Lata Mangeshkar’s best songs by Hemant Kumar

Wonderful collection of songs, AK. There were some there that I didn’t immediately recall, but remembered as soon as the song began. It’s sad that far too many people (and I don’t mean the aficionados like you, but the average janta who likes old music without knowing too much about it) tend to think of Hemant only as a singer, and forget that he was such a brilliant composer as well.

AK ji ;
As always hitting right notes for both Lata ji and Hemant Kumar ….the soft melancholy singer and a great music director as well. Hemant , not getting filmfare award for Bees Saal Baad and Khamoshi , was a great pain for me . Irrespective of movie being big or low budgeted he never compromised on quality and always gave his very best . Instantly I have two songs ready for my colleagues to prove my point . And for Lata ji ….no superlative words are available in the dictionary .

1. Aye mohabbat meri duniya mein tera kaam na thaa…..Lata ji….Bees Saal Baad

https://www.youtube.com/watch?v=44-DhwQQAkg

2. Mitwa re bhool gaye theey raheen…..Lat ji….Rahgir

https://www.youtube.com/watch?v=qkQag3G7eS0

There are a lot of delightful songs here – in both your list, AK, and in the comments.

But no one has yet listed songs from the two films that I think of first when it comes to this combination of Hemant Kumar (as composer) and Lata Mangeshkar.

AK, since you commented on the great success of the Nagin soundtrack, I was surprised that you didn’t have a favorite from there.

And then there is Payal (1957). I love just about all the songs in this film! And many of the picturizations. But I think my favorite is “Jaa Re Saanwale Salone Natkhat Banwaari”:

https://www.youtube.com/watch?v=OvdAEagrMw0

And getting back to Nagin, beyond the obvious “Man Dole Mera Tan Dole”… I love “Oonchi Oonchi Duniya Ki”:

https://www.youtube.com/watch?v=z09-39JUTrs

Thanks Akji,
Nayi Manzil Nayi Raahein has a duet version too, was unknown to me.
Thanks for that, i will listen the duet for sure.
I somehow Like Lata’s version of ‘Zindagi Kitani ‘ More!
I would add few more songs…

1.Bas ek chup si lagi hai- sannata
https://www.youtube.com/watch?v=5omcMCiaDBw

2. SO gaya Sara zamana- Miss Mary
https://www.youtube.com/watch?v=roRjL4tVcg8

3.O Jane wale Tujhe- Bahu
https://www.youtube.com/watch?v=dORKlSRekpE

I like all the above songs.
mainly last two are my all time favorites!
I noticed one point, there are less Lata solos with HK as MD.
If we compare with other MDs like S J or Naushad or Madanmohan.
May be partly due to, H K also used Geeta dutt in many films.

ksb ji, @ 5
thanx. It’s my favorite too.
My today’s list actually looked like your comment in appearance I mean!
I am so used to reading your comments in this fashion, i thought of you , when I posted it!
🙂

Akji @ 12
This time I like Lata’s!
OMG
It’s difficult to say why!
H K’s pronunciations have a certain role to play I think!
🙂

What a great collection in the main text and comments!!!HK as composer hasn’t got much attention. That has been remedied here with Lata’s golden voice.

I came back to the site after two months during which time I had no access to the Internet. I am very very happy now!!!

AK,
Sticking to SOY tradition another fabulous presentation on Lata’s birthday!
You in your favorite Lata HK combination have a bulk of 60’s songs, while I would have from 50’s.
Though don’t much care for Nagin. The same year with Vyjantimala in lead they had some very good songs in Taj.
So gaya sara zamana is favorite too.
Adding few songs from 50’s I like
JAHAN MEIN AAYI DIWALI- LATA- FILM- TAJ(1956) MD- HEMANT KUMAR LYRICS- RAJENDRA KRISHAN
https://www.youtube.com/watch?v=3qeadCU6V3E
Meri dam bhar na papan aankh–Samrat(1954)–Lata Mangeshkar
https://www.youtube.com/watch?v=aEzPJ5_YBR0
ANG ANG MEIN UMANG-LATA- FILM- BAHU(1955) MD- HEMANT KUMAR LYRICS- S H BIHARI
https://www.youtube.com/watch?v=5XpN_DbEb5c
HIMMAT NA HAAR RAAHI- LATA- USHA MANGESHKAR- FILM- PAYAL(1957) MD- HEMANT KUMAR LY-RAJENDRA KRISHAN
https://www.youtube.com/watch?v=zzy4Jhj0cIE

To add, one more most lovely duet was Umr hui tumse mili from BAHURANI by C RAMACHANDRA by Lata and Hemant.

AK Ji
Seems you have not perused my comments # 11 and have skippied it unknowingly.
My comments crossed with those of Mehfil Mein Meri at # 10 and So Gaya Sara Jamana got repeated..
Will value your opinion on songs added by me !!

One more duet from film Ek hi Rasta-56

https://www.youtube.com/watch?time_continue=100&v=cQvYRcQP6zw

Yet one more duet from Daku ki Ladki-54

https://www.youtube.com/watch?time_continue=118&v=NnJC8M_x1og

Jignesh,
This video has multiple songs from Sannata. You song start at 3.20 plus
https://www.youtube.com/watch?v=hGLKWwujG4E

AKji,

So sorry for this slip.

-AD

AK,

What a lovely and timely post! Lovely for obvious reasons but timely because my friends and I are meeting for our next jamming session this weekend and the theme is ‘Songs by Hemant Kumar (as MD and as singer)’ ! In fact this session is a sequel to the jamming session with the same theme that we did last month! And it is no surprise that a majority of the songs had Lata in them! Some of the songs listed by you/others are new to me – I look forward to listening to them, and learning one of two of them well enough to be able to sing them at the get-together this weekend 🙂

A couple of quibbles on your selection, though:

1. I agree with Richard S. wrt Nagin. It is a sacrilege not to pick a song from this film in any ‘Best of Lata songs by HK’ list. My pick would be ‘Tere pyaar mein jalkar dekh liya’, though.

2. ‘Dheere dheere machal’ is a brilliant song but for me, it is ‘Kucch dil ne kaha’ which is tops. It tugs at my heartstrings each time I listen to it! What a coming together of poignant lyrics by Kaifi Azmi , a brilliant and apt score by Hemantda and soulful singing by Lata!

Jignesh @28,

Lovely song you have posted…..aye darde jigar fariyad na kar…..from Bahu . Is that the saying ….when melody was queen…tagged to Lata ji’s dominating the sweet songs of the domain of mid 50s ?

Ashok Kumar Tyagi Ji , AK ji ;

Very nicely ahok ji brought out the pre wedding punjabi ladies sangeet scenario . Naughty part …yes and the songs rendered with high pitch loud Dholak beats and spoon hitting the dholak outfit wood in equal rhythm . The main singers were essentially supported by the rest of the ladies for the chorus effects ; mainly like ….haanji…haanji . The famous Mehmood song…. mein mandir gaya haanji ….is a true copy of the punjabi naughty folk song .

Many may not be knowing that Hemant kumar has sung one and only one Punjabi duet with Sulakhna Pandit in a punjabi movie ….and the song is …..Duniya de Malika teri duniya ajib hai .

https://www.youtube.com/watch?v=qr4p6kDPayU

Fantastic song Mumbaikarji…aisa lagta hai ye aawaz sunta hi rahu..crystal clear voice of Mukesh ..kya baat hai…Do bund pani nahi to yahaan zindagani nahi…Thanks a lot for this link.

only few of the GEra stalwarts could retain melodic content in their music after 1969. Jaidev is one of them. See Hemantda, he gave class music in 1968 : Do dooni char and 1969 : Khamoshi and then a sudden dramatic downfall !! Us raat ke baad , 1970 was nowhere near his talent !! He gave music in 4 or 5 films after 1969 but couldnt give any memorable song !!

of course Khayyam and Salilda. Also Shanker created some good songs until 1974 and Madan Mohan had also created some finest music in 70’s. We can never forget the music of Mausam or Laila majnu. His “Mushkil hai jeena bedardo ki duniya” men from Saahib bahadur is sublime melody. OPN vanished gradually after PJayePVNJaye. Ravi showed some sparks in a few songs.

A fine write up on HK & lata and selected songs are gems.

In Hindi film music during the golden era there were many great combinations – Mukesh with SJ, Mahendra Kapoor with KA, Kishore and
RDB, Suman kalyanpur and SJ, Asha with OPN, Talat and MM.
But Lata’s except with OPN combination with all MDs gave us unlimited songs of great listening so also Rafi Sahib with all MDs. So with these combination Hemanth Kumar and Lata fits in well. HK was never underestimated but was not given much assignments as he should have been. A great composer he was.

At least 2 of HK-LM songs, namely, Chhup Gaya Koi Re and Kahan Le Chale Ho have long been among my absolute top favourite songs, as also, among the others listed by you, the songs from Kohra, Faraar and Khamoshi. The combine have given numerous other gems, as several songs from Nagin, Sannata, Kohra, Faraar, Shart, Anandmath, and others. While Lata got her due acknowledgement and honours, I have come to think that HK was a far better and top-bracket MD than what he got credit for. His compositions for Anandmath and for Vande Mataram are to my mind among the very best for, among others, providing such appealing music despite the kind of lyrics he had to work with. He was one of those very few who consistently maintained superior quality of music all through whether it was a big-banner film or a B (like Biwi Aur Makan) or C grade (like Faraar).

I thank you, AK, for the blog, and for the selection. Its best part for me has been the discovery for me of several new songs for my Favourites collection.

When I was in India in fifties growing up as just a teenager my elder brother brought a Marathi single probably 45 rpm and it was played every morning for my grandfather. After listening it Grandfather would wake up and wake up all other saying loudly wake up your father has planted the money tree and you needed to look after it or it will disappear.

This is the following song. It was written for Lata Mangeshkar by a very good Marathi lyricist as she was on the top of the money tree. I remember only the first two lines.

“‘कल्पवृक्ष कन्येसाठी लावुनिया बाबा गेलां
वैभवाने बहरून आला, याल का हो बघायाला।“

Planting the Tree of Dreams (or Wishes or wealth) Baba has gone away
The Tree is now in rich full blossom, please Baba come back to see it.

Lata’s father Dinanath died penniless and waiting the debt-collectors at the door. He was a very famous Singing Actor, Manager and Owner of a flourishing theatre company that was always in need of money. Lata the eldest daughter was about twelve or thirteen years. The family became a ward of then famous comic actor director Vinayak who famously directed Noorjehan in his film “Badi Maa” 1946.

Lata and her sisters and brother had to wear the torn and worn costumes of the film company.

Within a short time of ten years and the invention of Plyaback singing Lata’s fortune changed and she moved in one of the richest and posh area of Bombay called “Peddar Road” very close to “Breach Candy” one time exclusive area for the White British, over looking roaring Arabian Sea

This reminded me a very famous and top of the parade song of a singer song writer in the sixties called “Where Do You Go To My Lovely,” by the Singer Peter Sarstedt. This song is still one of the top songs in all time great “one hundred best pop songs”. I give a few lines of the lyric:

“You talk like Marlene Dietrich
And you dance like Zizi Jeanmaire
Your clothes are all made by Balmain
And there’s diamonds and pearls in your hair, yes there are
You live in a fancy apartment
Off the Boulevard of St. Michel

And a friend of Sacha Distel, yes you do
And the young men who move in your circle
Hang on every word that you speak, yes they do

But where do you go to my lovely
When you’re alone in your bed
Tell me the thoughts that surround you
I want to look inside your head, yes I do
I’ve seen all your qualifications
You got from the Sorbonne………… “

Many believed this song was written on the life story of Sophia Loren as she was a street urchin in Naples and grew up in extreme poverty and exploitation in the post war of Italy. Alberto Moravia’s novels were very popular on this aspect of life.

The present tribute for both Hemant Kumar and Lata Mangeshkar is very glowing both in the main article and in the comments. I wonder what SoY will do in two years?

The film “Nagin” is mentioned and the commonplace songs in it.

Of all the 12 songs from that film my favourite song is the “Jadoogar Sainya”

Twelve melodious songs composition plus musical direction and singing as well, and one individual piece on the that strange instrument all is a massive work and all that was handled very successfully by Hemant Kumar one must freely praise with broad mouth.

And as an assistant Music Director Ravi too deserves be praised.

Shalan

The good thing of Gold mine is that it doesnt offer whole the gold of it at once. You have to dig it everyday incessantly and reward is also guaranteed..like this simply amazing song : Pyasi hirni ban ban dhaye koi shikaari aaye re, chori chori fanda daale baanh pakad le jaaye re….Thanking u again AKji……this song is absolutely appropriate at 2nd place…I liked this song beyond my expectations…simple tune classic outcome …too soothing…too melodious…Reminding Mandakini singing Tujhe bulaye ye meri baahen in similar costume.

AK @ 61
I agree with you and support your efforts to look for less attended songs by the populace. On its it will be a a very good post.

There are a good collections of Lata’s songs in various categories like “Lata in Blue, Devotional Lata, Classical Lata, RK Lata, and so on. I think more than twenty categories, a challenging work for nay one wants to study Lata and win a Doctorate.

Shalan

Too good follow up song Mumbaikarji. Nalini was a real Hiran !

kasbhatia @69

It is so nice of you to point out the lyricists and their power of words and meanings in the filmy songs.

Many of the songs have words dominating than the tune’s magic.’

Once I attended a recording of the songs of the film “Insan Jaag Utha”

There occurred a very domineering dispute between Lata and Sahir Ludhiyanvi. Ludhiyanvi wanted his words not being overshadowed by the high notes of Lata and he also wanted the Orchestra to be played in the shadow of the song. While the director (film) would not have any interference in the music director’s work. At some point he said to Sahir that he would cancel all his work and would ask another lyricist to come in.

Very delicate situation that wasted the producer’s a lot of money as the dispute went on for six hours.

Shalan

Ms. Shalan Lal , Ms. Mumbaikar8;

Yes ; disputes do occur when the lyricist insists on strong meaningful word and MD getting the rhythm and beats broken by the insisted wording. The Shailendra Jaikishan dispute is well known in Shree 420 song……raatoan dasoan dishaon se …..where Jaikishan bow out for Shankar to complete the song .

In one of the interview of Ravi [ available on YT ] narrated that he got very depressed when one day Hemant Kumar told him to be your own now onwards and his assistant is no longer required . Ravi narrated this to B R Chopra who immediately signed him for not one but three movies . What Ravi gave songs in Gumraah is of course a well known history . While Mohinder Kapoor established himself a force to recon with ; surprisingly during same time Ravi , in another movie , set a similar composition as that of Gumraah for Rafi to sing . The Rafi song too was good but went un noticed due to the dominating songs and music of Gumraah. This was extensively discussed in the Open forum and I remember Ms. Mumbaikar rightly pointing the importance of Lyrics that hold the fort . …..to which I fully endorse her views/ comments .

Lyricist do have duel work to perform, one the song should perfectly blend with the narration of the story vis a vis the screenplay and other to match upto the standard and melody of the composition of the Music Director . Some time a hard mythological song writer faces such situation and some time a pure romantic lyricist [ like Hasrat ] to write serious /sad songs . Meeting challenges and attaining good results are of course listeners pleasure.

Here are three songs of Bharat Viyas set to tunes of Hemant Kumar .

1. Rut Aaye Rut Jaye………Sahara…….Bharat Vyas

https://www.youtube.com/watch?v=oQbIIIMwTOY

2.Ban Ke Suhagan Rahi Abhaagan…….Sahara…..Bharat Vyas

https://www.youtube.com/watch?v=4UI6wOfyJI8

3. Andhon pe daya karna datta…… ditto …….

https://www.youtube.com/watch?v=X2jxkt2s5CE

Mumbaikar8 8 @ 71 and ksbhatia @ 72

Mumbaikar8 yes indeed it was my Himalayan mistake but you gave me a very little punishment. The film I wanted to say was 1963 film “Muze Jine Do”.

Any way, you have got very wonderful analysis of the role of the lyricist from KSBhatia- that was my target.

Mumbaikar 8ji, I have to be very, very careful about my instant reaction and must not write my reaction until I have double checked the details.

Do you want me to write the above line ten or more times?

“Itani Badi Bhool Aur Itani Chhoti Saza?”

Shalan

Giri ji ;

I think Vachan made by Davindra Goel in1955 was the first movie of Ravi as an independent MD . Starting from Anandmath[1952] he was assistant to HK and continued irrespective of him becoming MD till I think ….Ek hi Raasta….made in 1956 . At that point of time Ravi brought out the issue of leaving the HK camp . B R Copra who was the producer of Ek hi Raasta immediately promised him to be engage him for his next three movies . BR also gave oppertunity to N. Dutta who too once was HK assistant MD . BR movies came a little late but his entering the Big banner made Ravi a most sought after and sucessful MD of the 60s . He gave music to more than 40 movies during this period . I think he himself created a record of giving music to as many as twelve movies in 1963 itself.

Some interesting discussions / comments / observations came up on the subject of swaping Rafi’s songs with that of Mohindra Kapoor in OPEN Forum of SoY . During 1963 both the singers were at the top of the Ladder , with each one giving their best. Hans ji, Arvinder Sharma ji , Ms. Mumbaikar actively participated in discussions with close monitoring by AK ji .

The two songs of Mohindra Kapoor were on target……chalo ek bar ajnabee ban jayen….and …..aap aye to khayale….from Gumrah [1963] . My point was that these songs could be as good as of Rafi ‘s singing the same. In the same way the two songs of Rafi from Nartakee [1963]……Zindgi ke safar mein akele theye hum…..and ….Itnee haseen itni jawan raat kya kare……could have very well sung by Mohindra Kapoor as well. The common factor between the two movies is Ravi’s composition , 1963 year of production and Sunil Dutt .

For a passionate listener Rafis beautiful songs went unnoticed while the MK ‘s songs won all the laurels , though the lyrics of all the songs were very appropriate to the story and screenplay . It was Sahir’s magic touch that elevated the Gumrah’s songs and film as well .

For detailed comments reference be made to the relevent step numbers of Open Forum of SoY.

Shalan Lal @74
“Mumbaikar8 yes indeed it was my Himalayan mistake but you gave me a very little punishment. The film I wanted to say was 1963 film “Muze Jine Do”.
I can understand the Himalayan mistake you are talking about but I fail to understand about the “small punishment”
I think you know Mr. Pratik Sinha, he does the fact check on viral news with a caption of his own, I did the same, as I am not good at writing caption I used Javed Akhtar’s sher. If you think that is punishment then Mr Sinha is punishing all and sundry!
As you have double checked and come out with a movie that has lyrics by Sahir and songs by Lata, but I still doubt your story.
Sahir was very confident of his lyrics and was very vocal about it, he had `very arrogantly said that if my songs depend on singers or MDs for survival I would rather sell Paan than write songs. He never cared who the MD or the singers were; he had ego squabbles with both SDB and Lata.
“Sahir having reservations about Lata’s singing and the orchestration overshadowing his work, the director threatening him to cancel his work and throwing him out of the movie” are just not palatable.

“Do you want me to write the above line ten or more times?” I have said this time and again I do not tell anyone to door not to do, that’s not me!

RE: Sahir/Jaidev: They did have a falling out during Mujhe Jeene Do because Sahir is said to have remarked ‘What good is a music director without a lyricist?’ at which Jaidev was not amused. He is said to have challenged Sahir to do another film where the poet would write the lyrics to three of Jaidev’s compositions, while Jaidev would compose music for three of Sahir’s lyrics – that would settle who needed whom. Sunil Dutt even tried to patch things up between them, but Jaidev recorded two folk songs for the film without Sahir’s knowledge, and the collaboration ended right there. (Source: Sahir Ludhianvi: The People’s Poet, Akshay Manwani – quoting lyricist Naqsh Lyallpuri.) This anecdote seems to validate Ms Lal’s recollection of the incident.

Tyagi ji @77
What I had written was what I felt in tune with my taste. It need not be everyone’s or even majority view. I respect others’ opinion as it would be as per their taste.
Bhatia ji @76
Thank you for taking the trouble of an elaborate reply. Your memory is amazing.
I just wanted to point out that Ravi became an independent MD in ’55 itself whereas the B.R.Chopra assignment came only in ’63. In the meanwhile Ravi gave music to more than 20 films which included producers like Guru Dutt, Gemini S.S.Vasan, Shakti Samant etc.
There is no doubt that ’63 was his best year.
I also agree with you that Sahir’s lyrics and the story context pushed songs of Gumrah to the top.

@ 85: But Ms Lal did not say Sahir was ‘anxious’. She said, and I quote:There occurred a very domineering dispute between Lata and Sahir Ludhiyanvi. Ludhiyanvi wanted his words not being overshadowed by the high notes of Lata and he also wanted the Orchestra to be played in the shadow of the song.

What part of ‘very domineering dispute’ seems ‘anxious’ or ‘feeling threatened’ to you? To me, that denotes Sahir’s arrogance. And the fact remains that Jaidev did bring in two folk songs (NOT Sahir’s lyrics) into the film as Ms Lal recollects him saying. Therefore, I see no reason to dispute Ms Lal’s recollection of events, apart from having made a mistake about the film in her first post.

Anu Warrier @ 80 and other readers including AK

Anu Warrier, your strokes have the gentle taps of a goldsmith and the hits of the battering of a ironsmith to flatten the stubborn rawness in the rusted iron and yet the knack of the boundary and sixer making bat of Sachin Tendulkar.

I am very grateful for your apt and pointed contribution.

As for the doubt about the anecdote is why the hell I should go on making up a tale to explain the evergreen wrangling issue in music and poetry that the role of words in the popular songs or classical songs and vice versa?

Mr KSBhatiya seemed to have nobleness and maturity to ignore my mistake and carry on the issue I raised and instead of contributing the issue one would go on scoring small points and try to enjoy the dropped down crumps like a street urchin is beyond my sophistication. What an unbecoming fracas!

The incident is as true as a shining minted coin. To the Tardev Sound Recording Studio I went along with my friend whose brother was playing in the orchestra so I had a legitimate pass to stand in the sound proof booth and Nargis and Sunil Dutt were there as well.

But I omitted their names as not to distract from the original issue and parading my good fortune to be in the company of the legends of the Bollywood for the SoY readers.

It was Nargis who was furious with Sahir that so late of the film in the process he had raised the point of his “words” when the recording was going on and created a costly rumpus.

Nargis wanted Sunil Dutt to be successful in his film-making world for her ego and later on I learned that she shifted a lot of her funds from the holding of her money by her brother and she also persuaded many investors to put monies in this film.

The story of the film was loosely based on the novel of James Hadley Chase story “No Orchids for Miss Blandish” mentioned in my post “Hundreds of Shades of Pyaar”.

It is better readers should concentrate on the issue where singers’ art is better than the skills of the Wordsmiths and vice versa. They will find plenty of materials there.

I am glad that many other are participating in the present issue. But I would like and if readers could find interest to discuss the role of words in filmy songs and the musical notes in the read poetry as many poets sing out their poems and do the music help them to reach the heart, mind and brain of the audience or do the audience find sung notes are hindrance?

I thank all the readers who participated so far and may participate further in the discussion.

I am very much in debt with Anuji for the intellectual support for what my stand is.

Shalan Lal

On the topic Lata’s best songs composed by Hemanth Kumar quite a no. of comments/views are written about the great poet Sahir Ludhianvi. Of late one is noticing that while making comments or airing views the main topic discussion gets diverted and in the loop line more views/comments are coming in. If such an additional item of discussion is made if something good and laudable is written on the third person or new comer on whom the discussion is taken a new route it is ok and not if unwanted comments are made. This is my view.

Among the all time great lyricist Sahir will always figure in top.
I request the moderator to take note of my submission which can be taken sportingly.

SOY is a great blog where one not only read a lot about the stalwarts associated with Hindi film songs but we hear and saw some very great songs and enjoy the composition of the music which is evergreen. Let us not bring a spot of black mark on this main fabric.

AK ji ;

To keep the topic ticking , here are some hidden gems of Lata ji’s songs beautifully composed by Hemant Da.

Lagaata hai Zamaana boliyan…….Hamara Watan [1956]

https://www.youtube.com/watch?v=aA7fbp3nv_o

Tumahri Yaad mein mere balma…….Bandish[1955]

https://www.youtube.com/watch?v=6qs_WXTwRdg

I have reconsidered my decision and is back. I have set myself a few
conditions and they are:

a) my language will be polite as it has been
b) I will be posting my comments to the main topic airing my views
and will not respond or offer my comments to any comments/views
of others.
c) I will be showering only my accolades on the work/contribution of great artists of Hindi film world.

R Vasudevan ji ;

Welcome back . I fully support your self regulations…….. which most of us are following . But , as Ms Shalan stated ignore the follies and carry on with the criticism as it comes in a mature way . Those who venture into criticism actually perform a remarkable act of friendship. When the criticism is valid ….we learn a lot from it and get benefited . Coming up with reasons is the best course when the criticism is not valid.

When people tell me what I am doing is wrong , it makes me happier and I take it as they care about me. If they don’t they and will let me continue on my wrong path and fail ….they still would want me to succeed .

The love and friendship must go on . Even at this age getting knowledge is a great blessing .

Now a song on Lata, Hemant composition which is of later years of his life and some how matches the current discussions as well. [ song looks like RDB influenced ]

Kahete hain saare hanste nazaare……Bees Saal Pehle [1972]

https://www.youtube.com/watch?v=k_a05lIHNck

Hans
Welcome back!
Your observation on Lata’s pronunciation of “re” is interesting, never thought about it, this one has mesmerizing re and ra
https://www.youtube.com/watch?v=WtDFDtOyXB8
main to giri re giri re giri re..Lata

Hans ji,
I have also felt that Lata ji pronounces “R” in a strong way. It is noticeable in the lines starting with “R”- like in the songs ‘Rulake gaya’ or ‘Rangilare’ .I am also fascinated by the way she starts ‘Humne dekhi hai’ in that the “H” sound seems to come straight from the abdomen.
Saint Tyagaraja says in one of his compositions that the ‘swara’ should originate in the abdomen then go to the heart then the throat and finally come out through the tongue/nose! Lata ji seems to follow it while pronouncing “H”

KSBhatiya @ 98

“When people tell me what I am doing is wrong, it makes me happier and I take it as they care about me.”

What an amazing way and right positive way to look at the other people showing one’s mistakes and taking them in sportingly and improving oneself! I believe it comes from one of the “Shabad Vani” from the Granthasaheb!

Have you ever thought about doing a post on “The Gift of Granthasaheb” to the film music?

Wonderful, I am always delighted to look at your energetic outpouring of the songs in good numbers in the comments columns.

May you do it for the long time and enrich the fabric of the “SoY”.

Shalan

Mumbaikar8,
Nice remembrance of Post Box 999 song. This only shows that perhaps the MDs if the time new about her ‘ra’ magic. If you listen Lata’s early songs you may discover many gems. Lata brought this ‘ra’ magic in the Andaz song ‘da dir dara meri ladli ri bani hai’. I dont know whether it was intentional or coincidence that her pet boys LP gave Suman similar words in the Man Mandir song ‘munna jayega bazaar’. But, Suman who quite ably imitated Lata could not produce the ‘ra’ magic. Incidentally both songs are focussed on a child, only munna replaced ladli.

With CR she gave ‘balma bada nadan re’ very early. I have an inkling that not only MDs but Lata was also aware of her strength in ‘ra’ ‘re’. Hemant is known for haunting songs with Lata, but see Lata sing ‘saathi re tujh bin jiya udaas re’ composed by that magician Salil who had earlier composed another ‘re’ gem ‘aaja re pardesi’ (another haunting song). In ‘saathi re’ Lata takes the ‘re’ to very high pitch a la Rafi or MK. Lata was vary of criticism about her voice turning into a screech when she took it to high pitch and did not try very high pitch often. But, here she not only takes ‘re’ to very high pitch but also holds there and provides the vibration needed to give it the haunting touch. In the radio days when programs based on one subject were broadcast, this song a must when haunting songs were broadcast and I always waited for it. To me in Lata’s haunting songs, this song is best.
https://www.youtube.com/watch?v=2s10DpuOHCM

Giriji,
Thanks for your comments. All great singers have their special way of pronouncing the words which they do differently in different situations. ‘Humne dekhi hai’ is my eternal favourite. Lata was Lata because she could modulate each word with ease. I had talked about ‘ra’ because she treats this word very differently than other female singers. I also talked about ‘re’ because this word is basically in female domain, though a number of great songs have been sung by male singers too.

I dont know much about technicalities of singing referred by Saint Tyagaraja, but I have read a number of stories that so and so singer did not eat before completing the recording of important songs. And I believe it too, because I have practiced it myself on important occasions.

Venkatraman ji @107 ;

Thanks for the addition of beautiful songs . They were new to me and all the four carries the collectors valued songs.

Ms.Lal
Re ,as you probably know , the solfege in western music comes from the first syllables of the first six lines the hymn
Ut queant laxis
resonare fibris
Mira gestorum
famuli tuorum,
Solve polluti
labii reatum,
Sancte Iohannes

As years went by “Ut” became “Do” and “Si” the seventh note was added to the scale and then it became “Ti”.
In Indian music Re is Rishabha (in Carnatic we say Ri) the lowing of the bull.
I don’t know much about Lata’s “Re”, my ear cannot make out the nuances others can.

In Salilda’s “Aaja re pardesi ” my favourite part is the way “akhiyaan” is sung. There are five notes in the way that single word is used.

Like …” re”…there are many melodious songs with …” ja “…. be it sad , romantic or happy . I will go with Dinesh ji exceptional wording and its picturisation makes dramatic effects when you listen to audio or video version .
One of such Lata’s beautiful song composed by Chitragupt Assistant , D.Dholakia from Private Secretary .

https://www.youtube.com/watch?v=5hZw8VjWyKI

My rule…..I go where music takes me .

AK @ 120
I too would like to say in the words of SSW @ 121 ” I did not equate the discussion of Lata’s “Re” with the “Re” of the sargam either.”

AK @ 120
Your comment suddenly stopped the real discussion about Lata’s “Re” and the “Re- Rishabha” in the musical scale as well.

In my earlier comment I mentioned “Rasa” Theory which ancient Indian scholars have narrated in their various treatises about the literature (which includes spoken and visual as well and other forms of arts).

The spoken words have ability to create “Nav Ras”

In music all notes are related to each other and their resonance affect with each other. The “Re” of Rishabha is related to its previous note and also cast a touch on the following note and also have a shadow on the over all scale and singing. Here experts like Subodh could throw more light on the way singing’s practices as have done.

In the western music this relationship is taught in the music-subject and showed on the piano how each note is related to the other.

In many posts of the writers within the posts have departed from their own subjects and let the doors open for all kinds of discussion. So discussions about Lata’s “Re” and Rishabha “Re” are not outlandish.

Whichever you take; Lata’s “Re” was mentioned by Hans so however Lata’s own province as reserved is that, and other cannot enter into it, it is the situation we as the receivers of that “Re” can and should discuss it as our democratic right, even at the end, to let it rest to the “Guhyang” or the golden silence of the monks or masters of the music.

Shalan La

Shalan Lal

Wanted to know on which raag is this song based, ‘Mushkil hai jeena bedardo ki duniya mein’. It is such haunting melody.
If some of you can please help with some insight. Thanks 🙂