The Hindu Business Line : Play it again

The extended presence of the singing sisters Lata Mangeshkar and Asha Bhonsle on the Indian film music circuit ended up shortening the singing careers of many fabulous female voices. Some of these women retreated into nondescript and often difficult lives. Yet, the contribution of playback singers such as Shamshad Begum, Sudha Malhotra, Kamal Barot, Usha Mangeshkar, Ruma Guha Thakurta and Mubarak Begum to the rich repertoire of Hindi film music from the 1940s is unforgetta ble.

Of course, the queen amongst them is Shamshad Begum, who now leads a quiet and comfortable life at her suburban Mumbai home with her only daughter and son-in-law. The grand old lady is over 89 years and was living out of the public glare until recently when a prominent Indian magazine interviewed her. The last time she had even allowed an outsider to photograph her was some 50 years ago. The interview with her was therefore a truly historic record. Shamshad Begum began her career by singing on radio in Lahore in 1937. The Amritsar-born singer instantly captured the imagination of her listeners with her mellifluous voice and ruled the hearts of her fans from the 1940s till the late 1960s. Saiyan dilmain aana re (Bahaar, 1951), Boojh mera kya naam re (CID, 1956), Teri mehfil main kismat aazma kar hum bhi dekhengey (Mughal-e-Azam, 1960) are just some of Shamshad Begum’s smash hits. Her swan song, Kajra mohabbatwala (Kismat), was recorded in 1968. Legendary composer O.P. Nayyar recreated the aura of Kabhi aar kabhi paar (Aar Paar, 1954), another popular song by her, in a refreshing manner. The song is as much a rage today, as it was 40 years back when she retired.

Check out her evergreen hits on:

http://www.youtube.com/watch?v=eVGyT7AVxMw

http://www.youtube.com/watch?v=o8CqqmvwniY

http://www.youtube.com/watch?v=LLnJfodDTSw

Sudha Malhotra was another artist with magical vocal chords. Born in New Delhi in 1936, she was discovered as a child artiste by Master Ghulam Haider (a prominent music director of the 1940s, known for combining popular ragas with Punjabi rhythm in his songs). Her first break as a playback singer came with Mil gaye nain, composed by Anil Biswas, for the film Arzoo (1950). Naa mein dhan chahun, a bhajan from Kala Pani (1956); Salaam-e-hasrat qubool karlo (Babar, 1960) and Kashti ka khamosh safar hai (Girl Friend, 1960), a duet with Kishore Kumar, are the other songs she is often remembered for. She was awarded the coveted Kala Bhushan Award by the President of India Giani Zail Singh in the 1980s.

WFS

Mubarak Begum during a recording.

For a peek into her style of music, check :

http://www.youtube.com/watch?v=BA41alxY758

http://www.youtube.com/watch?v=_rNUcRz6Tdc

Sudha is one of the rare female playback singers to have sung a self-composed song — She has not only given the music for the haunting song Tum mujhe bhool bhee jao, from the 1956 film Didi, but also sung it with Mukesh. The story goes that on the day the song had to be recorded, composer N. Dutta fell ill. The recording couldn’t be postponed, as the picturisation of the song could not be delayed. On hearing this Sudha offered to compose the number — surely a highlight of her glorious career. Sudha was also often linked with prominent lyricist Sahir Ludhianvi, who was said to be in love with her. Unfortunately, his was to be an unrequited love and it is this disappointment which has been immortalised in the number Chalo ek baar phir se ajnabi ban jaen (Gumrah, 1963). Sudha is now 72 and, like Shamshad Begum, lives in Mumbai, home of the Hindi film industry. Barring an occasional stage programme of ghazals and bhajans, today she is seldom seen or heard.

Then there is the talented Kamal Barot, who somehow ended up with the tag of a ‘support singer’. In fact, she has sung countless duets and qawaalis as the secondary voice. Garjat barsat sawan ayo re with Suman Kalyanpur from Barsaat Ki Raat (1960); Dadi amma dadi amma maan jao with Asha Bhonsle from Gharana (1961); Hasta hua noorani chehra with Lata Mangeshkar from Paras Mani (1963)... the list goes on. But her rare solos too have been outstanding — Aaj humko hansaye na koyee from Badshah is haunting. Interestingly, she is not the only one from her family associated with the world of Indian cinema. Her brother, Chandra Barot, directed the original Don (1978), starring Amitabh and Zeenat Aman. Kamal, who is now in her 70s, divides her time between London and Mumbai, but little is known of her recent singing exploits.

Have a look at her excellent work, log on: http://www.youtube.com/watch?v=F9HoeRfvfJ0

http://www.youtube.com/watch?v=bjzvKib1RFw

Believe it or not, but the Mangeshkar name cannot always ensure great stardom on the Hindi music scene and Usha Mangeshkar would know that only too well. Despite belonging to the first family of Indian music, the accomplished Hindi and Marathi playback singer has perhaps lived her entire life in the shadow of her illustrious elder sisters — Lata and Asha. Like Kamal Barot, she has played second fiddle to her siblings in many songs. Kaahe tarsaye (Chitralekha, 1964) and Dekho bijli doli (Phir Wohi Dil Laya Hoon, 1963), sung with Asha Bhonsle, are excellent. Her solo Sultana sultana (Tarana, 1979) and Aplam chaplam (Azaad, 1955) with Lata Mangeshkar, reflect her high tonal calibre. Her O mungda, mangta hain to, (Inkaar, 1977) still gets everyone dancing. In fact, she makes it a point to sing these songs whenever she makes an appearance on stage. Now 73, she has phased out her public singing, although she made a surprise appearance, singing for Jai Santoshi Ma in 2006.

Check out her numbers at:

http://www.youtube.com/watch?v=-ZH2yhRlV4I

http://www.youtube.com/watch?v=6PUbSyL5BiA

A person who can sweep the audience away by the sheer variety of her accomplishments is Ruma Guha Thakurta nee Ghosh. Born in 1934, she is an actress, singer, dancer and choreographer all rolled into one astonishing personality. In 1951, Ruma married the legendary Kishore Kumar and the following year Amit Kumar came along. After her divorce in 1958, she settled down in Kolkata, where she formed the Calcutta Youth Choir (CYC) along with composer Salil Chowdhury and filmmaker Satyajit Ray. She must be doing something right because in May this year, CYC — considered a trendsetter in choir culture and the recipient of many international prizes including a first prize at the Copenhagen Youth Festival, Denmark — celebrated its golden anniversary. Ruma has worked with Mother Teresa; sung songs with Manna Dey, Hemant Kumar and Kishore Kumar; acted in over 100 Hindi and Bengali films; and played the lead role in Ganashatru that won an Oscar nomination in 1989. After acting in Mira Nair’s The Namesake in 2006, Ruma’s gusto for life at 74 is as much in evidence today as ever.

Take a look at her accomplishments on:

http://www.youtube.com/

watch?v=FkLGfr4o4DY

http://www.youtube.com/watch?v=hPEMo4_ATV0

One cannot possibly write about the wonderful grand old ladies of Indian music and not mention Mubarak Begum, whose comeback story would be unprecedented in the annals of world music let alone Hindi film music. The singer who rendered unforgettable songs such as Kabhi tanhaiyon mein (Hamari Yaad Aayegi, 1961), Mujhko apne gale lagalo (Hamrahi, 1963) and Kuch ajnabi se aap hein (Shagun, 1964) had not sung since 1968, after being sidelined and having no takers for her soulful voice.

I managed to track her down earlier this year and started the process of resurrecting her life and singing career. Mubarak Begum seems to have miraculously picked up from where she had left 40 years ago. And clearly her voice has not lost its magic and exuberance. Her stage presence is infectious. In the last six months, she has performed twice in Pune, Mumbai, Baroda and New Delhi and there are concerts planned in Kolkata and Chennai. Talk about a comeback! In fact, with a little initiative from an imaginative producer or composer, she can even return to the recording studios.

Her melodious voice can be enjoyed on: http://www.youtube.com/watch?v=9-FuMAFtw9o

http://www.youtube.com/watch?v=wCayL5d2h1U

These women are national treasures. And while decades have passed by since several of them last stepped into a recording studio, the songs they have sung continue to touch the soul. Perhaps, it’s time to let them know that they haven’t been forgotten.

Women’s Feature Service

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