora
Ecellent knowledge-adding facts. i wish i wud hv born earlier to hear the songs of the Legnds. Mohd.Rafi Saab, Shamshad Begam, Lata Mangeshkar, Asha Bhonsle, Mukesh ji, Mana Dey etc etc cant be compared at all. My hats off to all of them
R L Arora
walijah ji
you have stated that shamshad begum was born on 14th april, 1919 at amritsar. the same fact is given in imdb.com data on her. if that date is final then it is a coincidence that she was born the day after the jallianwala bagh incident, which also happened at amritsar.
another such coincidence is between munshi prem chand the great hindi writer and our own beloved rafi ji. munshi prem chand was born on 31st july, 1880 and rafi ji left us exactly 100 years after that.
A great article. It is comprehensive and I loved it. Your write up is as comprehensive as it is concise.This is a fine example for anyone who wishes to write an essay. Everytime I think I have seen the best from you, you go one up and give us a better one. Wow !!! We could see the passion you had for Rafi Saab and his songs. wonderful, fantastic, fabulous. I am at a loss for words. your article made me hum all those songs you listed. It is superb. What an all encompassing writeup-flow of prose, emotions moods & melodies. you have covered it all. Thats typical of a rafi admirer-so full of zest & emotions.
Nice piece. Flows like a river. Even Rafi would have like it. And, he would have read it twice, like me and many others. A beautiful writing with mentioning some of the rare songs
Mindblowing!!! superb article!!!
want more articles from you.
Syed Zameer
a great work and fantastic write up
Janaab H.A.K. Walijah saab,
It is definitely the most elaborate, informative and perhaps the best ever article on Shamshad Begum. She had a very unique voice. Her song ‘Job usne kesu bikhraye…’ (Shajahan) is a master-piece. Her combination with Rafi saab was simply great.
Please accept my compliments and thanks for providing the readers with such a wonderful piece write-up.
-J.K. Bhagchandani
Great work sir
a new subject written – eloquently .
the rafi foundation welcomes great contributions which are unique like rafi sahib’s songs.
If the music is good , the heart will sing.
when rafi saab sings – million will sing.
thanks.
binu nair
An excellent write-up.
Thanks for sharing with all rafi fans.
A great article. It is comprehensive and I loved it. Your write up is as comprehensive as it is concise.This is a fine example for anyone who wishes to write an essay. Everytime I think I have seen the best from you, you go one up and give us a better one. Wow !!! We could see the passion you had for Rafi Saab and his songs. wonderful, fantastic, fabulous. I am at a loss for words. your article made me hum all those songs you listed. It is superb. What an all encompassing writeup-flow of prose, emotions moods & melodies. you have covered it all. Thats typical of a rafi admirer-so full of zest & emotions.
Nice piece. Flows like a river. Even Rafi would have like it. And, he would have read it twice, like me and many others. A beautiful writing with mentioning some of the rare songs
Mindblowing!!! superb article!!!
want more articles from you.
Syed Zameer
Dear Walijah Saab,
As usual a noble attempt and well researched article, majority of gem songs like – O gaadi wale, leke pehla pehla pyar are exceptional ones which treated by music lovers are everlasting golden melodies by Rafi Sahab and Shamshad Begum. Very beautiful article on a very brilliant topic. Anyway, congratulations for writing such a fantastic article.
Many thanks for going through so much trouble so that we can enjoy these melodies. I thoroughly enjoyed reading the article and the beautiful songs.
Thanks and best regards.
Y. Sharif
Walijah Saab,
Lovely post on a sadly forgotten legend. Shamshad’s CHHO.D BABUL KA GHAR was such a cult song of Bidai that it remained very popular music for wedding procession down the decades. Shamshad Begum has been aptly described as “Punjab ka Jaadu”. Shamshad was still a force to reckon with throughout the Nineteen Fifties. The Kismat song could be said to be her swan song. While “dharti ko aakash pukare” is my favorite by her, I’m also exceedinly fond of two of her duets with Rafi: “ham ne jab dil tha diya” from Chhoo Mantar and “ada se jhoom te hue” from Sinbad the Sailor. And thank you so much for those lovely songs. I’ve never heard them before, and I thought I had heard a lot of Shamshad in the last few years (and years of Vividh Bharti)!
As to comparing with other female singers, I’ve always thought that those voices gets a bit shrill in the high notes, something that never happens with Shamshad Begum’s voice. “Punjab Ka Jadoo” sounds like a very appropriate name for her!
This is a great list. Believe it or not, I have contemplated doing a Shamshad Begum list myself, and I also thought of the movies Dard, Dillagi, CID, Patanga, and Bahar!
Awesome post, just awesome, oh, lovely post! And thank you so much Walijah Saab for reminding us of Saiyaan dil mein aana re: such a wonderful song. Saiyaan dil me aana re” is such a delight that her voice suit Viyajanthi in the song “Saiyan dil me aana re!”
I just love her voice! Such a melodious, all her songs are so lively and peppy….love listening to them.
I think she is the only singer, where I can say that none of her songs are boring. BTW, don’t you also feel
Lovely list!!! I totally love Bujh mera kya naam re . And tahnks to Kajra mohabbat wala
What a lovely list! Love all the songs
Bujh mera kya naam re is one of my all time favourites – love that teasing flirtatiousness about it. And thanks to Kajra mohabbat wala ,
Few songs that pop up at the mention of Shamshad Begum are Mere piya gaye rangoon, Sainyya dil mein aana re, Kajra mohabbat wala, Reshmi salwaar kurta jali ka, Leke pehla pehla pyaar .
Very well researched article and a painstaking effort to write such articles accumulating information and details at one place and compelling readers to finish the reading in one go.
Walijah Sahab, a known name at rafi website who is always have something different to say and write, I simply congratulate you Walijah Sahab for bringing out this wonderful and amazing free flowing write up about two most famous legends whose songs had enormous popularity in olden days. I read and re-read repeatedly and enjoy as I did every time.
Please keep writing and keep going. Thanks, thanks and thanks…..
Anees
Walijah Sir,
It is a great pleasure to read your articles on rafi website which are more or less in encyclopeadic magnanimity and provides all in one and compel the reader to read in one GO. You told everthing in a pleasing manner about the legends left nothing for the readers to insert any information. So simply salute you sir for this brilliant write up. Expect more such articles in future.
I remember in my childhood I used to listen kajra mohabbat wala song on radio cylone. Now so many remixes of Shamshad ji songs. your insight into the article shows your enthusiasm and undying love for the legends.
Keep dishing out article after article in the same fervor and zeal.
Thanks and regards
Raja
Walijah Saab,
Maasha’allah, bahoot khub. Lajawab, bemisal likha hai aapne. Khuda aap ko zore kalam ata kare.
Bahut dinon ke baad ek bahut achcha article padhne ko mila hai wo bhi do aise kalakaron ke oopar jinki gaye hue geet sada bahar nagme and barson tak meethi yaad ban kar zahan ki satah par lehrate rahete hain.
Shamshad ji ki awaaz ka alag hi suroor hai aur unke gaanon main bala ki mithas payee jaati hai.
Meri tarf se bahut bahut mubarak baad qabool farmeyen. Jazakallah.
Hashmat Alvi
Walijah Sahab,
I am overwhelmed to read this Whale like article on the two legends who scored maximum laurels from the film community and fans. I do not have words to express my gratitude for your untiring efforts in declaring rafi sahab greatness. I am loved to read your articles repeatedly and enjoy every time I read it. you are one of the most respected rafi fans on this website.
I do not comment but to commend your articles which are as close as thesis of a professor on rafi sahab.
Thanks and God bless you Sir.
Zaheen Danish
Walijah Ji,
This write up is magnanimous and one among the well researched articles. The list of duet songs is very much informative. You always come up with write ups containing gigantic information and volumes of details. I sincerely appreciate your efforts praising rafi saab singing prowess along with the co-singers. This article is well enough proof of your love and respect towards the immortal singer – Rafi Sahab.
I once again thanks for your hard work and presenting this beautiful write up to rafi website as well as rafi lovers.
Best regards
Prasad
Janab Walijah Saab, ASA
I was desperately looking for your new article on our beloved Rafi Saab, today I luckily browsed rafi site and read this write up, it just made me happy to read and enjoy this article about Shamshad Begum ji and Rafi Sahab duets which you very aptly captioned tribute to legends. Very nice of you indeed.
Regarding the duets my favourites are ” O Gadi wale gadi dheere haank re”, “Leke pehla pehla pyar” and the rest. About multilingual talent of Shamshad ji ” yeh duniya roop ki chor” is the very fittest example.
Thanks and wishing you good luck.
regards to all rafi fans.
Kabeer Aman
Walijah Saab,
O my God, what a write up, simply superb and fantastic. I was looking for your write up since many days atleast to write something in the comment column. Thank God, at last your article appeared. I am glad and very happy to congratulate you for this wonderful write up.
You did not leave any space for other fans to comment or add any information, that’s why I just feel satisfy to congratulate you my dear friend. Very nice and well-researched article, maybe you might have spend so many days to prepare this write up.
Thanks once again and like to convey my regards to all rafi fans.
Narendra
walijah ji
are you a man or an encyclopedia. what a write up. you have almost written a biography of shamshad. really she has been the most forgotten female singer, who had such an impact on hfm.
more later.
Bahot aala walijah saab…bahot hi khoob.
Excellent post. Very very informative.
Dear Walijah Saab,
Fabulous, magnificent and very very comprehensive write up, you always come with epic scale write ups with lots of information and details which alone makes you favourite fan of Rafi Sahab. I congratulate you with my hearty greetings for writing this wonderful write up on two legends – Rafi Sahab and Shamshad Begum.
I am just dumfounded, can’t comment just to read and enjoy this loving tribute to Shamshad ji and Rafi Sahab.
thanks a lot sir, and many regards to Rafi fans all around the globe.
– Prem Kumar
ASA, Janab Walijah Sahab,
Bahut khoob, Very informative and comprehensive write-up.
Mohdrafi.com par aur ek “Dhamaka”.
Hearty congratulation.
Long live Rafi Sahab,
Dr. Khaja Aliuddin
Dear walijah saab,
really this article is some thing special.great work.unparellal.
may almighty give confidence and energy to write like this
again.
with humble regards,
ahamed kutty