Shamshad Begum : छोड़ बाबुल का घर, आज पी के नगर, मोहे जाना पड़ा


MUMBAI – MAHARASHTRA – INDIA           APRIL 30 , 2013           07.00 P.M.

Shamshad Begum

April 14, 1919 – April 23, 2013


Shamshad Begum was one of the first playback singers in the Hindi film industry. She had sung over 6000 songs in Hindi , Bengali, Marathi, Gujarati, Tamil and Punjabi languages. Her songs from the 1940s to the early 1970s remain popular and continue to be remixed.

Young Shamshad Begum

Young Shamshad Begum

Shamshad Begum died this month on April 23 , 2013 at the age of 94 and I am forced to write 7th obituary in continuation in the month of April . Shamshad Begum , along with Noor Jahan and Amirbai Karnataki , dominated the pre-Lata Mangeshkar era in Indian playback singing .

Among female playback singers , She was blessed with a distinct voice with slight nasal twang and any lover of Hindi film music can immediately recognize her voice .

Since I was born and brought up in the Lata Mangeshkar era , I was not a fan of Shamshad Begum’s voice initially. But slowly , as my understanding grew , I started appreciating her voice .

The first song of hers , which caught my fancy , was ” Pee Ke Ghar Aaj Pyari Dulhaniya Chali ” . ThisMother India ” [ 1957 ] song was immensely popular . Other songs of the same film ; ” Holi Ayee Re Kanhayi Rang Chhalke Suna De Zara Bansuri ” and ” Gadiwale Gadi Dheere Haank Re “ are also hit even today . Then I watched Mughal – E – Azam ” [ 1960] and its immortal qawwali is still fresh in my mind . ” Teri Mehfil Me Qismat Azma Ke Hum Bhi Dekhenge “ is a connoisseur’s delight . Then I watched ” Aan ” [ 1952 ] and I was permanently hooked to Shamshad Begum’s voice . All her popular songs , like ; ” Aag Lagi Tan Man Me Dil Ko Pada Thamna , Ram Jaane Kab Hoga Saiyyan Ji Ka Samna ” and ” Khelo Rang Hamare Sang Aaj Din Rang Rangeela Aaya “ are still my favourites . But ” C. I. D. ” [ 1956 ] was another revelation . ” Le Ke Pehla Pehla Pyaar , Bhar Ke Aankhon Me Khumar ” and ” Kahin Pe Nigahen Kahin Pe Nishana , Jeene Do Zalim Banao Na Deewana “ are just immortal . It is surprising that I heard her most popular song very late in my life . ” Mere Piya Gaye Rangoon Kiya Hai Wahan Se Telefoon , Tumhari Yaad Satati Hai “ . This song from ” Patanga ” [ 1949 ] is unforgettable and its several re-mixed versions are still extremely popular . ” Naya Daur ” [ 1957 ] film’s ” Reshmi Salwar Kurta Jaali Ka “ was a craze of its time . Her last hit  ” Kajra Mohabbatwala Ankhiyon Me Aisa Dala “  from ” Kismat ” [ 1969 ] is one of the songs which was re-mixed again & again .


Shamshad Begum’s career was somewhat eclipsed with the advent of Lata Mangeshkar . She sang her first duet ” Dar Na Mohabbat Kar Le “ with Lata Mangeshkar in ” Andaz ” [ 1949 ] and her last duet with Lata Mangeshkar was ” Teri Mehfil Me Qismat Azma Kar Hum Bhi Dekhenge “ from ” Mughal – E – Azam ” [ 1960 ] . Within these 13 years Shamshad Begum’s career went downhill and after giving her last hit ” Kajra Mohabbatwala “ in 1969 , she bid adieu to playback singing .


Some Famous Songs of Shamshad Begum :

  • Leke pehla pehla pyar, (CID 1956), (music: O.P. Nayyar)
  • Milte hi aankhen dil hua, (Duet with Talat Mehmood), (Babul), (music: Naushad)
  • Chali chali kaisi yeh hawa yeh, (Duet with Usha Mangeshkar), (Bluffmaster 1965), (music: Kalyanji Anandji)
  • Kabhi aar kabhi paar lagathi re nazar, (Aar Paar), (music: O.P. Nayyar)
  • O Gadiwale Dheere – Mother India – Naushad
  • Kahin pe nigahen kahin pe nishana – CID (1956) – music O.P. Nayyar
  • Boojh Mera Kya Naam Re – (1956) – music O.P.Nayyar
  • Mere piya gaye Rangoon – Patanga – music C.Ramchandra
  • Ek Tera Sahara – Shama – music Master Ghulam Haider
  • Holi aayee re KanhaaiMother India (1957) – Lyrics: Shakeel Badayuni, Music: Naushad
  • Naina Bhar aye neer – Humayun – music Master Ghulam Haider
  • Nazar Phero Na Humse -(Duet with G M Durani) – Deedar (1951) – music Naushad
  • Chod Babul Ka Ghar – Babul – music Naushad
  • Kajra Mohabbatwala Ankhiyon mein Aisa dala (Duet with Asha Bhosle) – Kismat (1968) – Music: O.P. Nayyar
  • Meri neendon main tum, meri khwabon mein tum (Duet with Kishore Kumar) – Naya Andaz – Music: O.P.Nayyar
  • Teri Mehfil Mein Qismat (Duet with Lata Mangeshkar) – Mughal-E-Azam
  • Saiyan Dil mein aana re – Bahar
  • Reshmi salwar kurta jaali da – Naya Daur
  • Milte Hai Ankhen Dil Deewana Hua Kisika – Babul – with Talat Mahmood
  • Kisike Dil Mein Rehna Tha – Babul – with Lata
  • Dharti Ko Aakash Pukare – Mela – with Mukesh
  • do teen aaja mausam hai rangeen – Awara

Shamshad Begum’s fans often allege that her career suffered because of the monopolistic politics of Lata Mangeshkar . I beg to differ . Shamshad Begum played her innings and retired gracefully . Her career suffered because of the changing times and changing taste of film-goers . Talat Memood’s career went downhill with the advent of Mohammad Rafi . Even mighty Mohammed Rafi , towards the end of his career , was confined in his home for many years without recording a single song and Kishore Kumar ruled that era . In the field of art such things happen .

Her distinct style , her nasal twang and her strong voice , which was her forte in the earlier years of her career , became her nemesis towards the end . It is not for nothing that towards the fag-end of her career , her voice was used for vamps and her last hit ” Kajra Mohabbatwala “ in ” Kismat ” [ 1969 ] was filmed on Vishwajeet , who was masquerading as woman in the said film .

On behalf of all the students and staff of VIDUR Acting Institute , which is known as  Vidur’s Kreating Charakters  , I offer my condolences to the family of the iconic singer . Self-proclaimed most famous acting school of Mumbai , self-anointed most famous acting institute of India and self-appointed most famous acting academy of bollywood has no time for such courtesy .

Shamshad Begum

Shamshad Begum

May her soul rest in peace ! Her ephemeral body is gone but her perennial voice , the temple bell , will live on forever .



Vidur’s Blog Translated In Hindi Language

हिंदी फिल्मों की नई महिला पार्श्व गायक

विदुर [कमल नयन चतुर्वेदी] द्वारा 10 नवंबर, 2012 को पोस्ट
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मुंबई – महाराष्ट्र – भारत 10 नवंबर, 2012 ००.३५ AM

जब “आलम आरा”, 1 भारतीय टॉकी, 1931 में स्क्रीन मारा, एक युग की शुरुआत है, जो आसानी से गायन सितारों का युग कहा जा सकता है. सभी अभिनेताओं स्क्रीन पर अपने गाने गाए. उस युग के प्रसिद्ध महिला सितारों कोई अपवाद नहीं थे. देविका रानी से लीला चिटनिस और कानन देवी से कम ज्ञात तारिकाओं, नाम के लायक हर नायिका अपने गाने गाए.

English: Alam Ara poster, 1931.आलम आरा पोस्टर, 1931. (फोटो क्रेडिट: विकिपीडिया)
English: Scene from the 1936 film Achhut Kanyaअशोक कुमार और देविका रानी 1936 फिल्म अछूत कन्या से एक दृश्य में (फोटो क्रेडिट: विकिपीडिया)
Kanan Deviकानन देवी (फोटो क्रेडिट: tonymitra)

तो नूर जहान और सुरैया का युग आया. दोनों बेहद लोकप्रिय सितारों और अपनी पीढ़ी के विशाल गायकों थे. उनके गाने और उनकी फिल्मों को अभी भी लोकप्रिय हैं. फिल्मों से उनकी सेवानिवृत्ति अंततः गायन सितारों के गौरवशाली युग के लिए एक अंत लाया. सलमा आगा, एक और गायन सितारा, Nikah” [1982] आया था लेकिन यह एक अपवाद था. गायन सितारों युग बहुत पहले समाप्त हो गया था.

गायन सितारों युग की समाप्ति के बाद फिल्मों में पार्श्व गायन लोकप्रिय बन गया. राजकुमारी दुबे पहली महिला पार्श्व गायिका कहा जा सकता है. वह 1940 में अपने गायन कैरियर शुरू कर दिया. “बावरे नैन ‘मुकेश के साथ उसके गाने [1950] अभी भी मशहूर हैं और वे यादगार हैं. आधुनिक दिन फिल्म दर्शक से Pakeeza” [1972] में उसे गीत के साथ परिचित हैं. यह है ….. najaria की मारी मारी अधिक सैयां …….

उस युग से एक और पार्श्व गायिका शमशाद किया गया था बेगम वह साथ “खजांची” [1941] प्रमुखता से गुलाब और “ख़ानदान” [1942] उसके कैरियर और के बाद सर्वोच्चता आगमन के साथ प्रमुख सेट वापस सामना करना पड़ा. लता मंगेशकर और आशा भोंसले . Amirbai Karnataki उस युग से एक और प्रसिद्ध पार्श्व गायक था.

फिर जो लता मंगेशकर युग के रूप में जाना जाता है एक युग शुरू किया. वह, उसके छोटे भाई आशा भोंसले के साथ साथ, लगभग 5 दशकों के लिए एक बादशाह की तरह हिंदी फिल्मों के पार्श्व दृश्य का प्रभुत्व है.

English: Indian singer Lata Mangeshkarलता मंगेशकर (फोटो क्रेडिट: विकिपीडिया)
English: Indian singer Asha Bhosleआशा भोंसले (फोटो क्रेडिट: विकिपीडिया)

कई गायकों को उनके युग के दौरान आया था और गुमनामी में चला गया गीता दत्त, सुमन कल्याणपुर, कमल बारोट, सुधा मल्होत्रा ​​, मुबारक बेगम और शारदा आया और एक निशान छोड़ बिना जल्दी ग्रहण.

70 में, जबकि लता मंगेशकर अभी भी सर्वोच्च राज कर रहा था, फिर महिला पार्श्व गायकों की एक नई फसल में उभरा. अलका याग्निक, साधना सरगम, कविता कृष्णमूर्ति और अनुराधा Paudwal आया था, कुछ यादगार हिट फिल्में दी और फ़रामोश फीका. लता मंगेशकर अभी भी शासन और यादगार दे दिया जैसी हिट, यश चोपड़ा निर्देशित “वीर – जारा” [2004].

अब पार्श्व गायकों की एक नई फसल क्षितिज पर मँडरा रहे हैं श्रेया घोषाल. लता मंगेशकर और सुनिधि चौहान की तरह नंबर वन बन लगभग आशा भोसले की जगह ले लिया है. लेकिन वहाँ अन्य महिला पार्श्व गायक भी हैं. वे दृश्य पर तेजी से उभर रहे हैं.

अदिति सिंह शर्मा: -; “Aali …. पुन चार्ट के साथ दर्द की तरह “और” …… दिल्ली, दिल्ली “में” नो वन जेसिका मारा “और” Chhoomantar ….. “में” मेरे ब्रदर की दुल्हन “, वह भविष्य में देखने के लिए एक गायक बन गए.

एलिसा मेंडोंसा : शंकर के लॉय मेंडोंसा की बेटी – अहसान – लॉय प्रसिद्धि, वह “Uff तेरी ऐडा गाया ……. Khwabon के Parindey “” कार्तिक कॉलिंग कार्तिक “और बेहद लोकप्रिय ….. “में” जिंदगी ना मिलेगी दोबारा “.

अनुष्का मनचंदा: वह एक दुर्लभ विश्वास के साथ “दम मारो दम ……” के संस्करण फिर मिश्रण गाया और हर किसी के लिए उसकी प्रतिभा का नोटिस लेने के लिए मजबूर किया.

“साथ Katiya Karoon ….. HARSHDEEP कौर रॉकस्टार “और” Jugni “” ………….. “कॉकटेल” “, वह बड़ी हिट है और निश्चित रूप से शीर्ष पर अपने रास्ते पर है.

महालक्ष्मी अय्यर: वह “ऐ अजनबी के साथ बुल की आंख मारा ……….. “”, “से दिल Sadka किया …………” में “मैं नफरत storys Luv” की तरह है और बेहद लोकप्रिय पंजाबी संख्या, “Laung दा Lashkara ……. “और” Rola पे गया …….. “” पटियाला हाउस “में.

नेहा भसीन: “कुछ खास हैं …….. फैशन “और” Dhunki Dhunki “में” ……. “” मेरे ब्रदर की दुल्हन “उसे शीर्ष पर लाया.

तरह एक हिट संख्या में: “बचना ऐ Haseenon” खुदा …………… जेन “, वह उसे लंगर SHIPLA राव पाया.

: श्रुति पाठक के साथ. “…………… Marjaawan” में “फैशन” और “Payaliya …………” में “देव डी”, वह आ गया और उसकी उपस्थिति महसूस

श्वेता पंडित [2000] वह यशराज फिल्म्स “मोहब्बतें” में अपनी शुरुआत की. “मोहब्बतें” से “मेरे ब्रदर की दुल्हन” [2011] के लिए, वह हिन्दी में कई हिट गाया था. वह नियमित रूप से एआर रहमान मंच प्रदर्शन भी पता चलता है. वह तेलुगू फिल्मों में भी बेहद लोकप्रिय गायक है.

With Shweta Pandit in My Office

श्वेता पंडित के साथ अपने कार्यालय में

एक तरह से वह मेरे छात्र है. हालांकि वह कभी नहीं लिया और मेरे अभिनय संस्थान में प्रवेश मेरे नियमित बैच के लिए नहीं आया था. लेकिन फिर भी वह अपने संस्थान के लिए आते हैं, जब भी वह स्वतंत्र है और मेरे संस्थान विदुर Kreating Charakters के आशुरचना कक्षाओं में भाग लेता है.

मैं उसके लिए बहुत खुश हूँ और उसे अधिक से अधिक सफलता की कामना करता हूं. मुझे यकीन है कि आने वाले वर्षों में वह भारत के शीर्ष पार्श्व गायक होगा.

मुझे खुशी है कि मैं पार्श्व गायन के क्षेत्र में कम से कम एक छात्र भी है.


मुंबई – महाराष्ट्र – भारत / VidurChaturvedi

प्रोफाइल / / VidurChaturvedi


New Female Playback Singers of Hindi Films

MUMBAI – MAHARASHTRA – INDIA           NOVEMBER 10 , 2012           00.35 A.M.

When ” Alam Ara ” , the first Indian talkie , hit the screen in 1931 , an era started , which could easily be called the era of singing stars . All the actors sang their own songs on the screen . Well known female stars of that era were no exception . From Devika Rani to Leela Chitnis and from Kanan Devi to lesser known starlets, every heroine worth the name sang their own songs .

English: Alam Ara poster, 1931.

Alam Ara poster, 1931. (Photo credit: Wikipedia)

English: Scene from the 1936 film Achhut Kanya

Ashok Kumar & Devika Rani in a Scene from the 1936 film Achhut Kanya (Photo credit: Wikipedia)

Kanan Devi

Kanan Devi (Photo credit: tonymitra)

Then came the era of Noor Jahan and Suraiya . Both were immensely popular stars and huge singers of their generation . Their songs and their films are still popular . Their retirement from the films finally brought an end to the glorious era of singing stars . Salma Agha , another singing star , came in ” Nikah ” [ 1982 ]  but it was an exception . Singing stars era had ended much earlier .

After the end of singing stars era , playback singing in films became popular . Rajkumari Dubey could be called the first female playback singer . She started her singing career in 1940 . Her songs with Mukesh in ” Bawre Nain “[ 1950 ]  are still famous and they are memorable . Modern day movie goer are familiar with her song from ” Pakeeza “[ 1972 ]  . It is ….. najaria ki mari mari more saiyan …….

Another playback singer from that era was Shamshad Begum . She rose to prominence with ” Khazanchi ” [ 1941 ] and ” Khandaan ” [ 1942 ] . Her career suffered major set back with the advent and subsequent supremacy of Lata Mangeshkar andAsha Bhosle . Amirbai Karnataki was another famous playback singer from that era .

Then began an era which is known as Lata Mangeshkar Era . She , along with her younger sibling Asha Bhosle , dominated the playback scene of Hindi films like a colossus for almost 5 decades .

English: Indian singer Lata Mangeshkar

Lata Mangeshkar (Photo credit: Wikipedia)

English: Indian singer Asha Bhosle

Asha Bhosle (Photo credit: Wikipedia)

During their era many singers came and went into oblivion . Geeta Dutt , Suman Kalyanpur , Kamal Barot ,  Sudha Malhotra , Mubarak Begum and Sharda came and eclipsed quickly without leaving a mark .

In 70s , while Lata Mangeshkar was still reigning supreme , again a new crop of female playback singers emerged . Alka Yagnik , Sadhana Sargam , Kavita Krishnamurty andAnuradha Paudwal came , gave some memorable hits and faded into oblivion . Lata Mangeshkar still ruled and gave memorable hits like ; Yash Chopra directed  ” Veer – Zaara ” [ 2004 ] .

Now a new crop of playback singers are hovering on the horizon . Shreya Ghoshal has become numero Uno like Lata Mangeshkar and Sunidhi Chauhan has almost taken Asha Bhosle’s place . But there are other female playback singers  also . They are fast emerging on the scene .

ADITI SINGH SHARMA : With chart – busters like ; ” Aali Re …. ” & ” Dilli , Dilli …… ” in ” No One Killed Jessica “ and ” Chhoomantar ….. ” in Mere Brother Ki Dulhan , she became a singer to watch in future .

ALYSSA MENDONSA : Daughter of Loy Mendonsa of Shankar – Ahsan – Loy fame , she sang ” Uff Teri Ada ……. ” in ” Karthik Calling Karthik “ and immensely popular ” Khwabon Ke Parindey ….. ” in Zindagi Na Milegi Dobara .

ANUSHKA MANCHANDA : She sang re-mix version of ” Dum Maro Dum …… ” with a rare conviction and forced everyone to take notice of her talent .

HARSHDEEP KAUR : With ” Katiya Karoon ….. ” of  ” Rockstar “ and ” Jugni ………….. ” of ” Cocktail “ , she hit big and is surely on her way to the top .

MAHALAXMI IYER : She hit the bull’s-eye with ” Ae Ajnabee ……….. ” in ” Dil Se ” , ” Sadka Kiya ………… ” in ” I Hate Luv Storys “ and hugely popular Punjabi numbers like ; ” Laung Da Lashkara ……. ” & ” Rola Pe Gaya …….. ” in ” Patiala House ” .

NEHA BHASIN : ” Kuchh Khas Hai …….. ” in ” Fashion “ and ” Dhunki Dhunki ……. ” in ” Mere Brother Ki Dulhan “ brought her on the top .

SHIPLA RAO : In a hit number like : ” Khuda Jane …………… ” of ” Bachna Ae Haseenon “ , she found her moorings .

SHRUTI PATHAK : With ” Marjaawan …………… ” in ” Fashion “ and ” Payaliya ………… ” in ” Dev D “ , she arrived and made her presence felt .

SHWETA PANDIT : She made her debut in Yash Raj Films ” Mohabbatein ” [ 2000 ] . From ” Mohabbatein “ to ” Mere Brother Ki Dulhan ” [ 2011 ]  , she had sung several hits in Hindi . She regularly performs with A. R. Rehman‘s stage shows also . She is extremely popular singer in Telugu films also .

With Shweta Pandit in My Office

With Shweta Pandit in My Office

In a way she is my student . Though she never took admission in my Acting Institute and didn’t come to my regular batch . But still she come to my institute whenever she is free and participates in the improvisation classes of my institute Vidur’s Kreating Charakters .

I am happy for her and wish her greater success . I am sure in years to come she will be top playback singer of India .

I am happy that I have at least one student in playback singing field also .




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