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Dekho dekho huzoor ( Alibaba And Forty Thieves, 1954) with Mohammed Rafi. Just listen to her "O Mister" – it makes Kishore sound positively sober in comparison! The lyrics of the song are hilarious enough – a couple (can’t find the video so I can’t say who they are) are celebrating their wedding night and anticipating the divorce about to happen soon – but Shamshad’s buffoonery makes them even funnier.Ħ. 1, but here he is clearly out-buffooned by Shamshad. So I am always surprised at how well matched they are, even in their humorous antics. Kishore-Shamshad always struck me as a rather unusual singing duo, more so because I (wrongly) think of them as belonging to different decades. Do se ho gaye ek hum (Ashiana, 1952) with Kishore Kumar. Her unusual earnestness apart, I just enjoy this song for her voice that flows like a steady stream of melted chocolate – sweet, thick and so very rich!ĥ. Most of her songs that I had heard before, usually had her in a playful and bouncy mood, with the occasional sad song thrown in. When I first heard this song, I was struck by the earnestness in Shamshad Begum’s voice. It is at once an earnest appeal for compassion and a passionate avowal to improve their lot, by a group of orphans. Hum dard ka afsana ( Dard, 1947) Music director: Naushad And here is my list, in all its freshly edited glory (the songs are included in this youtube playlist):ġ. But even limiting myself to her 50s songs, I still had lots of great songs to choose from! The only way I could limit myself to “ten favorites” was by listing the first ten songs that came to mind – though even then it was a tough job since I did want to include some of her 40s songs and some of her lesser known numbers.
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Her biggest hits were from the 40s, most of which I’m not very familiar with. I love her folksy songs best, but there is no denying that she shone at every genre she handled – from the "Western" Meri jaan sunday ke sunday, to the haunting Dharti ko aakash pukare and the numerous peppy numbers that have been remixed ad infinitum in more recent times. And she is perhaps the only female singers to have provided playback for leading men – she sang for Shammi Kapoor ( Bluffmaster) and Biswajit ( Kismat)!įor a singer without any formal musical training, she had an amazing vocal range and command over her voice. She recorded her first film-song for music director Ghulam Haider in the Punjabi film Yamla Jatt (1940), and her career as a popular playback singer was launched! She went on to give us hundreds of popular songs in her lovely earthy voice with its distinctive nasal twang. From there to singing for movies was but a short step. She started her career singing for radio Lahore in 1937.
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Her self-imposed seclusion is remarkable, because during all those decades away from the public eye, her old songs remained popular with the public and not a day passed without at least a couple of songs being played on Vividh Bharati and All India Radio.Shamshad Begum The name conjures up images of golden classics, old-fashioned fun songs, and a nasal voice that may be out of fashion now, but never seems dated.Her family clarified in a press release that this was not so and it later emerged that the Shamshad Begum who had died in 1998 was Saira Banu’s maternal grandmother.In 2004, a controversy erupted in the media, when several publications wrongly reported that she had died a few years previously.
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She gradually became a recluse and devoted herself entirely to her grandchildren, to the point that the general public was unaware of whether she was alive or dead.Her songs from the 1940s to the early 1970s remain popular and continue to be remixed.She worked with maestros including Naushad Ali, S.She had a distinctive voice and was a versatile artist, singing over 6,000 songs in Hindi and Bengali, Marathi, Gujarati, Tamil and Punjabi languages and of them 1287 songs were Hindi film songs.She was an Indian singer who was one of the first playback singers in the Hindi film industry.