#Shamshad begum punjabi songs movie#

(Humayun, 1945), sorrow in Pee ke ghar aaj pyaari dulhaniya chali (Mother India, 1957), joy in Mere piya gaye Rangoon, wonder in the multilingual Ye duniya roop ki chor (Shabnam, 1949), mirth in Aana meri jaan Sunday ke Sunday (Shehnai, 1947) and romance in Chandni banke aayi hai bahar (Dulari, 1949) and Chaman mein rehke veerana mera dil hota jata hai (Deedar, 1951).

There is pain in Ek tera sahara (Shama, 1946), innocence in Main to odhun Nayyar likened her vocals to the resonance of a brand new silver coin. It did not matter to her that she sang the item song Ek do teen (Awara, 1951) after doing all the heroine numbers for Raj Kapoor in Aag. After pushing the careers of heroines Ramola, Mehtab, Nargis, Kamini Kaushal, Nalini Jaywant, Vyjayantimala and others to superstardom by singing for them, she unhesitatingly вЂњplaybacked' for child actors Jagdeep (Dard, 1947), Parikshit Sahni (Deedar, 1951) and heroes Shammi Kapoor (Bluff Master, 1963), Mehmood (Johar Mehmood in Hong Kong, 1971) and Biswajeet (Kismat, 1968). Shamshad Begum never let success go to her head. Even her record albums did not have her image as the music company HMV itself did not have her photo. She never allowed herself to be photographed. She led a simple and sober life, away from the public eye. Recording nearly 2,000 tracks in her lifetime, she did not market herself, and did not want to record songs till her last breath. From commanding the highest fees of в‚№ 2,000 per song in the 1950s (her contemporary Lata Mangeshkar earned в‚№ 300), she moved from the monopolization era towards semi-retirement at the peak of her popularity in the 1950s. She chose to live life on her terms, away from the glamour of filmdom for the past four decades.

Nayyar have sung chorus in my songs in their struggling days,' the publicity-shy artiste once told me. So was the energy-unlike that of her star contemporaries Noorjehan, Suraiya and Amirbai Karnataki.

#Shamshad begum punjabi songs movie#

History is witness that with every succeeding movie (Gawandi, Zamindar, Poonji, Chal Chal Re Naujawan, Humayun and Mela), the popularity of the songstress soared higher, establishing her as the supreme playback artiste of the 1940s. Her earliest movie songs, like Sawan ke nazare hain, became the craze of the subcontinent and her first films Yamla Jat (Punjabi, 1940) and Khazanchi (Hindi, 1941) were jubilee hits. Such shellac records and regular radio broadcasts from Lahore, Peshawar, Delhi and Lucknow earned the golden-voiced Shamshad Begum great popularity before her entry into films as a playback artiste in 1940. Tere poojan ko bhagwan bana man mandir alishaan, tuned by her mentor, Master Ghulam Haider. K baar phir kaho zara ki meri saari kaynaat teri ik nazar pe nisaar hai-and the bhajan. Later interactions with Shamshadji revealed that she sang Subah ki dua at age 5 at her school in Lahore before cutting record discs for the Jien O Phone Record Company at 13.