atul's bollywood song a day- with full lyrics

Ye khushi ka samaa

Posted on: February 24, 2012


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Talat Mehmood ( 24-02-1924 – 09-05-1998) and the song ‘ tasveer teri dil mera behalaa naa sakegi’ are synonymous. I was under the impression that this song was from a film. But after getting hold of a 78 rpm record ( N.16767) of this song in early 70s, I realised that it was a non-filmy song. I came to know much later that this was one of the top selling gramophone records issued in early 40s and this song brought Talat Mehmood to the limelight as a singer in Hindi film industry.

There is already an article on Talat Mehmood written by Sudhir in this blog covering his early life and his stint as an actor-singer. So I will skip those phases of his life in this write-up.

Suffice to say that he dominated the playback singing during 50s. He was a playback singer for most of the leading actors of those days such as Dilip Kumar, Raj Kapoor, Dev Anand, Ashok Kumar, Shammi Kapoor. Towards the end of 50s, his acting career came to an end and with it, his singing assignments started declining.

The emergence of a new trend in Hindi film music in the 60s where loud and high pitch singing with western music was becoming the order of the day, made his low to medium voice unsuitable for these types of songs. Soon he was replaced by Mohammad Rafi ( for Dilip Kumar, Shammi Kapoor), Mukesh and Manna Dey ( Raj Kapoor), Kishore Kumar and Rafi ( for Dev Anand). His ‘trembling voice’ style of singing which was his trade mark in the 50s’ songs, became a negative factor which did not gel well with the trend of fast paced song compositions.

Some even attribute his decline in singing assignments to his long stints of foreign concert trips. It is said that Talat Mehmood was the first choice for songs of Dilip Kumar in the film MADHUMATI (1958) but due to his non-availability on account of foreign concert trips, Mukesh and Mohammad Rafi got the opportunity to sing for Dilip Kumar. In Hindi film industry, out of sight is out of mind and there are substitutes waiting to fill the void.

Although his playback singing for Hindi film songs became rare in post 70s, he continued to be busy with concerts – both in India and abroad until early 90s. This shows that he continued to enjoy the patronage of his admirers spread over the globe. He was the only playback singers after K L Saigal, whose non-filmy songs were as much in demand as his Hindi film songs. While K L Saigal was pioneer in spreading the ‘ghazal culture’ to the music lovers beyond the classy ones, Talat Mehmood expanded that coverage globally.

There is a view that Talat Mehmood excelled mostly in songs conveying sadness or pathos as compared with singers like Mohammad Rafi, Manna Dey and Kishore Kumar who had wider ranges of singing. While this may be partly true, I would say in favour of Talat Mehmood that he was not given adequate chances to prove his ability to render songs of other genre. Probably, the song which brought him to the fame also labelled him as a singer of ‘blue mood’ songs by some of the music directors and producers/directors of his time. Let us not forget that he also sang songs like Aha rimjhim ke ye pyaare pyaare geet liye(Usne Kaha Tha)(1960), Itna na mujhse tu pyaar badha and Aankhon mein masti sharaab ki (Chhaayaa) from CHHAYAA (1961) and the song based on western beats Tum to dil ke taar chhedkar from ROOP KI RAANI CHORON KA RAJA (1961) and these songs were and are still popular. The last one is really a foot tapping song.

I have been discussing songs of Talat Mehmood daily during this week as a precursor to his 89th birth anniversary which falls on February 24th. Almost all the songs discussed during the week were melancholic or full of pathos. I, therefore, felt that on his birth anniversary, I should discuss a happy and ‘feel good’ song of a film in which he was an actor-singer. I came across a song from DIWAALI KI RAAT (1956) ‘ye kushi kaa samaa zindagi hai jawaan’. The film had Talat Mehmood and Shashikala in the lead roles. Other star cast included Roopmala, Gope, and Moti Sagar. The song was written by Naksh Layalpuri and set to music by Snehal Bhatkar. I had heard this song decades ago but never heard of the name of this film until few day’s back. The film synopsis indicates that it was a social film with usual melodrama.

Only the audio clip is available of this song but it is apparent that the song was picturised on Talat Mehmood. From the orchestration and the lyrics, I guess, it is a party song in which some dancers are dancing. Talat has done a good rendition keeping in view the mood of the song. Kudos to Snehal Bhatkar for an unusal composition and extracting the mood of the song from the singer.

I have ‘unearthed’ at least half-a-dozen songs sung by Talat Mehmood which were popular in his days but almost forgotten now. I would discuss these songs after few days as I have been once again bitten by the travel bug J


Song-Ye khushi ka samaa (Diwaali Ki Raat) (1956) Singer-Talat Mehmood, Lyrics-Naqsh Llayalpuri, MD-Snehal Bhatkar

Lyrics

ye khushi kaa samaa
zindagi hai jawaan
aa nigaahen milaa ke toh dekh
keh rahi hai fizaa
do ghadi muskuraa
dil ki duniyaa basaa ke toh dekh

mausam nayaa aa gayaa
lekar fasaane naye
mausam nayaa aa gayaa
lekar fasaane naye
kehti hai ye bekhudi
gaa le taraane naye

aankhon se masti lutaa
dil ko machalnaa sikhaa
aankhon se masti lutaa
dil ko machalnaa sikhaa
dil ki khushi ke liye
duniyaa ko tu bhool jaa
ye khushi kaa samaa
zindagi hai jawaan
aa nigaahen milaa ke to dekh
keh rahi hai fizaa
do ghadi muskuraa
dil ki duniyaa basaa ke to dekh

ulfat ki raahon mein aa
daaman ko rangeen banaa
ulfat ki raahon mein aa
daaman ko rangeen banaa
dil ke jahaan ko badal
apnaa muqaddar jagaa
ye khushi kaa samaa
zindagi hai jawaan
aa nigaahen milaa ke to dekh
keh rahi hai fizaa
do ghadi muskuraa
dil ki duniyaa basaa ke to dekh

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3 Responses to "Ye khushi ka samaa"

There is another gair-filmi ghazal by Talat that I had on tape once ‘Ai andaleeb-e-zaar, jaane ko hai bahar’, it was beautiful.

Thanks for so much information about Talat, one of my favorite singers.

Talat Mehmood’s “Trembling voice” style of singing – It is not clear if it was a deliberately cultivated style or the voice itself was shivering. One more thing that i notice is that he tended to break words or sing a word in two parts like he is breathing in between.

Kamath ji,
Thanks for a lovely write up on Talat.Both yours and Sudhir ji’s notes on T.alat are very readable.
I can not, however, agree to your statement that,after Saigal he was the only singer with demand for his NFS.
Why,there were the famous Pankaj Mullick,Jagmohan,Hemant Kumar,Mukesh, Geeta Roy,Juthika Roy,C.H.Atma,Begum Akhtar and some more.
Many of the singers had fewer filmi songs than NFS,like Jagmohan,Juthika Roy,Begum Akhtar etc.
Many famous singers,like Hemant Kumar or Geeta or Juthika came into limelight due to their NFS.
Even Lata,Rafi and Asha had many NFS,but just because of their enormous number of Filmi songs,their NFS were shadowed.
Bhala tha Bachpan kitna by Hemant or Geet kitne ga chuki hoon is sukhi jag ke liye by Asha ji are immortal NF songs.
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