Talat Mahmood -The Ghazal King with a velvet voice

Raaste men ruk ke dam loon, ye meri aadat nahin
Laut kar vaapas chala jaoon meri fitarat nahin
Aur koi ham-nava mil jaayen yeh qismat nahin
Ai gham-e-dil kya karoon, Ai vahashat-e-dil kya karoon
kya karoon, kya karoon,
Ai gham-e-dil kya karoon…..

When you listen to the above beautiful lines of the poet Majaz Lakhnavi in the unique voice of Talat Mahmood sahib , you can understand why the Almighty created a voice that was just made for Ghazals & Nazms .The sweetness of Urdu poetry comes to life fully with Talat sahib’s perfect diction.

Among the legendary male playback singers of Hindi Film Music (HFM), if there is one singer who might have sung  very limited  film songs but scored very high on the  excellent  quality of  songs it is the velvety-voiced  Talat Mahmood. I am a bit late to publish this on 26^th Feb-missed Talat Saheb’s birth anniversary on 24^th Feb!

Born on 24^th Feb 1924, he had his first recording in the year 1941 with a non-film song Sab Din Ek Saman Nahin Tha and his first film song Jago Musafir Jago for the film Rajlaxmi in 1945. The song Sab Din Ek Saman Nahin Tha had very prophetic lines ( Composed by Subal  Das Gupta and written by Fayyaz Hashmi)

Sab Din Ek Saman Nahin Tha

Ban Jaaoonga Kya Se Kya Mein

Iska toh kuch dhyaan nahin tha

What a great way to start off his career!!

In  the 30’s & 40’s Non-Film Song Albums were quite popular and so with the 1944 hit  ghazal “Tasveer teri dil mera behela na sakegi” ( composed by Kamal Das Gupta and written by Fayyaz Hashmi)  Talat became a sensation.

 In the initial years he was keen to become an actor ( having acted in 13 films) and definitely his photographs in his younger days  show he could have been one of  the most handsome of the playback singers. However, destiny had something better in store for him ( and for  us!) and he went on to become a most-sought after playback singer , especially for ghazals.

With only around 450+ films songs and some 200+  odd non film songs, Talat leads in terms of the very high-quality songs that he had sung. The sobriquet “ A perfect gentleman” given to him reflects very much in his songs -always caressing you with his velvety voice.

 My heart would like to list out a hundred songs  but as per my own set rule of limiting the count to 20 or 25 songs ,  I have tried my best to list out his best among the best with a variety of music composers. I have also arranged these in chronological order so that you get a perspective of the nearly two decades of his prime career.

#1 Ae Dil Mujhe Aisi Jagah Le Chal Jahan Koi Na Ho

Year: 1950 , Film: Arzoo, Music: Anil Biswas , Lyrics: Majrooh Sultanpuri

This was his first  song in Hindi films and was composed by his mentor Anil Biswas who could recognize the natural vibrato in Talat’s voice and utilized him in some 14 songs. Talat went on to be the leading voice for Dilip Kumar and even for the early few films of Dev Anand & Raj Kapoor . The inherent pathos in Talat’s voice creates a right mood for this song that has a very simple orchestration.

#2 Husnwalon Ko Na Dil Do Yeh Mita Dete Hain

Year:1950 , Film: Babul  , Music: Naushad , Lyrics: Shakeel Badayuni

With very few accompanying instruments –  harmonium and a tabla, which is the trademark of the ‘simplicity-personified’  Naushad’s style, this song comes to life with  the excellent rendition of Talat . The film Babul had six songs of Talat : two duets with Shamshad Begum that are famous-Milte Hi Aankhen Dil Hua Deewana & Duniya Badal Gayee, Meri Duniya Badal Gayee , one triad of  Talat , Rafi & Shamshad and three solo songs of Talat  .

#3 Dil Mein Sama Gaye Sajan, Phool Khile Chaman ( Duet with Lata Mangeshkar)

Year:1952 , Film: Sangdil , Music: Sajjad Hussain , Lyrics: Rajendra Krishan

The only duet in this selection , this is a typical Sajjad composition that may sound simple while listening but like most of Sajjad’s tunes , very difficult to sing. Talat’s natural style helps him in singing this with so much of ease and is pleasing to hear, of course with Lata equally matching him . An evergreen song that is always on top of the list when Talat & Lata duets are talked about.

#4 Mohabbat Hi Na Jo Samjhe, Who Zalim Pyaar Kya Jaane 

Year: 1952 , Film: Parchaiyan, Music: C Ramachandra ,  Lyrics: Noor Lakhnavi

Chitalkar Ramachandra, whose own voice sometimes resembled Talat’s , utilized the latter for some 27 songs that are the highest by any music composer amongst Talat’s film songs. Like almost all Talat’s songs this one also has fantastic lyrics by Noor Lakhnavi. Urdu is a language that is meant for poetry…if we translate the first lines into English, it may not give the exact feeling. For example, Mohabbat and Pyaar may both signify love but the poet might have placed “pyaar” a bit higher than “ Mohabbat”! When you listen to this song with the silken touch of Talat’s voice , it just feels like a cool breeze caressing your face.

#5 Main Dil Hoon Ek Armaan Bharaa, Tu Aake Mujhe Pehchaan Zara

Year:1952  , Film: Anhonee , Music: Roshan , Lyrics: Satyendra

This song is a “duet” with a piano!! What a beautiful composition by Roshan, integrating the piano throughout the song!

Though Roshan had very limited songs with Talat, this one really deserves to be in the list for the sheer lilting melody and for the fact that this is one of those rare occasions where Raj Kapoor had Talat singing for him. While researching for this blog I observed one interesting fact. In the early 50’s , Talat had been the leading play back  voice for all the top heroes  at that time-Dilip Kumar, Raj Kapoor & Dev Anand . Later on, they changed over to Rafi, Mukesh & Rafi-Kishore respectively!!

#6 Ae Mere Dil Kahin Aur Chal 

Year:1952 , Film: Daag, Music: Shankar-Jaikishan, Lyrics: Shailendra

It could be only the emperors of HFM , Shankar -Jaikishan who could make Talat sing a fast number like this. A classic example of the use of counter melody in HFM , the song starts with a burst of violins, harmonium, mandolin and has an excellent counter melody harmonium piece in the antaraas. To make it an immortal song, Shailendra , in his typical style of conveying profound philosophy with minimum and simple words that anyone can understand , ends with the lines:

Chaar Aansoo Koi Ro Diya

Pher Ke Munh Koi Chal Diya

Lut Raha Tha Kisi Ka Jahan

Dekhti Reh Gayee Ye Zameen

Chup Raha Bereham Aasmaan

#7 Zindagi Denewale Sun, Teri Duniya Se Dil Bhar Gaya

Year: 1953, Film: Dil-E-Nadaan, Music: Ghulam Mohammad, Lyrics: Shakeel Badayuni

Ghulam Mohammad, who spent most of his career as assistant to the legendary composer Naushad Ali , was a great composer by himself. Who can forget his timeless masterpieces from Pakeezah!. With Talat he had a great chemistry and the songs from Mirza Ghalib are a testament to this. However, I have selected this classic sad song from Dil-E-Nadaan picturized on Talat himself on screen. Like almost all the songs of Talat, lyrics play a very important role, with minimum requirement of orchestration. The manner in which he brings the sadness into the lines really touches one’s heart:

Be-khata tune mujhse Khushi cheen li

Zinda rakha magar, zindagi cheen li

Kar diya dil ka khoon, chup kahan tak rahoon

Saaf kyun na kahoon, tu khushi se meri dar gaya

#8 Shaam-E-Gam Ki Kasam Aaj Gamgin Hain Hum

Year: 1953, Film: Footpath, Music: Khayyam , Lyrics: Majrooh Sultanpuri

In the beginning Khayyam’s compositions were too good , but unfortunately, he got recognition more in the 80’s. Individual tastes may vary but for me the quality of his compositions in the 50’s was far ahead of the later ones. This particular Talat song is an example of how with minimum orchestration , those days the composers created evergreen melodies , mainly with the tremendous support they got from legendary singers like Talat and lyricists like Majrooh.

In our classical music , each raag conveys certain moods. Likewise, there are certain voices that really touch your soul and convey the emotions so beautifully. When you listen to this song, you can visualize yourself sitting on the banks of a river on a sunset evening with a gentle breeze caressing you …That is the power of Talat’s songs.

#9 Andhe Jahan Ke Andhe Raaste Jaayen to Jaayen Kahan 

Year:1953 , Film: Patita  , Music: Shankar-Jaikishan , Lyrics: Shailendra

One more S-J & Talat masterpiece , again with a fast-paced tune -it is really amazing how S-J can think of composing a song with pathos with their typical rhythm and orchestration , without destroying the mood of the song.

Talat gives life to the superb lines of Shailendra:

Jeene Ki Chahat Nahin, Marke Bhi Raahat Nahin

Is paar aansoo us paar aahen, dil mera bezubaan

Hamko Na Koi Bulaye, na koi palken bichhaye

Ae gam ke maaron, manzil wahin hai dam ye toote Jahan

Aagaz ke din tera , anjaam tay ho chuka

Jalte rahen hain, jalte rahenge yeh zamin aasmaan

#10 Ae Gham-E-Dil Kya Karoon

Year:1953  , Film: Thokar , Music: Sardar Malik , Lyrics: Majaz Lakhnavi

I started this blog with the lines from this Nazm written by the poet Majaz Lakhnavi , who like many of the poets in those days had a troubled life. I came to know that the original nazm written by him had 14 stanzas and only two were used in this film song. Like many unfortunate music composers of those days, Sardar Malik never got the fame and recognition he deserved ( which his son Anu Malik got plenty in 90’s!!) . A simple but very melodious tune that brings out the powerful words of the poet .

#11 Jayen to Jayen Kahan

Year: 1954 , Film: Taxi Driver , Music: Sachin Dev Burman , Lyrics: Sahir Ludhianvi

Sachin da composed very few songs with Talat but got him the only Film fare award with “ Jalte Hain Jiske Liye “ from Sujata ( Refer Song# 17 below). This one from Taxi Driver , picturised on Dev Anand is very popular. There is a female version of this song by Lata also but Talat’s version is more popular and brings out the intense pathos in the song. Before their rift with Pyaasa film, Sachin da & Sahir were a fantastic combination.

#12 Bechain Nazar Betaab Jigar

Year: 1955    Film: Yasmin, Music: C Ramachandra, Lyrics: Jan Nissar Akhtar

One more song from the “made for each other” combination of C Ramachandra & Talat. This one has that typical beat for which CR was well known. The Tabla-Dholak-Mandolin used in this song proves that , those days they didn’t require any electronic / technical gadgets to create pure magic. One interesting feature that I have observed in Talat’s voice is that  he conveys both pathos and happiness with equal ease in  the natural vibrato in his voice.

#13 Tasveer Banata Hoon , Tasveer Nahin Banthi

Year:1955 , Film: Baradari , Music: Shaukat Ali Hashmi (Nashaad) , Lyrics: Khumar Barahbankvi

For a long time, I was under the wrong impression that this song was composed by Naushad -even now in some places you may find this mistake. It was beautifully composed by Nashaad whose real name was Shaukat Ali Hashmi who later on settled down in Pakistan. The special charm of this song is the way the sitar ( I hope I am correct to identify this) “ responds” with a sound similar to “ kyoon” after the line Tasveer Banata Hoon , Tasveer Nahi Banti.

#14 Humse Aaya Na Gaya Tumse Bulaya Na Gaya

Year:1957 , Film: Dekh Kabira Roya , Music: Madan Mohan, Lyrics: Rajendra Krishan

When the topic is Talat and Ghazals , how can the other King of Ghazals be left out…here comes Madan Mohan. One of the very popular film songs composed  in Raag Bageshri, Madan Mohan teams up with his very successful lyricist Rajendra Krishan and Talat to give an immortal classic. As such , when it comes to discussions on HFM , lyricists take a back seat and Rajendra Krishan is a highly under-recognized but in my personal opinion a fantastic lyricist.

This song is picturised on Anoop Kumar, brother of the  more famous Ashok & Kishore. In many of the songs from the golden era, the power of music , lyrics and singing was so great that many such lesser-known actors were fortunate to get immortal songs  picturized on them.  Talat , with his superb singing and diction takes  this song to a different level altogether. 

The last stanza of this song is just a bliss to hear:

Yaad Reh Jaati Hai Aur Waqt Guzar Jaata Hai

Phool Khilta Bhi  Hai Aur Khilke Bikhar Jaata Hai

Sab Chale Jaate Hain, Kab Dard-E-Jigar Jaata Hai

Daag Jo Tune Diya Dilse Mitaya Na Gaya

#15 Raat Ne Kya Kya Khwaab Dikhaye

Year:1957  , Film: Ek Gaon Ki Kahani  , Music: Salil Chowdhury , Lyrics: Shailendra

Salil da and Talat were one more superb combination with so many songs like Aaha Rimjhim Ke Yeh Pyaare Geet Liye, Itna Na  Mujhse Tu Pyaar Badha( the Mozart inspired song) , Aansoo Samajh Kar Kyoon Mujhe Aankh se tune gira diya, Ankhon Mein Masti Sharab Ki etc etc.. However, the reason for choosing this one is  the poignant lyrics and the way in which Talat sings this with a feathery touch.

Raat Ne Kya Kya Khwaab Dikhaye

Rang Bhare Sau Jaal Bichaye

Aankhen Khuli To Sapne Toote

Reh Gaye Gam Ke Kale Saaye….

No words needed to write further!!!

#16 Sab Kuch Luta Ke Hosh Mein Aaye Toh Kya Kiya

Year: 1957, Film: Ek Saal , Music: Ravi, Lyrics: Prem Dhawan

When I was trying to list out Talat’s top songs , this one was definitely in my mind. After checking how many songs he had sung for the composer Ravi I was surprised to know that there were only two!! The other song is  not a famous one , but Ravi being a master in composing melodious ghazals scores with just this number.

I don’t know what is the situation of this song in the film but I guess it must be the character’s repentance getting reflected in these  concluding lines that Talat so nicely brings out:

Le Leke Haar Phulon Ki , Aai To Thi Bahaar

Nazren Uththa Ke Ham Ne Hi , Dekha Na Ek Baar

Ankhon Se Ab Ye Parda  Hataye To Kya Kiya

#17 Jalte Hain Jiske Liye , Teri Aankhon Ke Diye

Year:1959  Film: Sujata  , Music: Sachin Dev Burman  , Lyrics: Majrooh Sultanpuri

The song for which Talat got his only Filmfare award ( though personally I never understood the logic behind these awards !) ; in fact, he deserved  much more than just one award. However, this song can be considered one of the best ever by him. There are contradicting anecdotes about this song being originally meant for Rafi to sing but it was either the producer Bimal Roy or  Jaidev -SD Burman’s assistant who insisted on the song being finally given to Talat. Even Manna Da was initially considered, it seems. I am not an authority on these stories and so let’s leave it at that . On a lighter vein, this song could be the first one to have been heard on a phone  ( on screen Sunil Dutt sings the entire song over phone to Nutan-though for some reason most of the time she is not placing the receiver on her ears!!) . Lot of foresight those days—today we listen so many songs mostly through our mobile phones!

Whosoever decided that Talat should sing this song was 100% right-this can never be imagined in anyone else’s voice. He nicely sums up this with the line:

Geet Nazuk Hai Mera , Sheeshe Se Bhi

Toothe Na Kahin

Gungunaaoonga Yuhin , Geet Mein Tere Liye

My song is more fragile than glass, Let it not break,

I will keep singing like this for you….

Talat Saheb’s songs are really precious and we will not allow it to break….

#18 Mazandaraan, Mazandraan;  Mere Watan Mere Jahan

Year: 1963 , Film: Rustom Aur Sohrab  , Music: Sajjad Hussain , Lyrics: Jan Nissar Akhtar

Almost never talked about , but in my opinion, this is  a top most  song of Talat . If there is a phrase to describe this song , it is “ just out of the world”. Fully doing justice to the mild tremor in Talat’s voice , Sajjad Hussain takes  an Arabic musical canvas and with  his intricate painting strokes , literally creates a great work of art. One can call this song as an “acquired taste” as I find this not being mentioned even in some of the very knowledgeable circles. I find the rhythm pattern and the orchestration so unique. The violins  play literally in a wave like motion, piano & flute that follow Talat’s voice …simply spell binding music.  

The film is about  the tragedy of Rustam and Sohrab ,  part of the 10th-century Persian epic Shahnameh by the Persian poet Ferdowsi and each  song from  this film will remain evergreen. Mazandaran is a province in Persia  (modern  day Iran) and the prince  in this song talks about his land, Mazandaran.  

#19 Teri Aankh Ke Aansoo Pee Jaaon

Year: 1964 , Film: Jahan Ara , Music: Madan Mohan , Lyrics: Rajendra Krishan

#20 Phir Wohi Shaam Wohi Gham Wohi Tanhayee

Year: 1964 , Film: Jahan Ara , Music: Madan Mohan , Lyrics: Rajendra Krishan

I conclude this blog with two timeless classic ghazals from the inimitable team of Madan Mohan, Talat & Rajendra Krishan from the film Jahan Ara which can be considered as almost the fag end of Talat’s film career. Though he did sing few songs even as late as 1971, but we would like to remember the gentle , velvety voiced Talat Saheb with these two songs. Madan Mohan was known for his preference to Rafi but in Jahan Ara , there were totally three Talat solos ( apart from the two mentioned here, the other one was Mein Teri Nazar Ka Suroor Hoon)  and one duet with Lata-Ae Sanam Aaj Yeh kasam khayen.

“Teri ankh ke aansoo pee jaaon“  had Talat rendering a scintillating performance. The antaraa of the song raises in steps with Talat’s voice touching a raw nerve in you and ends with that typical flourish of violins of Madan Mohan.

Whenever we think of Talat sahib, we would also like to say:

Phir Wohi Shaam, Wohi Gam, Wohi Tanhayee Hai

Dil Ko samjhane , Teri Yaad Chalee Aaayee Hai…..

Special Acknowledgements:  I sincerely thank the publishers of following blogsites & Internet sources  for the information that I could gather for this article:

1. Talatmahmood.net-Blogsite by Talat’s son Mr. Khalid Mahmood
2. You Tube
3. Wikipedia

Acknowledgements and Disclaimer:
The songs mentioned are from the popular, public domain and have been mentioned here   only for the listening pleasure of the music lovers. This blog does not claim any copyright over them, which rests with the respective owners of the rights. I would also like to thank various blogs/articles published in the Internet from which I had obtained many information while writing this.