In 1944, when Mehboob Khan launched his historical venture ‘Humayun’, Master Ghulam Haider used Shamshad Begum’s voice in the film. When he shifted to Bombay in 1944, Shamshad Begum went with him as a member of his team. Lahore-based composer Master Ghulam Haider used her voice skilfully in some of his earlier films like ‘Khazanchi’ (1941) and ‘Khandan’ (1942). Infact, Leke pehla pehla pyar arguably remains their most popular duet together. While Naushad gave them the folksy O ghadi wale ghadi dheere haank re (Mother India, 1957) and romantic Mohabbat chumme jinke haath (Aan, 1952), O.P Nayyar on the other hand gave them the westernized Thoda sa dil laga ke dekh (Musafirkhana, 1955) and heart-stopping Leke pehla pehla pyar (CID, 1956). Some of their best known duets were composed by Naushad and O.P Nayyar. Their first duet together was with Zohra Bai Ambala Wali Chotisee ek banayenge naiyya from Hamara Sansar (1945) with music scored by Pandit Govindram. Mohammed Rafi and Shamshad Begum sang almost 160 duets together in Hindi Films.
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Her magnanimity, non-assertive nature and professional approach earned her the fond nickname ‘appa’ in the film industry. Shamshad Begum became a legend very early in life and her generosity was even more legendary. (Source:-Shamshad Begum’s interview conducted by Rachana Dubey). After the song was okayed he came to me and said Aapaji maan gaye aapko”. I managed to do it, he couldn’t even after five takes. There were about 8-10 lines that both of us had to sing breathlessly. In the words of Shamshad Begum, “I was rendering a song, ‘La De Mohe Balamaa Aasmaani’ with Mohammed Rafi for Rail Ka Dibba (1953). Some of the popular songs of Shamshad Begum’s remixes are ~ Many yesteryear singers and composers are against this remixing of the old songs but Shamshad Begum feels that there is no harm if the younger generation is enjoying the old songs in their new ‘avtaar’. And by the popularity of these remixes one can easily judge her popularity in ‘her’ days. Most of these remixes were originally sung by Shamshad Begum. We can judge the popularity of her songs by the number of remixed songs which are storming the music market today. Shamshad Begum is an Indian singer who was one of the first playback singers in the Hindi film industry. Rafi Sahab fondly used to address Shamshad Begum “Aapaji” (an elderly sister), the legendary undisputed melody queen and playback singer of yesteryear who captivated the hearts of listeners with the enchanting depth of her voice. We do not quote them with ostentation, but they mingle with our minds, sweeten our tempers, and harmonize our thoughts they put us in good humor with ourselves and with the world, and in so doing they make us happier and better listeners. While the other singers of loftier pretension and more sounding names are suffered to molder on our shelves, those of Mohammad Rafi are cherished and laid in our bosoms. The artless benevolence that beams throughout his singing the whimsical, yet amiable views of human life and human nature the unforced humor, blending so happily with good feeling and good sense, and singularly dashed at times with a pleasing melancholy even the very nature of his mellow, flowing, and softly-tinted style, all seem to bespeak his moral as well as his intellectual qualities, and make us love the man at the same time that we admire the singer. We hear his songs every day, and grow into familiar intimacy with him as we listen. There are few singers for whom the listener feels such personal & emotional attachment as for Mohammad Rafi, for few have so eminently possessed the magic gift of identifying themselves with their singing.
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