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

Ham unki mast aankhon ke parwaane ban gaye

Posted on: May 9, 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 atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Real life has no control experiments. In the sense that one cannot experiment with real life. One cannot re enact the passages of life which
have already passed, and try them with a different set of parameters. Time once gone, cannot be relived. And events and passages once experienced, cannot be replayed. The seductive thought process – ‘yun hota to kya hota’ (‘Ah, only if it were so’) is an exercise in speculation, for one cannot decisively say whether the results in life would have been different, had one taken a different path and made some different choices. It is all speculation, and nothing else.

The career of velvet voiced Talat Sb, is one such source of speculations. After making an impressive entrance into the world of Hindi Film music in the mid 1940s, and being the background voice of choice for many a lead artists, Talat Sb’s focus on being successful as an on screen singing star took most of his energy, his time and his engagements away from playback singing. For a major part of the decade of 1950s, this gifted singer spent so much time away from his primary talent, in an effort to emulate Saigal Sb, maybe. But after a decade of arduous efforts and a string of indifferent films that could not sway the hearts of the viewing public in favor of creating another singing super star, Talat Sb gave up on acting in films. This phase lasted from 1949 to 1958 – a full ten years of life, a full ten years of a career in a highly competitive arena. And so, by the time he reverted to full time playback singing, too many waves had touched
the shores of Chowpatty, and returned. The world was not the same. The magic in the voice remained, but the connection with the hearts of listeners of a new generation could not be made attractive enough.

And hence the speculation, ‘what if Talat Sb had not digressed into on screen performances at the peak of his singing popularity’? The question remains a speculation, for simply the reason that there is no way to rewind the time in life, stop at a desired turning point and take a different path. There are, and there will be, not definitive answers to such questions.

Ah but surely, we are thankful for the treasure trove of songs that he has yet bequeathed to the lovers of Hindi film music. This treasure is no less a blessing, than what it is. Could this treasure have been more enumerative? And more impressive? We simply don’t know.

Remembering Talat Sb on the anniversary of his passing away today (9th May). Sixteen years ago this day, this velvet soft voice that mesmerized many generations of listeners, fell silent. A fabulous career nonetheless that lasted for more than four decades. Leaving behind indelible memories that simply are too lovely to fade away ever.

Another recent anniversary that passed somewhat unnoticed is the passing away of another famous artist in the world of Hindi film music. A wizard of the quill, the famed lyricists Prem Dhawan, passed away on 7th May in 2001. With strong roots in classical music and classical dance, Prem Dhawan has played many a different roles in the world of Hindi cinema, that of a lyricist, music director and dance director. As a budding writer and poet, and with his inclinations for social justice an patriotism, it was natural for him to be drawn to the IPTA movement (Indian People’s Theatre Association) in the early 1940s. As a member of IPTA, he came in touch with Pt. Ravi Shankar and Uday Shankar, from whom he learnt classical music and classical dance. In the mid 1940s, he migrated to Bombay, and got a break as an assistant to music director Khurshid Anwar, in the film ‘Pagdandi’ (1946). His first break as a lyricist came with ‘Ziddi’ (1948) and the famous song by Lata –“Chanda Re Jaa Re Jaa Re”.

His repertoire of songs across the years defies his accepted standing in the industry. If one is to sample his creations, one is left to wonder why was he never put in the same bracket as Sahir, Majrooh and Shailendra. An interesting and a very representative sampling of his songs and a brief bio-sketch can be accessed here.

The song that I present today brings together these two artists. The film is ‘Naqaab’ from 1955, produced under the banner of Tasveeristan, and is produced and directed by Lekhraj Bhakri. The eleven songs of this film are written by Prem Dhawan and the music is composed by Gobind Ram. Given the star cast of Shammi Kapoor, Madhubala, Asha Mathur, Ajit, Heera Lal, Yashodhara Katju, and Maruti etc., my guess is that this song maybe is picturized on Shammi Kapoor.

The song itself is a joyful and contented expression of a lover’s heart, ruminating over previous encounters with the beloved, and his own total submission in love to her charisma. A lovely composition, and a very satisfying rendering. Enjoy.


Song-Ham unki mast aankhon ke mastaane ban gaye (Naqaab)(1955) Singer-Talat Mehmood, Lyrics-Prem Dhawan, MD-Pt Govindram

Lyrics

hum unki mast aankhon ke mastaane ban gaye
hum unki mast aankhon ke mastaane ban gaye
bas ek hi jalwe mein hum deewaane ban gaye
bas ek hi jalwe mein hum deewaane ban gaye

dam bhar ki mulaaqaat ne ye jaadoo kar diya
aa aa aa aa
dam bhar ki mulaaqaat ne ye jaadoo kar diya
haan ye jaadoo kar diya
hum husn ki is shama ke parwaane ban gaye
hum husn ki is shama ke parwaane ban gaye
bas ek hi jalwe mein hum deewaane ban gaye

dil is tarah se kho gaya unke khayaal mein
aen aen aen aen
dil is tarah se kho gaya unke khayaal mein
haaye unke khayaal mein
ke hum to apne aap se begaane ban gaye
ke hum to apne aap se begaane ban gaye
hum unki mast aankhon ke mastaane ban gaye

wo unki parda-daariyaan wo unki berukhi
ee ee ee ee
wo unki parda-daariyaan wo unki berukhi
haan wo unki berukhi
dil mera lootne ke ye bahaane ban gaye
dil mera lootne ke ye bahaane ban gaye
hum unki mast aankhon ke mastaane ban gaye

————————————————–
Hindi script lyrics (Provided by Sudhir)
—————————————————
हम उनकी मस्त आँखों के मस्ताने बन गए
हम उनकी मस्त आँखों के मस्ताने बन गए
बस एक ही जलवे में हम दीवाने बन गए
बस एक ही जलवे में हम दीवाने बन गए

दम भर की मुलाक़ात ने ये जादू कर दिया ॰ ॰ आssss आssss आssss
दम भर की मुलाक़ात ने ये जादू कर दिया
हाँ ये जादू कर दिया
हम हुस्न की इस शम्मा के परवाने बन गए
हम हुस्न की इस शम्मा के परवाने बन गए
बस एक ही जलवे में हम दीवाने बन गए

दिल इस तरह से खो गया उनके खाया में ॰ ॰ ऐssss ऐssss ऐssss
दिल इस तरह से खो गया उनके खाया में
हाय उनके खाया में
के हम तो अपने आप से बेगाने बन गए’
के हम तो अपने आप से बेगाने बन गए’
हम उनकी मस्त आँखों के मस्ताने बन गए

वो उनकी परदा दारियाँ वो उनकी बेरुखी ॰ ॰ ईssss ईssss ईssss
वो उनकी परदा दारियाँ वो उनकी बेरुखी
हाँ वो उनकी बेरुखी
दिल मेरा लूटने के ये बहाने बन गए
दिल मेरा लूटने के ये बहाने बन गए
हम उनकी मस्त आंखो के मस्ताने बन गए

3 Responses to "Ham unki mast aankhon ke parwaane ban gaye"

Shammi Kapoor had once commented that Talat was his “voice” in his earlier films.

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hullo to one and all
i had actually thought of sending Atul a reminder for Talat Saab’s death anniversary today when i heard his songs on Vividh Bharati’s Bhule Bisre Geet this morning. but then i got busy and forgot about it. but trust Sudhirji to remember and send a post
Thank You Sudhirji

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Many a times I have read this comment about Talatji, that he missed the bus as a playback singer because he chose acting over singing. I beg to defer. Example, Mukesh. You may say he came to senses much earlier than Talat. Okay. What about Kishore Kumar who wasted earlier part of his career singing a few songs only for Dev Anand and then acting in some very silly pictures. But when, in 1969, he switched to full-time playback singing, he surpassed Rafi, Mukesh, Manna Dey, Mahendra Kapoor — all of who were still living. What we forget when making such comments, is that it is really the viewing public that makes STARS. Moreover Talat had a peculiar — velvet touch — voice which could not suit the requirements of music-directors like Shanker Jaikishan, R D Burman and others. Imagine Shammi Kapoor with this as his voice singing Yahoo, Tarreef karoon kya uski etc. So acting or no acting, Talat could not have survived the change 1960s brought to Indian film music. Yes, I remember only one instance where a playback singer lost his place due to his insistence on acting — Shailendra Singh (Main shair to nahin) and, to a little extent, Sulakshana Pandit.

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