Mukesh - The singer with a timeless voice
A Soulful Singer
Today is the great singer’s 101st birth anniversary, he was born on 22nd July 1923. He passed away in 1976, just 53 years old.
Without a doubt, he (or for that matter, his voice) has been a fellow traveler for the longest time in my life. In an era where Yesudas and Mohammed Rafi ruled the roost, i.e. in Kerala, I rooted for Mukesh. In the attic of our ancestral house at Pallavur, there used to be a few 78 rpm records, belonging to my uncle. Pehli Nazar, Anurag, and a few others, with Mukesh’s voice featured in them, lying around, collecting dust. It was only after I joined up for engineering that the music fever gripped me, and I started listening to Radio Ceylon and Vividbharati on my little Keltron transistor radio, during spare hours. I would painstakingly pen song lyrics in a notebook, after listening to the song (Hindi songbooks from up North had not yet reached Calicut), with many mistakes. The impetus boosting him to my favorite came after I read the book Mera Naam Joker and heard its songs. After that I listened to so many of Mukesh’s songs, committing them to memory, and belted them out in the bathroom, much to the annoyance of the others in the college hostel!
It is not my intention to list here his great songs or go over their nuances. Nor will I attempt to detail his career chronologically, to figure out why he became one of the top three and remained there till his death. Like many people before me have stated, he sang for the common man, he mirrored their sadness, ethos, pathos, heartbreaks, and depressive moods, during a period when India was in the dumps, especially in the 60’s and 70’s.
While many know the songs, the films, and the actors, very few know enough about the singer. Most will recall that Mukesh was Mukesh Chand Mathur, born in 1923, 6th in the line of 10 children in a large Delhi household, a boy who was disinterested in studies – 10th class failed as his son Nitin puts it – and came to Bombay to make it big in films. It is said that he could only read and write in Urdu and penned his lyrics in Urdu all his life. As fate intervened, the great actor Motilal heard him sing Saigal songs at his sister’s wedding ceremony and gave him a stepping stone into the film industry. Eventually, the 17-year-old boy came to Bombay in 1940, tried to become a singer-actor in the film Nirdosh, failed miserably, and then settled down to establish himself as a singer. As he said in a BBC interview - it is better to become a first-class singer than a second-class actor. He struggled for quite a while in Bombay, working odd jobs - as a share broker, dry fruit seller, etc. before making it big. Though he continued to scout acting roles and acted sporadically until 1956, his first hit (mind you - not his first song, which was Dil hi Bhuja – Nirdosh 1941) as a singer was for Pehli Nazar in 1945, singing for Motilal.
Around 1945, he met, fell in love, and eloped with a wealthy Gujarati girl - Sarla Trivedi, when he was just 23, as her parents were against the union, Mukesh being quite penniless then. It was actor Motilal who helped him, and Neil, his son adds - Mukesh was a strict nonvegetarian who enjoyed his Johnnie walker, while Sarla would not touch nonveg, or for that matter anything grown underground!
Becoming popular, he was initially actor Dileep Kumar’s voice, delivering many hits in Andaz, Madhumati, etc., and as Dileep drifted towards Mohammed Rafi, Mukesh was discovered by Raj Kapoor. Even more great hits followed and then came the connections with Manoj Kumar continuing the hit parade.
Let us now check his collaboration with the many heroes, producers, and music directors and catch some trivia as we travel alongside Mukesh’s 53-year life. Unlike some of the other singers or actors of that time, he was meticulously dressed, and suave, almost always photographed wearing a well-tailored suit.
Mukesh imitated Saigal to start with, and he agreed it was his forte. Dil Jalta Hai was not going to be included in the film but was retained only after people flocked to the theatres because of the song. Saigal it is said (I don’t feel this is true) wondered when he had sung the song, after hearing it at first! Teri duniya mein dil lagta nahin (Bawre Nein) was another song sung in the Saigal style. Lata Mangeshkar mentions that Saigal gifted him his harmonium, a gift that Mukesh treasured all his life. I am not sure if that was the instrument, which a fan stole and installed in his home, as an object of worship! Lore has it that Mukesh tracked him down and got it back!
Music directors
Anil Biswas was the music director who groomed the young singer who reached his brother-in-law’s doorsteps in Bombay. As the story goes, the producer Mazhar Khan would not allow a newcomer to sing. But after Anil pleaded, Mazhar acceded, only for Biswas to see that Mukesh developed cold feet at the last minute and slunk away to a bar, to drink and play cards. As the story goes, he was pulled into the studios and sobered up. Mukesh ended up singing the glorious DIl Jalta hain, to Jalne de (Pehli Nazar). Biswas later had to work hard to wean him away from the Saigal style and had him deliver many more hits, under his baton.
SD Burman – Strange is the fact that even though they collaborated sporadically, many of those songs became great hits. Songs like Chal ree sajni, O Janewale ho sake to (Bandini) are examples, but SD did not have much of an opinion about Mukesh and used him mainly for background songs. In an interview with Raju Bharatan, SDB said - ‘Talat’s no good as a singer, Mukesh is worse!’. When called to sing for Bombay Ka Babu, in 1960, SD seemingly said - “Look, Mukesh, I can’t promise that I would retain your voice in Chal ree sajnee. If after the rehearsal, in the final take, I find your rendition to be unsatisfactory, I retain the right to scrap the song!” Mukesh’s response: “But you always have that right, Dada. All I know is that you have called me to sing again for you after some 12 years, so trust me to put in my best. After that, as the song’s composer, it’s your privilege to retain or reject me.” It turned out to be a wonderful song. See a soulful live version.
Ravi Shankar characterized Mukesh’s singing style as - so straight and linear that the sporadic use of alankaars (subtle variations) magnified the beauty of his singing manifold. The song Hiya Jarat Rahet Din Rain (Godaan – Raaj Kumar 1963), which he sang for Ravi Shankar is quite interesting.
RD Burman also used him rarely, like his father, but came up with even more hits. Two songs spring to the fore, Ek din bik jayega (Dharam Karam) and Suhani Chandini raten (Mukti), not to forget Jis gali mein (Kati Patang). Nateeja Hamari (Puraskar) is unique, Asha’s voice sounds so different, while the dance looks kind of silly! Kahin Karti Hogi Woh Mera Intezaar (Phir Kabhi milogi) is soulful, and there is the ever-popular Lalla lalla lori (Mukti)…See Ek din bik jayega being rendered live.
Salil Chaudhri created fantastic songs for Mukesh, he was Salil’s favorite singer, boosting the latter’s career often, be it the glorious Kahi door jab (Anand), Suhana Safar (Madhumati), Zindagi Khwab he (Jagte Raho), Nain Hamare (Annadata), Ye din kya aya (Choti si Baat) or Kayi Baar yuhi (Rajni Gandha). Salilda said once - Each word from his lips was a pearl. No one could sing the way Mukesh did, with the right diction, inflection, and intonation. His vocal timbre was out of this world. Almost every song I composed to capitalize on this timbre was an instant draw.
Initially, I thought of Hemant Kumar as Dilip Kumar’s playback for “Suhana Safar” in ‘Madhumati’. But Shailendra persuaded me that Mukesh suited Dilip Kumar no less than he did Raj Kapoor. The moment I recorded Suhana Safar, I knew Mukesh’s vocals had captured the spirit of that verdant setting in ‘Madhumati’. In later years, Mukesh brought a rare depth of expression to my “Kahin door jab din dhal jaaye” I still feel, ranks as my best for Mukesh.
He added - I like all the others. Manna Dey is a classical singer with a vast range. Listen to his song Aye Mere Pyare Watan from Kabuliwala (1960). Mukesh was my favorite and though his octave range was limited, he could sing with a mood and pathos that was unique. See a clip with Salilda directing Mukesh on stage.
Kai baar yuhi, was the song that got Mukesh a national award, interestingly it was offered to him since he wanted only a token amount of Rs 1,000/- for it while Lata would have cost Basu Chatterji 3,000/-! The gem Yeh din kya aya was done for Salilda, free of charge!
Roshan too had a great number of hits from Mukesh. Teri Duniya mein & Khayalon mein kisi (Bawre Nein) were notable numbers, Bahut diya Denewale (Soorat aur Seerat), Aya hai mujhe pyar (Devar), Apni Nazar se (Hum Log), Bade arman se (Malhar). The duo came up with so many great songs.
Shankar Jaikishan was the duo that teamed up on so many films with Mukesh and created many a wonderful hit. Virtually every film they did, had Mukesh singing and delivering hits. There are too many to name, but the songs from Mera Naam Joker, Sangam, Shree 420, Anari, Jis Desh Mein Ganga Behti hai, Yehudi, etc. are examples. Shankar told Raju Bharatan that at times Mukesh could be so besura (out of tune) forcing him to leave the recording studio. He would ask his assistant Dattaram to coach Mukesh and would get back to the studio only after Mukesh got it right. He added that after a few rehearsals, the final recording would be fabulous!
Kalyanji Anandji was the other team that often used Mukesh in their films, and Kalyanji had no hesitation to admit that Mukesh had been their ladder to success and recognition in the '60s. The list of hits is long, and songs like Dewaano se yeh mat poocho (Upkar), Chandi ki Deewar (Viswas), Dum Dum diga (Chalia), Hum Chod Chale (jee chahta hai), Jo Tum ko (Safar), Koi jab tumhara (Purab aur Paschim), Chandan sa badan (Saraswati Chandra) stand out as great creations.
Khayyam remembers him as a perfectionist who would rehearse a song for long hours. "We will record only when you are satisfied, he told me during the recordings of Raj Kapoor’s Phir subah hogi”. Woh Subah Kabhi to Aayegi sung by Mukesh and Asha Bhosle, is an interesting number and of course, the songs from Kabi Kabhi, which most would easily recall, are marvelous. See it performed, live on stage
Lakshmikant Pyarelal also worked on many a film with Mukesh, delivering super hits such as Ram kare aisa (Milan), Ek pyar ka nagma hai (Shor), Maina bhooloonga, Jot se jot (Sant Gyaneshwar), Tum bin Jeevan (Anita), Sawan ka mahina (Milan), Chanchal sheetal (Satyam Sivam Sundaram), Tan man dhan (manchali). Interestingly you can even hear a Tamil bit in his Kuncham Kuncham song (Immaan Dharam) for Shashi Kapoor.
He did get miffed a few times, to lash out, a rarity in his career. He was upset with Naushad and S. D. Burman after they stopped giving him songs. ‘I just don’t want to talk about the recording promises these and other music directors made and never kept, opting for a fellow performer when each and every song I had sung for them, till then, had been a top hit’. He then drifted away to make his film Anuraag, which did not work out too well, though it had a couple of great songs tuned by him, Kise yaad rakhun standing out!
Actors
Raj Kapoor started to work with Mukesh in 1948, in Aah, and you can see Mukesh even acting as the tonga driver singing the song Choti si yeh zindagani. Barsat cemented their relationship and so many hit films and songs followed. Soon, they became soul mates, Mukesh being Raj Kapoor’s inseparable voice, even though a few others like Manna Dey intruded at times, to create lovely hits. Rak Kapoor would never call him Mukesh, but preferred to call him as he was named, Mukesh Chand, and mentioned that Mukesh was forever bright, chirpy, and jovial, coming up with spontaneous wisecracks, and always brightening up any room. There are odd bits of Raj Kapoor singing in his voice on YouTube (he plays the piano as well), and you will upon hearing them understand how uncannily it resembles Mukesh’s voice! In Moscow, he introduces Mukesh to those who always believed Raj Kapoor sang his songs.
Whenever he became moody or upset, Raj says he would call Mukesh and they talked for hours and sometimes, he would hop over to chat and help him sort things out. He according to Raj Kapoor, stayed out of politics or other people’s business and never wished ill of anyone, forever the good Samaritan of the industry. Mukesh, nevertheless, kept his worries to himself, simply saying everything was first class or top of the world! Just before he left for his final tour to Canada and the USA in 1976, he insisted on finishing the song Chanchal Sheetal, even though it had not been scheduled. Perhaps he knew what was fated, and Raj says he left behind the unopened bottle of King of Kings whiskey, for the team, to be finished later.
Raj Kapoor said - When Shailendra left us, I felt I’d lost one arm; when Jaikishen passed away I lost another. But when Mukesh passed away, meri jaan hi chali gayi (I lost my life). I am the body; my soul was Mukesh.” He added - There was Mukesh-my soul, my voice, I was a mere body. It was he who sang to the hearts of the people all over the world, not me. Raj Kapoor was an image, just a carcass of flesh and bones. When he died, it was destroyed. I felt, there goes my breath, there goes my soul. I know what went away from me. There was a void, a vacuum and then I had to get over it and go on. This is the price an artist pays. Were it not for the voices of Lata Mangeshkar and Mukesh, what would my cinema be?'
Manoj Kumar who had a long association with Mukesh, adds, “Most of my sad songs were sung by Mukesh. No one could match him in the tragic songs. My own favorite is ‘Koi Jab Tumhara Hriday Tod De’ from Purab Aur Paschim. ‘Ek Pyar Ka Nagma Hai’ from my film Shor is Mukesh’s signature tune. One thing about Mukesh: his songs were his only. The songs sung by Mukesh could not be sung by any other singer. The songs that were composed for Mukesh were meant only for him.”
Manoj Kumar agrees that Mukesh was unfairly ‘mike-cast’ to sing heartbreak songs. “He sang some mischievous songs for me in Sanyasi and Dus Numbri. Those were big hits too. But somehow, he is remembered more by the sad songs,”.
Feroze Khan used Mukesh often. The songs from Dharmatma and Upasana are all classics today.
Rajesh Khanna too had Mukesh hits - Kahin door jab and Mein ne tere liye (Anand) as well the songs in Maryada are examples.
Jitendra on the other hand, can boast of the popular Yeh kaun chitrkar, Chandi ki deevar, Do kadam tum na chale, Hum to tere, and many more.
Dilip Kumar of course had many songs sung by Mukesh – Suhana Safar, Tu Kahe Agar, Yeh mere diwanapan hai, Gaye ja geet milan, Dil tadap tadap, Jhoom Jhoom ke nacho….are just a few!
Stray gems include Ansoo Bharai hain (Dattaram), Chal Akela (OP Nayyar), Zinda hun is tarah, Aa laut ki aja, Bhuli hui, Saranga, Haa diwana hu main, which are all numbers which add up to the long list of hits which made him one of the three greats Kishore, Rafi and Mukesh! The list goes on, but I must stop somewhere…
Pakistan’s late former prime minister Benazir Bhutto found Mukesh's voice quite appealing. It is said that for months on end, she listened to Mukesh in her car, presumably to ease her work pressures.
The Mystique of Awara Hoon - When China’s Zhou En Lai came to India, he wanted to hear Awara Hoon live, but Talat and Geeta Dutt who graced the occasion did not know the words, so sang the first two or three lines over and over for a while. It is even rumored that Mao Tse Tung used to love the film Awara and the song Awara Hoon. In Turkey, one can listen to the Turkish Awara Nuu, as well as remixed versions of the original song. I will write about this separately.
Mukesh passed away in Detroit while on tour with Lata Mangeshkar, on 22nd Aug 1976. I was in college then and I recall being quite upset, and later picking up the double LP album at Balu’s. See a video from the concert.
Strangely, people talked about purity of voice then, as the Bollywood industry had already made a switch, from heavy and deep female voices like Noorjahan to sharp and shriller tones of Lata and team, which set the standard for decades. Only recently has the Punjabi voice started its trip back and during the interim, there was only Usha Uthup with a booming voice amidst the sharper voices.
Mukesh was considered to be technically inferior with many slips and besur’s in his songs, compared to the Mannadey, Kishore, and Rafi, but he held his fort, while his nasal tone, and the feeling he conveyed, simply found its way directly into your hearts. His song ended up as an Aam Admi’s song, something one could relate to, warts and all. Singers like Manhar, Salma Agha, and Kumar Sanu continued the nasal trend and comments about such inferior tones eventually disappeared.
Listening to him, you hear chaste Urdu diction, not the usual movie star Bombay Hindi. A lovely interview at BBC and another more detailed one.
Lata Mangeshkar was perhaps closest to him – She says that even though senior, Mukesh called her Didi. She first met him in 1947 and almost immediately struck a chord. Mukesh was much senior to her - both in age as well as profession, he insisted on calling her 'didi' (elder sister). Nitin Mukesh mentions that his father called her Didi so that the coming generations understand that you can't call a legend by her name! But Lata says - "There was no particular reason for this. Everyone one in my family used to call me didi. So, he also took it up. But it's amazing that he never addressed me as 'Lata' till the end," she said. They had this special bond and both revered Saigal, both wanted to be actors and went on to do several stage shows. Lata felt that Mukesh was never given complex songs. In a Hindustan Times interview, she said - "The problem is that Mukesh bhaiyya was never tried for complex and classically oriented songs because of stereotyping. It is not that he did not have the capability," Lata observed. But very few recognized Mukesh bhaiyya for his classical background," she said. "I cannot say with full authority. But I feel he (Mukesh) could have sung complex songs too if given a chance because I know he used to do regular riyaz (practice) along with his son Nitin, under a teacher,"
References
A Journey Down Melody Lane Hay House -Bharatan, Raju. Kindle Edition.
(Awara Hoon – Turkish version) https://www.youtube.com/watch?v=cwL29HYiCBk
Awara Hoon – Five versions
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