Main Dhoondta Hoon Tumko Raaton Ko Khayalon Mein
Mariela Laflam
The name Mukesh strikes a vibration in the hearts of millions of music lovers in India. So alluring is the charm of this voice that many pedestrians would stop to listen to a Mukesh's song coming from the radio of a way-side street shop. The ninth death anniversary of Mukesh falls on 27th August 1985 and it is apt to know about Mukesh, the man and his songs on this occasion.
Mukesh belonged to Delhi. His father late Lala Zorawar Chand Mathur, who originally hailed from Hissar, had settled in Delhi around 1915 and served as an engineer in C.P.W.D. Mukesh's mother's name was Chand Rani Mathur and the family lived in Chakki Wala Makan, Masjid Khajoor, Chailpuri in Old Delhi. Mukesh was born in this house on 22nd July 1923. Later, the family shifted to Government Quarters near Gole Market and after a few changes finally settled down in Prahlad Lane, 24, Daryaganj from 1940 onwards till 1957. Mukesh was the sixth child in the family which comprised 10 children-6 sisters and 4 brothers. Mukesh had his education in Municipal Boys Higher Secondary School, Mandir Marg, New Delhi. Some of his school-mates who are still in Delhi recall how Mukesh used to enthrall the audience with his songs on the last Saturday of every month which was observed by the school as the 'Open Talent Day'. While Mukesh sang some of Kundan Lal Saigal's and K.C. Dey's songs, it was Roshan Lal (who later became music director Roshan) who played the harmonium at the gathering. Mukesh's elder sister Mrs. Sunder Piari recalls that while her father had engaged a music tutor for her, soon it was found that it was Mukesh who picked the tunes first merely by secretly listening to them from the adjoining room. By all accounts, Mukesh was a simple and shy boy.
Raj Kapoor, however, had chosen Salil Choudhary in preference toShanker Jaikishan for his film 'Jaagte Raho' (1956). Salil's composition 'Zindgi khwab hai' picturised on Moti Lal figured 15th in 'Annual Binaca Geet Mala 1956'. Later Salil composed for the film 'Madhumati (1958)' Soohana safar aur yeh mausam haseen (which ranked 5th in the Annual Binaca, 1958) and the duet 'Dil tarap tarap kar keh raha hai pyar kar'. Salil's other popular compositions for Mukesh are 'Mere khwabon mein khyalon mein, chhupe ek din geet mere' (Duet from Honeymoon, 1960), 'Maine tere liye hi saat rang ke sapne chune' and 'Kahin door jab din dhal jaye (Both from 'Anand,' 1970) and 'Kayi bar yoon bhi dekha hai (Rajni Gandha, 1974) which earned Mukesh a National Award in 1975.
Although S. D. Burman first used Mukesh's voice in 'Bahe na kabhi nain se neer, uthi ho chahe dil mein peed' (Vidya, 1948), his first popular composition was 'Kismat mein bichhudna tha, huyi kyoon unse mulakaat re' (Duet with Geeta Roy from film 'Shabnam' 1949). Burman's other popular compositions are 'Chal ree sajni ab kya soche' (Bombai Ka Babu, 1960), 'Aai dile aawara chal (Dr. Vidya, 1962), 'O jaane wale ho sakke to laut ke aana (Bandini, 1963) and duet 'Yeh kisne geet chheda' (Meri Surat Teri Ankhen, 1963). Music director Madan Mohan's first composition for Mukesh was the hit song 'Preet laga ke maine yeh phal paaya (Ankhen, 1950). Next followed 'Hum chal rahe thhe, tum chal rahe thhe' and the duet 'Hum chal rahe hain (Both from 'Duniya Na Maane, 1959). His other memorable compositions are 'Bhooli huyi yaado mujhe itna na sataawo' and the duet 'Ik manzil rahi do, phir pyar na kaise ho' (both from 'Sanjog, 1961).
Kalyanji Anandji used Mukesh's voice in 57 films which is highest by any Music Director. Their first composition for Mukesh was a duet 'Dil lootne wale jadugar, ab maine tujhe pehchana hai' (Madari, 1959). In their next film 'Chhalia (1960), they composed three memorable solos 'Dum dum diga diga'(which figured 13th in the Annual Binaca Geetmala), 'Chhalia mera naam' and 'Mere toote huye dil se koyi to aaj yeh poochhe'. Then came their unforgettable composition 'Mujhko is raat ki tanhayi mein aawaz na do' (Dil Bhi Tera Hum Bhi Tere, 1960) followed by 'Pyase panchhi neel gagan mein geet milan ke gayen' (Pyase Panchhi, 1961). In 1963 they gave two hit compositions, 'Thoomak thoomak mat chalo' (Kahin Pyar Na Ho Jaye) and 'Chand aahen bharega' (Phool Bane Angare). In 1964, they gave 4 popular numbers, 'Humne tujhko pyar kiya hai jitna'; 'Jo pyar toone mujko diya tha, wo pyar tera main lauta raha hoon' (both from Dulha Dulhan), 'Chal mere dil lehra ke chal' (Ishara), and Hum chhod chale hain mehfil ko, yaad aaye kabhi to mat rona (Ji Chahta Hai). Kalyanji Anandji's popular compositions of 1968 are 'Dheere re chalo mori baanki hiraniya' and the duet 'Na koyi raha hai na koyi rahega' (both from 'Johar Mehmood in Goa), followed by masterpieces like 'Main to ik khwab hoon' and 'Chand si mehbooba ho meri kab' (both from Himalaya Ki God Mein). In the same year, they also composed 'Jis dil mein basa tha pyar tera, uss dil ko kabhi ka tod diya' (Saheli) and 'Tumhen zindgi ke ujaale mubarak' and 'Gori nain tumhare kya kehne' (both from 'Purnima). Next followed 'Chandan sa badan, chanchal chitwan' and the duet 'phool tumhein bheja hai khat mein' (both from 'Saraswati Chandra', 1968), 'Tash ke bawan patte' (Tamanna, 1969), 'Chandi ki deewar na todi'(Vishwas,1969), Meri tamanaon ki takdeer tum sanwaar do' (Holi Aai Re, 1970), 'Kisi rah men kisi mod par' (Mere Humsafar, 1970), 'Koyi jab tumhara hridey tod de', (Purab Aur Pashchim,1970) Jo tumko ho pasand vahi baat kahenge' (Safar, 1970), 'Mujhe nahin poochhni tumse beeti baten' (Anjaan Raahen, 1974), the duet 'Kya khoob lagti ho, badi sundar dikhti ho (Dharmatma, 1975) and 'Humka aisa vaisa na samajho hum bade kaam ki cheez. (Adalat, 1976).
Mukesh was a very pleasant person and had a humorous nature. Humility, sweetness and benevolence coupled with a charming personality instantly drew him close to the hearts of people. A man always full of life and vitality, Mukesh had a special liking for outdoor life and would grab any opportunity for a lively picnic. On the other hand, he was fond of serious studies and would spend his leisure time in studying biographical sketches. An extremely religious person, he was a great devotee of 'Hanuman' and would often wait in a queue to offer parshad in the Mandir. No wonder, he sang the collosal collection of Ramayana in eight LPs despite the fact that his writing script was Urdu.
A gentleman to the core, he was liked by one and all, and had no enemies. He kept himself aloof from the petty politics or jealousies prevalent in the film industry. For these qualities, he was highly respected in the film industry and was affectionately called 'Guni Jan'. Very often, he acted as a mediator to settle disputes or clear mutual misunderstandings amongst people in the film industry. Nothing can testify this fact more than the statement of music director Anil Biswas, that "During my career of 50 years as Music Director, I have come across thousands of people. I must say that Mukesh was a real gem, an elevated soul, sincere to the core, warm and friendly, and totally unaffected by the glamour and hullabaloo of film life.
Mukesh never forget his debt and gratitude to his friends and well-wishers. Moti Lal was the man who was responsible for getting Mukesh a break in films and Anil Biswas was the Music Director who provided him the much-needed break in 'Pehli Nazar' The trio got together when Moti Lal made his own film 'Chhoti Chhoti Baten' (1965). However, before Moti Lal could complete the film, he died. Mukesh took upon himself the whole responsibility of completing the film. Anil Biswas still remembers how Mukesh ran from pillar to post spending time and money to see that the film is completed and released.
Another incident is equally revealing. When Kalyanji Anandji were to record Mukesh-Suman Kalyanpuri duet 'Aap se hum ko bichhde huye' for the film 'Vishwas (1969), Mukesh was abroad. So, the composer asked an unknown singer Manhar Udhas (Brother of ghazel singer Pankaj Udhas) to sing it on the clear understanding that his portion of the duet would be dubbed in Mukesh's voice on Mukesh's return. Mukesh returned and was asked to come for the dubbing. He came and heard the way Manhar had sung and said, "The boy has sung it well. Don't ask me to dub it and break his heart". What a magnificant heart Mukesh had!
Besides a singer, Mukesh was also a composer. In his own production 'Anurag'(l950), Mukesh not only played the hero but became its music director also, and sang his compositions 'Pal bhar hi ki pehchan mein pardesi balam se' and 'Kise yaad rakhoon kise bhool jaoon'. He also composed tunes for many of his non-film songs including 'Jiyenge magar muskra na sakenge'.
During his last visit to USA along with Lata Mangeshkar, Mukesh was to appear for a musical programme in the city of Detroit on 27th August. 1976. However, only half an hour before the scheduled start of the programme, he collapsed in his bathroom and died at about 6 P.M. In India, however, the date at that instant was 28th August morning, which is now sometimes taken as his date of death in India, although the correct date is 27th August. The last song of Mukesh was 'Chanchal sheetal nirmal komal' which he sang for Raj Kapoor's film 'Satyam Shivam Sundram' (1978) and whose recording was completed only hours before his departure for USA. On his death, cried Raj Kapoor "I have lost my voice". Anil Biswas said 'Mukesh is history now which will not be repeated'. Music Director Shanker said Mukesh was the people's voice". Shanker was quite right. The fact that Mukesh who sang no more than 1025 songs could nearly match the versatile Rafi (who has sung about 5 times more songs than Mukesh) in popularity, amply testifies Shanker's claim that Mukesh's was a people's voice.
Yehi Wafaa ka silaah hai, to koi baat nahi
Yeh dard tum ne diya hai, to koi baat nahi
Yehi bohot hai ke tum dekhte ho sahil se
Safeena doob raha hai, to koi baat nahi
Rakha tha aashiyana-e-dil main choopa ke tumko
Woh ghar tumne chor diya hai to koi baat nahi
Tum hi ne aayena-e-dil mera banaya tha
Tum hi ne tor diya hai to koi baat nahi
Kise majaal kahe koi mujh ko deewana
Agar yeh tumne kaha hai to koi baat nahi