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Society
Shamshad
Begum: Still Topping the Charts at 90
by Siraj Khan
 'Mere
piya gaye rangoon', 'Leke pehla pehla pyar', 'Kabhi aar khabhi paar' -
these retro Hindi numbers are part of every popular DJ's play list these
days. While the remixed tunes are a rage at the clubs, few youngsters
would be able to name the person behind the groovy voice they love so
much: Musical legend Shamshad Begum.
One of the first female playback singers of the Hindi film industry and
the woman whose golden voice inspired melody geniuses like O.P. Nayyar
and S.D. Burman, Shamshad Begum turned 90 on April 14. The year has
already begun on a memorable note for her. Almost three decades after
she stopped recording, she received the Padma Bhushan, a civilian award
given by the Government of India.
And, just a day before that honor came her way, the Pune-based O.P.
Nayyar Foundation announced that they were going to present the grand
old lady of Bollywood with the prestigious O.P. Nayyar award for her
contribution to Hindi film music. Incidentally, this is the first ever 'filmi'
felicitation she has received, despite a long and illustrious singing
career.
A picture of grace and elegance, Shamshad Begum, now leads a retired
life in Powai, a suburb of Mumbai, with her daughter and son-in-law. But
before she set down the mike for good, she left her fans with several
evergreen hits that continue to be enjoyed till date.
Shamshad Begum was born in 1919 in Amritsar, Punjab, to a conservative
Muslim family. It may come as a surprise to many but perhaps her only
real exposure to music in childhood was singing 'naats' (poems recited
in praise of the Prophet Mohammed). Her voice was first heard on All
India Radio Lahore in December 1937. An immediate success, she
captivated many with her enchanting, earthy, nasal voice. At this point,
the best thing that happened to her was that sarangi maestro, Ustad
Hussain Bakshwale Saheb, accepted her as a disciple. His training
reinforced her voice.
Then, as happens in all great stories involving stars, came Shamshad
Begum's big break - Ghulam Haider, the Lahore-based composer, was
floored by her talent. In fact, she sang in several of his films,
including 'Khazanchi' (1941) and the notable 'Khandaan' (1942). When
Haider relocated to Bombay (now Mumbai) in 1944, Shamshad Begum, who was
an integral part of his team, also shifted base, leaving her family
behind. That year, she sang for Mehboob Khan's historical venture 'Humayun',
with 'Naina bhar aye neer' being her first major recording hit. It is
said that she used to earn a princely sum of Rs 15 (US$1=Rs 50.08) per
song at the time.
It was not long before A-list composers, the likes of Naushad, Ram
Ganguly, S.D. Burman and C. Ramchandra, were signing her up. In the
1940s and 50s, this die-hard K.L. Saigal fan became a national rage,
belting out one hit after another. C. Ramchandra utilised her voice for
two very different style compositions - 'Meri jaan, meri jaan sunday ke
sunday' ('Shehnai', 1947), which is considered by many to be one of the
first real "westernized" songs of Bollywood, and the popular, 'Mere piya
gaye rangoon' ('Patanga', 1949). S.D. Burman's 'Saiyyan dil mein aana
re' ('Bahaar', 1951) is yet another hot golden oldie.
But O.P. Nayyar and Naushad have to be given the credit for presenting
Shamshad Begum's vocal versatility to the world - she has sung
unforgettable songs for both composers whose musical styles are very
different from each other. While Naushad is more classical, Nayyar is
the experimental, peppy one.
The Naushad-Shamshad 'jodi' (pair) took off with 'Chandani aayi ban ke
pyaar' ('Dulari', 1949). This was followed by multiple hits from 'Babul'
(1950), 'Deedar' (1951), 'Aan' (1952) and 'Naghma' (1953). 'Baiju Bawra'
(1952) and 'Mother India' (1957) and the famous 'qawwali', 'Teri mehfil
mein qismat aazma kar' from 'Mughal-e-Azam' (1960) came later.
O.P. Nayyar, the other music director with whom Shamshad Begum has had
several hits, often described her voice as a "temple bell". Starting
with the megahit, 'Kabhi aar kabhi paar' ('Aar Paar', 1954), the duo
gave evergreen romantic numbers like, 'Leke pehla pehla pyar', 'Kaheen
pe nigahen' and 'Boojh mera kya naam re' in 'C.I.D.' (1956). He also
made a very unusual duet, blending her voice with Kishore Kumar - 'Meri
neendon mein tum' from 'Naya Andaz' (1956) remains one of the most loved
romantic duets.
The death of her husband (in 1955) was a big blow to Shamshad Begum.
From then on, her songs became fewer and far between. Some time in the
early 1960s, she gave up music and became a recluse.
It was Nayyar who brought her out of her retirement in 1968 to sing a
duet with Asha Bhosle in 'Kismat'. The collaboration resulted in 'Kajra
Mohabbatwala', which is as popular today as it was 40 years ago. Her
reappearance was symbolic in more ways than one. The media hype behind
her comeback was immense and many who had only heard Shamshad Begum but
never seen her, could finally put a face to the name.
This grand lady has since then, however, kept away from the media.
Today, her songs, which have been remixed, are a hit with the younger
generation. Well-deserved and much overdue honors are finally being
bestowed upon her. But despite them, Shamshad Begum remains the humble
woman she was always known to be. According to media reports, when the
O.P. Nayyar Foundation decided to confer on her the Lifetime Achievement
Award, she graciously accepted the honor but declined to accept the cash
award, asking for the proceeds to be given to charity instead.
Here is a woman who is truly a national treasure. Shamshad Begum needs
to be recognized, rewarded and cherished.
April 19, 2009
By arrangement with
WFS
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