LAHORE (Web Desk) – Zubaida Khannum emerged on the film scene in 1950s when she started her career as a playback singer. She also performed as an actress in films like Dhullah Bhatti and Pattay Khan. Faisal, son of Zubaida Khanuum, is a known cameraman and director.
Zubaida Khanum epitomized the robustness of the rhythm based music of Lahore. Zubaida’s parents had migrated from Amritsar and settled down in Lahore, but Zubaida Khanum did not belong to any musical ‘gharana’ and singing was not part of her family norms.
It was purely her passion and talent plus financial need, which made her enter films and then turned her big in the film industry. Before Noor Jehan changed the concept of playback singing in the 60s, Zubaida Khanum ruled the Urdu/Punjabi playback singing from her Lahorian loftiness for a large part of the 50′s.
Zubaida’s thrillingly adventurous vocals which sang of love and life without regrets, filled a vacuum in Pakistani playback singing when Nazir and Swaranlata signed Zubaida Khanum for ‘Shehri Babu’ in 1953.
Rashid Attre was the composer. Gallan sun kai mahi dai naal meriyan, Raatan merian bana ke Rabba immediately brought Zubaida’s voice to the forefront of playback singers in Lahore.
During early years, Zubaida also appeared as guest artist and brief roles in handful of films including ‘Patey Khan’ and Morni’. This was more for fun, which did not last long. However, what went on was Zuabida’s sweet voice filmed mostly on Musarrat Nazir and Sabiha, the two leading ladies from the fifties.
Although she could sing all type of songs with equal ease, it was her frothy and sensuous songs where she had no equal. Whenever the film required club or dance number, Zubaida was number one choice for any music director be it Khurshid Anwar, Rashid Attre or Feroze Nizami.
Zubaida Khanum epitomized the robustness of the rhythm based music of Lahore. Zubaida’s parents had migrated from Amritsar and settled down in Lahore, but Zubaida Khanum did not belong to any musical ‘gharana’ and singing was not part of her family norms.
It was purely her passion and talent plus financial need, which made her enter films and then turned her big in the film industry. Before Noor Jehan changed the concept of playback singing in the 60s, Zubaida Khanum ruled the Urdu/Punjabi playback singing from her Lahorian loftiness for a large part of the 50′s.
Zubaida’s thrillingly adventurous vocals which sang of love and life without regrets, filled a vacuum in Pakistani playback singing when Nazir and Swaranlata signed Zubaida Khanum for ‘Shehri Babu’ in 1953.
Rashid Attre was the composer. Gallan sun kai mahi dai naal meriyan, Raatan merian bana ke Rabba immediately brought Zubaida’s voice to the forefront of playback singers in Lahore.
During early years, Zubaida also appeared as guest artist and brief roles in handful of films including ‘Patey Khan’ and Morni’. This was more for fun, which did not last long. However, what went on was Zuabida’s sweet voice filmed mostly on Musarrat Nazir and Sabiha, the two leading ladies from the fifties.
Although she could sing all type of songs with equal ease, it was her frothy and sensuous songs where she had no equal. Whenever the film required club or dance number, Zubaida was number one choice for any music director be it Khurshid Anwar, Rashid Attre or Feroze Nizami.
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