Latest About Shamshad Begum Options

[maheshks]

Yesteryear’s songstress Shamshad Begum rewinds on her musical journey with Rachana Dubey

August 10, 1998, news flashed across national dailies that legendary singer Shamshad Begum had expired. The phone at her home didn’t stop ringing that day. The paper published a tiny apology the next day but her family was not pleased.

Today she is living with her 70-year-old daughter Usha and son-in-law Retd. Lt. Col Yogesh Ratra, at the scenic Hiranandani gardens, Powai for the last 12 years. She’s 87-years-old, complains of high blood pressure, sometimes walks with support but is still all smiles.

She says, “It seems just yesterday that I came to Bombay from Lahore.” She began her career as a singer and radio announcer in the 1930’s when filmmaker Mehboob heard her and decided to bring her to Bombay. Shamshad Begum remembers, “Mehboob saab was making Taqdeer (Nargis’s debut). He had heard me in Khajanchi and a couple of Punjabi songs. He came to Lahore to meet my baba. Baba was very conservative and protective towards me. Mehboob saab assured my father he will organise a house, a car and a servant for me which he eventually did. It’s only then Baba allowed me to come to Bombay.”

Shamshad Begum insists that she never had a problem with anyone. In fact she made it a point to help newcomers, “ I always helped new singers because I knew what they go through when they sing for the first time. I have worked with every music composer from Khemchand Prakash to OP Nayyar to Naushad saab,” says the legendary singer.

Remembering old colleagues, she adds, “I was rendering a song with Mohammed Rafi for Rail Ka Dibba. 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. My home remedies always worked for Mukesh who would often fall ill. He always told me aapaji aapka formula hit hai.”

Over the years, many people sought her help, but didn’t acknowledge her part in their lives. Some thanked her but only in person. Only OP Nayyar acknowledged her contribution to his career on national television. She recollects, “OP Nayyar was a non-entity when he came to me and requested me to sing Kabhi aar kabhi paar (Aar-Paar) for him.”

Raj Kapoor and Madan Mohan were also among those who sought her help in the initial stages of their careers.

Madan Mohan requested her to sing for his film Aankhen. Till then, he was only a singer in C Ramchandra’s chorus. She informs, “Though he didn’t have the money to pay me, I agreed. His film was a hit. But he never repeated me. It didn’t matter.”

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.”

Since then, she has been with her daughter and son-in-law, seen her grandchildren grow up, have their own families. Now she can’t sing because she finds it a little taxing for her throat. She laughs, “I was always aapaji, ammaji, mataji for everyone in the industry. I never cancelled a schedule in my career.”

Talking about the remixes of her songs, she quips, “I’m not against the trend of remixes. I’m happy that in a way the young generation recognises the old. They will remember us through these remixes.”

This is how she looks like now a day:

[surme]

Yesteryear’s songstress Shamshad Begum rewinds on her musical journey with Rachana Dubey

August 10, 1998, news flashed across national dailies that legendary singer Shamshad Begum had expired. The phone at her home didn’t stop ringing that day. The paper published a tiny apology the next day but her family was not pleased.

Today she is living with her 70-year-old daughter Usha and son-in-law Retd. Lt. Col Yogesh Ratra, at the scenic Hiranandani gardens, Powai for the last 12 years. She’s 87-years-old, complains of high blood pressure, sometimes walks with support but is still all smiles.

She says, “It seems just yesterday that I came to Bombay from Lahore.” She began her career as a singer and radio announcer in the 1930’s when filmmaker Mehboob heard her and decided to bring her to Bombay. Shamshad Begum remembers, “Mehboob saab was making Taqdeer (Nargis’s debut). He had heard me in Khajanchi and a couple of Punjabi songs. He came to Lahore to meet my baba. Baba was very conservative and protective towards me. Mehboob saab assured my father he will organise a house, a car and a servant for me which he eventually did. It’s only then Baba allowed me to come to Bombay.”

Shamshad Begum insists that she never had a problem with anyone. In fact she made it a point to help newcomers, “ I always helped new singers because I knew what they go through when they sing for the first time. I have worked with every music composer from Khemchand Prakash to OP Nayyar to Naushad saab,” says the legendary singer.

Remembering old colleagues, she adds, “I was rendering a song with Mohammed Rafi for Rail Ka Dibba. 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. My home remedies always worked for Mukesh who would often fall ill. He always told me aapaji aapka formula hit hai.”

Over the years, many people sought her help, but didn’t acknowledge her part in their lives. Some thanked her but only in person. Only OP Nayyar acknowledged her contribution to his career on national television. She recollects, “OP Nayyar was a non-entity when he came to me and requested me to sing Kabhi aar kabhi paar (Aar-Paar) for him.”

Raj Kapoor and Madan Mohan were also among those who sought her help in the initial stages of their careers.

Madan Mohan requested her to sing for his film Aankhen. Till then, he was only a singer in C Ramchandra’s chorus. She informs, “Though he didn’t have the money to pay me, I agreed. His film was a hit. But he never repeated me. It didn’t matter.”

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.”

Since then, she has been with her daughter and son-in-law, seen her grandchildren grow up, have their own families. Now she can’t sing because she finds it a little taxing for her throat. She laughs, “I was always aapaji, ammaji, mataji for everyone in the industry. I never cancelled a schedule in my career.”

Talking about the remixes of her songs, she quips, “I’m not against the trend of remixes. I’m happy that in a way the young generation recognises the old. They will remember us through these remixes.”

This is how she looks like now a day:

bahi ji aap ka bhut thanks
another news is dhall ek dost mr chander kant ji who ENGLISH AND PANJABI ME BOOK LIKH REHE HAI SHAMSHAD BEGUM PER
ALL MOST COMPLET HO GYE HAI, CANDER KANT JI 6 MONTH PAKISTAN REH KE AAYE HAI KHAFI -
NEWS SONGS 1933-1980 .
DHALL JI MAINE PATA KIYA THAA BOOK KHAB TAK AAYGE , KHENE LAGE VERY SOON.
OK
SURME

[sbfan]

Thanks a lot Maheshji for this info and her latest pictures..

some time back her interview was published in swar allap newspaper as discussed here..

any member who can provide full interview,,

http://groups.google.co.in/group/rec.music...7b1143a28398d0e


same song is posted on
http://www.bhaktisangeet.com/bhajan/filmi/filmipart8.html
but one cannot find asha ji in this song as ashaji and hamida bano sung this in 1954

thanks ashish

[sbfan]

bahi ji aap ka bhut thanks
another news is dhall ek dost mr chander kant ji who ENGLISH AND PANJABI ME BOOK LIKH REHE HAI SHAMSHAD BEGUM PER
ALL MOST COMPLET HO GYE HAI, CANDER KANT JI 6 MONTH PAKISTAN REH KE AAYE HAI KHAFI -
NEWS SONGS 1933-1980 .
DHALL JI MAINE PATA KIYA THAA BOOK KHAB TAK AAYGE , KHENE LAGE VERY SOON.
OK
SURME

i have been contact with Mr Chandrakant ji some 3 months back... he was interested in info of Ghulam Haider period but i don't have anything to provide.. he was having very rare info like her first nite snap etc..

I wanna to be first 1 to buy that seriously very excited

ashish

[sbfan]

Yesteryear’s songstress Shamshad Begum rewinds on her musical journey with Rachana Dubey

August 10, 1998, news flashed across national dailies that legendary singer Shamshad Begum had expired. The phone at her home didn’t stop ringing that day. The paper published a tiny apology the next day but her family was not pleased.

Today she is living with her 70-year-old daughter Usha and son-in-law Retd. Lt. Col Yogesh Ratra, at the scenic Hiranandani gardens, Powai for the last 12 years. She’s 87-years-old, complains of high blood pressure, sometimes walks with support but is still all smiles.

she married with a Kashmiri lawyer Mr.Ganpatlal Batto.. who died in 1955..her daughter is in 60's not 70 i think now as she must have married in late 40's.

She says, “It seems just yesterday that I came to Bombay from Lahore.” She began her career as a singer and radio announcer in the 1930’s when filmmaker Mehboob heard her and decided to bring her to Bombay. Shamshad Begum remembers, “Mehboob saab was making Taqdeer (Nargis’s debut). He had heard me in Khajanchi and a couple of Punjabi songs. He came to Lahore to meet my baba. Baba was very conservative and protective towards me. Mehboob saab assured my father he will organise a house, a car and a servant for me which he eventually did. It’s only then Baba allowed me to come to Bombay.”

she belonged to a reputed family of lahore and she was allowed to perform in Burqa only in her initial days..
she used to sing morning prayer for the school and got slapped often by brothers for singing

Shamshad Begum insists that she never had a problem with anyone. In fact she made it a point to help newcomers, “ I always helped new singers because I knew what they go through when they sing for the first time. I have worked with every music composer from Khemchand Prakash to OP Nayyar to Naushad saab,” says the legendary singer.

Remembering old colleagues, she adds, “I was rendering a song with Mohammed Rafi for Rail Ka Dibba. 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. My home remedies always worked for Mukesh who would often fall ill. He always told me aapaji aapka formula hit hai.”

Over the years, many people sought her help, but didn’t acknowledge her part in their lives. Some thanked her but only in person. Only OP Nayyar acknowledged her contribution to his career on national television. She recollects, “OP Nayyar was a non-entity when he came to me and requested me to sing Kabhi aar kabhi paar (Aar-Paar) for him.”

Raj Kapoor and Madan Mohan were also among those who sought her help in the initial stages of their careers.

Madan Mohan requested her to sing for his film Aankhen. Till then, he was only a singer in C Ramchandra’s chorus. She informs, “Though he didn’t have the money to pay me, I agreed. His film was a hit. But he never repeated me. It didn’t matter.”

Chitragupt was also in same row.. Shamshad Begum's songs in sindbad de sailor "ada se jhoomte huye" brought him great success..
raj kapoor used her in his first production aag and gave her single song in Awara..
she held her first nite in 1970 as she was public shy .. she invited 14 music directors on occasion but none except Naushadji came there and announced on stage that "whatever success i got its due to her only". C ramachandran was seriously ill at that time for whom she was once favourite singer Patanga fame..
Even SD Burman used her voice in his inintials like shabnam.. MOVIE BAHAR WAS A SOUTH PRODUCTION.The producer insisted her voice only even she didn't have dates free she went to madras for songs..

the quality of not to ditch and appreciate small mds was shared by her with rafiji..
she continued to appear occasionly for single song after 1968 with her last punjabi one in 1974.
Her songs of mughal-e-azam would have been all time favourites if they been retained not chopped off. Lataji's songs were added full while songs of mubarak begum and shamshad were chopped off.

Regarding her perfection to sing.. she been tested by times since advent of radio .. naushadji once said that shamshad begum don't require much rehearsels many times single take go...

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.”

she probably gave playback for most of heriones in their debuts like nargis in Taqdeer,waheeda rehman in CID, Sadhana in love in simla,Vyjantimala in bahar etc.. and sung for all like meena kumari,madhubala etc.
she alsways welcomed less known mds like ghulam mohammed too in era of 40's when she was topmost..
once she hesitatingly asked Mehboob khan(of taqdeer and mother india fame ) for her pay hike. he asked her demand to which she answered a hike from 100 rs to 900 per month.. mehboob Khan agreed and told her that he wwould have agreed even if she had asked for rs 2000 but for a business man a deal i a deal....
times were changing and taste too but even she could have ruled if given chance to songs like heres like qawaali and fast numbers

Since then, she has been with her daughter and son-in-law, seen her grandchildren grow up, have their own families. Now she can’t sing because she finds it a little taxing for her throat. She laughs, “I was always aapaji, ammaji, mataji for everyone in the industry. I never cancelled a schedule in my career.”

Talking about the remixes of her songs, she quips, “I’m not against the trend of remixes. I’m happy that in a way the young generation recognises the old. They will remember us through these remixes.”

This is how she looks like now a day:

[sbfan]

visit this too

http://www.planetpowai.com/news/2910200608.htm

[sbfan]

Remembering old colleagues, she adds, “I was rendering a song with Mohammed Rafi for Rail Ka Dibba. 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. My home remedies always worked for Mukesh who would often fall ill. He always told me aapaji aapka formula hit hai.”

listen to the above mentioned song

[Ummer]

bahi ji aap ka bhut thanks
another news is dhall ek dost mr chander kant ji who ENGLISH AND PANJABI ME BOOK LIKH REHE HAI SHAMSHAD BEGUM PER
ALL MOST COMPLET HO GYE HAI, CANDER KANT JI 6 MONTH PAKISTAN REH KE AAYE HAI KHAFI -
NEWS SONGS 1933-1980 .
DHALL JI MAINE PATA KIYA THAA BOOK KHAB TAK AAYGE , KHENE LAGE VERY SOON.
OK
SURME

i have been contact with Mr Chandrakant ji some 3 months back... he was interested in info of Ghulam Haider period but i don't have anything to provide.. he was having very rare info like her first nite snap etc..

I wanna to be first 1 to buy that seriously very excited

ashish

I also wanna buy this book... But if as usual the book is not written in english or urdu script, I wont be able to read it

[Ummer]

Hello Mahesh,

Thanx alot for this article and her recent photgraph. I am a great fan of Shamshad Begum along with Ashish.

[Ummer]

Over the years, many people sought her help, but didn’t acknowledge her part in their lives. Some thanked her but only in person. Only OP Nayyar acknowledged her contribution to his career on national television. She recollects, “OP Nayyar was a non-entity when he came to me and requested me to sing Kabhi aar kabhi paar (Aar-Paar) for him.”

Raj Kapoor and Madan Mohan were also among those who sought her help in the initial stages of their careers.

Raj Kapoor had to give her 1 song in Awara because he had no other choice. In the 50s, Shamshad was the voice associated with the famous dancer Cuckoo and the song Ek Do Teen was picturized on her. Therefore, he had to use Shamshad instead of Lata for Cuckoo's playback. Same thing happened with another composer Sajjad Hussain (who dismissed all female singers except Lata and Noor Jehan). He also had to use Shamshad's voice for Cuckoo in Saiyaan (1951). Cuckoo had husky voice and Shamshad voice suited her to T. I think 80% of Cuckoo songs were sung by Shamshad in films like Amber, Andaz, Awaara, Afsana, Paras, Hulchul, Saiyaan, Shabnam, Patanga and many others.

[Ummer]

Chitragupt was also in same row.. Shamshad Begum's songs in sindbad de sailor "ada se jhoomte huye" brought him great success..
raj kapoor used her in his first production aag and gave her single song in Awara..
she held her first nite in 1970 as she was public shy .. she invited 14 music directors on occasion but none except Naushadji came there and announced on stage that "whatever success i got its due to her only". C ramachandran was seriously ill at that time for whom she was once favourite singer Patanga fame..
Even SD Burman used her voice in his inintials like shabnam.. MOVIE BAHAR WAS A SOUTH PRODUCTION.The producer insisted her voice only even she didn't have dates free she went to madras for songs..

the quality of not to ditch and appreciate small mds was shared by her with rafiji..
she continued to appear occasionly for single song after 1968 with her last punjabi one in 1974.
Her songs of mughal-e-azam would have been all time favourites if they been retained not chopped off. Lataji's songs were added full while songs of mubarak begum and shamshad were chopped off.



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.”

she alsways welcomed less known mds like ghulam mohammed too in era of 40's when she was topmost..
once she hesitatingly asked Mehboob khan(of taqdeer and mother india fame ) for her pay hike. he asked her demand to which she answered a hike from 100 rs to 900 per month.. mehboob Khan agreed and told her that he wwould have agreed even if she had asked for rs 2000 but for a business man a deal i a deal....
times were changing and taste too but even she could have ruled if given chance to songs like heres like qawaali and fast numbers

There were lots of composers who used her as a platform and ditched her later for either Asha and Lata. Actually, if you look carefully you will find lots of similarities between Geeta Dutt and Shamshad's career. Both sang almost 1400 songs, their careers ended in early 70's, both were used as platform by many music directors to get access to Lata and Asha etc etc.

All of the Chitragupta early movies had either Geeta Dutt or Shamshad as his main singers. Same goes for S.D. Burman who used both as his main singers in films like Baazi, Bahaar, Shabnam etc. Then we have O.P Nayyar who used both as his initial singers, and then later dissed both on Asha's request. Shamshad and Geeta were main singers for O.P Nayyar in films like Baaz, Aasmaan, Mehbooba, CID, Aar Paar etc.

Also include S.N. Tripathi, Madan Mohan, C. Ramchandra. Even R.D. Burman used her in his debut film Bhoot Bangla. In Raju Bharatan's biography on Lata, Shamshad mentions how Ramchandra insulted her infront of all musicians and Shamshad left the recording studio. When C. Ramchandra didn't call back, she knew it was over with him. C . Ramchandra later admitted to Raju Bharatan that she was very unfair to Shamshad with whom he shared great chemistry. It was only because of Shasmshad's song "Meri jaan sunday sunday" that he became popular overnight. But love knows no boundaries (he was talking about his affair with Lata).

Although Shamshad also blames Naushad, but I dont think Naushad used her. Naushad was already well established (with the success of Rattan 1944) before Shamshad arrived. Ghulam Haider (her mentor) and Ghulam Mohammed were the only ones who continued using her voice and didn't dissed her. In most Ghulam Haider movies, there is atleast 1 Shamshad song all the way upto his last movie Pakeezah (a qawwali with Rafi).

[Ummer]

Chitragupt was also in same row.. Shamshad Begum's songs in sindbad de sailor "ada se jhoomte huye" brought him great success..
raj kapoor used her in his first production aag and gave her single song in Awara..
she held her first nite in 1970 as she was public shy .. she invited 14 music directors on occasion but none except Naushadji came there and announced on stage that "whatever success i got its due to her only". C ramachandran was seriously ill at that time for whom she was once favourite singer Patanga fame..
Even SD Burman used her voice in his inintials like shabnam.. MOVIE BAHAR WAS A SOUTH PRODUCTION.The producer insisted her voice only even she didn't have dates free she went to madras for songs..

the quality of not to ditch and appreciate small mds was shared by her with rafiji..
she continued to appear occasionly for single song after 1968 with her last punjabi one in 1974.
Her songs of mughal-e-azam would have been all time favourites if they been retained not chopped off. Lataji's songs were added full while songs of mubarak begum and shamshad were chopped off.



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.”

she alsways welcomed less known mds like ghulam mohammed too in era of 40's when she was topmost..
once she hesitatingly asked Mehboob khan(of taqdeer and mother india fame ) for her pay hike. he asked her demand to which she answered a hike from 100 rs to 900 per month.. mehboob Khan agreed and told her that he wwould have agreed even if she had asked for rs 2000 but for a business man a deal i a deal....
times were changing and taste too but even she could have ruled if given chance to songs like heres like qawaali and fast numbers

There were lots of composers who used her as a platform and ditched her later for either Asha and Lata. Actually, if you look carefully you will find lots of similarities between Geeta Dutt and Shamshad's career. Both sang almost 1400 songs, their careers ended in early 70's, both were used as platform by many music directors to get access to Lata and Asha etc etc.

All of the Chitragupta early movies had either Geeta Dutt or Shamshad as his main singers. Same goes for S.D. Burman who used both as his main singers in films like Baazi, Bahaar, Shabnam etc. Then we have O.P Nayyar who used both as his initial singers, and then later dissed both on Asha's request. Shamshad and Geeta were main singers for O.P Nayyar in films like Baaz, Aasmaan, Mehbooba, CID, Aar Paar etc.

Also include S.N. Tripathi, Madan Mohan, C. Ramchandra. Even R.D. Burman used her in his debut film Bhoot Bangla. In Raju Bharatan's biography on Lata, Shamshad mentions how Ramchandra insulted her infront of all musicians and Shamshad left the recording studio. When C. Ramchandra didn't call back, she knew it was over with him. C . Ramchandra later admitted to Raju Bharatan that she was very unfair to Shamshad with whom he shared great chemistry. It was only because of Shasmshad's song "Meri jaan sunday sunday" that he became popular overnight. But love knows no boundaries (he was talking about his affair with Lata).

Although Shamshad also blames Naushad, but I dont think Naushad used her. Naushad was already well established (with the success of Rattan 1944) before Shamshad arrived. Ghulam Haider (her mentor) and Ghulam Mohammed were the only ones who continued using her voice and didn't dissed her. In most Ghulam Haider movies, there is atleast 1 Shamshad song all the way upto his last movie Pakeezah (a qawwali with Rafi).

Typo, it is Ghulam Mohammed and not Ghulam Haider in the last sentence.

[sbfan]

There were lots of composers who used her as a platform and ditched her later for either Asha and Lata. Actually, if you look carefully you will find lots of similarities between Geeta Dutt and Shamshad's career. Both sang almost 1400 songs, their careers ended in early 70's, both were used as platform by many music directors to get access to Lata and Asha etc etc.

All of the Chitragupta early movies had either Geeta Dutt or Shamshad as his main singers. Same goes for S.D. Burman who used both as his main singers in films like Baazi, Bahaar, Shabnam etc. Then we have O.P Nayyar who used both as his initial singers, and then later dissed both on Asha's request. Shamshad and Geeta were main singers for O.P Nayyar in films like Baaz, Aasmaan, Mehbooba, CID, Aar Paar etc.

Also include S.N. Tripathi, Madan Mohan, C. Ramchandra. Even R.D. Burman used her in his debut film Bhoot Bangla. In Raju Bharatan's biography on Lata, Shamshad mentions how Ramchandra insulted her infront of all musicians and Shamshad left the recording studio. When C. Ramchandra didn't call back, she knew it was over with him. C . Ramchandra later admitted to Raju Bharatan that she was very unfair to Shamshad with whom he shared great chemistry. It was only because of Shasmshad's song "Meri jaan sunday sunday" that he became popular overnight. But love knows no boundaries (he was talking about his affair with Lata).

Although Shamshad also blames Naushad, but I dont think Naushad used her. Naushad was already well established (with the success of Rattan 1944) before Shamshad arrived. Ghulam Haider (her mentor) and Ghulam Mohammed were the only ones who continued using her voice and didn't dissed her. In most Ghulam Haider movies, there is atleast 1 Shamshad song all the way upto his last movie Pakeezah (a qawwali with Rafi).

yes ghulam mohammed used her in pakeezah for 2 songs qawaali and kothe se bara lamba but none included in movie.. i personally feel that if Naushad wanted most of her compositions from mughal-e-azam could be retained or even released later like rang birang cd.
Though Naushadji considered good hearted person but we can't forget same time that when Mubarak Begum was established singer with daera, Naushad ji asked her to sing in chorus which hurt her most....
yes cuckoo had most of songs from shamshad only but story goes like this too that shankar jaiksihen were assistants in movie aag to ram ganguly(who belonged to Prithvi theatres) and after success of AAG ,Shamshad Begum admitted in public that she she had been worked rehearsed well by ram ganguly giving credit to him only not to SJ.. not sure bout it may be there differences arise..
Madan Mohan gave her chance late in heer ranjha 1970 and Nayyar in 68 for kismet....

[sbfan]

ummerji

do u know about any incident ( i read from net) that she was asked to sing in chorus by her favourite md so she felt hurt and decided to leave.. any info of md
donno source..
anyways she was popular in punjabi cinema right from 40's to late 60's and she gave greatest ever hits .. Kaur sisters arrived on scene for folk only barring 2/3 pictures..
it was SB who ruled in movies mostly under Hansraj Behl

ashish

[Ummer]

There were lots of composers who used her as a platform and ditched her later for either Asha and Lata. Actually, if you look carefully you will find lots of similarities between Geeta Dutt and Shamshad's career. Both sang almost 1400 songs, their careers ended in early 70's, both were used as platform by many music directors to get access to Lata and Asha etc etc.

All of the Chitragupta early movies had either Geeta Dutt or Shamshad as his main singers. Same goes for S.D. Burman who used both as his main singers in films like Baazi, Bahaar, Shabnam etc. Then we have O.P Nayyar who used both as his initial singers, and then later dissed both on Asha's request. Shamshad and Geeta were main singers for O.P Nayyar in films like Baaz, Aasmaan, Mehbooba, CID, Aar Paar etc.

Also include S.N. Tripathi, Madan Mohan, C. Ramchandra. Even R.D. Burman used her in his debut film Bhoot Bangla. In Raju Bharatan's biography on Lata, Shamshad mentions how Ramchandra insulted her infront of all musicians and Shamshad left the recording studio. When C. Ramchandra didn't call back, she knew it was over with him. C . Ramchandra later admitted to Raju Bharatan that she was very unfair to Shamshad with whom he shared great chemistry. It was only because of Shasmshad's song "Meri jaan sunday sunday" that he became popular overnight. But love knows no boundaries (he was talking about his affair with Lata).

Although Shamshad also blames Naushad, but I dont think Naushad used her. Naushad was already well established (with the success of Rattan 1944) before Shamshad arrived. Ghulam Haider (her mentor) and Ghulam Mohammed were the only ones who continued using her voice and didn't dissed her. In most Ghulam Haider movies, there is atleast 1 Shamshad song all the way upto his last movie Pakeezah (a qawwali with Rafi).

yes ghulam mohammed used her in pakeezah for 2 songs qawaali and kothe se bara lamba but none included in movie.. i personally feel that if Naushad wanted most of her compositions from mughal-e-azam could be retained or even released later like rang birang cd.
Though Naushadji considered good hearted person but we can't forget same time that when Mubarak Begum was established singer with daera, Naushad ji asked her to sing in chorus which hurt her most....
yes cuckoo had most of songs from shamshad only but story goes like this too that shankar jaiksihen were assistants in movie aag to ram ganguly(who belonged to Prithvi theatres) and after success of AAG ,Shamshad Begum admitted in public that she she had been worked rehearsed well by ram ganguly giving credit to him only not to SJ.. not sure bout it may be there differences arise..
Madan Mohan gave her chance late in heer ranjha 1970 and Nayyar in 68 for kismet....

Hello Ashish,

I know about the Ram Ganguly incident. But SJ were Lata devotees, they didn't use other female singers of that time that much too. I think they gave only 3-4 songs to Geeta dutt and 2 to Shamshad Begum (1 in Nagina and 1 in Awara).

Madan Mohan used Shamshad Begum's voice in many films include Aankhien, Ada, Aashiana, Madhosh, Ilzaam, Night Club etc, but what Shamshad meant is that Madan Mohan never used her again as PRIMARY singer. He only have her 1-2 songs in his future films.