Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Tumne ye kya sitam kiya

Posted on: February 24, 2014

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

OK, so it is 9500 today. Goodness, the Doppler effect that I discussed, oh just three short weeks ago, seems to be working just as told. The actual pace of posting songs is fairly normal and consistent. And yet, it seems we are speeding up, and will be reaching the magic number, faster than we thought we would get there.

Welcome all to the next century milestone, the 9500th song being posted today. The more I think of this journey, the more and more I marvel at the untiring capacity of one man, our dear Atul ji, to continue pulling this bandwagon. Neither does the speed, nor does the spirit ever seems to slow down. A thousand salutes to him. And also to the very merry band of fellow travelers on this expedition. And as always, my mind simply sings out the same song I have referred so many times in earlier write ups.

ye hansta huaa karwaan zindagi ka
na poochho chalaa hai kidhar’
tamannaa hai ye saath chalte rahen hum
na beete kabhi ye safar

And I do that because the appropriate novelty of these verses simply does not fade away. Ah, the wonderful beauty of the words and the music of the Hindi film song – the reason that we all come together on this blog, and share so many wonderful songs and histories and interesting trivia. I am most definite – there is no other destination on the entire world wide web that is in any way like this blog.

And yes, I know the question that is rearing up in your minds. We have a celebration today? Yes, and a very special one at that. Today’s special celebration is dedicated to the velvet divination of singing magic – Talat Mehmood. We celebrate today the anniversary of his birth. And with this post, we also celebrate the 300th song in this soft and comforting voice.

Talat – the honey sweet rendering of emotions, like the soft morning breeze lifting off the silver calm of the still waters of a lake. A voice that is heard, blended into the silences of a peaceful and lonely valleys in the quiet mountains. The unruffled luster of the perfect sheen of a polished surface, that you know is heavenly soft to touch. And yet you will not touch it – for the fear of sullying the beauty and the glossy finish. You will just stay unmoving, relaxed, and simply enjoy the magic that this silky voice will play on your being.

The softness is legendary. It cannot be explained. It can only be heard and felt, as if the nectar of sweetness is slowly dripping into the ears and the mind. And still the sweetness is felt on the tongue, and in further reaches of the self, as this nectar makes its way inside. It is a gift of creation that happens maybe just once in the existence of nature. And that too, when the divine powers will it to be so.

Talat Sb was born this day in 1924, in Lucknow. And the sweet and soft voice was born with him. Singing came naturally to him, even without any formal training. Even as a small child, not yet in the teen years, his singing voice would make many wonder at the divine gift this child was born with. As a child, he was instinctively drawn to the voice of Saigal Sb, and would sit and listen to his records on the gramophone player for hours. Saigal Sb became his idol.

He recalls with humor his first effort at performing his art. Just twelve years of age and in the seventh class, he was pulled into a school function to sing. He came on stage, and started to sing a famous ghazal by his idol – “Nukta Cheen Hai Gham e Dil” from then recently released ‘Yahudi Ki Ladki’ (1933). On stage and half way through the ghazal, he forgot the words. Completely untrained in stage craft and performing skills, he just stood still on the stage, rooted and silent with a blank look on his face and a dreadful fear within. In a matter of seconds he was hooted off the stage. He remembers he ran off the stage in tears. And thus was accomplished his first experience as a performing artist.

In 1940, he joined the famous Morris College of Music for formal training. His singing captured attention, and he started getting invites from the local radio station for singing assignments. HMV got to hear him singing. They approached him and he signed his first contract for recording non film songs. In 1941, he came to Calcutta, to record his first non film disc – “Sab Din Ek Samaan Nahin Thaa”. Pankaj Mullick, the renowned composer and singer, was incidentally present in the recording studio when this was being recorded. At the end of the recording, he commended the young Talat for the very new voice and flavor of singing, and blessed him for his career.

In that episode, he recorded five songs for HMV that were released and became popular. However Talat returned to Lucknow to complete his education at the Morris College. In 1944, after completing his training in music, he made his way back to Calcutta. During this period, he recorded some Bangla songs under the pseudonym of Tapan Kumar. Kanan Devi, a leading light of cinema industry in Calcutta in those years, heard his singing, and upon her reference, he got to play a small role in the film ‘Rajlakshmi’ (1945) and also sung his first two songs for Hindi films. During this time, he also got into a contract with New Theatres. He was present in the recording studio when Saigal Sb recorded the mesmerizing “Do Nainaa Matwaare Tihaare. . .” for the film ‘My Sister’. In his own words, he was so completely floored by the fantastic effect that Saigal Sb could bring to bear on to a recording of just three minutes. It was a childhood dream come true for him.

His initial assignments are spaced out. After ‘Rajlakshmi’ in 1945, his next assignment is ‘Tum Aur Main’ in 1947 – a small role and one song. His next film is his debut as the male lead in the film ‘Samaapti’ in 1949. The heroine in the film is Bharati Devi and the music is by Timir Baran. Talat sang 5 songs in this film.

He felt that his film career was not really developing very well. In parallel, the record companies continued to contract him for non-film songs. In fact his non-film records of this period made a splash of popularity with the listening public, especially the ghazal “Tasveer Teri Dil Mera Behlaa Na Sakegi” that became a rage with the listeners, after being released in 1944. Premendra Mitra, who had given him his first break in ‘Rajlakshmi’ suggested him to move to Bombay. And so, in 1949, the handsome singing star aspirant moved to Bombay.

His first connection with the industry was Anil Biswas. Anil Da was already familiar with his singing, and it was almost as I he was waiting for him. The film is ‘Aarzoo’ (1949) and the song “Ae Dil Mujhe Aisi Jageh Le Chal Jahaan Koi Na Ho”. In 1950, it was ‘Baabul’ with Naushad Sb, and two wonderful songs “Mera Jeevan Saathi Bichhad Gayaa” and “Husn Waalon Ko Na Dil Do Ye Mitaa Detey Hain” . In 1951, it was Anil Da again. The film is ‘Aaraam’. And the song “Shukriya Ae Pyaar Tera Shukriya”. And so, nothing more need to be said. The rest, as they say, is history.

But was it. Seems that the subsequent years were not all very fabulous. The tussle and the desire that continued inside for being a singing star did not fade away till almost the end of 1950s. And by that time it was probably too late to recover the ratings and positions as just a singer. From 1951 to 1958, the actor-singer Talat continued to strive to make a mark on screen, very seriously trying to emulate his idol. But the times were not 1940s. There were star performers whose focus was only acting, and they had already made positions for themselves that were not easy to disturb. His on screen presence seemed not to create any flutter in the mind of audiences, who were now tuned to see the Dilips, the Devs, and the Rajs on screen, crooning away the lip synced playback by a Rafi, a Mukesh, a Manna Dey and of course Talat himself. But of course, the singing voices belonged to those who were content to remain in the background. Mukesh was in the Talat mode for some time, but he withdrew much earlier albeit the dent to his career graph was also already made.

Coming into the 1960s, so much ground had been lost that it became almost impossible to recover. Even the sterling melodies of Madan Mohan for the film ‘Jahaan Ara’ (1964) did not help to prop up the career graph. It seems ‘Jahaan Ara’ was his last hurrah in the films. He did continue to sing till end 1960s and early 1970s, but the assignments were simply too few and far between. Even such fantastic gems like “Yaadon Ka Sahaara Na Hota, Hum Chhod Ke Duniya Chal Detey” under the baton of N Dutta, from the film ‘Pathar Ke Khwaab’ (1969) and “Mohabbat Ki Kahaaniyaan, Sunaane Lagi Hain Jawaaniaan” composed by Laxmikant-Pyaarelal from the film ‘Wo Din Yaad Karo’ (1971) failed to invoke a popular interest from a filmi angle. Listening to these wonderful songs, makes one wonder what happened to public taste, or what happened to industry.

Beyond these, there are sporadic appearances, one song in 1978, one in 1985 and the last song as per records in 1986 in the film ‘Love and God’ – a naatiya qawwaali in which Talat shares the credits with Rafi, Mukesh, Manna Dey and Balbir. And then we hear no more of Talat Sb in Hindi films. In a span of about four decades, the Geet Kosh compilers have been able to trace out almost 425 songs in Hindi films. Is it possible there could have been more? Well, there never are any control experiments for real life, and rarely a second opportunity to redo that which is past. And so this matchless treasure, however much it is, is the best and most wonderful legacy we have from this heavenly voice that maybe was created just for once.

Then there is another side to Talat Sb’s career that one gets drawn to automatically. It is the realm of non-film songs. Even in the 1940s, Talat Sb’s first real introduction for the listening public was his non film recordings. And then over the years, his rendering of the emotions, the pathos transmitted by the lower octaves, and his command of the ghazal vernacular, made him the undisputed epitome of ghazal singing. In the 1970s and 1980s, he became more famous for his non film recordings once again, notably ghazals and geets. And in this space, we find another priceless treasure that this peerless singer has bequeathed to us. Records once again – there is a tally of more than 265 non film ghazals and geets, renderings that have added astounding stature to the legend of Talat, the singer. No collection of ghazals will ever be complete without some of the most evocative offerings by Talat Sb. It is a salutation most deserved.

For today’s post, I present this lovely non film ghazal that has been an intimate favorite of mine for a long time. The words are penned by Shakeel Sb and the composition is by Talat Sb himself. The dates of recording are not available. I am guessing that this should be a creation from late 1960s or early 1970s.

A lovely rendition that is so representative of the stirring magic of Talat Sb’s voice. And the words by Shakeel Sb, so beautifully tell of a tale of love that still is awaiting fulfillment. The word are about love that stands so tantalizingly close to being gratified, and yet it remains unrequited. And what comes from the lips of the lover is a complaint – “Tum Ne Ye Kya Sitam Kiya”.

Lovely remembrance and a heavenly experience. Talat Sb, I am sure wherever it is, you are calm and peaceful. Your voice tells us so.

tum ne ye kya sitam kiya, zabt se kaam le liyaa
tarq-e-wafaa ke baad bhi, mera salaam le liyaa

Oh, what a thoughtless injustice this
Your display of tolerance and restraint
That even after giving up on faith and love
You still chose to accept
A compliment from me
sitam = injustice, cruelty
zabt = control, discipline, tolerance
tarq = omission, to give up
wafaa = faithfulness, be true to a promise
tarq-e-wafaa = to give up on faith and love
salaam = greeting, compliment

rind-e-kharaab-e-noosh ki be-adabi to dekhiye
neeyat-e-maikashi na ki, haath mein jaam le liyaa

Ah, the delinquent transgressions
Of the fanatic at the tavern
Displaying false disinterest for the drink
Yet picked up the cup with own hands
rind = drunkard, fanatic, addict
kharaabah = tavern, inn
nosh = drink; also – ‘to drink’, enjoy, partake
rind-e-khraabah-e-nosh = an addict and a regular at the place where wine is served
be-adabi = misconduct, bad behavior
maikashi = propensity to enjoy drinking of wine
neeyat = intention, desire
neeyat-e-maikashi = desire for a drink of wine

sehn-e-chaman mein daf’atan, aa ke palat gayi bahaar
ahl-e-junoon ne ghaliban aql se kaam le liyaa

The spring did arrive in garden
But withdrew and departed abruptly
Almost as if
Proficient madness at its ultimate
Apparently made a choice of wisdom
sehen = courtyard
chaman = garden
daf’atan = suddenly, abruptly
palat = opposite, revert, to retrace path
bahaar = spring
junoon = passion, madness, lunacy
ahl-e-junoon = pinnacle of madness, ultimate in passion
ghaliban = apparently, probably
aql = wisdom, intelligence

naam-e-shauq padh ke wo, kho gaye yak-b-yak shaqeel
munh se to kuch na keh sakey, dil se payaam le liyaa

Reading the letters of love
Instantly the mind was
As if in a trance
Not a word escaped from the lips
Yet the heart accepted the message of love
naam-e-shauq = message of love, letter of love
yak-b-yak = suddenly
shaqeel = symmetric, complete, handsome; also the ‘takhallus’ (signature) of the poet
payaam = message

Song-Tum ne ye kya sitam kiya (Talat Mehmood NFS)(1970) Singer-Talat Mehmood, Lyrics-Shakeel Badayuni, MD-Talat Mehmood


tum ne ye kya sitam kiya
zabt se kaam le liyaa
tarq-e-wafaa ke baad bhi
tarq-e-wafaa ke baad bhi
mera salaam le liyaa
tum ne ye kya sitam kiya

rind-e-kharaab-e-noosh ki ee ee ee
rind-e-kharaab-e-noosh ki
be-adabi to dekhiye
be-adabi to dekhiye
neeyat-e-maikashi na ki
haath mein jaam le liyaa aa
tum ne ye kya sitam kiya

sehen-e-chaman mein daf’atan
aa ke palat gayi bahaar
aa ke palat gayi bahaar
ahl-e-junoon ne ghaliban
ahl-e-junoon ne ghaliban
aql se kaam le liyaa
tum ne ye kya sitam kiya

naam-e-shauq padh ke wo
naam-e-shauq padh ke wo
kho gaye yak-b-yak shaqeel
kho gaye yak-b-yak shaqeel
munh se to kuchh na keh sakey
dil se payaam le liyaa
tum ne ye kya sitam kiya
zabt se kaam le liyaa
tum ne ye kya sitam kiya

Hindi script lyrics (Provided by Sudhir)
तुमने ये क्या सितम किया
ज़ब्त से काम ले लिया
तर्के वफा के बाद भी
तर्के वफा के बाद भी
मेरा सलाम ले लिया
तुमने ये क्या सितम किया

रिंद-ए-खराब-ए-नोश की
रिंद-ए-खराब-ए-नोश की
बेअदबी तो देखिये
बेअदबी तो देखिये
नीयत-ए-मयकशी ना की
हाथ में जाम ले लिया
तुमने ये क्या सितम किया

सहन-ए-चमन में दफ़’अतन
आ के पलट गई बहार
आ के पलट गई बहार
एहल-ए-जुनून ने ग़ालिबन
एहल-ए-जुनून ने ग़ालिबन
अक्ल से काम ले लिया
तुमने ये क्या सितम किया

नाम-ए-शौक़ पढ़ के वो
नाम-ए-शौक़ पढ़ के वो
खो गये यक-ब-यक शकील
खो गये यक-ब-यक शकील
मुंह से कुछ ना कह सके
दिल से पयाम ले लिया
तुमने ये क्या सितम किया
ज़ब्त से काम ले लिया
तुमने ये क्या सितम किया

14 Responses to "Tumne ye kya sitam kiya"

Sudhir ji / Atul ji

Many Thanks for the continued good work.

A very good NFS selection indeed on Talat Sb’s birth anniversary.
In spite of his few numbers, many times I personally feel that it was good that he did not venture into the noise of late sixties onwards.
His soft, silky and velvet voice will soothe our lives and feelings for ever.


@ Sudhir ji – Thanks Sir for such a great post to pay our tributes to the silken-velvet voice of Hindi Cinema.
– Congratulations to Atul ji and all associated with this blog for reaching 9500th and all the best wishes for an eagerly awaited 10000th 🙂


Very beautiful presentation. Most of the times you are poetic and philosophical and at times nostalgic too. As usual you have dealt the subject with your personal touch which deserves immense appreciation.


Sudhir ji,

Thanks for yet one more highly readable article. You are simply incomparable !
Today it is Double Blast- 9500 songs on the Blog and 300th song of Talat.
Atul ji-congratulations.
I feel contented that I am also connected to this Blog,in some way.
Chaliye…aagey badhate hain…



Hullo Atul
Congrats on song Number 9500.
Thank u Sudhirji for a lovely write up on Talat Mehmood to bring up. 300 posts.
Unfortunately I’ve not heard any of the songs posted in the last month and half. Hope to rectify it on returning home tomorrow.
Missing the bandwagon terribly.


Thank you very much, Sudhir Ji.
when I read your post yesterday, my day was made.
Talat has been my most favourite singer and ‘Tasveer teri dil mera bahla na sakegi’ is for me his most appealing song. Although ‘Tasveer banata hoon’ is almost a photo-finish.
I had first heard both ‘Tasveer’ NFSs live in a Talat concert sometime late 1954, when I was barely 7 years old, and felt mesmerised by his vibrating velvety voice (alliteration unintended). बस यूँ समझिए कि उस दिन से उनकी आवाज़ का मुरीद हो गया.
I always regret the fact that despite living in Bombay (Mumbai) for a very long time and staying not far from Talat’s residence, I did not meet my idol.
Incidentally, your choice also touched another sensitive spot in my heart. One of our family friends (Begum Qamar Ara Abbas but for us our “Marro Bazi”) used to sing this Shakeel Budauni ghazal in her melodious voice and whenever I listen to it, I am haunted by the sheer nostalgia of the days byegone.
Once again thanks a lot!
तहे दिल से शुक्रिया.
Avadh Lal


Ab dilli 10,000 door nahi lagta. We are inching towards the miestone. Great going.
This is my fav NFS. I have always wondered how Talat, Hemantda and other smoking singers managed to retain their precious voices inspite of smoking cigs. Poor Talat got slapped by Naushad for it; many years he did not use him. Hemantda insisted that his voice is because of smoking!!!. Imagine what could be the timbre of their voices if they had shunned it.


Congratulations to all in this supreme effort. Thank you Sudhir_ji for a wonderful write-up on my fave singer Talat Saab and this soothing NFS, I became hooked to geet and ghazal thanks to the afternoon transmission of Radio Ceylon in the 70s. Today, Radio Ceylon is a pale shade of its former self and there is no Talat to render geet and ghazal.


Great article, good song selection! More than everything, great going!!! Congrats Atulji and all!!!!


Dear all,

Many thanks for your kind words of appreciation. I am so glad that my writings are liked by friends. 🙂

Avadh Lal ji,
I am moved by the sharing of your personal attachment to this ghazal. Thanks for putting it in words here.

Usha ji,
Your choice of words for commenting makes me feel great, and also humble at the same time. Thanks again.

Arun ji, Mahesh ji, Nitin ji, Seshadri ji,
I am glad to get appreciative comments from you, and feel honored. Many thanks for writing.

Peevesie’s Mom ji, Avinash ji, Aparana ji,
Thanks and thanks again. Sometimes I regret that I am not able to spend more time on comments. And so when friends write in their appreciations, these are moments to cherish and feelings to treasure.

And more than anyone else, I must thank Atul ji. As Arun ji has said it often, all thanks is due to Atul ji for providing this platform where we all share our best.

Cheers and regards all


Sudhir ji/ Atul ji

a good day
thank god i found you and this Talat Sahab song .It gave me immence pleasure as i discovered a hidden treasure

Ashok sharma New Delhi

Liked by 1 person

The care you have taken for the Exact Urdu lyrics of the entire Gazal text here, hardly anybody takes. Thank you so much, Atul and Sudhir, Please keep it up. Nice to see this rare piece of art.


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16300 song posts by now.

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