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This song is so dear to me cos Bombay is my city!Originally posted by: DelusionsOfNeha
Yeh hai Bombay meri jaan... Reflecting the difficulties and realities of the dream City!
And the last para sung by Geeta Dutt is my personal take!
Bura duniya woh hai kehta aisa bhola tu na ban
Jo hai karta woh hai bharta hai yahan ka ye chalan
I have never done a tribute to this wonderful singer on this thread and I'm so ashamed - I need to correct the omission immediately. Today presented the perfect opportunity.
Today, Feb 24, marks the 99th Birth Anniversary of one of the most unique and I think, under-rated playback singers Hindi Cinema has ever known ... Talat Mahmood.
I had been listening to Talat's golden voice since my childhood when my dad would play his reel-to-reel Talat collection of his most famous film and non-film ghazals. At the time, to my young, immature mind, it was just 'background' noise - some old fogey that my dad liked to listen to and I dismissed it and him. A lot of the music my dad would play was dismissed as background music then since my brother and me were more excited about discovering secretly bootlegged pop and rock music from undisclosed sources - mostly because there was a hint of the forbidden in it that appealed to our young, rebellious selves. My dad used to call him the 'King of Ghazals' and my teenage mind would scoff, not being able to look beyond Jagjit Singh.
It was only much later, when it wasn't thrust on us by my dad, that we gravitated towards all things Golden Era-related and Talat was, naturally, among our topmost fixations. In fact, I can proudly say, that we not just matched my father's obsession with his voice but far surpassed it going on to 'collect' vinyls, cassette tapes and CDs of his rare solos and duets that my dad himself hadn't heard of, despite being the music connoisseur he was! A definite feather in my cap! And I will shame-facedly admit, or even loudly declare that Talat Mahmood is indeed the 'King'- nope - the 'Emperor of Ghazals', because it's largely thanks to his songs that my love for this genre grew. Even now, if I were to make a choice to listen to Ghazals, Talat's would be the ones I would put on.
My dad had his most famous songs in his Talat collection, so of course I'd heard them all - 'Tasveer teri dil mera behla na sakegi', 'Phir mujhe deeda-e-tar yaad aaya', 'Jayen toh jayen kahan' and 'Jalte hain jiskeliye', 'Humse aaya na gaya', 'Shaam-e-gham ki kasam', 'Ae dil mujhe aisi jagah le chal' to name a few.
Little did I realize I'd barely skimmed the surface of his talent. I discovered his duets much later, and what duets they are! He's sung the maximum with Lata though has a fair share with other female singers as well.
Talat was born in a conservative Muslim family in Lucknow and like most conservative families then, music was frowned upon but in no way did that diminish young Talat's fascination. He would frequent record stores and attend late-night concerts. He had begun singing gazals for AIR, Lucknow from as young as 16 years, going on to study music at the Marris Music College where he learned music from Pandit S.C.R. Bhat. In 1941, his first big break arrived in the form of the ghazal, 'Sab din ek samaan nahin tha' that he was contracted by HMV to record. In fact, Pankaj Mullick was present at the recording and gave him an offer to sing in films in Calcutta.
In 1944, came his ticket to fame, 'Tasveer teri dil mera behla na sakegi' and it was such an instant hit, that it prompted him to seek out Pankaj Mullick who gave him a job in his studio, where he met his idol, K.L Saigal. Being the handsome dude he was, he was offered films too and he acted in a few in supporting roles.
When the film-making business hub moved to Bombay from Calcutta in the late 40s, Talat moved too, but he did not find things smooth sailing in the big city despite being a well-recognized name. He was apparently so jaded and fearful of rejection that when Anil Biswas invited him over for a recording twice, he didn't go. Later, Anilda met him at an event and asked if he thought himself so great that he was above coming over when called. Talat, deeply apologetic, confessed his real reason for his reluctance and Anilda immediately signed him on for 'Aarzoo' and 'Ae dil mujhe aisi jagah le chal' became such a runaway hit that there was no looking back for the young singer.
Like all upcoming singers in those times, Talat too started out trying to emulate the great K.L Saigal but it was Anilda who saw the potential in the unique quiver in his voice and told him firmly he could either use it and be Talat Mahmood or lose it and be just another wannabe Saigal. Of course, he decided to use it and lent his voice to so many memorable filmi ghazals, many of them pictured on the top heroes from those times - Dilip Kumar, Dev Anand and Raj Kapoor.
He was also offered acting jobs - the first among them was Dil-e-nadaan, a sordid love triangle with him opposite Shyama and Peace Kanwal. In fact, Shyama has confessed to being so infatuated by Talat's good looks that she found it hard to focus with him on set, and would keep blushing in all their scenes together. However, his acting never took off the same way as his singing. Unfortunately for him, it was the acting jobs that led to him losing out on many playback singing projects because music directors thought he was busy acting, and preferred to sign on readily available singers like Rafi and Mukesh whose sole focus was singing. He did rule the roost in the 50s though, despite stiff competition.
S.D. Burman had wanted Rafi for 'Jalte hain jiske liye', but Bimalda insisted on Talat, and thank God he did. Though I adore Rafi, I cannot imagine this song in any voice other than Talat's. Similarly, Dilip Kumar had wanted him for 'Suhana Safar' but Talat graciously asked them to take on Mukesh, who was in dire straits at the time and needed the job, a gesture that Mukesh was immensely grateful for and actually touched him enough to move him to tears. Such was his generosity.
In fact, his voice seemed to reflect the man he was- gentle, soft-spoken and polite. Dilip Kumar had once called him 'the perfect gentleman', he would always be neatly and impeccably dressed and never uttered a curse or a bad word.
The advent of rock 'n' roll in the 60s and the economic prosperity of the middle class led to the fallacious perception that Talat's kind of singing was boring, slow and laidback and he began getting fewer and fewer offers. Apart from 'Chhaya', 'Haqeeqat', 'JahanAra' and a few odd films here and there, Talat faded into the background and began focusing more on tours and non-film songs until he eventually stopped singing due to ill-health.
His last recording was in 1985. He was awarded the Padma Bhushan in 1992 and passed away in 1998, aged 74.
Let's mark today in memory of this soulful and dignified man and talented singer.
I'm posting one of my favorite Talat songs. Please post yours too.
Song: Tum toh dil ke taar chhedkar
Film: Roop ki Rani, choron ka Raja (1962)
Music: Shankar- Jaikishen
Lyrics: Shailendra
Originally posted by: EuphoricDamsel
Very recently I came across a reel posted by someone I know on his stories - it had some foreign artist I have never heard of take samples of Lag Ja Gale and fuse his own 'rap' into the notes she had taken. It was physically painful to watch and listen, but what was more disturbing was the comment section. The GenZ v/s Millenials and 90s kids. I'm all for people finding inspiration in music everywhere but when you artists do stuff like this -
The GenZ are soooo ruthless and rude for some reason, as if they've already achieved monumental stuff within two decades.
Someone pointed out - "Ab reach badhani hai tho ofc Indian audience ka engagement chahiye...so what you do is try and hamper our culture / legends we've been listening all our life" and a kid replied - 'Aagya culture waale...comment section mein natak phailane. Konsa culture hamper ho raha hai pata nahi...har cheez se dikkat hai inko!'
I am so guilty without doing anything ☢️
Ok somehow I missed this comment. This is sad.
I'm all for innovation and putting your own spin on songs and making them your own but you gotta respect the legacy these artists left behind. One of the reasons I like Sanjeev so much is this - he does not twist the originals beyond comparison. You can feel the love and respect he has for the artists of yesteryear and what people don't realize is how much they're deserving of it. They don't know how difficult it was back then, when things were technologically backward, to record, and love pointing out tiny flaws, but it's so easy for artists nowadays to record with auto-tune and overdubs and god knows what other fancy stuff. I have heard some of these so-called big recording artists these days sing live on some shows and they sound terrible.
Riding on famous old songs is such a lazy thing, no? You don't have to do much - the melody and the lyrics are already there - just infuse some nonsense into it and instantly you have a million views. Just sad!
Song: Dekh li teri khudaai
Film: Kinare Kinare (1964)
Music: Jaidev
Lyrics: Nyay Sharma
https://www.youtube.com/watch?v=8_E5WDZxY8g
This song, I believe, did not make it to the movie which is why I could not trace a video of it. Too bad!
This reminds me of two other Talat songs, one for the music and the other for the lyrics
It sounds remarkably similar to Zindagi dene wale sun from Dil-e-nadaan as far as the sentiments of the poet expressing his cynicism for love and taking it out on the Almighty.
And musically I think it soo like Ek main hoon ek meri bekasi ki shaam hai from Tarana. In fact, the antara of the two songs I find are almost interchangeable and when I'm humming either I find I segue back to either mukhda!
Originally posted by: LizzieBennet
Ok somehow I missed this comment. This is sad.
I'm all for innovation and putting your own spin on songs and making them your own but you gotta respect the legacy these artists left behind. One of the reasons I like Sanjeev so much is this - he does not twist the originals beyond comparison. You can feel the love and respect he has for the artists of yesteryear and what people don't realize is how much they're deserving of it. They don't know how difficult it was back then, when things were technologically backward, to record, and love pointing out tiny flaws, but it's so easy for artists nowadays to record with auto-tune and overdubs and god knows what other fancy stuff. I have heard some of these so-called big recording artists these days sing live on some shows and they sound terrible.
Riding on famous old songs is such a lazy thing, no? You don't have to do much - the melody and the lyrics are already there - just infuse some nonsense into it and instantly you have a million views. Just sad!
There are very very few artists at the moment who make an effort. Half the industry's MDs are absolutely copying old tunes / songs and tweaking a line or not even that. There are NO SONGS. That is the reality, there are no actual new songs. They're just renditions or remixes pulled off from actual bands / old movies / artists which have already been hit for several years.
I have found actually found this ONE ARTIST on IG I know it sounds cryptic but no - She actually writes and puts the tune into it too. And my God her words and the way she sings them. Her actual name is Dridha but Barbie Rajput is her Insta handle I guess. She takes inspiration from anything and everything...but the event that has been prominent recently in last few years is Partition. She's inspired.
Do let me know if you want to listen some of her stuff. I'd post it somewhere on some thread for everyone.
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