While surfing on the Net, I came across this piece of info about the unforgettable play-back singer of yester-years. It again reminded me of the golden era of Indian cinema. The article follows:

 

Talat Mahmood is known as 'velvet-voice' singer, 'unique transparent voice' singer, 'silky voice' singer,' satin-voice singer,' golden-voice singer,' 'king of ghazals', 'king of sad and soulful songs' etc. He was born on February 24, 1924, in Lucknow, India, in a conservative, middle-class family with a musical background in the sense that his father and sisters were talented singers. However, he was essentially left with two options: either to keep a low profile and remain in the background, or to embark upon a movie career. He thought for a while and then decided to become a singer. It took Talat ten years to regain the confidence and respect from his near and dear ones, because by that time, the then Indian film industry had achieved considerable respect and recognition. Talat took music lessons for three years and then completed his music course at Morris college, Lucknow.

Soon he moved to Calcutta in 1945, at the age of 22, and began his career in broadcasting from 'All-India radio',Calcutta, where he achieved popularity as a singer, and his songs were regularly broadcast from the radio station. Anil Biswas, gave Talat his first major break-through in Bombay, at the end of 1948, for film 'Arzoo':' Aye dil mujhe aesi jagah lay chal'.

Apart from being a legend in the music world, Talat was an extremely friendly and a highly refined gentleman. His typical smile was his hallmark. He was at peace with himself all his life. Since he was born and bred in Lucknow, therefore, he was immaculate in urdu literature and poetry. His pronunciation was flawless. He spoke softly and he was a very softhearted person. He had too much respect for other singers and music directors. Those who met him once never forgot his hospitality and kind nature. His immediate family was comprised of a wife, a son, and a daughter, and they always enjoyed mutual trust and understanding. He never engaged in backbiting, nor spoke loudly; these things were not in his habit.

From day one, Talat knew his limitations. He was acquainted with the fact that his extra-soft voice was not conducive for loud songs, which required a high-pitched voice. Thus, Talat's songs, geeth and ghazals have a selected audience. His fans are proud of the fact that Talat, with his unique voice had ruled the Indian music for twenty years. Primarily due to his high moral character and superb family background, he always kept away from scandals and rumors.

In the endless list of super hits, there is one song, which is not only filled with utter pathos, but it conspicuously combines complain and pain. Who could have done justice to that tragic score other then Talat: 'Dekh lee teri khudai, bus mera dil bhar gaya'.

Talat played the lead role in a few movies, including:

Dil-e-nadan, [1953] Malik, Waris, Babul, Sonay ki chirya, Aik gaaon ki kahani etc.

 

Some of his popular songs are:

'Tujhko parda rukh-e-roshan say hatana hoga': Music: Khayyam, Lyrics: Kaifi Azmi) Film: Uran Khatola,'Bay-reham Aasmaan, meri manzil: Film: Bahana, Composer: Madan Mohan'

Ham say Aaya na gaya':Film: Dekh kabira roya, Composer: Madan Mohan
'Dau dinki mohabbat mein': Film: Chotay babu, Composer: Madan Mohan
'Jab chhayekabhi sawan ki ghata: Film: Reshmi roomal, Composer: Babul
'Ashkon mein jo paya hai': Film: Chandi ki deewar, Composer:N.Dutta.
'Ghazal kay saaz uthao, bariudaas hai raat'
'Jahan mein koye naheen apna'.
'Nigahon ko chura kar reh'
'Gham-e- zindagi ka ya rub'.
'Dil ki duniya basa gaya'
'Phir mujhay deedaitar yaad Aaya'
'Ishq mujh ko na sahi'
'Dil-e-nadan tujhay'
'Mera pyar mujhay lauta dau'
'Tum ko neend ayegi, tum tau'
'Ro,ro beeta, jeewan sara'
'Kiya itna bhi adhi kaar naheen'

Talat's velvet-voice was literally immortalized under the baton of Burman Dada (Sajan Dev Burman). Take, for instance, this inimitable ghazal: 'Jaltay hain jis kay liye': Film: 'Sujata', film director:Bimal Roy, Lyric: Majrooh Sultan Puri, music: S.D.Burman. Some other great songs with S D Burman.

'Bharam teri wafaon ka, bata detay tau kiya hota':Film:' Armaan', music: S.D.Burman
'Jaayein tau jaayein kahan':Film: Taxi driver, music: S.D.Burman, picturised on Dev Anand.
'Teray saath chal rahayhain: Film: 'Ungaray', music: S.D.Burman

Madan Mohan was convinced about the enormous potentials of Talat from the beginning, and Talat's silky voice gave new dimensions to the Indian music. Talat-Madan team created one masterpiece after another, like:

'Mein pagal, mera munwa pagal':Film: 'Aashiana, music: Madan Mohan
'Teri chamakti Aankhon kay Aagay': Film: 'Chotay babu' music: Madan Mohan

Music lovers will never forget that evergreen Talat-Rafi duet, highlighting the harsh reality of life:'Gham ki andheri raat mein': Film:'Sushila', Composer: C.Arjun. lyrics: Jan Nisar Akhtar. Similarly, tens of hundreds of movie -goers have found solace in the following lyrics, which brings a ray of hope for the heart-broken people:'Jab gham ka andhera ghir Aaye, sumjho kay sawera dooor nahi'

Talat teamed up with Anil Biswas and produced numerous hits like:'Seenay mein sulagtay hain armaan': Film: 'Tarana': Talat- Lata, music: Anil Biswas. 'Tera khayal dil say mitaya naheen abhi': Film: Doraha, music: Anil Biswas.

Talat always felt at ease with the music maestro, Naushad. The two had tremendous understanding and respect for each other. The first song which Talat recorded for Naushad was: 'Mera jiwan saathi bichar gaya': Film: Babul, picturised on Dilip Kumar. 'Husn waalon ko na dil dau': Film : Babul, picturised on Dilip Kumar.

Likewise, composer Ghulam Mohammed did full justice to the silky-voice Talat to record tragic numbers like:'Zindagi denaywalay': Film: 'Dil-e-nadan': 1953. Super performer Talat brought laurels for composer Roshan with scores like:

'Kisi soorat lagi dil ki': Film: 'Naubahar', music: Roshan.
'Mein dil hoon ik armaan bhara': Film: 'Unhoni', music: Roshan, picturised on Raj Kapoor.
'Dil-e- bay qaraar so ja': Film: Raagran, music: Roshan.

Shankar-Jaikishan produced marvelous compositions for the golden-voice Talat, which resulted in magnificent numbers like:

'Hain sub say mudhur wo geeth jinhein': Film:'Patita', music: Shankar-Jaikishan
'Hum dard kay maaron ka': Film:'Daagh':music: Shankar-Jaikishan, picturised on Dilip Kumar.

Further, composer Salil Chowdhury availed Talat's satin voice for hit numbers like:

'Aansoo samajh kay kyon mujhay: Film: 'Chhya, music:Salil Chowdhury.
'Dil diwana, dil mastana': Film: 'Aawaaz': music: Salil Chowdhury.

Furthermore, Talat's soulful songs brought fame and glory for many other musicians, for instance:

'Teri zulfon say pyar kaun karay': Film: 'Joru ka bhai', music: Jaider.
'Pyar per bus tau naheen': Film: 'Sonay ki chirya', music: O.P.Nayyar.
"Sub kuchh luta kay hosh mein aye': Film: Aik Saal, music:Ravi.
'Teiray dar pay Aaya hoon': Film: Laila mujnu, music:Sardar Malik
'Mohabbat main aye say zamanay': Film: 'Sagaai', music: C.Ramchandar
'Raaz seenay mein mohabbat ka': Film: 'Hum hain rahi pyar kay', music:Khayyam.

Moreover, melancholy strains like:'Aye gham-e-dil kiya karun': Talat-Asha Bhonsle, is yet another example of Talat's artistry. Although Talat was the king of tragic songs, however, he gave excellent performance for relatively faster scores like:

'Raat nay kya, kya, khwab dikhaye'
'Itna na mujh say tu pyar barha:Talat-Lata.

Aankhon mein masti sharab ki.

Andhay jahan kay andhay rastay.
Neela amber jhoomay, dharti ko choomay

Talat had been battling with parkinson's for a long time, which had virtually stopped him from singing. Slowly but surely, his health grew from bad to worse, so much so that people could not understand a word he spoke. Besides, he could not properly sit, stand or walk. He went into profound depression and was bed-ridden.

Amidst immense misery and acute affliction, Talat greeted all his visitors with his peculiar smile, though his adorers knew what Talat felt in the innermost recesses of his shattered heart. Talat did spend long, lonely evenings, looking at the four walls of his room and the door, as if to say: 'Sham-e-gham ki qasam, Aaj ghamgeen hain hum':Film: 'Footpath': 1953,music:khayyam, picturised on Dilip Kumar. And also: 'Sunnay walay meri Aawaz tau suni, dil bhi toota hai mera, uski bhi jhankar suni'.

Talat breathed his last due to a heart attack, on Saturday morning, May 9, 1998 at his 'Sunbeam' house at Bandra, which is located in northwest Bombay. He was 74: 'Teri rehmath chup rahi, mein rotay, rotay mar gaya'. Today, 11 years after his death, he is still very much here. His innumerable loyal fans who share enthusiasm and interest agree that Talat was one of the most decent artist, ever to grace the Indian film industry, with his charismatic personality.

He was a friend of friends. Apparently, his admirers will keep his name alive by listening to his songs again and again. 'Daleel -e- qurb-e- qayamath tau wo na tha laykin, juda hua tau qayamath see dha gaya ik shaks' This is, indeed, the greatest reward, appreciation and tribute that we can offer to the singer with the wistful magic, whom we all know as Talat Mahmood.