Wishing Lata Mangeshkar a very happy 90th birth anniversary (b. 28 September 1929) with a guest article by Shalan Lal
(Lata Mangeshkar turns 90 today. This momentous occasion demanded something special befitting the milestone. However, in the year of the Ravi celebration on SoY, most readers almost took it for granted that today I would write on her songs by Ravi. As the readers are aware, in this series the spotlight has been on his main female playback singer, Asha Bhosle, to whom Hans Jakhar has paid a handsome tribute on her birth anniversary earlier this month. Lata Mangeshkar being Ravi’s ‘other’ singer, was placed in an unfavourable situation. This dilemma resolved itself when Shalan Lal sent me her comprehensive treatise on her, analysing the ‘conditions’ that made the Lata Mangeshkar phenomenon. The rhetorical question in the title implies that there would never be another one like her. While emphasising the theory of ‘conditions’, Shalan also acknowledges that her voice had a divine quality, and there was something beyond her training, upbringing, hard work, and other conditions, that was transcendental and beyond any physical explanation.
The original article Shalan sent me was too long for this blog, and I have severely reduced it, without losing the essence of what she is trying to say. I am happy that she has allowed me editorial freedom in this regard. Let us join her in wishing a very happy 90th anniversary to the legend, Lata Mangeshkar. And thank you Shalan for your significant article for this special occasion.
As the SoY regulars are by now familiar with her style, Shalan never writes a piece without saying something highly provocative and controversial. I have added my own comments on some of her observations at the end of the article.
Shalan Lal is a UK-based academic having wide interest in art, culture and literature. – AK)
The top question creates the following forbearance:
“Que será, sera. Whatever will be, will be? The future’s not ours to see
Que será, sera”
Yes, Indeed!
Today on 28 September 2019 Lata Mangeshkar completes her 90 years and there will be celebrations on the filmy planet and in the Indian social and political world. She has already won numerous awards including the highest Indian civilian award ‘Bharat Ratna’. She is known as “The Queen of Melody, The Voice of the Nation, The Voice of the Millennium and The Nightingale of India etc etc.”
Mine is a rhetorical question. Some will think it as a pompous question; others may think that it is melodramatic. I do not see any harm in raising it.
The answer from the audience surely will be instantaneous and a unanimous emphatic “No, no and never”!
This I venture to say is an expression of sheer love for the icon Lata! There is a need for deeper examination of the ‘conditions’ that made Lata Mangeshkar. I had my Eureka moment to examine her on this basis when I watched a BBC series titled ‘The Planets’, presented by Brain Cox, a renowned expert on Space Science and the Solar System.
In one of his lectures, titled ‘Godfather Planet Jupiter’, Professor Cox explained that when the Big Bang happened billions of earth-years ago, and the sun and solar system came into existence to cool down to present time, it was Jupiter which is hundreds of times bigger than our earth, kept on guard and destroyed most of the asteroids or gobbled them up which were on the loose and going around destroying other planets, or whatever coming in their way, behaving like the wild west cowboys.
Jupiter helped to create an atmosphere on the earth and did not allow the water to dry up so life could be born and sustained. It was also instrumental in the occurrence of the orbit around the sun and also the larger orbit called the Solar System. Hence there are seasons on the earth, and human beings could eventually evolve and come up to what they are now. Unless what Jupiter had done occurs elsewhere in the space, it is unlikely that another earth can happen. Mere water is not enough to have a living world. Many planets have water in frozen conditions. But Jupiter took billions of earth-years to do what it did.
These are called the ‘conditions’ and did not occur anywhere else according to the present knowledge.
Before looking at the future I want to look at the past which created the ‘conditions’ for Lata Mangeshkar, the Empress of Indian Film Music, a term used by AK when he titled his post on her songs composed by Naushad as ‘The great Mughal and the Empress of playback singing’.
What is the ‘Past’?
For this essay the ‘past’ is the past of the Indian music and the ‘past’ of Lata’s childhood environment and her slow sliding into the star-studded Bollywood of the fifties. I had touched in some parts of the ‘past’ of the Indian songs in my three parts series on the ‘Chorus Songs’ in Hindi films. But now a little wider and deeper ‘vista-vision’ is needed to think for the present exposition.
Lata is called both ‘Mira and Saraswati’.
All Indian songs evolved out of the past history of the Indian sub-continent. In the ancient times, India was isolated because of the geographical reasons as the mountain range of the Himalayas was precipitously gruelling to crossover. India is also surrounded by the deep ocean waters, and seafaring was arduous, especially during the monsoon months, until there was progress in the naval technology. So the Indian continent was isolated, and at the time it was believed that it was the world on its own and no other countries existed.
Those who lived in India had plenty of ease of freedom to develop various ideas without being molested by the invading forces as they were not there at the time.
As the written alphabets were not developed everything had to be in the verses and songs to remember what they had worked out. We have got an example to quote from the Bhagvad Gita chapter thirteen verse number four:
Rĭṣhĭbhĭrăbăhŭdhā gītăṃ chchăndobhĭrăvĭvĭdhaiḥ pṛĭthăk
Brăhmăsūtrăpădaiśhchaivă hètŭmădbhĭrăvĭnĭśhchĭtaiḥ 13.04
“The sages had composed them into many methodical metered songs, into the aphorism verses of reasoning to preserve the meanings of the Brăhmăn for the assurance!” 13.04
Thus the songs and lyrics compositions are as old as the Vedas! They are the real ‘Songs of Yore!’
We still have in the Hindu societies names like Vedi, Dwivedi, Trivedi, Chaturvedi, Pathak etc. These were the families which could recite the Vedas and Upanishads. The huge compendiums like Ramayana, Mahabharata etc. were recited by certain singers. In fact it was a spiritual activity for them to do so. Both these books are told in flashback. One of the Vedas, Saamved, is dedicated to the science of the composition and singing of the Vedas.
Thus singing was an integral part of the ancient Indians. But time does not stay as it is forever. There were cataclysmic changes brought about by external forces. Alexander’s invasion of Persia and India created passage to India through the northwest frontiers. The next major change came consequent to the order of the Caliph of Syria to attack India through the sea route, and Mir Qasim did that by attacking Sind(h) and slaughtering King Dahir, which helped create the first Muslim sway over the Indian soil. The Caliphs of Syria became lopsided authority of the Muslim aims and objectives after the death of Prophet Muhammad and after the massacre at Karbala in Iraq.
So India’s natural defences became defenceless. India became a “realm-apartė”, a land open to all kinds of invaders.
One important aspect of Islam was that song, singing and music were not allowed. They were considered along with the alcohol as devilish by the Prophet. “They take away the minds of human beings”, became one of the many commandments in Islam. India was invaded regularly by the Muslim tribes from the tenth century onwards up to the rise of the East India Company. Muslim rulers and their reign discouraged music and songs as non-religious precept. Although classical music under the Mughal Emperor Akbar, who created his own religion ‘Deen-e-Ilahi’, flourished, it was banned by his great grandson Aurangzeb.
So in general the song and music lost its credibility in the Indian psychic footing of the society that was sacred during the Vedic times. It was stubbornly evident in the House of Naushad, as his father, a respectable family man in Luckhnow despised it. And Naushad had to keep it a secret from him until the film ‘Rattan’ and its songs became hugely popular in every corner of India.
In South India, Mysore Kings and Tanjore Royalties practised songs, dance and music until the rise of Tipu Sultan, who dismissed the Mysore’s Hindu king and converted a huge number of Hindus into Muslim community and gave his reason for dismissing the Hindu king as a self-indulgent deviant into music and dance following the devil, and unacceptable in Islam. Mysore kingdom became a Muslim Kingdom and created terror among the South Indian Hindus. Tipu also believed himself as another prophet like figure.
So either by the fear of torture, or death under the rule of Islam, the idea of music and song being sinful and devilish got established in the Hindu minds as well, along with the Islamic societies.
Only very recently a few decades back the respectable Indians like doctors, college professors, Brahmins, engineers, and school teachers started openly loving filmy music and classical music as well. The University of Mumbai created a department of music dedicated to both light and classical music. It is important to note here that Mr Bhatkhande did research in the classical music of India and created schools for the music by the turn of the 19th century. The rise of Marathi musicals in the 19th century was a return of the song and music in Maharashtra and Bombay. But the people in the theatre and music business were always seen as rogues, untrustworthy, drunkards, and outsiders, and not welcome in respectable families.
Bombay is the place where Indian film was born and flourished.
Bal Gandharva, the rival musical star of Dinanath Mangeshkar, as a young boy ran away from his high caste Brahmin family home to join a musical theatre company. The family never accepted him back in the fold even though he became the pride of Maharashtra in the early twentieth century. Towards the end of his life he cohabited with one of the Karnataki sisters and married her, and became a Muslim. Then he was ignored in his last days by the Marathi people.
The re-appraisal of ancient Indian glories happened because of the first Governor General, Warren Hastings. The successive Governor Generals of the East India Company (except Lord Curzon), supported the Bengal Renaissance that pursued the resurrection of the ancient Hindu artistic, literary, philosophical and scientific ideas along with modernism. This was one of the factors giving rise to the Indian Independence Movement which was envisaged by the first Governor General Warren Hastings of the East India Company.
For the development of the arts like singing and other fine arts one needs freedom. The music and singing cannot be learned and developed in silence. If there is an Islamic house next door and the state was ruled by a Muslim, the learning and playing of music would be prohibited or discouraged. Muslims have prayers five times a day, and that would disturb them.
Warren Hastings wrote a long and scholarly introduction to the first translation into English of the Bhagvad Gita by Charles Wilkins and requested Nathaniel Smith Esquire, the Director of the East Indian Company to publish it in 1774, which he did in the same year and it was read by most of the intelligentsias of the UK and Europe. It influenced many British poets, writers and philosophers, including William Blake, Wordsworth and others. It made profound influence on the European writers, revolutionaries, philosophers etc, particularly in Germany.
Charles Wilkins was employed by the East India Company to create the types of letters of many Indian languages for the printing of circulars and information to the natives. These he did and the printing press came to the sub-continent, triggering a printing revolution, publishing journals, novels and other forms of literatures in many languages of India.
On 15th January 1784 Sir William Jones who was a poet, linguist, and above all an Orientalist par excellence, invited thirteen gentlemen, the elite of the European community, like Justice John Hyde, John Carnac, Henry Vansittart, John Shore, Charles Wilkins, Francis Gladwin and Jonathan Duncan, in the Grand Jury Room of the Supreme Court at Calcutta, with Sir Robert Chambers, who was in the Chair, and a resolution was passed for the establishment of the ‘Asiatic Society’.
The Bengal Renaissance started the Saraswati Puja which means practicing of the Indian Arts. It created similar influence in other Indian linguistic communities.
Raja Ravi Varma’s Sarswati adopted by the Bengali community
Bengal Renaissance influenced other provinces in India in many ways. Thus very slowly music and singing started gaining the grounds of respectability. But not fast enough.
The long rule of the British started creating ‘Band stands’ in public places and gardens. The bands played European classical music. Initially the band concerts were open to the British only, but subsequently Indians were allowed and many in the army learned how to play western instruments and were allowed to join the bands.
The Bandstands in the public parks and other empty places suggested that music was going to be celebrated and not supressed by the British Raj.
For a long time in Bombay, at Worley’s seaface, there was a Bandstand where music was regularly played in the evening. If you see Dev Anand’s famous film Taxi Driver, that is the place where he mimed the song ‘Jayen to jayen kahan’. Kalpana Kartik mimed its Lata Mangeshkar version earlier.
Also the song from C.I.D. –
लेके पहला पहला प्यार
भरके आँखों में खुमार
जादूनगरी से आया है कोई जादूगर
लेके पहला पहला प्यार …
– was completely shot on the promenade of the Worley’s sea-face, with the stylish walk of Dev Anand chasing Shakeela. This shot in the film was very much appreciated by the audience.
The pedal organ – Marathi people called it Pedal Harmonium – was one of the instruments used as a starter of notes and accompaniment to the singing actors on the stage. Some say the Indian Harmonium grew out of it which became an essential part of the film directors and composers to make music for the films later on.
Pedal Organ or Harmonium
The Marathi musicals rose after the British musicals came in the 19th century. They had similar theatres like the British theatres with pits in front of the stage for the orchestras. Marathi musicals also used the pedal organ or the harmonium. Marathi musical mobile companies grew up very fast during the nineteenth century. Plus there appeared what was called ‘Mela’ companies. These were mini-musical companies which performed during the Ganesh Puja which lasted about ten days. The Mandap or pavilions with a stage were created in numerous areas. This festival is still very strong and goes on annually in the Maharashtra state just like the Kali Puja in Bengal and Navratra Festival in Gujarat and similar festivals in other parts of India. These ‘Melas’ gave Hindi films actors like singing star Shanta Apte, Shashikala etc.
Shanta Apte
Before the Marathi Musicals rose, there were Hindu saints who wrote songs. These saints rose in the 12th century onwards. They created a Bhakti movement among the people against the harshness and cruelty of the Islamic rule in India. They wrote songs in praises of the Indian gods and brought in some Upanishadic meanings in their verses. Among them Nanak Maharaj composed verses and a brand new religion came with eight more Gurus of Sikh religion also adding verses of their own, to the last Guru, which constituted the Granth Saheb. The verses were composed in the classical music of ancient India supposed to be lost. Mira in Rajasthan, Surdas of Mathura, other saints in Bengal, and Baul singers similarly wrote songs. Classical music in South India got a foothold. For Lata Mangeshkar I must mention the Maharashtrian saints like Dnyaneshwar, Tukaram, Eknath and so on who composed verses, which could be sung or hummed.
The work of the saints remained intact because the Muslim rulers did not think it was dangerous to them or their religion, as these religious people were totally ascetics.
Lata sang a selection of the verses from ‘Dnyaneshvari’ – an interpretation of Bhagvad Gita – in the style of ‘Ovi’ which is usually a two-liner poetic idea with rhythm, and has musicality of its own colour. As she sang in her divine voice, it was accompanied by English commentary by Zul Vellani in his equally sacred, deep resounding voice. We got the vinyl LP record from Zul Vellani who visited our family many times in the fifties.
Zul Vellani was an exceptional voice of many documentaries made by the Films Division in the fifties. He also acted in the Mehboob Productions film ‘Paisa Hi Paisa’ (1956). He was a stupendous actor, mainly on the English stage and in many art films in India. When Indira Gandhi died, he was specially invited to do the funeral commentary of the procession and final rites for the Television around the world.
Now I come to the decade of the twenties towards the end of which Lata was born on 28th September 1929 in Indore – a small principality state in the Central India which came into existence after the last battle of Panipat. Indore, Gwaliar, Baroda were some of the very well-known princely states which gave good patronage to various arts and music. Many had Khansahebs of the classical music of India in their residence. Dinanath Mangeshkar always found generous patronage of the Maharaja of Indore. His touring mobile musical company stayed in Indore when Lata was born.
Dinanath Mangeshkar had many musical plays in his repertoire, written by skilled playwrights at the end of the nineteenth century and the early twentieth century. Most of them show the influence of Shakespeare or Sanskrit poets like Kalidas, Shudrak etc. I can name here a few: Shakuntala, Mrichchhakatika, Saubhadra, Draupadi, Punyaprabhav, Maanapmaan, Ek-ch-Pyaala, Prem-Sanyas, etc. Some plays were translated into Hindi-Urdu by Dinanath Mangeshkar himself. These plays had outstanding music and songs that provided some foundation for the films of Prabhat, New Theatres, Bombay Talkies etc. Other linguistic societies, too, felt the effect when they saw the success of music and songs alive on the Marathi stage in all the nine emotions, Navras.
Magnificent father of Lata Mangeshkar in the role of a Five Star Major General Dhairydhar wearing Jodhpur and in other military regalia in the play Maanapmaan (Honour & Dishonour). He sang the master song ‘Chandrika hi janu’ and many other hit songs in this play.
Dinanath Mangeshkar was a mightily trained master singer in the classical style with lucid voice. His company became immensely popular as he took it to all over India from his base in Indore. He was extremely busy and had star qualities within himself. During this period when a miracle medium, films happened, he was not worried or challenged as long as they were silent. But when the films started talking and singing later in the thirties, a new challenge arose for all the theatre companies. Dinanath created his own film company, probably wanting to transfer his singings plays into the musical films.
Dinanath was a self-disciplined actor. Its roots may lie in his family background as priests of the Mangesh Temple in Goa. The temple activities usually start at the dawn of the day with the early worship of god, when the priests often sing in morning raga in the praise of the god, and later sing in different ragas at different hours of the day, appropriate to the time-cycle of the classical music. This was the environment in the house of Dinanath. He would wake up before the day break and after his morning bath and worship of his patron god Mangesh, he would sit and do his riyaz of a song or a raga, for at least an hour.
Baby Lata would hear that regularly and absorb all his skills as babies always absorb all things elders do.
That was the early learning skills of singing for Lata.
Childhood of Lata Mangeshkar
We have some stories about the child Lata and one of them is that she corrected a music student’s riyaz while her father was away on some business. She absorbed both the skills of singing and putting various emotions in them, as well as acting skills. As per her biographies, later when she moved to Bombay, she took lessons in classical music from Ustad Aman Ali Khan of Bhendibaazar Gharana.
Lata had a sweet and melodious voice right from her childhood – a gift from God and she herself believed that it was divine selection, as she appeared in the plays of her father which would go on until the dawn in the morning. Lata would get clapping and shouts of ‘once more’ in the European theatres. She would do her singings in the play and then would go back and sleep in the wings.
Lata’s story tells us that when she was thirteen years old her father died of heart attack, probably caused by excessive alcohol drinking. This calamity created a very deep impact on her. Alcoholism was a problem in the film industry, and Marathi theatre as well. Thus, Lata grew up in very adverse background, but she stayed clean like a lotus in muddy water.
There is a great Marathi Bhaavgeet, ‘Kalpvriksh kanye saathi lawuniya baba gela’, masterly written by P. Sawalaram. Roughly translated it means, “After planting the Heavenly Wishing Tree for his daughter, the father has gone to heaven.” And this autobiographical song in the well-skilled lamenting voice full of emotions, is sung by Lata herself.
Lata did not start with the idea of reaching to the top in her field. All she wanted was money to buy food and other needs of her family. She was the eldest child in her family and the responsibility of feeding them fell over her. Her only asset in her life was her singing, and that could give her job and money and she could look after her family of five. She had no other skills to earn money. She was devoid of normal schooling when it was available by the British government’s primary edict. One must praise her unstintingly that she had managed her money well despite her lack of schooling. Not many people in the film world showed this kind of capacity.
Now let me look at her singing career from her thirteen years onwards, i.e. in the 1940s.
The films had just started talking and the singing when Lata was hardly three years old. We do not know if her father took her to any cinema. The talking and singing films were something astoundingly an eighth wonder! They were still not proper artwork. People just went to see the talking and singing images, with a sense of wonder.
However, the film world gradually acquired a seedy reputation. This was redeemed by good creative films of the New Theatres, Prabhat and Bombay Talkies. Devika Rani’s elopement with an actor again caused a dent in the image of the film world. Various factors led to the decay of the Bombay Talkies, which was a very good creative film company with high ideals. Prabhat and New Theatres as well started decaying due to various reasons.
In another significant development, long before talking films, there appeared a new entertainment, the gramophone records, which recorded Marathi Bhavgeet and other light classical and classical music. The film companies used the gramophone media to popularise their films.
Marathi Bhavgeet, or poems filed with emotion, emerged as a genre at the turn of the 19th century. These were songs of secular nature, short and without consciously using a Raag for the tune. These songs got on the gramophone records mostly of 78 r.p.m. The Marathi Bhaavgeets were precursors of film songs. This genre also survived through the flood of film songs through the thirties to sixties. At one time Lata Mangeshkar was known as the Queen of Bhaavgeet. These songs were published in thin booklet-forms and the artist impression of Lata’s picture was printed on these thin volumes.
The first Bhaavgeet of Lata I heard was at the end of the 40s when it was played on a record by a Marathi neighbour. It was called: ‘Tuj swapni pahile re Gopala’ (I saw you in my dreams, Krishna!). This song has elements of tune and influence on the song ‘Rasika balama’ from the film ‘Chori Chori’ (Shankar-Jaikishan). Marathi Bhaavgeets, predating film songs, have a special place as they created huge demand for such secular songs, both in films and outside films. Soon the singing voices of KL Saigal, KCDey, Pankaj Mullick, Kanan Devi, Juthika Roy, Rajkumari etc. became a rage. Radio, which started in the late 1920s, gave such secular songs mass popularity.
KL Saigal Juthika Roy Pankaj Mullick Kanan Devi
Demand for emotion-laden songs like the Bhaavgeet meant that a voice like that of Lata was going to do magic on the audience. Before Lata there were New Theatres’ singers who got top billing on the gramophone records. They were also played in the eating places, tea houses and in public places in the evening in the parks using the Bandstands created by the British Government. Men ‘would-be singers’ copied Saigal and women liked to copy Juthika Roy!
The beginning of the forties started with the voice of Pankaj Mullick with songs like ‘Chale pawan ki chaal’ and many other songs from the same film ‘Doctor’ (1941). Easy, but very catchy tunes, and the lyrics were simple. Just look at the lyric and execution of the song: ‘Toofan Mail, Ye duniya Toofan Mail’ in the voice of Kanan Devi from ‘Jawab’ (1942). So fresh and even today it takes your mind away from the mundane troubles. The New Theatres singers dominated the ears of the common people all through the thirties and forties. According to the diary of Naushad, he was mad after the New Theatres songs.
At the beginning of the forties, the film ‘Khazanchi’ made in Lahore dominated the Bombay films theatres and also elsewhere in India. This film had extremely catchy tunes based on the Punjabi folk songs. The music director of this film was Ghulam Haider and the singer was Samshad Begum. Another protégée of Ghulam Haider, Noorjehan was also creating a rage. Ghulam Haider came to Bombay along with his singers. The forties were going to be dominated by the music of Ghulam Haider and by the voices of Samshad and Noorjehan.
As per a story prevalent in film magazines, there was an amateur singers’ competition for the promotion and felicitation of the film ‘Khazanvhi’ in Pune, then a very busy place for art, theatre, culture, films and education. Lata, who was then about thirteen, entered the competition and sang a couple of songs from the film. Lata got an award of 100 rupees, a very handsome amount those days, from the hands of Ghulam Haider himself. So when she met him in future for the recording of a song for the film ‘Shaheed’, he remembered her voice and announced to Sashadhar Mukharjee, the Shahenshah of the Filmistan, who rejected her voice as too thin, “A time will come when you will queue up at her door to get her voice for your films”.
Whether it was true or not, it just tells that Lata’s singing voice has exclusiveness and sophistication, refinement, elegance and ‘Je ne sais quoi’ all at once!
But looking at the opportunities Lata got in the films of the forties and her efforts in the films songs, Ghulam Haider did not help her much. He also did not become a rage of a music director either in India, or Pakistan that he thought would be an Allah’s gift for him. On the other hand Naushad became more popular and a by-word for good music.
It is always said that Lata was a passionate follower of Noorjehan. Noorjehan’s voice certainly was the voice of the early forties until half way down the forties. And she was brilliant in ‘Anmol Ghadi’ (1946) both in singing and acting. ‘Anmol Ghadi’ was one of the landmark films of the forties that made film music very popular. The sale of the records of this film broke the record of the film ‘Tansen’ that was the great Saigal’s voice forever. More about ‘Anmol Ghadi’ can be read in AK’s post on it. AK has also written about the effect of the arrival of Lata at the end of the forties, comparing her voice with that of Noorjehan.
Noorjehan’s song ‘Diya jalakar aap bujhaya’ in the film ‘Badi Ma’ (1945), music by K Datta, touched the hearts of the people of India. Lata was under the care of Vinayak since her father’s death. The film was written, produced and directed by Vinayak. Lata carefully understudied the songs of Noorjehan which came handy when Naushad was forced by Mehboob to use Lata’s voice in the film Andaaz as Noorjeahn and Ghulam Haider went to Pakistan. Earlier Naushad had dismissed Lata’s voice as youngish and harsh, and not good for his composition.
However the song ’Uthaye ja unke sitam’ in Lata’s voice did the trick. But in his later film ‘Mela’ Naushad did not use her voice. He was still dithering about her voice. Many opine that Lata copied Noorjehan in this song because Naushad had written the melody for Noorjehan’s voice. (The chronology does not match; ‘Andaaz’ came in 1949, whereas ‘Mela’ came a year earlier in 1948 – AK)
It is my considered opinion that Noorjehan could not have sung ‘Uthaye ja unke sitam’ the way Lata sang in heart-slicing notes that made the next scene between Raj Kapoor and Dilip Kumar, extremely well played by both the actors in a Shakespearean style. It is one of the highlights of the film that people wanted to go and see the film again and again. There, one finds the skills of Mehboob as the Master Director!
If there was a Godfather for Lata, I think it was Raj Kapoor, who gave all the songs for female characters in Barasaat in her voice. The film ran for seventy-five weeks in Liberty Cinema of Bombay. This was such a great publicity for Lata’s voice, and it also meant a great turn in her as well as RK Studios’ fortune. Lata got confidence that her singing career was going to pay her good money. With Barsaat she arrived in the film industry with all the aces in her hand, and soon became a Gaan Saraswati.
RK celebrating his ‘Barsaat’ of success!
And Lata had ‘Barsaat’ of singing contracts!!
There never were such a matinee idols as RK and Nargis
Lata’s station was going to be the Pole Star on the horizon of the song industry and she was going to stay there for many more decades. Let me recapitulate those points that made the condition for being Lata an ultimate glory in the singing world.
1) The song and singing lost its Vedic glory and respectability due to the Muslim invasion and the Islamic prohibition. It was reduced to the singing as the song of the Red Light District. This created a long starvation for the singings voice in the normal life of all people.
2) The singing started reviving itself after the British Rule.
3) The works of the Hindu saints as well as those of Sufi saints kept singing alive but did not get the royal wrap up stamp. The fear of Islamic rule stopped singing in public. The temple singing remained in the temple. The recent attacks on the Sufi centres in Pakistan show the anti-music feelings in the Islamic mind are very much alive in the twenty-first century.
4) The arrival of the British plays and musical concerts encouraged Indians to do similar things.
5) Marathi Musicals were the response to the British Operas and Musical plays and variety entertainments.
6) The universal education system started in India in the 18th century helped appreciation of art and music.
7) Indian writers like Sarat Chandra and others explored both issue-based and romantic themes in their novels and stories. Read AK’s post on ‘Devdas’.
8) By the time silent films arrived, this new invention of entertainment was very much supported by all kinds of people in the Indian society.
9) The need for the songs and music in the talkies dramatically grew and the New Theatres singers became icons.
10) Both in the film culture and social life a new voice that would be a shadow of the divine music was expected to happen.
11) Following three points have been suggested by AK and I am very happy about them. They go well with this exposition:
i. The days of ‘Bai’ type voices were over. Even the dialogue delivery was becoming more natural, which was very different from the 1930s, 40s. Therefore, a matching playback voice was the need of the hour.
ii. Her genius was supplemented by her supreme dedication to her art, her willingness to work hard, doing rehearsals/recordings morning till night, travelling in local trains from one studio to another, willingness to learn not only singing for films, but also diction, for example Urdu.
iii. Lata’s image in white, societal respect for her image, personal sufferings are in the public mind.
12) Lata’s voice was the natural selection and it was richly deserved to be like that.
13) It is very difficult to envisage that similar conditions will occur again and a great singing voice will happen in future. Lata’s voice will be a gold mine for the discoverers to explore many aspects and the mysteries of the art in her voice.
14) All in all I assume that there will not be another Lata as Lata happened from the forties to her Bharat Ratna Award. And those conditions will not repeat.
15) The new century has all the doors open for all kinds of artists and the world is a stage for them. But as the world has opened to other areas for all young women to achieve the mountain pinnacles, music will not be an exclusive area or the only much-preyed area either for riches or fame.
16) The journey of achieving in light or classical music is a hard passion and Lata’s good opportunities of the middle forties and fifties will not be there, nor there would be a Godfather like Raj Kapoor. Nor there will be a film like Barasaat again that people will see again and again for listening to the music and songs. Lata had exclusive long run in the RK films. No ‘would-be’ singer will get such preference, precedence and priority again.
I choose some songs of Lata which linger in my mind and not necessarily for their artistic qualities or for the lyrics of the words or for the greatness of the musicians, but they still linger in my mind probably due to the childhood association. If somebody says there are far better songs than my selection, I would not defend myself.
01) Yaad rakhana chand taaron Anokha Pyaar 1948 Anil Biswas
02) Chanda re ja re ja re Ziddi 1948 Khemchand Praksh
03) Uthaye ja unake sitam Andaz 1949 Naushad
04) O mujhe kisi se pyaar ho gaya Barsaat 1949 Shankar- Jaikishan
05) Saajan ki galiyan chhod chale Bazaar 1949 Shyam Sundar
06) Chale jana nahin Badi Bahan 1949 Husnlal-Bhagatram
07) Haye chanda gaye pardes Chakori 1949 Hansraj Behl
08) Ghir ghir ke aayi badariya Ek Thi Ladaki 1949 Vinod
09) Tumhare bulane ko ji chahta hai Ladali 1949 Anil Biswas
10 ) Bahaaren phir bhi aayengi Lahore 1949 Shyam Sundar
11) Aayega aanewala Mahal 1949 Khemchand Prakash
12) Chali ja chali ja Hum Log 1951 Roshan
13 ) Ye shaam ki tanahaiyan Aah 1953 Shankar-Jaikishan
14) Thandi hawayen lahara ke ayen Naujawan 1951 S.D.Burman
15) Tune hai mere zakhm-e-jigar Nageena 1951 Shankar-Jaikishan
16) Ab raat guzarne wali hai Awara 1951 Shankar-Jaikishan
17) Tere bina aag ye chandni Awara 1951 Shankar Jai Kishan
18) Mere piya se koi ja ke kah de. Ashiana 1952 Madan Mohan
The above list shows that Lata was going to be an all-round singer and she was going to be on the top of the list of the MDs and the financial priorities that the producers had to work out for any film in the fifties and sixties and lingering on seventies.
So looking at this constellation of factors it is unthinkable that there will be another ‘Lata Mangeshkar’ ever.
Oh yes there is one more thing she should have and that is the ultimate for an artist like Lata Mangeshkar. That is the “Nobel Prize” for the new area called Humanities.
Q.E.D.
AK adds: Shalan Lal makes some very sweeping remarks about Muslim Rulers and Islam having destroyed music in India. She makes a fleeting mention of classical music in Akbar’s court, and ‘Khansahebs’ in the court of princely states to refer to Muslim singers in general in a dismissive manner. This emphasis on Hindu-Muslim dichotomy ignores the unbroken musical tradition from Amir Khusro (13th century); Muslim rulers and Nawabs such as Mohammad Shah Rangeela and Wajid Ali Shah who were famous for their love of music and the performing arts; and all the major Gharanas of Hindustani classical music – Gwalior, Kirana, Jaipur-Atrauli, Patiala, Rampur-Sahaswan – which trace their origin to Muslim musicians. This centuries old tradition was also the part of the ecosystem when Lata Mangeshkar was growing up.
Disclaimer and Acknowledgment: Illustrations are from the Wikipedia and copyright, if any, over these artworks rests with the respective owners.
{ 200 comments… read them below or add one }
AK ji,
An emphatic NO is the answer to the title … question.
In spite of being someone who likes Asha Bhonsle and Geeta Dutt as much as the Gana Saraswati Lata Didi, when it comes to the Role Of Honour, Numero Uno position, Place on a high Pedestal…it is, always, Lata.
Rafi and Kishore’s versatility is , undoubtedly, exceptional. But, in the overall playback singing arena ,she is THE DIVA.
Birthday wishes to Bharata Ratna Lata Mangeshkar. Reach a healthy Century.
The first reaction is after a cursory glance at the post. Shall go through in leisure and come back.
Thank you for the treat!
Dr Shetty,
The guest author Shalan Lal has already anticipated the emphatic ‘No’. The only point to debate is how much of this is due to the ‘Conditions’, and how much is intrinsic.
Shalan Lal ji,
Maturity, Wisdom, Research… have all gone into producing a brilliant, analytical post. Kudos and congratulations.
From The Godfather Jupiter to the Bhagavad Gita, Saama Ved, Invasions, East India Company, Warren Hastings,the Saint ( Bhakti Marg) poets, The Bengal Renaissance, Pioneers in Cinema, Marathi music …. you have presented the theme in CinemaScope/ 70 mm with Dolby surround sound and Special effects ! A labour of love.
Since you have mentioned the South Indian Royalty, I will add a few observations. Yes, many of them were great benefactors of Art, in many forms,be it literature, drawing / painting, music, dance, drama, folk art etc etc.
The Maharaja of Travancore, Swati Thirunal Rama Varma ( 1813_ 1846) ,is credited with composing more than 400 musical works.
Raja Ravi Varma was his cousin.
The Travancore rulers called themselves the slaves of Anantha Padmanabha Swami…. Padmanabha Dasa. The temple in Thiruvananthapuram is supposed to be housing the richest treasure house in the form of jewellery, artefacts, idols, gold nuggets, rare gemstones etc.
The Maharaja of Mysore, KrishnaRaja Wadeyar IV, was proficient in playing 8 musical instruments and has composed some krithis, mainly in honour of Chamundeshwari Devi, the Reigning Goddess of Mysore Royalty.
Both of these, though predominantly in a Karnataka classical music culture, equally encouraged the Hindustani Classical Music.
A mention of D V Paluskar and Vishnu Narayan Bhatkande will also not be out of place.
Thank you, once again, for an expansive article. Will keep coming back to it.
Joining Shalan and AK in wishing Lata Mangeshkar reaching one more milestone in life.
AKji
Thanks of taking Herculean hard work to present a very good edited version of my giant forty six pages opus on Lata.
It is a very skilful artwork and sadly people will not know about what is an Editorial work.
I shall come back to your queries at the end of the post.
next few days I am suddenly busy with some unexpected work I have to do.
Thanks from the bottom of my heart.
Shalan Lal
Shalan Lal,
Thanks a lot for your understanding. I am happy, you didn’t mind that I used the scissors generously, and approved the final product.
Oh my god AK ji you are great proliferation in writing. It’s a long article.
When I saw it at a glance and kept scrolling and scrolling down a total heaven kept opening in front of me and as a greedy person I decided to read it with ease. Just like a dog who finds a piece of bone and looking for calm place to sit calmly and it savour. I shall read it and comment but thanks for my ” bone”.
I was expecting a tribute to Lata Mangeshkar on 28/9/19 after Venkatraman ji alerted the group . I join everybody in wishing her on completing 90 years . Her achievements have been phenomenal and not easy to beat .
It is both a wonderfully written as well as an informative write up . I agree on the point that apart from her own dedicated efforts , she was blessed with some divine force .
A lot of study has gone into the write up. A great selection of songs . AK ji has also played a role in this beautiful tribute .
I believe that nothing is impossible . So I believe that there will be someone better — may not be in our lifetime .
Some songs…
1) Film .. ‘ Bhabhi ki chudiyan ‘, 1961
Song.. ‘ Jyoti Kalash chhalke… ‘
Singer .. Lata Mangeshkar
MD ….. Sudhir Phadke
https://youtu.be/cFP6srDuHJY
2) Film.. ‘ Seema ‘, 1955
Song..’ Manamohana bade..’
Singer … Lata Mangeshkar
MD…. Shankar – Jaikishan
https://youtu.be/uXGMxTTB_Dg
3) Film … ‘ Anuradha ‘ , 1960
Song … Sanware Sanware
Singer… Lata Mangeshkar
MD …. Pandit Ravi Shankar
https://youtu.be/M3Bk5lpSYis
Lataji has made millions of people happy in her lifetime but I find she herself is happiest in the following:
https://www.youtube.com/watch?v=SyqgAt-T0iQ
My respectful “vandans” to her.
A fine tribute to Latha Mangeskar’s singing career and well researched long article and beautifully written.
If one has to make a list of great songs of Latha – be it 10-, or 50- or 100 or even more than 100, still one would feel after compilation, is it not something missing, mind will say YES. It is therefore difficult to list out her best songs a futile exercise as it would be incomplete.
I make only one choice of songs.
jara si ahahat hoti hai tho ye dil sochtha hai
kahin woh tho nahin. – Film Haqeekat
a big salute to Latha, Madan Mohan and Kaifi Azmi.
Some more…
(1)Lata’s Tribute to Pankaj Mullick (PM)
Song …’ Ye raatein ye muasam..’ (original by PM )
Singer … Lata Mangeshkar
https://youtu.be/GRFSwVFBmyU
(2) Film … Amrapali , 1966
Song … ‘ Tumhe yaad karte.. ‘
Singer … Lata Mangeshkar
MD …. SJ
https://youtu.be/yIlCqg__Nvg
(3) Film … ‘ Miss Mary ‘ , 1957
Song …. ‘ So Gaya Sara zamana..’
Singer … Lata Mangeshkar
MD. … Hemant Kumar
https://youtu.be/XpaJVQDPE-k
Some more…
(1)Film … ‘ Banjaran ‘, 1960
Song .. ‘ Chanda re Mori… ‘
Singer.. Lata Mangeshkar
MD …… Pardeshi
https://youtu.be/8n_dOcZzycI
(2) Movie… ‘ Saiyyan ‘ , 1951
Song …. ‘ Kaali Kaali raat re…’
Singer … Lata Mangeshkar
MD … Sajjad Hussain
https://youtu.be/M-YoPrrTSEQ
(3) Movie …’ Ghungroo ‘ , 1952
Song ….. ‘ Kaali Kaali ratiyan …’
Singer … Lata Mangeshkar
MD ……. C Ramchandra
https://youtu.be/hPE91WHmoo8
(1) Movie ..’Ganga Jamuna’, 1960
Song … ‘O Maine pyar Kiya..’
Singer … Lata Mangeshkar
MD ….. SJ
https://youtu.be/WFYk_I0ICAE
(2) Movie.. ‘Madhumati’ ,1958
Song …… ‘Zulmi sang aankh..’
Singer … Lata Mangeshkar
MD ….. Salil Chaudhary
https://youtu.be/NvWnq8346KA
(3) Movie .. ‘ Taxi Driver ‘ , 1954
Song …. ‘Dil se milake Dil..’
Singer … Lata Mangeshkar
MD ……. SDB
https://youtu.be/ERaiJI_c66A
(1) Movie.. ‘Shin Shinaki Bubla boo ‘ 1952
Song … ‘ Hum kitna roye … ‘
Singer … Lata Mangeshkar
MD ….. C Ramchandra
https://youtu.be/xqYGk-V9jrE
(2) Movie … ‘Mamta ‘. 1966
Song ….. ‘ Rahte the kabhi.. ‘
Singer … Lata Mangeshkar
MD ….. Roshan
https://youtu.be/x2plQQ80x3k
(3) Movie …’Pakeezah’ , 1972
Song …. ‘Aaj hum apni …’
Singer … Lata Mangeshkar
MD ……. Ghulam Mohammed
https://youtu.be/G95dcBegyQY
(4) Movie…’Akeli may jaiyo’ ,1963
Song ..’Woh jo milte the kabhi..’
Singer .. Lata Mangeshkar
MD .. Madan Mohan
https://youtu.be/sQPif5jnpCA
Shalanji,
First of all let me join you and others in paying my respects to Lata Mangeshkar on completion of 90 years in this planet and more than 70 years in the Hindi film world.
At the outset addressing your poser ‘Would there ever be another Lata Mangeshkar?’, you said “Whatever will be, will be? The future’s not ours to see.”
Very true, Kal Kissne Dekha?. Past is history and future is shrouded in mystery. And you were sure of the answer from the readers to your rhetorical question very much before you penned your first line; rightfully so and not a blind leap of faith.
In the process of your lengthy exposition, albeit truncated mercilessly by Akji, you have meandered through many streams and creeks, to explain the ‘conditions’ that made the then Lata Mangeshkar, the Lata Mangeshkar we know and admire today. Thanks a lot for the herculean effort. I wonder what was there in the truncated portion.
I enjoyed sailing with wind. But there were few side/crosswinds which I may share in my future comment (s).
And finally a poser – Does it answer the question that Akji has raised “The only point to debate is how much of this is due to the ‘Conditions’, and how much is intrinsic.” Do the readers have an answer?
Thanks once again Shalan ji
AKji,
Since 2011 on 28th September we have got used to posts by you on Lata Mangeshkar on her birthday. For the past 8 years we have accepted that as your exclusive privilege. And another 8 posts on Lata was posted in the past 9 years and all by your good self. This in itself is a great tribute to ‘The Empress of playback singing, as you have referred to her earlier and an expression of profound respects and admiration that you have for her.
Although you have said that the post on Lata’s songs for Ravi would not be a befitting tribute to on this occasion and you have explained the reason for the same, yet I would consider your act as a gesture of generosity.
And does that mean that there would no article on Ravi- Lata combo.
Thanks for chipping in with few more points and also for the deft editing.
Venkataramanji,
Thanks a lot for your generous appreciation. What I have ‘mercilessly’ truncated does not affect the main thesis of Shalan Lal. I may clean up the draft for better presentation, but I don’t tamper with the writer’s thoughts. If I have difference of views I add my remarks.
Since Shalan Lal has worked so hard on it, I thought this was a befitting tribute to Lata Mangeshkar on her 90th anniversary. During my discussions with her I suggested to her that it would be misplaced to credit the entire Lata-phenomenon to ‘conditions’. Her first few lines might create this impression, but I find that towards the end, she does seem to agree with me that there was something transcendental, divine about her voice and singing.
Coming to Ravi-Lata Mangeshkar, seeing so much demand from the readers it would be rude on my part not to write on it, though I had some hesitation in the beginning because she was so clearly his ‘other’ singer.
Na ro ae mere dil yahan
Tera nahin ye jahan….
Lata Mangeshkar , Indeevar , Kishore Kumar.
ZAMEEN AASMAAN, 1972.
Kishore Kumar, for the movies he composed music for ( most of them being his home productions) has used the services of female singers like Asha Bhonsle ( prominently in JHUMROO and DOOR GAGAN KI CHAON MEIN) ,Usha Mangeshkar, Sulakshana Pandit, Dilraj Kaur, Aparna and even Leena Chandavrkar . The only time he directed Lata Mangeshkar was for the above South Indian banner ( Producer/Director…A Veerappan), for this line number, picturised on Yogeeta Bali. Asha Bhonsle has 2 solos and one duet, singing for both the heroines, YB and Rekha.
I think KK must have done some work with Lata Mangeshkar in Bengali. Movies or Poojo songs? N Venkataraman ji can throw some light on this.
Barse ghana saari raat
Sang so jao, aao re…
Lata Mangeshkar, Raghuveer Sahay, Vanraj Bhatia.
TARANG, 1984.
I think this is the only instance of the two working together.
VB has worked with Asha Bhonsle in quite a few movies , including JUNOON, MANDI, HIP HIP HURRAY, SURKHIYAN, SARDARI BEGUM etc. The other female singers to have worked with him are Preeti Saagar, Saraswati Rane, Sharon Prabhakar, Uttara Kelkar, Arti Anklikar,Meera Fatarpur, Shubha Joshi, Sneha Pant, Alka Yagnik, Kavita Krishnamurthy, Sadhna Sargam, Sunidhi Chauhan etc.
Thanks, Ms.Lal for this long post tracing the history of popular music and enumerating the”conditions” which made Lataji what she is today. There will not be another Lata Mangeshkar even if the”conditions” are re-created, because the way playback singing and recording have undergone sea change. Now those singing duets need not know who the other singer is. They won’t get to see the orchestra. I am told that there is software available for correction if the singer goes slightly off-key.
In an interview Lataji said that the recording of the song Ghar aayaa for Aawaara, started at 9 in the morning and finished at 4 next morning! Nowadays even recording studio is not a must.
We may even come to hear computer generated music in future!
Dr.Shetty @ 18,
Here is a Bangla song sung by Lata under Kishore Kumar’s baton:
https://www.youtube.com/watch?v=Wjj-mpWQ3V4&list=RDWjj-mpWQ3V4&start_radio=1
From the notes in the YT page, I understand that it is a Puja release from 1974.
Akji @ 17
It appears you are peeved by my use of the word “mercilessly”. I am sorry for that. Shalanji has expressed her appreciation about your editorial skills. I do understand that a 46 pages write-up would have been too tedious. I appreciate your stand.
Yes, I should admit that Shalanji’s humongous effort requires appreciation and recognition.
You wrote,
“Coming to Ravi-Lata Mangeshkar, seeing so much demand from the readers it would be rude on my part not to write on it,”
More than that, I feel, it would be unfair to Ravi. I am happy to note that you are having a rethink on the Lata-Ravi post.
Time for a song.
Let us listen to a song, 66 years after it was rendered by Lata Mageshkar for the first time in a Bengali film. Lata Mangeshkar rendered the song 76 years after it was penned and composed.
The film Bou Thakuranir Haat (1953) was based on a ‘Upanyaas’ written by Rabindranath Thakur by the same name in 1883. The music for the film was by Dwijen Choudhury. Dwijen choudhury used the song “Sawan Gagane Ghor Ghanaghata “, written and composed by Rabindranath Thakur in Brajabhasha in the year 1877, when he was barely 16-17 years old. The song was part of Bhanu Singher Padabali.
https://www.youtube.com/watch?v=kfLJbf0y9lI
Venkataramanji @ 22,
What a lovely song! Thanks for sharing.
Those who would like to know the background of this song and its translation, please visit these links:
http://www.geetabitan.com/lyrics/S/shanganagagane-ghor-ghanaghata-lyric.html
http://www.geetabitan.com/lyrics/rs-s/shanganagagane-ghor-ghanaghata-english-translation.html
Mr Joseph,
Thanks for the dozen and one songs you have posted @ 11-14. Simply saying, enjoyed listening to them would be an understatement. Echoing Vasudevanji’s comments, even after a dozen or a score or more, ye dil mange more.
Pradeepji @ 18 & 19
Let me give the links to the songs you have posted first.
Na ro ae mere dil yahan
Tera nahin ye jahan….
Lata Mangeshkar , Indeevar , Kishore Kumar.
ZAMEEN AASMAAN, 1972.
https://www.youtube.com/watch?v=_luo5sqJQe4
The opening lines reminds me of another lovely song from Udan Khatola
Na ro ae dil kahin rone se taqdeeren badalti hai..
https://www.youtube.com/watch?v=OdL97DSPQXI
Barse ghana saari raat
Sang so jao, aao re…
A beautiful composition, good musical arrangement
Lata Mangeshkar, Raghuveer Sahay, Vanraj Bhatia.
TARANG, 1984.
https://www.youtube.com/watch?time_continue=130&v=misSDEtr8uU
Also posting the song mentioned by Vasudevanji @10
another great rendition
Jara si ahahat hoti hai tho ye dil sochtha hai
kahin woh tho nahin. – Film Haqeekat
Lata, Madan Mohan and Kaifi Azmi.
https://www.youtube.com/watch?v=p9qpJqD31hw
Venkataramanji @22,
I had pruned the article a great deal. Therefore, what you said was a matter of fact statement. I can assure you there was no reason for me to get peeved.
Beautiful song you have added. Thanks a lot. I felt there was uncanny resemblance to the legendary song Mon mor megher sangi, sung by Hemant Kumar. He adapted it into a Hindi film song Man mera udata jaye in Ma Beta (1962), sung by Lata Mangeshkar under his baton. I find it very unimpressive compared to the original.
Ashwin @23,
Thanks for giving this wonderful link.
Before you two experts, it would be छोटा मुँह बड़ी बात, but to me the underlying Raga makes a lot of difference, Jaunpuri (?) in the present case. And it would be indelicate to say on this occasion, but how I wish Hemant Kumar had sung this song.
The post has the Shalan Lal imprint on it, so much so that even if AK had not mentioned the name of the writer, I would have known it. The hard work and the varied knowledge which she presents even at this age, when some people even forget who they are, is highly commendable. The frankness with which she has presented her views on some facts regarding muslim activities, without caring for the political correctness which is more in vogue these days and which has led to practice of a lot of hypocrisy, I like very much. While her comment about the muslim religion prohibiting those things is correct and initially they did a lot of things to destroy all kinds of arts and artefacts, but, in my view later the converts were allowed to practice various indigenous music and dance forms. So I dont agree with her that our music or dance was at any time finished or forgotten. Consequently, her claim that the Britishers revived these arts is also not agreeable. From her various comments from time to time, I have gathered that she wants to give more credit to Britishers and Europeans than what is due.
Regarding Lata she has said a lot of things, but I did not find a full or proper summary of what made her. From Shalan Lal’s comments one can gather that Lata was an understudy of Noorjehan in Badi Maa, Naushad was forced to take her in Andaz and that Raj Kapoor was her god-father. If that is the summary of Lata’s inaugural career then I would say that it does not show what Lata herself did to become what she is today.
Even in the the hindi heartland, hindi was kind of alien in those days and for a Marathi to raise herself to such fine diction was the handiwork of only one person and that is Lata herself. If you listen to her earlier songs, you will find that even in 1948, there were some songs where her diction was faulty. From that state to do what she did within a year was nothing short of a miracle and only she did that. Her Marathi singing was high class and hindi composers considered her on that basis, but only impediment was her pronunciation, which she corrected with hard work and dedication. It was natural that a lot of people helped her, but she was self-made. And what she did for her family and how she has carried herself in public life has only enhanced her reputation.
I congratulate her on this landmark 90th birthday and in view of her simple life, she is more likely to go to the 100 mark. Like everybody else I hope for the best for her reaching that milestone.
Pradeepji @18 & Ashwinji @ 21
Pujor gaan’ are the songs published on the occasion of Durga Puja and the trend is more than 100 years old. To be exact it is 105 years old. It is a much awaited aspect of the autumnal festival in Bengal.
In 1974, Kishore Kumar composed two Puja numbers for Lata Mangeshkar to sing, Ashwinji @ 21 has posted the song ‘Ki likhi tomaye’ rendered by Lata Mangeshkar. On the other side of the record was the song ‘Bhalobasar Aagun Jwele’. Both the songs were penned by Mukul Dutta. Here is the link to the song. Another lovely number.
https://www.youtube.com/watch?v=2Bn65mZlYcY
Pradeepji & Ashwinji,
Continuing from my comment @29
Those were the only two Bengali songs composed by Kishore Kumar for Lata Mangeshkar.
Interestingly, in the same year (1974) Lata Mangeshkar composed two Bengali songs for Kishore Kumar and both the songs were penned by Mukul Dutta. And the four songs went on to become popular hits.
I hope, it won’t be inappropriate to post the two songs here. It unfolds another aspect of Lata Mangeshkar, as a composer.
Ami nei….
https://www.youtube.com/watch?v=L0eQvi7_xXc
Taare Ami Chokhe Dekhini
https://www.youtube.com/watch?v=tCHm6gkTCU0
Dr Pradeep Kumara Shetty @ 3
Dr Pradeep Kumar Shetty I am very honoured by your well studied comment and grateful for the information about the Houses of Mysore Wadeyar and Travancore. Both Royalties had immense contributions to all kinds of Arts and in particular music and dance. Tipu Sultan wanted to dismiss the Royal House of Travancore the same way as he had done with the Mysore Royalties. But it was, I understood saved by the Peshwa of Poona by engaging Tipu in war with his army.
Thanks for your rich comment once more.
Shalan Lal
I shall come by and by to others a previously mentioned that I had been suddenly forced to get busy with some unexpected work which is at present exhausting to me and dries up intellectually.
But be sure that I shall come back.
Shalan
Ashwinji @ 23 &
Glad that you liked the song. Thank for providing the links to the background and translation of the song.
AKji @ 27,
I knew you would like this song. The resemblance to Mon Mor Megher sanghi may be due to the fact that both the songs were based on Malhar. Rest I leave it to the real expert Ashwinji.
Hemant Kumar had rendered the song Sawan Gagane ghor ghanaghata. I would like to post the song in a appropriate post, not here.
Today is S D Burman’s birthday. Posting a Hindi song sung by Lata Mageshkar for the Bengali film Chaitalee (1971), music S D Burman, lyrics Anand Bakshi
Payal Baaj Gayi…
https://www.youtube.com/watch?v=y8jvxR03qu8
Pandit Ravishankar’s four solos for Lata Mangeshkar in ANURADHA, 1960 , are spellbinding.
Haaye re woh din kyon na aaye…
Kaise din beete kaise beeti ratiyan..
Jaane kaise sapnon mein kho gaye akhiyan…
Saanvre Saanvre….
Lyrics: Shailendra.
GODAAN, 1963, based on Munshi Premchand’s novelette is mainly associated with the Mukhesh solo Hiya harat rahat ho Rama ( on Jaani Rajkumar) and the Rafi songs , Hori khelat Nandlala Biraj mein ( with chorus) and Pipara ke patwa sarikhe dole manwa ( both on Mehmood). But, the two Lata songs in the movie are nice, too.
Chali aaj Gori Piya ke nagariya ( Kamini Kaushal)
Jaane kaahe jiya mora dole ( Shubha Khote)
Lyrics: Anjaan.
NEECHA NAGAR, DHARTI KE LAAL, APU TRIBOLOGY, MEERA and GANDHI must be the other movies with music by Pt Ravishankar.
Lata refusing to sing for a ‘ Filmi Meera’ had created headlines in the ‘ Filmi Circles’. Personally, I feel Vani Jayaram’s songs have not been able to create the required magic.
N Venkataraman ji,
Lata’s first project with SDB must be MASHAAL, 1950, where she sings two solos.
Aaj nahin toh kal bhikar jaayenge gam ka baadal ( Sumitra Devi).
Aankhon se door door hai par dil ke paas ( Ruma Devi, later to be Mrs Kishore Kumar).
Geeta Dutt and Shamshad Begum were the other female singers. Arun Kumar and Manna Dey ( with the legendary Oopar Gagan Vishal ) being the male voices.
Aaj nahin toh kal bhikar jaayenge (ye )baadal.
Lataji’s voice (sample) during the decades 50’s, 60’s and 70’s:(There are many many songs which are my favorites. I tried to pick some which are not given by others, hopefully.)
https://m.youtube.com/watch?v=TwBNRmvwAxA (Basant bahar,1956, Shailendra,SJ)
https://m.youtube.com/watch?v=_kH3dseWuAU (Chote nawab,1961, Shailendra, RDB)
https://m.youtube.com/watch?v=_kH3dseWuAU (Reshma aur Sherawat, 1972, Bal Kavi Bairagi, Maiden)
Venkataramanji
Thanks for adding Sawan Gagane Ghor Ghanate.
Hans,
I completely agree with you about Ms. Lal’s knowledge and hard work, and her frankness with she has presented her views on some facts regarding Muslim activities but I would not agree that she has done it without caring of political correctness, going by the media I find that bashing Isalm isTHE political correct thing in vogue now.
AK,
Like DR. Shetty Venkataramanji and Hans I was expecting an exceptional post on Lata’s 90th birthday.
Ravi Lata was out of question as she was a second choice of Ravi.
We are all aware of your reverence for Lata that is the reason why we expected something phenomenon for the occasion. The next mile stone, as Hans said would be after 10 years.
Personally, I was completely disappointed. I searched a lot but could not find a single statement that would say something about the greatness of THE EMPRESS.
There is hardly any Lata, I am sure you have not edited anything that talked about lata.
It is Shalan Lal bashing Islam and absolving Britishers.
I feel it is opportunity missed by you on this big day.
Ms. Shalan Lal ji;
I -Max of an article projected on a giant canvas ….tracing the history …..as it moves in gentle steps….and then dancing to the tunes of best of music and songs.
It took me three intervals to move along the historical backdrops…and many new discoveries were made known …and thanks for that.
Celluloid film rolls and Vinyl records has always been my favorite recipes for a clean entertainment for Eyes, Ears and vocal inflection. Creative musical tanks always impressed me ….and Barsaat , Andaz , Awara etc. are good example quoted . During my younger days I used to have close look at cut pieces of film slides and film rolls and used to wonder what black broken lines at its margin were?….the likes of ECG ?. And later wondered how these lines turned out to be musical track? All these factors assembled and created interests in watching good well made films projected on well dressed cinema halls of yore …..having double layered silk and sheer curtains . Even the architectural details were never missed . One can easily distinguish the theater that were built Pre- British Raj and present day multiplex theaters . In between modern theaters also emerged with the arrival of Cinema Scope and 70 mm Cinema with matching stereo and later six track sound system . At present Digital and Dolby cinema rules the show. Special effects have completely washed out the various departments that were essential for a good artistic films . The art and Set Directors are hit the most . As also the song recordist and various instrumental players. The vocal chords can be altered for a singer to suit the pitch of the song or demand of MD .
….but this was not the scene during Radio Days ….when lyrics were romantic and melody was queen . The showman ship was the milestone that everyone targeted ….and winner was the King . But, Yes….. I go where music takes me. Many of singers , lyricists and music directors won the hearts of passionate listeners……and my heart too gave way as favorite place to refuge in a tiny place .
Shalan Lal ji , you have covered most of my favorite Lata’s songs in your listings….still my heart wants to carry out and add gems that are Melancholy Sad and Happily Rich. Here are starters .
The first song is a gem that is the Answer to your query ……
Baghi-1953-Bahaaren Hum Ko Dhoondegi-Lata….Madan Mohan
https://www.youtube.com/watch?v=5J7K75gN8XE
Preetam Meri Duniya Mein-Ada- 1951-Lata-M-Madan Mohan-L-Raja Mehdi Ali Khan
https://www.youtube.com/watch?v=aSNjqn1VbQo
HAAYE JIYAA ROYE – LATA JI – PREM DHAWAN -HANSRAJ BEHL ( MILAN 1958)
https://www.youtube.com/watch?v=0tj6m2_w7ew
aasman wale teri duniya se jee ghabra gaya..Lata_Talat_Laila Majnu1953…G Mohd.
https://www.youtube.com/watch?v=Bb51L-ZXxqA
Guzra Hua Zamana Aata Nahin Dobara (HD),,- Lata Mangeshkar Shirin Farhad 1956…..S. Mohinder
https://www.youtube.com/watch?v=b2JqVJU-Pdo
SARGAM – KOI KISI KA DEEWANA NA BANE …..MUSIC : C. RAMCHANDRA
LYRICS : PYARELAL SANTOSHI
SINGERS : LATA MANGESHKAR
https://www.youtube.com/watch?v=4rbqDhIeg7g
….to be contd.
Mumbaikar8,
Lata Mangeshkar is greater than any possible write-up. There is hardly anything that has not been said about her. But her presence has permeated throughout Songs of Yore and there would never be a time when we would not remember her with respect and love. Shalan Lal’s article takes a wide sweep of the history and context in which Lata Mangeshkar grew up. Since you are curious if I have edited out anything vital, I have mailed you her original article.
Islam/Muslim – music question, more so in the context of India, is more complex than the sweeping generalisation by Shalan Lal. What the clerics or the radicals say is not the truth. I remember Ustad Bismillah Khan often say in his concerts that the call of Azaan from the pulpit of a mosque is music, and of course, there is music in the chirping of birds, rustling of leaves, and all sounds of nature. When music moves you, it is emotional and has nothing to do with one’s ‘faith’. This is how there has been an unbroken tradition of music by Muslim musicians for centuries. And think of it, the prejudice against films and film songs has also been prevalent in orthodox Hindu families too.
During discussions with her she agreed that I may record my disagreements with her on the post. I have mentioned it in my introduction and the endnote.
SoY being a public forum, I try to steer clear of any political controversies and extreme positions. Shalan Lal’s some observations on Hindu-Muslim dichotomy on music are highly controversial and overstated. I have tried to moderate it as the blog host.
Lata didi, Sachin Da, Majrooh Sultanpuri birthdays in succession.
Let’s look at some of their best works together.
PAYING GUEST, 1957.
Subhodh Mukherjee.
The pathos laden
Chand phir nikla Magar tum na aaye
,is , justifiably the first female song that comes to mind.
Lata had another song quite opposite in it’s mood. …
Nutan in a stage performance in a club?
Chupke chupke rukte rukte
Maine dekha
Tune dekha
Jaadu koi chal hi gaya….
Wasn’t there a Geeta Dutt song not used/ deleted in the movie?
Both the duets with Kishore Kumar went to Asha Bhonsle:
Chod do aanchal zamana kya kahega..
O nigahen mastana..
DR VIDYA, 1962.
Rajendra Bhatia.
Pawan diwani na maane is by far the best known Lata song .
But,
Ho o o Khanke Kangna Bindiya Hanse
Aayenge Sajna hamre angna
And
Jaani tum toh dole dhaga dai ke
are both nice solos.
The dance number, with a MADHUMATI hangover as far as Vyjayanthimala’s costume and steps are concerned, is lively.
Maine kya kya na kiya
Bewafa tere liye.
She has a duet with Rafi:
Main kal phir miloongi
Isi gulsitaa mein
Yahin sham ko phir
Mulaqaat hogi…
( Note the cute little gaps in gulsi taa and mula qat!)
The Vyjayanthimala _ Helen face off is by Geeta Dutt_ Asha Bhonsle.
ABHIMAAN, 1973.
Hrishikesh Mukherjee.
The movie fetched the second Filmfare award to Dada two decades after his first one for TAXI DRIVER, 1954.
3 solos:
Nadiya kinare he raye aayee kangna…
Piya bina Piya bina …
Ab toh hai tumse har Khushi..
3 duets:
Tere mere Milan ki ye raina ( Kishore Kumar)
Teri Bindiya re ( Rafi)
Loote koi man ka dagar ( Manhar Udhas_ a surprising choice, I would say).
AK @ 17
Have you not done any post which has the other singers’ association with the composers you have covered. If yes why there is reluctance for doing Lata with Ravi. After all the series is on the composer and not the singer. Mostly every composer has one male and one female singer as the main singer, but he or she uses other singers too and thus all others are other singers for him, by your definition. SDB had KK as the main male singer and by your definition Rafi was the other singer. If doing Ravi-Lata would be insult of Lata, then what was doing SDB-Rafi. The only issue should be whether Ravi composed great songs for Lata, which was the only issue in your mind when you did SDB-Rafi. The answer is yes, Ravi gave Lata 73 songs out of which 51 were solo and most of them great songs. So why this over protection of Lata reputation.
mumbaikar8 September 28, 2019 at 3:12 pm @ 3
Thank you for joining AK & me in the celebration of 90th years Birth Day of Lata Mangeshkar.
I shall comment on your issue you have raised @37 in answer to AK’s anxieties at the end of the Post.
Shalan Lal
Dr Dhanwantari G Pancholi @ 7
Thanks for taking efforts to write your reaction. I like your simile “Just like a dog who finds a piece of bone and looking for calm place to sit calmly and it savour. I shall read it and comment but thanks for my ” bone”.
I hope you will find a lot of chewing in the post. Tell me the things you like and the things you like to bark at.
Shalan Lal
Joseph @ 8 and many other places.
It seems you are in competition with veteran Dr Pradeep Kumar Shetty. So many songs you have suddenly remembered. Great work! Keep on remembering Lata’s songs. Most of the songs you have remembered @8 are her classic numbers and some years’ back she herself liked them to quote.
Mr Josph I think there is a mistake in your comment number 13 where you say “ ( Movie ..’Ganga Jamuna’, 1960
Song … ‘O Maine pyar Kiya..’ )
The film is RK “Jis Desh Mein Ganga Bahati Hai” and not ’Ganga Jamuna’, of Dilip Kumar of 1961.
Manoj @9
I share your sentiment in your comment.
R.Vasudevan @ 10 Very good comment on the artistic work of Lata and your rightful choice of the song and quote. I started making a list of my choices and stopped after 300 hundred. I share your feeling.
Mr N.Venkatraman for your comments @ 15.
About your poser @15 “The only point to debate is how much of this is due to the ‘Conditions’, and how much is intrinsic.” Do the readers have an answer?”
There is an ancient answer in Bhagvad Gita Chapter 18 verses numbers 13 &14 I quote:
“There are five reasons for the success of all the actions
They have been defined in the Sankhya philosophy in the past.
They are: the place of the action, the actor, the individual senses,
Varied and separate efforts and the fifth one is the Divine Iintention.18.13-14”
And the issue you have raised @ 16
“And does that mean that there would no article on Ravi- Lata combo.”
My post has not gone in Ravi-Lata songs. It is entirely a different subject. After the set period of my post AK can present it and it still will be in celebration of Lata as the celebration will go on for yearlong as she deserves it.
Shalan Lal
I shall come back again and try to be up-to-date with the valuable comments of the readers.
Shalan Lal
Ms. Shalan Lal , Venkatraman ji, Hans ji , Shetty ji …;
Continuing from Lata Ji’s songs from #38 here are few more of songs that were found while travelling on less traveled roads .
Lata ji had a very nice modulation of voice that easily made her sing sad songs as if coming from her heart and bringing out emotions without dropping of tears…..and leaving our eyes wet most of the times. But Lata ji’s sad songs always provided healing touch when one is sad…… perfect singing brings rich smiles in sad hearts . So enjoy these songs too…..
mohe bhool gaye sanwariya..Lata- Shakeel Badayuni- Naushad – Baiju Bawra…1952
https://www.youtube.com/watch?v=Vsxun4s9l-8
Sab Kuch Luta Ke Hosh Mein Aaye-Lata Mangeshker-Ek Saal
https://www.youtube.com/watch?v=M06qGuUH0fo&t=55s
do din ke liye..Lata_Shailendra_ S J_Baadal
https://www.youtube.com/watch?v=9Ps2H8zzl74
Tum Kya Jano: C. Ramchandra: Lata Mangeshkar: Pyare Lal Santoshi
https://www.youtube.com/watch?v=NBsBNSkiA6U
Parchhaain-“katate hain dukh me din”….Lata…CR
https://www.youtube.com/watch?v=vw5VVbGcsN0
Shree 420 – O Janewale Mudke Zara Dekhte – Lata Mangeshkar
https://www.youtube.com/watch?v=NeXOsG4_JIs
….to be contd.
Ms. Shalan Lal , Venkatraman ji, Hans ji , Shetty ji …;
In continuation from sad songs @ 43……
Tera Jana Dil | | Anari | Lata Mangeshkar
https://www.youtube.com/watch?v=URfoTtyxOdU
Ek Bewafa Se Pyar Kiya | | Awaara | Lata Mangeshkar |
https://www.youtube.com/watch?v=G49vq8ng2Go
Chand Phir Nikla – , Lata Mangeshkar, Paying Guest
https://www.youtube.com/watch?v=ii8D7gNn318
Rasik Balma – lata , Chori Chori
https://www.youtube.com/watch?v=Fvi7bfgWsK4
Na Shikwa Hai Koi (Video Song) | Amar
https://www.youtube.com/watch?v=_cbtxuBP-gk
…..after these sad songs …will now move on to highway drive with some happy /rich songs …..and there after to small trails . All these songs would be less heard and most charming.
It is Asha Parekh’s birthday today. Lata has sung many memorable songs for her…Na koi Umang hai, Main Tulsi tere aangan ki, Chayi Barkha Bahaar barse angna puhaar, Raat ka Sama jhoome Chandrama, Sayonara Sayonara, Suno Sajna papihe ne, Lo aa gayi unki yaad ….Itna na mujh se tu pyar, Achha toh hum chalte hain, Aan milo Sajna…
But, I am looking at the Lata, RDB, Majrooh, Asha Parekh combination because I can’t remember a SDB film fitting!
Two Nasir Hussain movies:
PYAR KA MAUSAM, 1969.
PKM, for me, like for most of us, is the wonderful creation, the two version ( Rafi, Kishore Kumar) Tum bin jaaoon kahan. Never get tired listening to these. Then, for some reason, Ni Sultana re Pyar ka Mausam aaya has been a childhood favourite. ( Rafi and Lata).
Lata’s Na jaa mere humdum with it’s echo effect and the Church (?) bells is a lovely creation.
Then we have
Main na miloongi, nazar hata lo…
Aap chahe mujhko
Arzoo tha kisko?
Aap se miliye
Inko pyar tha … with it’s multiple costume changes for Asha Parekh.
( If I mention Chekhush nazaren…Rafi, the album is complete!)
CARAVAN, 1971.
It was an Asha show, she singing for the heroine, second heroine and the club/ cabaret dancer ( Asha Parekh, Aruna Irani and Helen). Piya tu ab to aajaa is a classic. Daiyya ye main kahan aa fassi is a roller coaster ride of voice modulation, which, only an Asha Bhonsle can carry off! A favourite with the contestants on the talent shows. Ab jo mile hain toh bahon ko bahon mein and the duet with Rafi, Arey ho Goriya kahan tera des re ( Asha Parekh lip syncing just the hoi hoi hoi portion in this Aruna Irani song) are also highly enjoyable.
So, Lata has
Dilbar Dil se pyare ( with chorus) going on Aruna Irani. ( Notice Manorama lipsyncing one Dilbar!)
Two duets with Rafi:
Chadthi Jawani meri chaal masthani ( Aruna Irani) …Lata ,in somewhat Asha territory.
Kitna pyara waada hai
In matwali aankhon ka…
ksbhatia ji,
Nice songs.
Looking forward to the future instalments.
Mumbaikar8
I was talking about ‘political correctness’ as a phrase and not what is correct as per the present political party rule in India. I think by posting something here Shalan Lal or anybody else can not please or attract the ruling party bosses. I do not think that what Shalan Lal has written has anything to do with Islam bashing. She is only stating what is history as perceived by her. One can argue against what she said on facts, if they look different to one. But most of what she has said is true as per historical records. I am talking of historical records and not history which is taught to students in India. If you read ‘babarnama’ in original you will know how much has been concealed about the doings of Muslim rulers of the times. Other original sources have also been similarly dealt with while formulating the ‘politically correct’ history for common folk. But, those who go deep into history can know these things because there are a lot of authors who wrote their books based on multiple original sources. History is always a debatable subject.
I agree with you that the article does not talk much about Lata or her achievements, which I had already hinted in my earlier post. She certainly needed a better write up on this milestone. I do not take AK’s explanation that there is so much material on Lata already on SOY. If that is the case, then there was no need for any article.
Bhatiaji
Enjoyed your, by now familiar style great write up. And through a list of gems, you have brought at least part of the might of Lata’s singing.
Dr Shetty
Thanks for mentioning Asha Parekh’s birthday. She has been another Asha who did not get her due. She gave hindi cinema hit after hit but a lot of other heroines who were flop specialists were talked about more.
Talking of Lata’s songs on Asha Parekh, I am always mesmerised by her ‘har khushe ho wahan tu jahan bhi rahe’ in Upkar. Her pronouncing ‘jahan bhi rahe’ after ‘zindagi ho wahan’ puts me in raptures. Also, these are perhaps one of the best lyrics by Gulshan Bawra.
ये अँधेरे मुझे इसलिए हैं पसंद इनमें साया भी अपना दिखाई न दे
रौशनी हो वहां तू जहाँ भी रहे
चाँद धुंधला सही गम नहीं है मुझे, तेरी रातों पे रातों का साया न हो
चांदनी हो वहां तू जहाँ भी रहे
I give here the link of audio song.
https://www.youtube.com/watch?v=or5J4cidddE
Ms. Shalan Lal , Venkatraman ji, Hans ji , Shetty ji …;
Music is what it gives us memories…more the songs longer the memories. Stepping into my foot tapping shoes , getting out from my house and stepping into my driving seat with pen drive as a companion for a long route of about 120 km to Alwar…the place I visited in 1956 ! …..to refresh my memories of old fort charms .
Recalling Lata ji’s best songs that suits perfect drive . The best music happens when you have a personal connection to it. Now over to jolly good times of 50s and 60s when music was most melodious . As I drive the passing trees too dance to the music of its melodies .
Sunte The Naam Ham Jinka – – Aah – – Lata Mangeshkar….SJ
https://www.youtube.com/watch?v=5Osioi6qvjg
unse pyar ho gaya..Lata_Shailendra_ S J _Badal1951
https://www.youtube.com/watch?v=q80KONeUE7E
dard-e-ulfat chhupaun kahan..Aurat1953_Lata_Shailendra_S J
Kisi Ne Apna Bana Ke Mujhko – Lata- Patita ….SJ
https://www.youtube.com/watch?v=MA72LAYKZRg
Jab Se Balam Ghar Aaye – Nargis – Awaara – Lata Mangeshkar
https://www.youtube.com/watch?v=SV2tpIUz0_4
Taxi Driver – Dil Se Milaake….Lata….SDB
https://www.youtube.com/watch?v=FIxUXeecrBo
……will be back after tea break at a road side Dhhaba.
Ms. Shalan Lal , Venkatraman ji, Hans ji , Shetty ji …;
Continuing my drive . The roads better and cars and buses sticking to lanes …no over taker so far. So smooth listening of great ones of Lata ji’s songs ….
Phaili Hui Hain (House No. 44) – Lata, Sahir, SD Burman
https://www.youtube.com/watch?v=RT7Cpa5cYxc
Thandi Hawayein Lehrake Aaye (HD) – Naujawan Songs — Lata Mangeshkar…..SDB
https://www.youtube.com/watch?v=1jbSep2GbhE
JO MAIN JANATI UNKE LIYE – COMPLETE SONG-LATA – SHAILENDRA -SHANKER JAIKISHAN (AAH 1953)
https://www.youtube.com/watch?v=HbAE8xdywhA
Mere Sapne Mein Aana Re – Rajhat 1956 – Lata
https://www.youtube.com/watch?v=rO1L_yv1NfM
……to be contd.
Dr. Praddep Kumar Shetty ji,
I observe that in the context of Asha Parekh, you have missed a great Lata song I immensely love. Film ‘Hum Hindustani’, MD Usha Khanna, Manjhi Meri Kismat Ke Jee Chahe Janha Le chal.
Ms. Shalan Lal , Venkatraman ji, Hans ji , Shetty ji …;
In continuation from songs @51 …..
Tum Chand Ke Saath Chale Aao – Lata Mangeshkar – ASHIANA
https://www.youtube.com/watch?v=JwcWuLdiH3s
AARAM (1951) – Man mein kisi ki preet bhasa le – lata- anil biswas
https://www.youtube.com/watch?v=vyNQg7zaIfQ
O MORE SAANWARE SALONE PIYA- LATA- FILM- KANHAIYA(1959) MD-SHANKAR JAIKISHAN LY-SHAILENDRA
https://www.youtube.com/watch?v=DmkjemRdy-o
Reaching destination with a beautiful song less heard but a great road stoper.
Majhi Mere Naiya Ko Ji Chahe – Lata Mangeshkar – CHAR PAISE
https://www.youtube.com/watch?v=O3x7ZhWU2uA
….to be contd with return journey.
AK, @ 39
If not write up you could have made a bouquet of 90 songs from 90 different music directors .
One flower of MD S D Baatish Movie Betab
https://youtu.be/kEhhstg6pyM
Hans @ 47
I did not mean Shalan Lal wrote to attract ruling party. I said what Shalan Lal said is in vogue now.
I am neither defending any ruler nor any religion, but finding an excuse to talk about the atrocities of the rulers of a religion at a time when the atmosphere is already so viscous, I feel it was absolutely unwanted and uncalled for.
Shachindra Prasad ji,
You are right. I have missed/ omitted many AP_LM songs because it was just a cursory mention.
In fact, from the above Nasir Hussain_ RDB_MS_AP_LM combination itself
BAHARON KE SAPNE, 19
I immensely like the Lata solos
Aajaa Piya tohe pyar doon…
Kya janoo Sajan hoti hai kya gam ki sham…
(But, not O more Sajna O more Balma..)
And
Chunri Sambhal..( with Manna Dey).
And, once again, the childhood favourite:
Aao tumhe Chand pe le jaaye …( ZAKHMEE, 1975 … Sushma Shrestha).
There are quite a few others. Will come back.
BKS, 1967.
A great number of links to gems from Lata Mangeshkar have been posted by the honourable members . A great way to celebrate her 90th birthday .
One beautiful song posted here that I have heard perhaps for the first time is ‘Abhi kuch raat baki hai ‘ . Waiting for many more links to beautiful songs .
Music director Manna Dey
TAMASHA, 1952.
Bharat Vyas.
Kyon akhiyan bhar aayi
Kya phir koi yaad aaya….
SONAL, 1973.
Yogesh.
Halka halka Chalka chalka
Ye Kya rang Jeevan mein…
The second song has a strong Salil Chowdhury feel to it.
Hans @41, Mumbaikar 8 @54,
One may have different views about Shalan Lal’s article written with great deal of effort, and many of her observations. She wrote it specifically with Lata Mangeshkar’s 90th birth anniversary in view. It is unfair to her to suggest that this is not befitting the occasion. If it is not, it is a done thing. If we have missed an opportunity I take the responsibility.
On Ravi-Lata, I thought I had settled the doubts @17, that there will be a post on their songs. Comparison with SDB-Rafi and SDB-Kishore Kumar is misplaced, that is why I always say that stats are relevant only to a point. I have mentioned several times that I regard SD Burman among the top 3-4 composers for giving the best songs to Rafi, in the company of Naushad, Roshan and OP Nayyar. I place SD Burman-Rafi ahead of Shankar-Jaikishan, even though SJ have composed far more than any of my ‘elite’ composers. I don’t even count how many songs Kishore Kumar sang for SD Burman.
mumbaikar8 @54 ;
Its a good idea to complete 90 songs …..not popular but less refereed to or rare or less heard . I have so far posted 30 links of songs that are favorite among my own …..but some are popular and some less heard. If possible I will try to target a score of 90 excluding the ones [ 18 songs ] that already referred to in the article . So 90-30-18= 42 songs more to be posted . See if I can achieve the target.
Giri @ 20
Thanks for your comment of modern times affecting the modern songs. Yes I heard about the Awara Song’s very long recording period. Those were the days, when RK and similar directors would take back breaking hard work to make their songs excellent and that’s why that period became a “Golden Age” of Hindi Film songs. Very good of you to make an apt comment!
Hansji @ 28
I like your matured comment in the first paragraph of your multi-views of the article and Lata as well.
About Muslim & Music I shall take note of your comment when I shall come to face the comment AK has made at the end of the post. It takes deep understanding of the issue.
About Hindi and its pronunciation: I have got different understanding about spoken Hindi, Hindi as a national language and Hindi spoken in many Hindi regions and Hindi spoken in the Hindi Films. In the early part of the Hindi films it was dominated by the Urdu language from Punjab rather than Deccan and Hyderabad.
Then from the middle of the forties the film Hindi came under Punjabi Hindi. It is difficult to say if Hindi spoken in Haryana is the is the right one or Hindi spoken in Kashi and Prayagraj is the right Hindi spoken. We need one more century of the melting pot of the various Hindis.
I shall comeback to your argument about Andaz time of Lata Mangeshkar when I come to AK’s mention of chronological mistake in my post.
I thank you again for making various points with great meticulousness.
Shalan Lal
Mubaikar 8 @ 37
Thanks for acknowledging the hard work etc. in the written work. There were hours and hours of thinking and long walks in the parks before typing the ideas to make sense of my thinking.
The other issues about Muslim bashing, and absolving Britishers etc. will be coming later.
About making statements in one or two lines about Lata’s art is difficult. She was given Bharatratna about her art and at the end I mentioned that she should be given “Nobel” Prize in the recognition of her art. I also mentioned that future discovers of her art in her songs will find her songs a golden mine.
The original article has at the end the glories of Lata especially when she did her concerts in the Albert Hall with pictures and information. Some the pictures say more than thousands of words.
They were cut off because of need of the editorial constrains. But I believe you have got the copy of the original article AK has sent you.
Thanks again for your comments.
Shalan Lal
ksbhatia 38
Your comments and choice of songs always enrich the SoY posts and that makes SoY more important about the song-culture in the Movie culture.
I am very grateful of your comment and I shall cherish it as one fine example of the panorama of the universal movie culture and a subject of the Humanities.
Shalan Lal
Lao Tzu? said
“If you know when you have enough, you are wealthy,
If you carry your intentions to completion, you are resolute,
If you live a long and creative life, you will leave an eternal legacy”
That is what Lata will leave. We need not dive deep to find, if not unheard, less heard songs.
All of them may not be beautiful but definitely good songs, because Lata is not only dealt the with the best hand, she is also bestowed with wisdom to how to play it best.
To add a few from some less heard MDS
MD Basant Prakash Badnaam 1952
Sajan tumse pyaar karoon main
https://youtu.be/nGoDeEUxwX0
MD Bhola Shreshtha Aabshar 1953
Mujhko hai tujhse pyaar kyoon
https://youtu.be/cHymZXTiRGA
M D Hafiz Khan Maherbani 1950
Duniya ne jo kaha wo suna
https://youtu.be/5bDIvdp6HG8
M D Manohar Chingari 1955
https://youtu.be/tRjtp4LRcxo
This movie has four MDs in its credit M D Parthasarathy, E Sankara Sastry, B. S. Kalla, V Sarala
Sansar 1951 Jiya lehar lehar lehraye
https://youtu.be/QpJ4ZawhuEc
MD Master Krishna Rao? Keechak Vadh 1959
https://youtu.be/rYynnianGs8
M D Bipin Babul Sultana Daku 1956
https://youtu.be/K12oCtBB6X4
AK, @ 60
It is your blog and your Lata. Who am I to suggest what is fair or unfair.
I gave my opinion it may be a little harsh but Ms. Lal is used to giving and getting harsh suggestions I am sure she has taken it positively.
About SDB Rafi You regard SDB Rafi in top 3-4 best ( for me it is THE best)
Ksbhatiaji @ 61
I have added few more today, I may not be able to be very active next few days. ( I will try to )
Together we might reach the goal.
I hope Ventaramanji, Hans, Dr. Shetty and others will chip in.
Pradeepji @ 34 & 40
True, Mashal (1950) was the first film where S D Burman and Lata worked together.
You mentioned Majrooh Sultanpuri @40. He was born on 1st October 1919. Thus it was his centenary year.
Since 1951, after the success of Mashal, Sahir Ludhyanvi was the main song writer for S D Burman till till 1957. Sahir was in 17 out of the 26 films for which S D Burman composed music. Pyasa (1957) was their last film together.
And 1957 was the year Majrooh Sultanpuri started working with S D Burman. They had two films together that year- Nau Do Gyarah and Paying Guest. There were no Lata songs in Nau Do Gyarah. Here are the links to the Lata – SDB- Majrooh songs you have mentioned,
Chand phir nikla Magar tum na aaye
https://www.youtube.com/watch?v=OZ-Gb4moQcw
Chupke chupke rukte rukte
https://www.youtube.com/watch?v=ejerRIRkB1k
Yes, the song ‘Gaye Ghabrake Ke… A ha ha ha ha ha o ee la la by Geeta Roy was deleted from the fim.
Between 1958 & 1961, Majrooh was the song writer for SDB, 9 out of 15 films. And everybody knows this was the period SDB did not give any song to Lata. Thus there was only one film Sitaron se Aage,, where we could find this combo, Lata-SDB-Majrooh. There were three songs of Lata, Mehfil Me Aaye Vo Aaj Dhire Se, Saiyyan Kaise Dharun Dheer and Aa Khilte Hai Gul O Mere Bulbul.
I am posting the song, one of my favourites,
Saiyyan Kaise Dharun Dheer
https://www.youtube.com/watch?v=JIYutmm472c
N Venkatraman ji,
Thank you for the details.
Music director Ganesh.
SHERA DAAKU, 1966.
Asad Bhopali?/ Noor Devasi?
Intezaar ka aalam
Thanhai aur hum…
( On heroine Nishi)
THAKUR JARNAIL SINGH, 1966.
? Farooq Qaiser
Jaam se peena bura hai
Ye nazar se maango..
( On heroine Helen)
SMUGGLER, 1967.
Indeevar.
Ye tabla kahe dhik hai dhik hai
Saarangi kahe kinko kinko
Manjira haath utha ke kehta hai inko inko
( Kumkum, heroine. A fun song.)
Dil ka lagana iss duniya mein
Poora dhokha khana hai…
( Helen)
Is the fairly well known song
Tu pyar maange pyar de doon
O Sanwariya
from SA RE GA MA PA, 1972?
Mumbaikar8 @ 54 & 66, Bhatiaji @ 61,
A bouquet of 90 songs is indeed a good idea. And It will not take too long to accomplish it. Already link to 69 songs have been posted here. This includes 4 songs of Pradeepji and 1 of Vasudevanji for which I have provided the links. I have considered the solos only.
Giriji had repeated the link to Ghar Aaja Ghir Aaye Badra from Chote Nawab instead of posting the link to Tu Chandaa Main Chaandani from Resham aur Shera.
Here is the link to the song penned by Balkavi Bairagi
https://www.youtube.com/watch?v=Tvw9RSdwbLk
That make it 70.
Besides there are 27 songs mentioned by Pradeepji. I will try to post them. But should we stop at 90 and post no further?
NASBANDI, 1978.
Indeevar, Kalyanji Anandji.
Kis kaam ke Math Mandir Masjid ?
Kis kaam ke Girje Gurdware ?
Bhagwan ke bete ghar ke bina
Jab phirtee hain maare maare…
1)Movie .. ‘Rangoli ‘ , 1962
Song … ‘ Chhoti si ye duniya…’
Singer … Lata Mangeshkar
MD … SJ
https://youtu.be/kYHSSpOkQaU
2)Movie … ‘ Amardeep ‘ , 1958
Song … ‘Dil ki duniya …’
Singer …. Lata Mangeshkar
MD ……… C Ramchandra
https://youtu.be/JMXltI8H9e8
3) Movie.. ‘ Dil ek Mandir ‘ ,1963
Song … ‘ Hum tere pyar mein…’
Singer .. Lata Mangeshkar
MD … SJ
https://youtu.be/B9O8yKomhb8
N Venkatraman ji, Mumbaikar ji, ksbhatia ji,
90 is just a number!
I am sure we are going to go much beyond.
1) Movie .. ‘ Mughal- e Azam’ ,1960
Song ….. ‘ Ae ishq ye Sab…’
Singer … Lata Mangeshkar
MD …… Naushad
https://youtu.be/VFzs6d5WSx0
2) Movie … ‘ Yasmin ‘ , 1955
Song … ‘ Aankhon mein Sama..’
Singer .. Lata Mangeshkar
MD ……. C Ramchandra
https://youtu.be/Jo99_PVhapk
3) Movie… ‘ Parchhain ‘ , 1952
Song …. ‘Chanda ki chhaon… ‘
Singer … Lata Mangeshkar
MD …….. C Ramchandra
https://youtu.be/EombAOrUyl4
NADAAN, 1951.
Lata Mangeshkar, C Ramchandra; P L Santhoshi, Chic Chocolate.
Chalti huyi gaadi jo ho jaaye phat re
Peeche na hat re
Aagey hi dat re…
A real fun song ..Dev Anand, Madhubala.
I am also avoiding duets as much as possible except when they are special in some way. There are a few good Lata solos under Chic Chocolate. But, I find this very cute.
“But should we stop at 90 and post no further?”
Pradeepji and Mr.Joseph doesn’t like the idea.
Let me keep the count
71 with links and 30 without links.Total 101
Think of ANOKHI RAAT, 1969 and the two exceptional, evergreen Roshan songs that come to mind are:
Oh re taal mile nadi ke jal mein…Mukhesh.
And
Mile na phool toh kanton se dosthi kar lee…Rafi ( Kaifi Azmi….all the rest, Indeewar).
Dulhan se aaj teri Milan hoga( Mukhesh) and Meri beri ke ber mat thodo( Asha Bhonsle) are good, too.
I am mentioning the Lata solo
Mahalon ka Raja mila
Ke Rani beti raaj karegi..
because the popular legend has it that since Roshan passed away while working on the music of ANOKHI RAAT , this one song was composed/ completed by Mrs Ira Roshan Nagrath.
With links 76, without links 29 Total 105
ANOKHA PYAR, 1948.
The ANOKHI RAAT pair mentioned..Lata and Ira Nagrath, Shams Azimabadi, Anil Biswas.
Ae dil mere wafa mein
Koi qasar nahin hai..
https:// youtu.be/ xVzzUAEFBvU
Venkataramanji,
I think once again I have not made myself very clear.
I meant an exclusive bouquet. 90 songs od 90 MDs. Usha Khanna has worked with 66 lyricist (courtesy Dr. Shetty ) Finding 90 MDs Lata has worked with, should not be very difficult We can spread to languages other than Hindi.
Mumbaikar ji,
It is not at all difficult to find 90 music directors Lata has worked with.
Yes, I have a list of Lata’s songs in all the South Indian languages: Kannada, Tamil, Telugu and Malayalam. Also, some good Marathi songs composed by Anandghan ( need a smiley here) and a Nepali song with lyrics by Mahendra Bir Bikram Shah Dev, the Nepal King.)
Navratri special Garba song and dance from
AKHAND SOUBHAGYAVATI, 1963, Gujarati.
Barkat Virani, Kalyanji Anandji.
Picturised on Asha Parekh Che.
Mara te chithno chor re
Maro saanwariyo…
https:// youtu.be/ 7dtKNsDkSEo
Dr. Shetty,
Great let’s work on it.
Marthi song by her brother too.
She has some very good Oriya songs too.
Pradeepji,
Continuing with Lata-SDB-Majrooh combos
Providing the links to the solos of Dr. Vidya & Abhimaan (@40)
Three solos from Dr.Vidya (1962)
Pawan diwani na maane
https://www.youtube.com/watch?v=8khKmlWbOTM
Ho o o Khanke Kangna Bindiya Hanse
https://www.youtube.com/watch?v=T2SeqaQDP7Y
Jaani tum toh dole dhaga dai ke
https://www.youtube.com/watch?v=yNNhsG5VSoQ
Three More solos from Abhimaan (1973)
Nadiya kinare he raye aayee kangna…
https://www.youtube.com/watch?v=QxJevMKVvxY
Piya bina Piya bina …
https://www.youtube.com/watch?v=pDOWrvw4mGc
Ab toh hai tumse har Khushi..
https://www.youtube.com/watch?v=00Z8HXMTTco
While on Lata-SDB-Majrooh combo,
Between Dr. Vidya (1962 and Abhimaan (1973), there were three more films of this trio- Teen Deviyaan (1965), Jewel Thief (1967 & Talash (1969).
Lata rendered two duets with Kishore in Teen Deviyaan, no solos.
This combo had only one solo and a duet (with Rafi) in Jewel Thief and 2 solos and two duets (with Rafi) In Talash.
All of them my favourites.
After ABhimaan , their association lasted for four more films Phagun (1973), Prem Nagar (1974), Sagina (1974) & Arjun Pandit (1976).
Mumbaikar8 @ 79,
Probably I got you wrong. Well that sounds interesting. I have the entire list of Bengali songs rendered by Lata Mangeshkar. But first of we will have to make a list of MDs whose songs have already been posted. Let me get on with the list first. Only solos or all songs?
Venkataramanji,
I have
1 S D Baatish @ 54
@ 64
2 Basant Prakash
3 Bhola Shreshtha
4 Hafiz Khan
5 Manohar
6 M D Parthasarathy, E Sankara Sastry, B. S. Kalla, V Sarala (one of them)
7 Krishna Rao
8 Bipin Babul
The baton is with you:-)
Venkataramanji,
” Only solos or all songs?”
Solos better but consensus view is fine with me.
Mumbaikar8,
As of now, we have songs (with links) of 31 MDs, and songs of 5 MDs without links posted, in all 36. I have taken all the songs. It will take some time to filter out the solos. I have omitted Pankaj Mullick from the list.
1) Movie ..’Rani Roopmati’,1959
Song …. ‘ Aa laut ke aaja ..’
Singer … Lata Mangeshkar
MD …. SN Tripathi
https://youtu.be/-kdKUKTcVok
2) Movie …’ Bezubaan ‘ , 1962
Song …..’ Diwane hum …’
Singer … Lata Mangeshkar
MD …… Chitragupt
https://youtu.be/8X9Y4G_3YiQ
3) Movie … ‘ Qaidi no. 911’,1958
Song … ‘ Meethi 2 baaton..’
Singer … Lata Mangeshkar
MD …. Dattaram
https://youtu.be/RsH24zE_oHI
Movie … ‘ Sadhana ‘, 1958
Song … ‘ Aurat ne Janam diya..’
Singer .. Lata Mangeshkar
MD …. N Datta
https://youtu.be/RSAjnqg7OeE
Raj Kapoor opting for Ravindra Jain …RAM TERI GANGA MAILI , was a surprise. But, it’s results were beautiful music. Some nice Lata songs. The association continued with Randhir Kapoor’s HENNA, again with some nice Lata songs.
SAUDAGAR, 1973.
Lyrics/ Music: Ravindra Jain.
In RJ’s debut movie, Lata had the lovely
Tera Mera saath rahe…( Nutan).
And,
Champa nahin Chameli nahin
….
Main hoon Phool Banu…( Padma Khanna. Asha’s song for her… Sajna hai mujhe Sajna ke liye ..was more popular).
I think I have mentioned this song in the Flowers post.
Rajesh Roshan’s debut movie KUNWARA BAAP, 1974 had two Lata duets with Kishore Kumar:
Aa ree aajaa
Nindiya tu le chal kahin..
&
Jai Bholenath
Jai ho Prabhu…
Majrooh Sultanpuri.
But, I am mentioning his first Lata solo:
JULIE, 1975.
Anand Bakshi.
Ye raaten nayee purani
Aate aate jaate
Kehti hai koi kahani…
Anu Malik, right from his debut movie POONAM, 1980, was more of a Asha Bhonsle man.
Lata had a duet with Shailendra Singh in his second movie, AAPAS KI BAAT, 1981.
Kehni hai do baatein tumse
Magar kahoonga kano mein..
( Poonam Dhillon, Raj Babbar).
Lyrics: Dayanath Pandey…who?
.
.
Shiv Hari, right from SILSILA, 1981 have had a very successful collaboration with Lata resulting in many a gems.
Dekha ek khwab toh ye Silsile huye..
Pehli Pehli Baar dekha aise jalwa..
Sar se sarke sarke chunariya…
( All with Kishore Kumar)
Ye kahan aa gaye hum..
( Amitabh Bachchan)
Everyone remembers her solo
Neela saamaan so gaya..
(Javed Akhtar, Rajinder Krishen, Hasan Kamaal.)
But, I am surprised, many don’t recall the beautifully sung Meera bhajan
Jo tum thodo Piya
Main nahin todu re…
I am sure most, though, readily recall the same combination from a quarter century earlier…
JHANAK JHANAK PAAYAL BAAJE, 1955.
Vasant Desai.
I love the songs of MARATHA TITUKA MELAVAVA, 1964 .
Music: Anandaghan ( Lata Mangeshkar).
I have, earlier, in the Hemant Kumar article, posted this lovely song:
Marathi pavool padate pude…
Hemant Kumar, Hridaynath , Lata, Usha ( Mangeshkars) & chorus.
Lyrics: Shanta Shirke.
Aakheercha ha tula dandavath…
Lata Mangeshkar, ( Meena Khadilkar nee Mangeshkar and Usha Mangeshkar provide the echo effect… quite creative).
MANSALA PANKH ASTAT, 1961.
Marathi.
Pankh haave maaza poladech…
&
Ye javali ghe javali Priya Sakha ya Bhagawant….
Lyrics: V S Khandekar.
Music: Meena Mangeshkar.
Hridaynath Mangeshkar composed music for the Marathi movie AKASH GANGA , 1959 , when he was 22 .
Pyarelal Sharma was his assistant.
Lata Mangeshkar, Usha Mangeshkar and Prem Dhawan (!!!) were the playback singers.
Yash techi vish jaale
Dehant te uphale…
His first Hindi movie PRARTHANA, 1969, seems to have had two solos by Asha and one by Lata. Only one Asha solo is available on the YouTube.
HM, deservedly, got the National award for the home production LEKIN … Gulzar’s lyrics with Lata’s songs were awesome. I like the songs from MAYA MEMSAAB, too.
His work in Marathi movies JAIT RE JAIT, NIVDUNGA etc are of high quality.
Mumbaikar8 ,
Here is the list of the Music Directors whose song(s) have been posted here.
Total 46 MDs
1 Anil Biswas
2 Anu Malik
3 B D Burman
4 B S Kalla
5 Bappi Lahiri
6 Basant Prakash
7 Bhola Shreshtha
8 Bipin Babul
9 C Ramchandra
10 Chand Pardesi
11 Chic Chocolate
12 Chitragupt
13 Dattaram
14 Dwijen Choudhury (Rabindra Nath)
15 Ganesh
16 Ghulam Mohammad
17 Hafiz Khan
18 Hansraj Behl
19 Hemant Kumar
20 Jaidev
21 Kalyanji-Anandji
22 Kishore Kumar
23 Madan Mohan
24 Manna Dey
25 Manohar
26 Master Krishna Rao
27 Meena Mangeshkar
28 N Dutta 1
29 Naushad
30 Pt.Ravi Shankar
31 R D Burman
32 Rajesh Roshan
33 Ravi
34 Ravindra Jain
35 Roshan
36 S Mohinder
37 S D Batish
38 S D Burman
39 S N Tripathi
40 Sajjad Hussein
41 Salil Choudhury
42 Shankar Jaikishan
43 Shiv Hari
44 Sudhir Phadke
45 Vanraj Bhatia
46 Vasant Desai
Laayee kahan ae zindagi
Hai saamne manzil meri…
Hemant Bhonsle directing Aayee aani Maushi/ Badi Maa ,Asha and Lata, in
TAXI TAXI, 1977.
Majrooh Sultanpuri.
Sonik Omi.
DIL NE PHIR YAAD KIYA, 1966.
Aajaa re pyar pukaare
Naina toh ro ro haare…
G L Rawail.
In the lead article I see three more MDs..(1) Husnlal Bhagatram (2) Khemchand Prakash (3) Vinod ( Eric Roberts )
SABSE BADA RUPAIYA, 1976.
Majrooh Sultanpuri; Basu Manohari.
I will mention all the three Lata songs because I like them all!
Lata, Kishore Kumar.
1. Wada karo Jaanam
Na chodoge ye daaman…
2. Dariya kinare ik bangalow ga
Pori ai jo ai..
Lata, Usha Mangeshkar.
Bahee jaiyo na Rani
Bahee jaiyo na…
I like every song of RUDAALI, 1993.
Each, a gem!
Lata …
Dil hoon hoon kare…
Jhooti mooti mitwa aawan bole..
Samay O dheere chalo..
Gulzar, Bhupen Hazarika.
But I am mentioning the sweet Lata, Kishore Kumar duet from
AAROP, 1974.
Naino mein darpan hai
Darpan mein koi
Dekhoon jinhe subah sham…
Maya Govind, Bhupen Hazarika.
Check out this beautiful Anand Milind composition from
VANSH, 1992.
Aake teri bahon mein
Har sham lage Sindhoori…
Lata, S P Balasubramaniam; Sameer.
RAMLAL Choudhury. Ramlal came to Bombay in 1944 and started working as an assistant to Ram Ganguly in Prithvi Theatre. He also played Flute and Shahnai in many songs for the composer.
Music lovers of SoY will certainly remember two of his compositions ‘Pankh Hote To Ud Aati, Rasiyaa O Zaalimaa’ and ‘Takdeer Ka Fasana’ from the 1963 film Sehra, lyrics Hasrat Jaipuri. Sehra was produced by V Shantaram. Shantaram also used him in his 1965 film Geet Gaya Pattharon me (1965). Lata did not render any song for this film .
Here are the links to the songs from Sehra (1963)
https://www.youtube.com/watch?v=FMlAa0XQQDY
https://www.youtube.com/watch?v=YdnZt2wsPtA
DILWALE DULHANIYA LE JAAYENGE, 1993.
Anand Bakshi, Jatin Lalit.
Mere khwabon mein jo aaye…
&
The very popular
Tujhe dekha toh ye jaana Sanam….( with Kumar Sanu)
MAINE PYAR KIYA, 1989.
Ram Lakshman.
Dil Deewana bin Sajna ke maane na…
(Lata solo; has a SPB version, too).
Kabootar jaa jaa jaa…
( Lata, SPB).
Both Asad Bhopali.
The exquisite
Aate jaate hanste gaate…
Lata, SPB; Dev Kohli.
Inspired by a famous English tune!
DIL TOH PAAGAL HAI, 1997.
Are re are ye kya hua
Maine nahin jaana…
Lata, Anand Bakshi, Uttam Singh.
Venkatraman ji, Shetty Ji , Mumaikar ji ;
Exploring Musical Treasure is always pleasing . The left out songs …..discovered now….gives a great pleasure and one feels himself as an historian with discovery. Lata’s songs gave that earthly glory …….that appealed most to the soul. Love and taste of such songs is a bliss and heavenly feeling. A true heart felt joy.
My idea of count of 90 was for rare , less heard and never heard songs. Otherwise the number is infinity . Even Shalan Lal listed 18 songs and made a stop at 1952 . For me , as I said before, the golden period upto late 60s and some songs of early 70s gives a good qualitative measure of good songs. The scene surely changed with glamorous appearence of Eastman Colour .
Lata , She is Nightingale . Here she seems to sing on a bright sunny spring day.
बहारों मेरा जीवन भी संवारो..Lata_Kaifi Azmi_Khayyam_Aakhri Khat 1967
https://www.youtube.com/watch?v=S4MQ5QbDkuA
……to be contd.
MAACHIS, 19
Gulzar, Vishal Bhardwaj.
Paani Paani re
Khare Paani re…
Bheje Kahaar
Piya ji bulai lo…
Yaad na aaye koi
Lahoo na rulaye koi…
Ae hawa kuch toh bataa
Janewalon ka pataa…
( 4 Lata solos).
Tum gaye sab gaya
Lata with Sanjeev Abhyankar.
( The song has a better Hariharan version).
Some tunes of this album remind me strongly of the LEKIN songs.
DIL SE, 1998.
Gulzar, A R Rehman.
Diya jale jaan jale
Naino tale dhuan chale dhuan chale…
Venkatraman ji, Shetty Ji , Mumaikar ji , AKji;
Continuing my return journey from Alwar with songs at # 53 onwards…..
Shikayat Kya Karun Dono Taraf Gham Ka Fasana Hai_Lata_Film=Kundan 1955
https://www.youtube.com/watch?v=Ncdn1lNbFpU
DIL BHI TERA HUM BHI TERE – LATA – FILM-TAKSAL(1956) MD-ROSHAN LYRICS-PREM DHAWAN
https://www.youtube.com/watch?v=ePwRlN65uGA
MASHAL – AANKHON SE DOOR DOOR HAI PAR DIL KE PAAS JO
https://www.youtube.com/watch?v=819lKr-jz4Y
Ulajh gaya jiya mera naino ke jaal me..Jadoo 1951…Naushad
https://www.youtube.com/watch?v=lYfA9bLcr6s
Teri Duniya Se Jaate Hain – Lata Mangeshkar – HALAKU
https://www.youtube.com/watch?v=ImLVoYpwcCE
to be contd….
Mr. Joseph @ 101,
I missed out the songs mentioned by Shalanji. Thank you for bringing to notice. Besides Husnlal-Bhagatram, Khemchand Prakash & Vinod, there is one more MD, Shyam Sundar. I have added them to my list. Now the total stands at 63.
Venkatraman ji, Shetty Ji , Mumaikar ji , AKji;
In continuation from #112; Starting again with a gem par excellence….
Aa Jaayen Jaane Wale – Lata Mangeshkar – CHANDANI CHOWK
https://www.youtube.com/watch?v=sxA_qfAiKLU
Jahan Wale Humein Duniya Mein – Lata Mangeshkar – KUNDAN
https://www.youtube.com/watch?v=SD7-Rl3SWXM&t=96s
Kamar Lachke Mori – Amar….Naushad
https://www.youtube.com/watch?v=4tyKmpgePNg
Tum Sang Laage Piya More Naina 1956 – Taj – Lata…HK
Hear prelude of this song which is later used as starter in ….chali gori pee ke milan ko chali.
https://www.youtube.com/watch?v=YBuJMRT2-wo
Hum pyar mein jitne qadam chale Film Daku ki Ladki(1954)….Hemant
https://www.youtube.com/watch?v=A6BOAulvTCU
“SHAIR” Lata sings ‘Tu door hai ankhon se…..Gulam Mohd.
https://www.youtube.com/watch?v=T7dvTq6Oemg
…..to be contd.
Has C Arjun worked with Lata Mangeshkar?
I remember reading somewhere that SUSHEELA, 1966 with the brilliant Rafi, Talat Mahmood duet Gham ki andheri raat mein and Bemurravat Bewafaa Begaana e dil..by Mubarak Begum, had a Lata, Manna Dey duet.
Please clarify.
A R Qureshi
BEWAFAA, 1952.
Issi ka naam Duniya Hai…
Sarshar Sailani
Venkatraman ji, Shetty Ji , Mumaikar ji , AKji;
In continuation from #114;
LATA JI~Film MADHOSH~{1951}~Chhod Mujhe Na Jana…MM
https://www.youtube.com/watch?v=BCQgP506ZC0
aa keh ab ata nahin dil ko karar- lata film mehbooba….Roshan
https://www.youtube.com/watch?v=bxod0f0XooE
Unse hum kuch kehte kehte reh gaye Film Dil ki basti(1949)…Gulam Mohd.
https://www.youtube.com/watch?v=tk3vAw9uM0I
Aaja Kahin Se Aaja…… Lata….. Samunder….MM
https://www.youtube.com/watch?v=jrrWVgJPdSU
Aansoo Ki Aag Leke (HD) – Yahudi…..SJ
This song is one of my favorite for its melancholy sadness , instumental strings and beautiful dholak and tabla accompanists play.
https://www.youtube.com/watch?v=EDIAROlAzHU
Khamosh Hai Mera – Amar….Naushad
https://www.youtube.com/watch?v=rk6rV99p3Vw
LATA JI~Film-BHOLI-(1949)~Dil Todne Wale O Mukh Morne Wale….Gulam Mohd.
https://www.youtube.com/watch?v=0UkyVDmw4tE
……to be contd.
Bhatiaji @ 109 & 112,
“Exploring Musical Treasure is always pleasing……………………………. “
That was a qualitative statement, well made. And an tribute to Lata as well.
Coming to quantity, the figure 90; Mumbaikarji thought of 90 MDs. I got her wrong at first; leaving my flimsy thinking cap aside I was naïve to of 90 songs of Lata. And your idea of count of 90 was for rare, less heard and never heard songs. For me most of the songs after 70s will fall under the category of less heard and never heard songs. Rare songs can be a real challenge. But at this stage trying to filter out rare songs etc.etc from the huge list of already posted song would need a herculean effort. I have not been able to filter the solos yet. So please Bhatiaji, let us continue the task of completing list of 90 MDs.
Thank you posting some wonderful song some of them less heard.
Venkatraman ji, Shetty Ji , Mumaikar ji , AKji;
In continuation from #117 ;
TARE GIN GIN BITE SARI RAAT-LATA FILM- DHUN(1953) MD- MADAN MOHAN LYRICS- KAIFI IRFANI
https://www.youtube.com/watch?v=XE_5_7YaJlo
lata (do din ki zindagi mein)…….poonam……SJ
https://www.youtube.com/watch?v=UlO49ffynPI
MERI TAQDEER KE MALIK – LATA – FILM – SHART(1954) MD-HEMANT KUMAR LYRICS-SH BIHARI
https://www.youtube.com/watch?v=oors1KdKxKs
MEIN APNE DIL KA AFSANA- LATA FILM- GHUNGROO(1952) MD- C RAMCHANDRA LYRICS- RAJENDRA KRISHNA
https://www.youtube.com/watch?v=3sRrAuH5DCU
Lo Pyar Ki Ho Gayee Jeet,…. Jadoo 1951….Naushad
https://www.youtube.com/watch?v=k8-DBV4ZzAE
Balma Bada Nadan Hai | Albela….CR
https://www.youtube.com/watch?v=rT6hWfHbo6E
to be contd…..
Bharat Vyas ,Avinash Vyas.
JAGADGURU SHANKARACHARYA, 1955.
Jai Bharathi Vande Bharathi…
Sardul Qwatra
MIRZA SAHIBAAN, 1957.
Varma Malik.
Tabeeyat theek thi
Aur dil bhi beqarar na tha…
I always remember the wonderful Mehengai maar gayi song from ROTI KAPDA AUR MAKAAN ,of which Lata is a part along with Mukhesh, Chanchal, Jaani Babu Qawwal and chorus.
I consider RKAM among LP’s top scores.
SHAHEED, 1965.
Jogi hum toh lut gaye tere pyaar mein
Jaane tujhko khabar kab hogi…
Lyrics/ Music: Prem Dhawan.
One of the songs where Lata Mangeshkar sounds like Suman Kalyanpur!!!
N Venkataraman ji @118;
Thanks for your appreciation . My little observation is…songs we are postings are of those period when we were young at that moment of time and that determine one’s age also . Those in the 70s must be looking songs upto B &W era…..and of course those in 40s and 50s looking for colour editions as well. You will note that I myself have restricted myself in posting upto early 70s only.
When we were small …X mas trees were Tall
When we were young ….X mas trees were fun
Now we are tall …X mas trees are small
……and such goes the music….but classics will never fade .
Changing some mood with some pleasant and happy songs as well….
Lage Jabse Nain Lage – Daag…SJ
https://www.youtube.com/watch?v=RukfltwzDOM
Ja Ja Ja Re Ja Re Ja – Naya Ghar (1953) …..SJ
https://www.youtube.com/watch?v=nXEZg6aoJFM
Chanda Ki Chhaon Mein – Lata Mangeshkar – PARCHHAIN …CR
https://www.youtube.com/watch?v=YNBbw_HzMQQ
Dil Dhadke Nazar Sharmaye | Albela….CR
https://www.youtube.com/watch?v=jAWYfLAUVYo
Chori Chori Meri Gali Aana Hai Bura – Jaal….SDB
Here is GOA special ….Favorite of my family…..
https://www.youtube.com/watch?v=d6rwcCUlmDs
……still in continuation mode. Please follow further [ Rajendra Nath famous dialogue.].
Pradeepji @ 115
Probably you are referring to the1964 film Punar Milan. And that was the only song she sang for C Arjun. And this can be termed as a rare song (duet).
Chal Jaye Tera Jadoo, lyrics Gulshan Bawara,Punar Milan 1964
https://www.youtube.com/watch?v=yGVVunhFBuk
N Venkataraman ji ;
Continuing from songs @123;
chhun chhun chhun baje payal mori..lata–roshan-humlog
https://www.youtube.com/watch?v=4XNxU8LNOGc
Murli Bairan Bhai – Lata Mangeshkar – NEW DELHI
https://www.youtube.com/watch?v=ufVvFl5Fc6k
TU KAUN HAI MERA KEH DE -LATA -SHAKEEL -NAUSHAD (DEEDAR 1951)
https://www.youtube.com/watch?v=x8FTfXq60NE
Bahar Banke Woh Muskuraye – – Apne Huye Paraye….SJ
https://www.youtube.com/watch?v=lmqRv-A1HIo
Tere Sadke Balam …. | Amar |….Naushad
https://www.youtube.com/watch?v=dlTdU5C3lpo
Nain Mile Nain Hue Baanware – Talat Lata – Tarana….Anil Biswas
https://www.youtube.com/watch?v=jfYiBwz7mRU
….To be contd. ….but a little rest now.
Did the movie DHUAAN, 1953 , have two music directors?
DhaniRam and Vasanth Desai?
Main Saagar ka masth leher
Tu saamaan ka Chanda…
LADKI, 1953.
Man mor machave shor
Ghata ghanghor
Ghir ghir ke chayi re…
Lata Mangeshkar, Geeta Dutt; Rajinder Krishen; R Sudarshan & Dhaniram.
Did C Ramchandra also compose some songs in the movie?
N Venkataraman ji,
Exactly the song I was looking for.
Yes, not SUSHEELA, but PUNARMILAN with the Ameeta, Jagdeep Radha Krishna dance!
Indeewar?
I think this could be the only C Arjun, Lata song.
Thank you.
MAIN SUHAAGAN HOON, 1966.
Aye dil machal machal ke yoon
Rota hai jhar jhar kyon?
Bataram Sharma, Lachchiram Tamar.
Another instance of jhar jhar rona is from my most favourite, number one Lata song Lag jaa gale..
Baahen gale mein daal ke hum roye jhar jhar
to rhyme with the earlier lines
Paas aayiye ke hum nahin aayenge baar baar.
Hats off to Didi, Raja Mehdi Ali Khan, Madan Mohan and Raj Khosla.
Pradeepji @ 126
Main Saagar ka masth leher, was the only song composed by Dhaniram for this film.
Ladki 1953
Many sites and even HFGK mentions the name of C Ramachandra along with R Sudarshan & Dhaniram. But Opening title credits of the film mentions only the name of Dhaniram & R Sudarshan. I do not know where from the name of C Ramachandra cropped up. There must be some definite reason for HFGK for including his name. AKji can check up with Haminder Singh ‘Hamraz’ and let us know.
In my opinion, since the Tamil, Telugu and Hindi version were almost simultaneously produced the name of AVM’s inhouse Music Director R Sudarshan’s name was included in the titles; Ok he must have worked with Dhaniram, but Dhaniram should be credited for its songs. Hence I will prefer to keep R Sudarshan’s name out of the list.
Mumbaikar8 has proposed a fine tribute. I have worked on it a bit. I will gradually post one song from each composer as they came along in Lata’s career, which will automatically trace the making of Lata. I will post only solos.
1. Datta Korgaonkar or K. Datta – 1945 – Badi Maa – Mata tere charnon men – lyrics Zia Sarhadi. This is a duet but since this is her first I am posting it.
https://www.youtube.com/watch?v=bYtfkkFkQbo
Since this was a duet, I am posting a solo also by K Datta.
Gumasta – 1951 – Ye duniya badi bewafa ho gayi hai – lyrics Wahid Qureshi
https://www.youtube.com/watch?v=2cvg3TCaibQ
2. Datta Davjekar – 1947 – Aapki Sewa Men – Paa lagun kar jori re – lyrics Mahipal. Her first playback song.
https://www.youtube.com/watch?v=7OgsSl9sSb0
3. Anil Biswas – 1948 – Anokha Pyar – jeevan sapna toot gaya – lyrics Zia Sarhadi.
https://www.youtube.com/watch?v=m8Tp4rQyGaQ
4. Khem Chand Prakash – 1948 – Asha – Chet chet kar chal re chatur nar – lyrics L. Meghani.
https://www.youtube.com/watch?v=yccyr8yKnUU
5. Ram Krishna Shinde – 1948 – Bihari – Sabje ki durfishani – lyrics Munshi Farog. Look at her diction and this is 1948, just the year before her total turnaround.
https://www.youtube.com/watch?v=ioRj-a-D4SE
Lata Mangeshkar sings for Lata Mangeshkar
Lata Mangeshkar won the Maharashtra State Government’s Best Music Director Award for the Marathi film Sadhi Manase (1965) and the song Airanichya Deva Tula received the best song Award that year.
https://www.youtube.com/watch?v=8aTGUrolfBE
6. Premnath – 1948 – Chand Sitare – jab dil men tere dard ho – lyrics IC Kapoor
https://www.youtube.com/watch?v=e9YHW6jeixA
7. Hans Raj Behl – 1948 – Chunaria – dil e nashad ko jeene ki hasrat – lyrics BR Sharma.
https://www.youtube.com/watch?v=G6MEplG_tM8
8. Mukund Masurekar – 1948 – Didi – tere nainon men nindiya – lyrics Indeevar.
https://www.youtube.com/watch?v=-_-BrTQMOIk
9. Gyan Dutt – 1948 – Dukhiyari – Ab kisko sunaun main katha krishna murari – lyrics Farooq Kaiser.
https://www.youtube.com/watch?v=DM1c29WqDks
10. Azeez Khan – 1948 – Heer Ranjha – Kahe ko byahi bides – lyrics Ameer Khusro.
https://www.youtube.com/watch?v=QKRzWdZkvHQ
11. Ghulam Haider – 1948 – Majboor – Dil mera toda – lyrics Nazim Panipati
https://www.youtube.com/watch?v=xOiCh-Ln3GI
12. Purushottam – 1948 – Mere Lal – hamara ghar – 2 ban jaye – lyrics Mahipal.
https://www.youtube.com/watch?v=cqNh0klnhrQ
13. Shaukat Haidari – 1949 – Aiye – kisliye ankhon men aansoo – lyrics J Nakhshab.
https://www.youtube.com/watch?v=yr1JTGvKPcM
14. Naushad – 1949 – Andaz – Koi mere dil men – lyrics Majrooh Sultanpuri.
https://www.youtube.com/watch?v=GBeZSiWfuaw
15. Husnlal Bhagatram – 1949 – Badi Behan – jo dil men khushe bankar aaye – lyrics Rajendra Krishan.
https://www.youtube.com/watch?v=RGnUUqR7fwk
I will have to go out. Hope to be back by midnight. By the time I am back I am sure that Hansji would have steered the boat across to the desired destination. May be beyond.
16. Shankar Jaikishan – 1949 – Barsaat – hawa men udta jaye – lyrics Ramesh Shashtri.
https://www.youtube.com/watch?v=Fm87fGL4reE
17. Shyam Sunder – 1949 – Bazaar – Sajan ki galiyan chhod chale – lyrics Qamar Jalalabadi.
https://www.youtube.com/watch?v=5wS4mCsXKg0
18. P. Ramakant – 1949 – Bhedi Bangla – hausle dil ke mite pyar ke arman gaye – lyrics Ehsan Rizvi.
https://www.youtube.com/watch?v=QsxQZ1bzVno
19. Gobind Ram – 1949 – Bholi – dil todne wale – lyrics IC Kapoor.
https://www.youtube.com/watch?v=0UkyVDmw4tE
20. Ghulam Muhammad – 1949 – Dil Ki Basti – Unse hum kuchh kahte kahte rah gaye – lyrics Wahid Qureshi.
https://www.youtube.com/watch?v=tk3vAw9uM0I
Hans ji,
What a novel way of going about the assignment! And, so thorough and meticulous, as always. Appreciation and regards.
The two opening batsmen, Dattas, were on my list for obvious reasons.
ksbhatia ji,
Keep giving us the goodies sprinkled with the ithar of poetry and vast life experiences.
90 special Lata songs can be very subjective and differ from person to person.
90 music directors is a thrilling exercise.
N Venkatraman ji,
With Pujo pendals all around, you have to be away. We understand.
Yes, by the time you are back and I hit the bed, Hans ji would have gone beyond the mark and hit a century.
My guess about Lata’s composers across the languages will be at least 150 ,if not more.
21. Vinod – 1949 – Ek Thi Ladki – ghir ghir ke aayi badariya – lyrics Azeez Kashmiri.
https://www.youtube.com/watch?v=3-UyibCU_3g
22. C Ramchandra – 1949 – Patanga – dil se bhula do tum humen – lyrics Rajendra Krishan.
https://www.youtube.com/watch?v=JkpEMOzEd9A
23. Vasant Desai – 1949 – Narsinh Avtaar – jagmag tare jhalke – lyrics Narendra Sharma. In fact Vasant Desai was at 2nd position in giving Lata songs in 1946, but I did not find any of the songs worth posting. So here he comes at 23.
https://www.youtube.com/watch?v=8KoEWKHgCkc
24. Saraswati Devi -1949 – Usha Haran – lehron pe kabhi nachoon – lyrics Rammurthi Chaturvedi.
https://www.youtube.com/watch?v=ikdCKxqVi2I
25. Krishan Dayal – 1950 – Baawra – shama jalti hai to parwane – lyrics Gafil Harnalvi.
https://www.youtube.com/watch?v=E3rXePWdSXc
26. Snehal Bhatkar – 1950 – Hamari Beti – Mere sapne bane aaj apne – lyrics not given. Three lyricists mentioned, Pandit Fani, Randhir and Prem Dhawan in the film’s list.
https://www.youtube.com/watch?v=mkL5NBH_wVs
27. Wadhwa – 1950 – Hanste Rahna – hai kitna suhana suhana nazara – lyrics Indeevar. Traces of Noorjehan in the mukhda.
https://www.youtube.com/watch?v=Q7IiWvAhgro
28. Sajjad Hussain – 1950 – Khel – bhool ja ae dil muhabbat ka fasana – lyrics Shams Azimabadi.
https://www.youtube.com/watch?v=eb_5EShdmRQ
29. SD Burman – 1950 – Mashal – ankhon se door door hain par dil ke paas jo – lyrics Kavi Pradeep. What a sweet song and great lyrics too. The song is picturised on Kishore Kumar’s first wife Ruma Devi.
https://www.youtube.com/watch?v=bccGWDCXwt4
30. Hafeez Khan – 1950 – Meherbani – duniya ne jo kaha wo suna aur ro liye – lyrics Mashhar. Some Suraiyya effect.
https://www.youtube.com/watch?v=bRXRAp14XI4
Dr Shetty
Thanks for the nice friendly appreciation. I thought this way we can trace her history, but the original idea came from Mumbaikar8. Actually I had listened to most of Lata’s songs upto 1950 long ago, but some fresh songs are coming from time to time. Can you or other friends guess when would Lata reach 90 composers, considering she became choosy around the mid fifties. Would 90 be reached by the end of 1960.
Venkataramanji
I am in no hurry. But I would try to finish by tomorrow, because on Sunday I have go to another place.
Ms.Mumbaikar 8 ;
Yes we achieved our target of 90 . Of the 42 required for targetting 90….I have further posted 36 songs and adding 7 rare songs posted by yourself …the total comes to 91 . I have 10 to 15 more songs to add but I am now prefering to listen to songs posted by Dr. Shetty , Venkatraman ji , Joseph ji, …..and all others. The hidden songs always interest me the most . The unknown music directors some time surprise me with their less heard but beautiful compositions. The songs from Stunt/ fantasy movies also….. a subject which needs to be explored .
Hans ji;
Sir, your solid batting doing great guns . A difficult task that only you can handle .Your passion for stats do help you a lot…..and Venkatraman ji holding the fort at other end of Wickets.
I am off on limb loading now and crossing my bounds directly to mid 70s. Sachin da made beautiful melodies right to his last days and gave heart touching songs ……conquering the soul in leaps.
PIYA BINA PIYA BINA BAANSIYA -LATA -MAJROOH -S D BURMAN (ABHIMAAN 1973)
https://www.youtube.com/watch?v=6DG-SOO92_c
Hans ji,
I think that the Magic Number 90 will be reached only in the 60s…. that’s to say , after 1960. Let’s wait and see.
You will mention Adi Narayan Rao when you reach the year 1958. I can not resist myself from butting in just because of that one splendid Rafi Lata duet…
Kuhoo kuhoo bole koyaliya….
which, in my opinion,is one of the best classical Raaga based songs of our movies.
Lyrics: Bharat Vyas.
Lata had 6 solos and 3 duets ( the other two with Manna Dey and Sudha Malhotra.) Did she also have a Tarana/ Raag Maalika with Sudha Malhotra?
Of the total 5 Hindi movies ANR seems to have given music for, Lata worked with him again only for his second project,
PHOOLON KI SEJ, 1964 …5 solos, 3 duets ( one each with Manna Dey, Mukhesh and Asha Bhonsle). Good songs.
ANR’s subsequent projects…INQUILAB ZINDABAD, 1971; GUN FIGHTER JOHNNY,1972;. SATI ANASUYA,1974 have Asha Bhonsle, S Janaki,Vani Jayaram, Manna Dey and Mahinder Kapoor.
Interestingly, INQUILAB ZINDABAD lists Saraswati Kumar Deepak as the lyricist!!
Hansji, Pradeepji, Bhatiaji & others
By the time I came back it was 1:30 am.
I appreciate Hansji’s methodical approach-year wise presentation of the MDs. Highly commendable. While Hansji continues the with his presentation, here is the list of MDs covered till now in this post. We are at the door steps of ninety. Two more to go. Here is the list ,
1 A R Qureshi
2 A R Rehman
3 Adi Narayan Rao
4 Anand-Milind
5 Anil Biswas
6 Anu Malik
7 Avinash Vyas
8 Aziz Khan
9 B D Burman
10 B S Kalla
11 Bappi Lahiri
12 Basant Prakash
13 Bau Manohari
14 Bhola Shreshtha
15 Bhupen Hazarika
16 Bipin Babul
17 C Arjun
18 C Ramchandra
19 Chand Pardesi
20 Chic Chocolate
21 Chitragupt
22 Dattaram
23 Dhaniram
24 Dwijen Choudhury (Rabindra Nath)
25 Datta Koregaonkar
26 Datta Davjekar
27 Ganesh
28 Ghulam Hyder
29 Ghulam Mohammad
30 Gobind Ram
31 Gyan Dutt
32 Hafiz Khan
33 Hansraj Behl
34 Hemant Bhosle
35 Hemant Kumar
36 Hridaynath Mangeshkar
37 Husnlal-Bhagatram
38 Jaidev
39 Jatin-Lalit
40 Kalyanji-Anandji
41 Kishore Kumar
42 Khayyam
43 Khemchand Prakash
44 Krishna Dayal
45 Lachchiram Tomar
46 Lata Mangeshkar
47 Madan Mohan
48 Manna Dey
49 Manohar
50 Master Krishna Rao
51 Meena Mangeshkar
52 Mukund Masurekar
53 N Dutta 1
54 Naushad
55 P Ramakant
56 Prem Dhawan
57 Premnath
58 Pt.Ravi Shankar
59 Purushottam
60 R D Burman
61 Rajesh Roshan
62 Ram Krishna Shinde
63 Ramlal
64 Ram-Lakshman
65 Ravi
66 Ravindra Jain
67 Roshan
68 S Mohinder
69 S D Batish
70 S D Burman
71 S N Tripathi
72 Sajjad Hussein
73 Salil Choudhury
74 Saraswati Devi
75 Sardul Kwatra
76 Shankar Jaikishan
77 Shauqat Hyderi
78 Shiv Hari
79 Shyam Sundar
80 Snehal Bhatkar
81 Sonik Omi
82 Sudhir Phadke
83 Uttam Singh
84 Vanraj Bhatia
85 Vasant Desai
86 Vinod (Eric Roberts)
87 Vishal Bhardwaj
88 Wadhwa
BTW I have not included Pankaj Mullick and R Sudarshan in this list.
Jaa jaa re Chanda jaa re
Teri Chandni bhi mera
Jiyara jalaaye jaaye…
PRIVATE SECRETARY, 1962.
Prem Dhawan, Dilip Dholakia.
PATIT PAAVAN, 1955.
Bharat Vyas, Jamal Sen.
Palkon ki paalki Aansoo sanvartaa
Bachpan ke Saathi tujhko
Bachpan pukaartaa..
Venkatraman ji, Hans ji, Mumbaikar ji,
We have reached the Magic Number!!!
Check for shyamji ghanshamji too.
31. Madan Mohan – 1951 – Ada – sanwri surat man bhayi re piya – lyrics Prem Dhawan.
https://www.youtube.com/watch?v=V7MfeGHEzD0
32. CR Subbaraman – 1951 – Ek Tha Raja – karle shikari shikar – lyrics Pandit Sudarshan.
https://www.youtube.com/watch?v=fND5lQA28aQ
33. Muhammad Shafi – 1951 – Hulchal – ek jhoothi si tasalli – lyrics Khumar Barabankvi.
https://www.youtube.com/watch?v=V01a_MOitcU
34. Roshan – 1951 – Hum Log – chhun-3 baje payal mori – lyrics Vishwamitra Adil & Uddhav Kumar.
https://www.youtube.com/watch?v=4XNxU8LNOGc
35. Moti Ram – 1951 – Lachak – tootate hi dil muhabbat ke maje aane lage – lyrics Shakeel Badayuni. This was the only song Shakeel wrote for Moti Ram.
https://www.youtube.com/watch?v=ypmxigsdL2E
https://www.youtube.com/watch?v=4XNxU8LNOGc
36. Sudhir Phadke – 1951 – Malti Madhav – bandh preet phool dor – lyrics Narendra Sharma. This composer was also unfortunately bereft of success, despite such sublime compositions. The song ‘sudhi teri madhur pyare’ was earlier discussed on SOY, perhaps about the meaning of word ‘sudhi’.
https://www.youtube.com/watch?v=9eaQz-KJqME
37. Chil Chocolate – 1951 – Nadan – sari duniya ko peechhe chhodkar – lyrics PL Santoshi.
https://www.youtube.com/watch?v=dmbKGx9cbms
38. Khayyam – 1951 – Pyar Ki Baten – ab kahan jayen ke apna meherban koyi nahin – lyrics Khawar Zaman. A beautiful ghazal.
लुट रहा है आशियाँ मेरी नज़र के सामने
और मैं खामोश हूँ जैसे ज़ुबाँ कोई नहीं
https://www.youtube.com/watch?v=6wp7jWK3GCw
39. MD Parthasarathi, E. Shankar Shashtri and BS Kalla – 1951 – Sansar – jia lahar lahar laharaye – lyrics Pandit Indra. Dr Shetty posted a song from this film.
https://www.youtube.com/watch?v=-V_t-dujF-E
40. Jamal Sen – 1951 – Shokhiyan – sapna ban saajan aaye – lyrics Kedar Sharma.
https://www.youtube.com/watch?v=KXoIENkemog
ksbhatia ji,
I had kept a very special Shyamji Ghanshyamji song for later use. But, now that you have mentioned it, I will post it.
Their ( His?) first movie THOKAR ,1974, though a flop, is still remembered for it’s two musical gems:
Apni aankhon mein basaa kar
Koi iqraar karoon…Rafi.
&
Main doondta hoon jinko
Raaton ko khayalon mein…Mukhesh.
Sajan Dehlvi.
Suman Kalyanpur and Krishna Kalle were the female singers. No Mangeshkars.
DAAKU, 1975 , the Basu Bhattacharya directed movie ( Vinod Khanna, Bindu, Amrish Puri,Laxmi Chaya) is a special film because it was written by Amrita Pritam. She also penned two songs for the film.
Lata Mangeshkar
Tu aaj apni haath se kuch bhigdi sanwar de
Ae Khuda, mere jism se
Mera saaya uthaar de…
Rafi
Ye duniya thi dil ki jo humne basaayi
Ye duniya hai dil ki jo humne lutaayi..
The other contributors to the album are
Hasrat Jaipuri, Sajan Dehlvi, Chaman Lahori and Rameshwar Tyagi;
Usha Mangeshkar, Narendra Chanchal, Preeti Sagar.
41. Ali Akbar Khan – 1952 – Aandhiyan – hai kahin par shadmani – lyrics Narendra Sharma.
https://www.youtube.com/watch?v=RUNf33dck1E
42. SN Tripathi – 1952 – Aladin aur Jadui Chirag – zulm duniya ke sahen aur chup rahen – lyrics Shyam Hindi.
https://www.youtube.com/watch?v=bz8n7QU4cZA
43. Basant Prakash – 1952 – Badnaam – saajan tumse pyar kafun main – lyrics Hasrat Jaipuri.
https://www.youtube.com/watch?v=I-MOkt6ofEI
44. SD Batish – 1952 – Betaab – abhi kuchh raat baki hai – lyrics Roopbani.
https://www.youtube.com/watch?v=kEhhstg6pyM
45. AR Qureshi – 1952 – Bewafa – isi ka naam duniya hai to duniya dekh li maine – lyrics Sarshar Sailani.
https://www.youtube.com/watch?v=tjR1whozOgg
https://www.youtube.com/watch?v=R6gFBWAkEmU
August 31st this year was the Birth Centenary of Amrita Pritam.
Her poem used in KADAMBARI, 1976 _ Asha Bhonsle, Usthad Vilayat Khan_ is more popular than the lesser heard DAAKU song.
Ambar ki ek paak surahi
Baadal ka ek jaam utha kar
Ghoont Chandni pee hai humne
Baat kufr ki kee hai humne..
( Modified from her celebrated Kufr?)
46. Manna Dey – 1952 – Chamkee – main tujhpe jawani lutane aayi – lyrics Kavi Pradeep. Kavi Pradeep writing such lyrics and then saying two years later ‘dekh tere sansar ki halat’. 😉
https://www.youtube.com/watch?v=TlnHU0B5ctA
47. Shyam Babu Pathak – 1952 – Hamari Duniya – jis din se juda wo humse hue – lyrics Hasrat Jaipuri.
https://www.youtube.com/watch?v=jm-37LFytnA
48. Bhola Shreshtha – 1952 – Najaria – main to man ki pyas bujhaye aayi re – lyrics PL Santoshi.
https://www.youtube.com/watch?v=7CDF3glY_s8
49. Dhaniram – 1953 – Dhuaan – na chamko chanda aaj ki raat – Rajendra Krishan.
https://www.youtube.com/watch?v=ZJYIPvxI6O0
50. Salil Chowdhary – 1953 – Do Bigha Zameen – aaja ri aa nindiya tu aa – lyrics Shailendra.
https://www.youtube.com/watch?v=HuNCbL38eUw
51. Vasant-Prabhu – 1953 – Gharbaar – barbaad ho raha hai ik ghar basa basaya – lyrics Kaif Irfani.
https://www.youtube.com/watch?v=6qf1YYD4yL8
52. Bulo C Rani – 1953 – Gul Sanobar – ise na aur lootiye – lyrics Kaif Irfani.
https://www.youtube.com/watch?v=MPaltuCDXzU
53. V. Balsara – 1953 – Madmast – kab beet gayi jeevan ki subah – lyrics Madhuraj.
https://www.youtube.com/watch?v=weD8iMqKS_w
54. RC Boral – 1953 – Shri Chaitanya Mahaprabhu – teri preet samajh na aaye – lyrics Bharat Vyas.
https://www.youtube.com/watch?v=X6q8Vu-WDFQ
55. Shiv Ram Krishna – 1953 – Surang – guzri thi raat aadhi – lyrics Shevan Rizvi.
https://www.youtube.com/watch?v=me-vOS1K3Tk
56. Sardar Malik – 1954 – Chor Bazaar – hui ye humse nadani – lyrics Shakeel Badayuni.
https://www.youtube.com/watch?v=AFSU6e7qOEk
57. Hemant Kumar – 1954 – Daku Ki Ladki – muhabbat ke janaje pe diya dil ka – lyrics SH Bihari.
https://www.youtube.com/watch?v=WugU1jZFlb0
58. Ajeej Hindi – 1954 – Danka – na jane kya jadoo hai – lyrics Nazim Panipati.
https://www.youtube.com/watch?v=fDokXk07nZ4
59. Sailesh – 1954 – Parichay – jal ke dil khaak hua – lyrics Keshav.
https://www.youtube.com/watch?v=BJqU9SDlM_w
60. Sardul Kwatra – 1954 – Pilpili Sahab – jinhen hum yaad karte hain – lyrics Hasrat Jaipuri.
https://www.youtube.com/watch?v=SEq_nbb8qLY
Nikhil Kamat is an important name in our ongoing Lata Mangeshkar with various music directors….I say.
WHO? ….You will all ask in unison.
Well, to the best of my knowledge, he is the one for whom, as of now, Lata has recorded her last Hindi film song…
Jeena kya hai jaana maine
Jabse tumko jaana hai…
Lyrics: Vimal Kashyap.
DUNNO Y2…LIFE IS A MOMENT, 2015.
( Yes , that’s the name of the Indian/ Norwegian film about a Gay couple.)
It was a sequel to the 2010 film from the same creative team.
DUNNO WHY…NA JAANE KYUN.
There also Lata sang a song.
Pal mein najre mil jaate hain
Pal mein chahat khilte hain
….
….
I dunno why Na jaane kyoon
Aisa zindagi mein hota hai…
Lyrics: Satya Prakash.
If , like me, you also remember the CHOTI SI BAAT beauty Na jaane kyoon hota hai ye zindagi ke saath… it’s at our own risk!!
Interestingly, last year a Lata Mangeshkar Marathi private song (2014, KSHANA AMRUTHACHE.. Balakrishna Bhagwant Borkar, Salil Kulkarni ) was widely circulated on the Social media claiming that Lata has decided to retire from singing and has recorded her last song.
The lyrics of the song are such that anyone could blindly believe it.
Atha visavyache kshan
Majhe soniyache mani
Sukhe vovitha vovitha
Thyanchi odatho smarani…
My rough translation:
It’s now the time to rest
With my golden ( prayer) beads
Weaving a necklace of happiness
With all my fond memories..
Venkatraman ji @144,
Please see if Shankar Shambu (Mrigtrishna) can be included in the list
https://m.youtube.com/watch?v=5eQyt4bQukY
Nashad was more of a Shamshad Begum, Asha Bhonsle composer, right?
Has worked sparingly with Lata.
BARAADARI, 1955
4 Lata solos and 5 duets ( Rafi_3, Shamshad Begum_2).
Bhula nahin dena ji
Bhula nahin dena
Zamana kharab hai
Dhaga nahin dena ji
Dhaga nahin dena…
( With Rafi)
Dard bhara dil bhar bhar aaye
Sabr ka daaman choot na jaaye..
(Solo)
Of course, the most celebrated one is ..
Tasveer banata hoon
Tasveer nahin banti…Talat Mahmood.
61. Ravi – 1955 – Albeli – ja ja re chanda teri chandani jalaye – lyrics Ravi.
https://www.youtube.com/watch?v=V2iU-7XfIAs
62. Nashad – 1955 – dard bhara dil bhar bhar aaye – lyrics Khumar Barabankvi.
https://www.youtube.com/watch?v=VYmno0r-gA0
63. BD Burman – 1955 – Char Paise – majhi meri naiyya ko jee chahe jahan le chal – lyrics Sartaj. Do these lines bring to mind something similar.
https://www.youtube.com/watch?v=O3x7ZhWU2uA
64. Manohar – 1955 – Chingari – badi mushkil hai ajab mera dil hai – lyrics Shailendra.
https://www.youtube.com/watch?v=lmamZG-41Qw
65. BS Kalla – 1955- Do Dulhe – naihar ke geet main gaun – lyrics Pandit Indra.
https://www.youtube.com/watch?v=uAEfFd6XwgE
Dr Shetty
You talk of Nashad and his name is there in the list above.
Three years of 1945, 1946 and 1947 had 3 composers. The next 3 years brought 27 to the list. 1951 to 54 brought another 30. Would the next 6 years bring the remaining 30. The answer is yes, because I have completed the list of 90. She will get to the 90 year mark in 1960.
Pradeepji @ 136,
You are partially right. I do not do Pandal hopping any more. I have left behind those days 12-15 years back. But on few occasions when my outstation relatives came for Puja visit, I had to take them around.
Everyday there is a gathering of friends with family and we have food together. There is no cooking in our houses for five days. Even friends who had moved to other localities and even from outstation come to meet us. And the evening get togethers extends beyond midnight.
The 90 mark was not crossed till today afternoon. With further additions we have crossed the 100 mark, to be precise 107.
I haven’t included Salil Kulkarni’s name. I am not sure whether we should include non film songs. Let Mumbaikarji decide since she is is the initiator of this idea.
Hansji
You are proceeding in a systematic way. And you have posted songs of 66 MDs. That includes the song you had posted earlier @ 49. Music Kalyanji Anandji, lyrics Gulshan Bawara.
Waiting to find out in exactly which year Lata worked with her 90th MD. I too am not in a hurry.
Bhatiaji,
Besides Pradeepji & Hansji you have contributed a lot to cross the 90 & the hundred mark. Due to pausity of time, I could not listen to all the songs. I will try to catch up whenever I can grab some time.
AKji,
It seems the clarification I sought, @129 about Ladki (1953),might have got lost in the avalanche of songs / comments.
66. Avinas Vyas – 1955 – Ekadashi – man ka mail tu dho le re dhobaniya – lyrics B.C. Madhur. This was this great composer’s 21st film, in which he got Lata to sing. He started his career in 1943, but upto 1950 only did 6 films, only 3 of which he did independently. Lata also obliged Chitragupta in 1955, though he was composing since 1946 and regularly too.
https://www.youtube.com/watch?v=a-565WJYXu4
67. Amarnath – 1955 – Garam Coat – preet kiye dukh hoye – lyrics Meerabai. I have listened this great song on Radio Ceylon in the radio days. Announcer would say ‘ab aap Lata Mangeshkar ko suniye film Garam Coat men’ and the voice would keep going down and coming up on the short wave.
https://www.youtube.com/watch?v=WS3q8VqJ4nY
68. Jaidev – 1955 – Joru Ka Bhai – tu sach batla jogi – lyrics Vishwamitra Adil.
https://www.youtube.com/watch?v=5hFg8dJEgRY
69. N. Datta – 1955 – Marine Drive – apne khayalon ko samjha lijiye – lyrics Sahir Ludhiyanvi.
https://www.youtube.com/watch?v=g201UoVDUlw
70. S. Mohinder – 1955 – Naata – mat samjho neer bahati hoon – lyrics Tanvir Naqvi.
https://www.youtube.com/watch?v=_d4XykxryDM
https://www.youtube.com/watch?v=WS3q8VqJ4nY
Giriji @ 158,
You mean Shambhu Sen . He was the MD for the film Mrig Trishna (1977). His name has not yet appeared on the list. Thanks for the inclusion.
71. Jagmohan Sursagar – 1955 – Sardar – hansa sake rula sake wo pyar – lyrics Kaif Irfani.
https://www.youtube.com/watch?v=RmlDe1ToRvc
72. Chitragupta – 1955 – Shiv Bhakta – kahan jake ye naina lade – lyrics GS Nepali. We were blessed when this combo got going. And Padmini looks so cute when she still quite slim. What a shame we did not see much of her in Hindi films.
https://www.youtube.com/watch?v=5M31Ve2_vhI
73. Mukesh – 1956 – Anuraag – nazar milake nazar churana – lyrics Kaif Irfani.
https://www.youtube.com/watch?v=060FtpHcIqc
74. S.K. Pal – 1956 – Dhola Maru – kajal bina meri feeki hain ankhiyan – lyrics Bharat Vyas.
https://www.youtube.com/watch?v=-5ysCUD1Oqg
75. Vishwanath-Rammurthy – 1956 – Naya Aadmi – dile betaab thahar – lyrics Rajendra Krishan.
https://www.youtube.com/watch?v=qycnCpsV7SI
76. Bipin-Babul – 1956 – Sultana Daku – hai kismat ka khel dilon ka mail – lyrics Tanvir Naqvi.
https://www.youtube.com/watch?v=5C1e8GFC6mw
77. Kamal Mitra – 1956 – Yahudi Ki Beti – chori chori dil men ye kaun – lyrics Shyam Lal Shams.
https://www.youtube.com/watch?v=dQkWSSdFPiE
78. Dattaram – 1957 – Ab Dilli Door Nahin – jiyo lal mere tum lakhon baras – lyrics Hasrat Jaipuri.
https://www.youtube.com/watch?v=89sMobCsYEo
79. Ramlal-Heerapanna – 1957 – Naaglok – hey shivshankar hey pralayankar hey kailash niwasi – lyrics Saraswati Kumar Deepak.
https://www.youtube.com/watch?v=qA8nB6DSr28
80. Kanu Ghosh – 1957 – Naya Zamana – kahan jate ho toota dil hamara dekhte jao – lyrics Prem Dhawan.
https://www.youtube.com/watch?v=UV-mCGn1vuY
81. R. Sudarshanam – 1958 – Matwala – dil men samaye koi – lyrics Hargovind.
https://www.youtube.com/watch?v=sB6blNJys4Y
82. Iqbal Qureshi – 1958 – Panchayat – main gun gaun tera tu hi sham mera – lyrics Shakeel Noomani.
https://www.youtube.com/watch?v=PoiVeRKF1Kw
83. Ramesh – 1958 – Piya Milan – pal bhar tujhe jo dekh le – lyrics Harsh.
https://www.youtube.com/watch?v=r5sq9ToqklQ
84. . Kalyanji Veerji Shah – 1958 – Post Box 999 – koi aa jaye -2, bigdi taqdeer bana jaye – lyrics PL Santoshi.
https://www.youtube.com/watch?v=96ligIwULs8
85. Sanmukh Babu – 1958 – Raj Pratigya – sapnon ke gaon men – lyrics Bharat Vyas.
https://www.youtube.com/watch?v=BTHcgaCkUyg
86. Adi Narayan Rao – 1958 – Suvarna Sundari – mujhe na bula – 2, chhup chhup chalia re mujhe na bula – lyrics Bharat Vyas.
https://www.youtube.com/watch?v=qEv8lDlIhsQ
87. Kalyanji Anandji – 1959 – Chandrasena – jara sa muskura doon to – lyrics Indeevar.
https://www.youtube.com/watch?v=fO5mV0zrJvI
88. Krishnarao – 1959 – Keechak Vadh – aaj milan ki raat hai – lyrics Bharat Vyas.
https://www.youtube.com/watch?v=UCF__m5PNM8
89. Vedpal Verma – 1960 – Aai Phir Se Bahar – tu dulhan banegi – lyrics Vedpal Verma.
https://www.youtube.com/watch?v=u1kD-wkqTa0
90. Pandit Ravi Shankar – 1960 – Anuradha – haye re wo din kyun na aaye – lyrics Shailendra.
https://www.youtube.com/watch?v=v57QxIkF3nI
This completes the list of 90, but this includes BS Kalla who appeared in the trio of Parthasarathi, Shashtri and Kalla and also Kalyanji separately and alongwith the Kalyanji-Anandji team. Some may say this means two less. So here are three more who gave Lata songs in 1960.
91. Pardesi – 1960 – Banjarin – ho more bole chitchor bole – lyrics BC Madhur.
https://www.youtube.com/watch?v=0dBRTGsHc5k
92. Usha Khanna – 1960 – Hum Hindustani – majhi meri kismat ke jee chahe jahan le chal – lyrics Rajendra Krishan. The Char Paise song at no. 63 had similar mukhda.
https://www.youtube.com/watch?v=yWV9o6bc77c
93. Malay Chakravarti – 1960 – Mukti – dil lubha ke mere sathi bhool jana na – lyrics Munir Arzoo Kazmi.
https://www.youtube.com/watch?v=8NcKSQxG1oo
So this is the Lata Mangeshkar journey with composers upto 1960 (solo songs).
Ms. Shalan Lal
Your deep research and linking in so many factors in this post is very much appreciated by me. You have presented your portrayal of Lataji as an outstanding artist in your inimitable way. Despite being away from India for such a long time and living in alien surroundings you have not cut the umbilical cord to Bollywood. What a Herculean task it must have been to compile a post of 46 pages. It is my contention that the blogmaster has probably denied a chance for this post to get into Guinness Book of Records in terms of its length. But I do not begrudge him his privileges to shape a post for post in this blog of his.
Hans ji,
मैं सच कहूंगा, सच के सिवा कुछ नहीं कहूंगा।
Brilliant! Brilliant!! Brilliant!!!
After your urgent, pressing commitments, at your leisure and convenience, please complete the whole list of Lata’s composers.
A very pleasant journey it has been.
I think we can add ….kalyanji veerji shaw…also and look for lata songs. The famous duet was….chhahe door ho chhahe paas ho. I am sending message thru mobile phone as i am busy with wedding in family. So booked for whole week. The party should go on since celebrations of festive season is at a pleasent platform.
ksbhatia October 2, 2019 at 4:12 pm @ 43
I like your analysis of Lata’s voice “Lataji had a very nice modulation of voice that easily made her sing sad songs as if coming from her heart and bringing out emotions without dropping of tears…….. etc”
I further add that once a tune and words ware explained to her along with the song situation and character in the film etc. Lata would create her canvas of the voice and start putting the shapes and colours as she had mastery over her notes and skills she learned as a little girl from her father him without teaching her at the beginning. But when he saw her mastery over the singing voice he would give her daily teaching after he had done his morning routines. Lata could easily do all the musical embellishments staying on a very high note, middle note and very lower note without any strain. Lata was during that period only and rare musical artist. She was an extension of her father. She had a definite spot in his performed live plays. Raj Kapoor had similar place in the plays of Prithvi Theatre plays. He did many characters from small roles to big ones.
Shalan Lal
Mumbaikar 8 @37 &65
Her view “… some facts regarding Muslim activities but I would not agree that she has done it without caring of political correctness, going by the media I find that bashing Islam is THE political correct thing in vogue now.”
Towards the end of her comment she expresses her deep disappointment by saying,
“It is Shalan Lal bashing Islam and absolving Britishers.
I feel it is opportunity missed by you on this big day.”
My say:
“ Bashing Islam” & “Absolving Britishers” !
I do not think I bash Islam, nor I was absolving Britishers as if they were to be blamed.
My search was to find out why music was not appreciated among the people of India for a long time post Islamic invaded rule.
When Hindus during the pre-Islamic rule created glorious Vedic Culture that had music and science of how to sing it called Saam-Ved.
Also during the classical Sanskrit plays and poems period almost all plays except on called “Mudra Rakshasa” had verses which were sung in the Indian classical music or light classical music. A play like “Mricchkatikam” was written by King Shudrak ruled Andhra country. It had at every scene full song-verses in excellent music. This was a Royal sanction. That means the society at the time loved music openly and in the public places as this play was performed in the garden during the “Spring” time which was celebrated as a festival.
So from religious point and social point music was the part of the everyday life of the people.
Such kind of artwork did not happen during the Islamic rule nor appreciated by the entire society until the talking & singing films of the New Theatres, Prabhat and Bombay Talkies and so on came into and became popular for all the people to enjoy without caste, creed or religious differences.
Lata made it possible for all kinds of people to enjoy music decades after decades!
Of course Gramophone records and early Radio also used songs medium. This happened in the British Rule and I found explanation of it in the establishing of the Asiatic Society and Bengal Renaissance and also the role of the Band stands of the Britishers in the public places.
I am intrigued why she wanted to use the term “Absolving Britishers” in her statement on my exposition of finding the song situation prior to the birth of Lata. I was not making political point of the activities of the British Rulers post the Sepoy Mutiny or the first War of the Indian Independence.
Mixing issues she had confused herself and in this situation the statements she had made have caused more trouble to her understanding of the ethos.
In my article I mentioned that listening to the Music is bad to all people is an Islamic idea. Islam uses two words to show what is bad and what is good. The words are “Haram and Halal”.
At present there is a lot of discussion going on Islamic communities who are living in the non-Islamic countries like Britain, Europe, and United States of America, even in Green Land etc. which are not their natural homeland where Islamic laws are in force.
If you Google “Islamic Music” you will find the statement about music as Haram when a young girl asks “Is listening to the Music Haram?”
This is due to the Muslim clerics telling the children when they had to go to Mosques on Fridays that Music is Haram. Muslim clerics are deliberately alienating Islamic children from the culture of the land which is not their homeland thus putting them in a hostile situation.
The laws in the Western countries are Humanistic that is cantered around human beings. Islam claims that their laws come from Allah and far too superior to the manmade laws.
I have got pages and pages about this discussion in my notes prepared for the article I wrote.
Shalan Lal
P.S. @ 65 She makes following comment addressed to AK:
“It is your blog and your Lata. Who am I to suggest what is fair or unfair.
I gave my opinion it may be a little harsh but Ms. Lal is used to giving and getting harsh suggestions I am sure she has taken it positively.”
As I grew up in England where showing anger is showing weakness that is expressed by the third party English when an anger is presented in the argument as ” Temper! Temper”!”
I think Ms Mumbaikar had no reason to say such things at all. AK has right to express his views as a blog owner and also a contributor to the blog.
I shall come back to AK’s argument later on as there is a lot to say as he mentioned the development of present classical music from Amir Kushro to all twentieth century grandees of the classical music.
Shalan Lal
As a layman , I list some of the qualities/advantages that Lata Mangeshkar had ….
(A) SOME QUALITIES/ADVANTAGES …
1) Being in a musical environment right through her formative years and additional training in music .
2) great passion for music
3) exceptional capacity for dedicated hard work . Even for improving her language it is known that she had engaged tutors .
4) beautiful voice and ability to bring out the emotions according to the situation
5) divinely gifted
6) quick to grasp the situation and instructions from MDs and capable of even guiding/adding to the MDs . MDs did not have to break their heads as Lata would in a short time give better than what they expected . This was saving a lot of time and bother .
7) ability to get along with people/diplomacy/PR/lobbying
(B) EXTERNAL PLUS FACTORS
8) string of successful movies very early on in her career
9) the demand for such music and voice was at its peak at the time she entered the scene . Or was it due to the blending of western harmony and orchestra into the Indian music ?
10) Swift progress in sound recording ,? transmission systems, radios , transistors radios, televisions, tape recorders , movies/movie theatres, other media
11) Market forces thus favoured her to be the choice for more movies. Producers/Directors put in money where success is assured .
All the factors mentioned above combined that led her to reach an unassailable position and to give a record number of songs .
My view is that even if a singer is having the first 7 advantages listed above at a level comparable to Lata , then such a singer would equal lata Mangeshkar and this is very much likely to happen . We cannot rule that there never will be someone like lata Mangeshkar.
I feel there is immense scope for research into the ‘ Lata Mangeshkar phenomena’
Most people are tempted to say that Lata is invincible simply due to the number of songs she recorded . But the number of songs recorded is dependent on external factors and so the total number should not be counted when judging if another singer is equal or better than Lata.
That is why there is likelihood of more singers like Lata Mangeshkar.
S Joseph,
The points you have listed generally overlap with the reasons listed by Shalan Lal at the end of her article.
I disagree with your conclusion not so much because Lata Mangeshkar’s voice had divine qualities, but because the place of ‘songs’ in our films and our lives has changed. Film songs were integral part of the popular culture, if you liked music your life revolved around the radio. The accompaniments were real instruments played by real musicians. This created a different kind of melody. That era is gone forever. The era of Silver Jubilee and Golden Jubilee is also gone, with multiplexes, digital prints and multiple avenues of monetisation. Our old songs were the product of the old era.
Films do have songs, but there is no requirement of a menu of romantic solos, duets, songs of separation etc. Songs have a limited purpose: hope to have one foot tapping number which the DJ’s and bands can play for sometime.
I don’t rue the demise of film music. Lot of things change with the time. We are lucky to have lived in that era. Now the Internet has allowed us to live in nostalgia. Many more gems we are unearthing now which we didn’t even know existed.
There is also some gain due to the demise of songs in films. Freed from the burden of putting in songs, we are seeing films on new themes which we could never imagine earlier. We all know a Bollywood court-room dramas, and compare that with Section 375. There is a huge difference of class, sophistication and subtleties.
Not only there would never be another Lata Mangeshkar, there would never be anything like the golden era of film music.
Hans, Ksbhatiaji, S. Joseph, Dr. Shetty and Venkataramanji,
Thank you all for making it. For making it so quick and elegantly.
Thanks once again.
Shalan Lal @ 177
1 Thanks to you for recommending goggle search.
Shailender’s uparwala is jaan kar anjaan
But Google is the Uparwala that is not anjaan
I tried “Islamic Music and this is what I was catered. You log out of your account before search and try what google serves you.
https://www.britannica.com/topic/Islamic-arts/The-history-of-Islamic-music
2 “I do not think I bash Islam, nor I was absolving Britishers as if they were to be blamed”.
This is your opinion thar was my opinion it need not be the same
3 “As I grew up in England where showing anger is showing weakness that is expressed by the third party English when an anger is presented in the argument as ”Temper! Temper”!”
Yes I am week, if showing emotions is weakness I am week
4 “I think Ms Mumbaikar had no reason to say such things at all. AK has right to express his views as a blog owner and also a contributor to the blog.”
That’s between AK and me. Let him decide!
Shalan @ 62
5 Last and the most important
“About making statements in one or two lines about Lata’s art is difficult. She was given Bharatratna about her art and at the end I mentioned that she should be given “Nobel” Prize in the recognition of her art. I also mentioned that future discovers of her art in her songs will find her songs a golden mine”
Exactly Lata’s achievement is not difficult it is impossible, why not utilize all the forty pages in writing about her art and achievement instead of bringing in the atrocities of Dahir Aurangzeb and Tipu Sultan at a time when as I have said again and again at the time when the माहौल is so vicious.
D.P.Rangan @ 173
Sir,
Your comment full of praise of my present work makes me humble as you are the one writer of many posts in “SoY” and well praised by most of the SoY regulars and also by AK who has created this respected and honoured blog that is widely read and appreciated by other film songs’ bloggers as well.
So I am thrilled and felt very joyful with increased confidence for any future work I may do.
Thank you very much.
Shalan Lal
Venkataramanji @129 183,
I have posed your query to Harmandirji and Arunji. Let us see what they have to say.
P.S.
Both have replied very promptly.
Harmandirji says:
“Nothing concrete can be said about it.
It is a sheer guess that CR would have been signed first for LADKI but for some reasons, either CR himself left or the producer would have engaged the others to replace CR.
Barring 3 songs composed by CR, rest are credited to new MD pair.
As CR’s credit for the film was negligence, his name would have been dropped from the cast-credit.
Better part is that CR is credited properly for his songs on 78 rpm discs else his name would have disappeared for ever for this film.
Arunji says:
“I think, his name was not in the credits, because CR was under a contract same time with Filmistan.
As it is, his own film Jhanjhar was also in the making and he had already received a legal notice from Filmistan
that he was neglecting Filmistan’s film Anarkali.
This is, of course , my take. Let us wait what Harmandir ji has to say on this.”
Lata Mangeshkar 90 for 90
Mumbaikar8 has given an interesting exercise to present Lata Mangeshkar’s 90 songs for 90 music directors. After Hans, Dr Shetty, Venkataramanji and KS Bhatiaji already maxing it, my offering was not necessary, except that I approached it in a very different manner.
I think we all do this kind of selection in the same way. First, think of the landmark songs which made the Lata Mangeshkar legend. That gives us what I call Group ‘A’ music directors who were themselves legends of film music. I shortlisted 21 music directors in this Group ‘A’. That leaves next cohort of a large number of music directors who also gave memorable songs for Lata Mangeshkar. In Group ‘B’ I included 34 music directors. After this I had to dig deep for those music directors who gave some songs worth repeat listening. My group ‘C’ has 7 MDs. After these 62 MDs (21+34+7), it is only a mechanical exercise of dredging the Internet.
As per Surjit Singh’s site Lata Mangeshkar sang a total of over 5000 songs for 165 music directors. With nameless enthusiasts posting many unheard songs, completing 90 for 90 is not a difficult task. But my feeling is that beyond the 60 or so music directors I have listed, we are unlikely to find many new ‘gems’. In any case I have been very choosy on SoY, and I have mentioned several times that the average number of ‘Memorable’ songs is not more than 15-20% of the total number of songs. Even if we take a somewhat higher percentage for Lata Mangeshkar, these would be loaded towards the shortlisted MDs. Therefore, I stop my list at 62 for 62 with the confidence that we are unlikely to discover more than 5 or so MDs beyond this list who gave any memorable song for Lata Mangeshkar.
Some explanations are in order. There would be difference of views on the groupings, but there would be only minor adjustments at the margins depending on personal preferences. There could also be question whether the song selected is the best or representative of that MD. From a big list of outstanding songs for the elite group of music directors there cannot be a unanimous choice. Take this list as my subjective choice. And lastly, under each Group the MDs are listed in the alphabetical order of their names.
GROUP ‘A’: The legends who made Lata Mangeshkar a legend
1. Anil Biswas
Tumhare bulane ko ji chahta hai (Ladli, 1949)
https://www.youtube.com/watch?v=K08n11Rn1Hw
2. Chitragupta
Di ka diya jala ke gaya ye kaun meri tanhaai mein (Akashdeep, 1965)
https://www.youtube.com/watch?v=R1vWFUJ44oU
3. C Ramchandra
Ye zindgi usi ki hai jo kisi ka ho gaya (Anarkali, 1953)
https://www.youtube.com/watch?v=03E3xgf8Jpg
4. Ghulam Mohammad
Chalte chalte yun hi koi mila gaya tha (Pakeezah, 1972)
https://www.youtube.com/watch?v=AuzVQbHIupo
5. Hansraj Bahal
Haye jiya roye (Milan, 1958)
https://www.youtube.com/watch?v=Ylzs5Yqy5fs
6. Hemant Kumar
Chhup gaya koi re door se pukar ke (Champakali, 1957)
https://www.youtube.com/watch?v=9tlOaMQrhI8
7. Husnlal-Bhagatram
Khushiyon ke din manaye ja..Abhi to main jawan hun (Afsana, 1951)
https://www.youtube.com/watch?v=X9Qkw35wZc8
8. Khemchand Prakash
Ayega ayega, Ayega aanewala (Mahal, 1949)
https://www.youtube.com/watch?v=e24S6d4e3QA
9. Laxmikant-Pyarelal
Ui ma ui ma ye kya ho gaya (Parasmani, 1963)
https://www.youtube.com/watch?v=G94RcpKw6wk
10. Madan Mohan
Lag ja gale ki phir ye haseen raat ho na ho (Wo Kaun Thi, 1964)
https://www.youtube.com/watch?v=TFr6G5zveS8
11. Naushad
Marna teri gali mein jeena teri gali mein (Shabab, 1954)
https://www.youtube.com/watch?v=c0iYYSpPSks
12. Ravi Shankar
Kaise din beete kaisi beeti ratiyan (Anuradha, 1960)
https://www.youtube.com/watch?v=j_EIGKY0fmA
13. RD Burman
Ghar aa ja ghir ayi (Chhote Nawab, 1961)
https://www.youtube.com/watch?v=GAUXqsaLYd0
14. Roshan
Ae ri main to prem deewani mera dard na jaane koye (Naubahar, 1952)
https://www.youtube.com/watch?v=tl-Xot3JiPw
15. Sajjad Hussain
Aaj mere naseeb ne mujhko rula rula diya (Hulchul, 1951)
https://m.youtube.com/watch?v=cw16X-x34bA
16. Salil Chowdhury
O sajana barkha bahaar ayi, ras ki phuhar layi (Parakh, 1960)
https://www.youtube.com/watch?v=5a7l2UzZ654
17. SD Burman
Thandhi hawaayen lahra ke aayen (Naujawan, 1951)
https://www.youtube.com/watch?v=1jbSep2GbhE
18. Shankar-Jaikishan
Meri aankhon mein bas gaya koi re (Barsaat, 1949)
https://www.youtube.com/watch?v=C-gpDbvKQoQ
19. Shyam Sundar
Saajan ki galiyan chhod chale (Baazar, 1949)
https://www.youtube.com/watch?v=FnVBQW0HMIE
20. Vasant Desai
Sainya jhhothon ka bada sartaj nikala (Do Aankhen Barah Haath, 1957)
https://www.youtube.com/watch?v=3t4Owk1fGFg
21. Vinod
La re lappa la re lappa (Ek Thi Ladki, 1949)
https://www.youtube.com/watch?v=kPVDelsK00w
GROUP ‘B’: The greats with at least a few well-known Lata Mangeshkar songs
22. AR Qureshi
Dil matwala lakh sambhala (Bewafa, 1952)
https://www.youtube.com/watch?v=dEj9fsWdW-U
23. AR Rahman
Jiya jale jaan jale jiya jale (Dil Se, 1998)
https://www.youtube.com/watch?v=M-2nlaOQQSQ
24. Bhupen Hazarika
Jhoothi moothi mitawa (Rudali, 1993)
https://www.youtube.com/watch?v=8xCQ6y0_QXA
25. Bulo C Rani
Wo humse chup hain hum unse chupa hain (Rasiya, 1950, Unreleased)
https://www.youtube.com/watch?v=TLtKIAC7gss
26. Datta Davjekar
Paa laagun kar jori re (Aap Ki Sewa Mein, 1947)
https://www.youtube.com/watch?v=7OgsSl9sSb0
27. Dattaram
Meethi meethi baton se bachana zara (Qaidi No. 911, 1959)
https://www.youtube.com/watch?v=RsH24zE_oHI
28. Dilip Dholakia
Mile nain gaya chain piya aan milo re (Private Secretary, 1962)
https://www.youtube.com/watch?v=HnXN5ND0oZE
29. Ghulam Haider
Dil mera toda (Majboor, 1948)
https://m.youtube.com/watch?v=pgIqwLKfvMg
30. Hridaynath Mangeshkar
Yara silli silli biraha ki raat ka (Lekin, 1990)
https://www.youtube.com/watch?v=I5PlRhFRkFU
31. Jaidev
Ye dil aur unki nigaahon ke saaye (Prem Parbat, 1973)
https://www.youtube.com/watch?v=IWxji7I-JP0
32. Jamal Sen
Sapna ban saajan aye (Shokihiyan, 1951)
https://www.youtube.com/watch?v=l7Fargq102U
33. Kalyanji-Anandji
Teri raahon mein kahde hain dil thaam ke haye (Chhaliya, 1060)
https://www.youtube.com/watch?v=PI0wtTxNLso
34. Khayyam
Baharo mera Jeevan bhi sanwaaro (Aakhari Khat, 1966)
https://www.youtube.com/watch?v=9I5gcZ_e8xQ
35. Lachhiram
Ae dil machal machal ke yun (Main Suhagan Hun, 1964)
https://www.youtube.com/watch?v=dAj4fKkIb5c
36. Nashad
Dard bhara dil bhar bhar bhar aye (Baradari, 1955)
https://www.youtube.com/watch?v=BbDLB6_jUgM
37. N Datta
Main tumhi se poochati hun mujhe tumse pyar kyun hai (Black Cat, 1959)
https://www.youtube.com/watch?v=aYUdzZUkKbQ
38. P Adi Narayan Rao
Mujhe na bula chhup chhup chhaliya re mujhe na bula (Suvarna Sundari, 1957)
https://www.youtube.com/watch?v=qEv8lDlIhsQ
39. Pandit Amarnath Chawla
Jogiya se preet kiye dukh hoye (Garam Coat, 1955)
https://www.youtube.com/watch?v=WS3q8VqJ4nY
40. Pandit Govindram
Dil todnewle O dil todnewale (Bholi, 1949)
https://www.youtube.com/watch?v=0UkyVDmw4tE
41. Prem Dhawan
Jogi hum to lut gaye tere pyar mein (Shaheed, 1965)
https://www.youtube.com/watch?v=CRL4eljrgwk
42. Rajesh Roshan
Ye raatein nayi purani (Julie, 1975)
https://www.youtube.com/watch?v=KkNDS7TfJ5s
43. Ramlal
Pankh hoti to ud jaati re (Sehra, 1963)
https://www.youtube.com/watch?v=s3Kt97M0ANQ
44. Ram-Laxman
Mai ne mayi muder pe tere bol raha hai kaga (Hum Aapke Hain Kaun, 1994)
https://www.youtube.com/watch?v=Ua5AW2czRAE
45. Ravi
Ae mere dil-enaadan tu gham se na ghabrana (Tower House, 1962)
https://www.youtube.com/watch?v=ui0fPCpl7g0
46. Ravindra Jain
Sun sahiba sun pyar ki dhun (Ram Teri Ganga Maili, 1986)
https://www.youtube.com/watch?v=f5JR_0u5zg4
47. Sailesh Mukherjee
Nadiya ke pani O re nadiya ke pani (Savera, 1954)
https://www.youtube.com/watch?v=HLco9c8oFto
48. Sardar Malik
Hui ye humse naadni teri mehfil mein aa baithe (Chor Baazar, 1954)
https://www.youtube.com/watch?v=GejZQfTO23E
49. Shiv-Hari
Mere haathon mein nau nau shudiyan hain (Chandni, 1989)
https://www.youtube.com/watch?v=Oo-WHs3bw34
50. S Mohinder
Guzara hua zamana aata nahin dobara (Shirin Farhad, 1956)
https://www.youtube.com/watch?v=b2JqVJU-Pdo
51. SN Tripathi
Sakhi kaise dharun main dheer (Sangeet Samrat Tansen, 1962)
https://www.youtube.com/watch?v=UU5ubbKM1Ow
52. Snehal Bhatkar
Bajaao Shyam murali bajaao (Nand Kishore, 1951)
https://www.youtube.com/watch?v=Azcrvbr8mP8
53. Sonik-Omi
Aa ja re pyar pukare, naina to ro ro haare (Dil Ne Phir Yaad Kiya, 1966)
https://www.youtube.com/watch?v=YTS6l3YjZz8
54. Sudhir Phadke
Jyoti kalash chhalke (Bhabhi Ki Choodiyan, 1961)
https://www.youtube.com/watch?v=MGgkXgZXJT8
55. Usha Khanna
Chori chori chori ayi hai Radha (Hum Hindustani, 1960)
https://www.youtube.com/watch?v=AQul2RORvss
GROUP ‘C’: Other music directors who gave some songs worth repeat hearing
56. Ali Akbar Khan
Koi door bajaye bansuri raat hai milane ki (Humsafar, 1953)
https://www.youtube.com/watch?v=Ro6R9ootiVU
57. Anu Malik
Saajan mera us paar hai milane ko dil beqaraar hai (Ganga Jamuna Saraswati, 1988)
https://www.youtube.com/watch?v=rjNfz_yFFfk
58. Avinash Vyas
Ayi re ayi re neel gagan se main chandra bhavan se ayi re (Ekadashi, 1955)
https://www.youtube.com/watch?v=10N_zmL7u7s
59. Chic Chocolate
Door hi se humse karo baat (Naadan, 1951)
https://www.youtube.com/watch?v=kJTJl_puX4Q
60. E Shankar Shastri
Chanda chamke neelgagan pe, preetam chamke more nainan mein (Bahut Din Huye, 1954)
https://www.youtube.com/watch?v=iNQnq2mXmxA&list=PL0N5Xw9ii8-9dYzt_9EHTKfhrRUnolSTx&index=6
61. GS Kohli
Baaje ghunghroo chhhun chhun chhun (Shikari, 1963)
https://www.youtube.com/watch?v=Br983Zw9TfU
62. Ganesh
Sainya se wada tha nazuk ghadi thi..Ki bichhua ne dank mara (Thakur Jarnail Singh, 1966)
https://www.youtube.com/watch?v=QsIYBiLwViY
AKji @ 183,
Thanks to you, Arunji & Harminderji for the clarification.
Mumbaikar8 initiated an interesting exercise 90 for 90 and Pradeepji & Bhatiaji with support from others met the target, Which apparently seemed simple.
Hans improved upon it and proceed in methodical manner to present Lata Mangeshkar’s first 90 MDs and her solo songs with them.
And finally Akji comes out with a list of 62 MDs, under 3 groups, songs with legendary MDs, MDs who gave Lata memorable songs, and lastly MDs who had given songs which demand repeat listening. Another nice approach.
Thanks to Mumbaikarji for the initiative and a special thanks to Pradeepji and Bhatiaji.
Thanks also to Hansji and AKji for their respective lists.
Thus it was a grand tribute to Lata Mangeshkar.
In all we have a consolidated list of 124 MDs. Pankaj Mullick & Salil Kulkarni are not in the list. I think Aziz Khan and Aziz Hindi are one and same person. B S Kalla, Kalyanji Virji Shah, and R Sudarshan finds a place in the final list since they have independently composed music for the films mentioned, besides teaming up with others.
Here is a set of four songs from the Marathi film Pahili Mangalagaur (1942), music Dada Chandekar. Now we have 125 MDs in the consolidated list.
https://gaana.com/album/pahili-mangalagour
Lata Mangeshkar had worked with few father and son combination- S D Burman-R D Burman, Roshan-Rajesh Roshan, Chitragupt- Anand Milind & Sardar Malik-Anu Malik, Aparesh Lahiri-Bappi Lahiri. I think Manohar- Usha Khanna pair can be included in the list. Besides, Lata has sung for her siblings Meena Mangeshkar & Hridaynath Mangeshkar and her nephew Hemant Bhosle.
KHemchand Prakash & Basant Prakash, being brothers belonged to the same generation.
Hafiz Khan and Aziz Khan were brothers and Vilayat Khan was their nephew.
The mention of Sambhu Sen by Giriji @ 158 leads me to an interesting point.
Jamal Sen was the father of Sambhu Sen. In fact Jamal Sen had four sons – Shambhu Sen, Dilip Sen, Madan Sen and Nihal Sen all of whom were active in music.
Sambhu Sen was also a renowned dance exponent and worked in films with Hema Malini, Yogeeta Bali, Aruna Irani, Laxmi Chhaya among many others. He was also a music director.
Sambhu Sen’s son Sameer Sen teamed with his uncle Dili Sen (Dilip-Sameer) and Lata had rendered songs for this duo too.
That makes it 3 generations
Venkataramanji,
You have given a nice summary of the exercise ‘Lata Mangeshkar 90 for 90’. Hans’s compilation is of historical importance. He deserves our appreciation for that. Thanks to Mumbaikar8 for triggering this.
Your link of the four songs of Pahli Mangalagaur (1942) is of special historical significance. Lata Mangeshkar’s first ever song was for the Marathi film Kitti Hasaal in 1942, but that was dropped from the film. Her first song that was used was in Pahli Mangalagaur in the same year. Thus, these songs represent her very first songs of singing career for films.
Your comment at @187 showing Lata Mangeshkar working for music directors of several generations is very interesting.
M/s Hans, Venkatraman, K.S.Bhatia, Joseph, Pradeep Shetty, AK and Ms.Mumbaikar8
You have all combined to create a treasure trove of Lata Mangeshkar songs with the details of MD’s for the readers of SOY.
Thank you all.
Personally I came across many songs which are totally new to me. Now I can enjoy listening to them at leisure.
There was some goof up in comment @ 180.
Redoing it.
Thanks to Ksbhatiaji, S. Joseph, Dr. Shetty for participating.
A big thanks to Venkataramanji and Hans for the wonderful effort to take it to another level.
Adding to that, thanking AK for approaching iin his own different way, that I have always liked.
AK there is glaring error at 15 yeh kaise ajab dastan singer is Suraiya.
I think you meant this one
AYE DILRUBA NAZREIN MILA -LATA JI -JAAN NISSAR AKHTAR – SAJJAD HUSSAIN RUSTOM SOHRAB 1963
https://youtu.be/lDwimi65Tpc
Mr Giri,
Thanks for appreciating.
Mumbaikar8,
Thanks for your nice words for me.
Thanks a lot for pointing out the error in #15. No I didn’t mean Ae dilruba. I had a blind spot. For Sajjad Hussain I had shortlisted three songs: Aaj mere naseeb ne from Hulchul (1951), Wo to chale gaye ae dil from Sangdil (1952) and erroneously the Suraiya song from Rustom Sohrab. With the correction I come back to one of my other choices.
Shalan ji
Thanks for presenting a gem of a post featuring Lata M.
a) It has been rightly concluded that there will not be another Lata.
b) As regards ‘conditions’ which prevailed in those times it is true that a lot of great individuals made their achievements because they got presented with favourable conditions/factors.
c) I beg to bring up the case of Sachin Tendulkar. Restricting to one-day internationals, we may say that he was a stylish and proficient young middle-order batsman between 1989 and 1993 – Then in 1994, he became an opener, this favourable condition helped him blossom mightily. Thereafter his achievements in one-day internationals were phenomenal. One could then safely say that there will not be another opening batsman for India in ODIs as great as Sachin. Very similarly, Lata joined Hindi cinema as a young, prodigious talent. Within a few years she got favourable ‘conditions’ which helped her in climbing to the top position among female singers.
d) On reaching the top, one must have necessary skill, appetite for hard work and a wise head to maintain very high standard. Lata had all these qualities and also something(which is difficult to explain) more.
e) It is debatable whether Raj Kapoor was a godfather to Lata. Of course she got lovely songs under RK banner.
Thanks
HERO HIRALAL, 1988, the offering from Kundan Shah after the iconic JAANE BHI DO YAARON, had music by Babla, Kalyanji Anandji’s brother and Kanchan’s husband.
Lata sang the happy and sad versions of the song
Sapno ki duniya hai…
PAINTER BABU, 1983, debut movie of Meenakshi Sheshadri, produced by Manoj Kumar to launch his brother Rajiv Goswami..
Under Uttamm Jagdish , Lata sang one solo and four duets ( 3 with Mahinder Kapoor and 1 , the title song, with Kishore Kumar.)
Lyrics: Manoj Kumar, Qatil Shefai, K L Pardesi.
Ashok Kumar Tyagi October 13, 2019 at 12:09 am @ 192
Dear Mr Tyagisaab
Your comment and analysis of the people at the Top are very correct. And thanks for calling my humble efforts as a “Gem”.
The reference to Raj Kapoor as Lata’s Godfather was in the disposition of Lata’s statement that “Ghulam Haider was her Godfather. I defined what the term Godfather meant. I also explained my understanding that Ghulam Haider did not do much when she was very much in need of a father figure. From forty-one to forty nine she was an “Alahad Girl” full of her bubbling talents. While Ghulam Haider had some good success in the early forties up to “Shaheed” film he got caught up in the political whirlwind and left India to seek his future in the newly formed country Pakistan. But he did not show much talent there either.
The only person came to help and channel the sparkling talent of Lata Mangeshkar was Raj Kapoor who gave Lata top priority in his longest run studio production of films. That made Lata very stable and also a founding person of the Golden age of the Hindi films.
Lata moved from a one room accommodation and communal toilet a kind of shantytown place in the lower middle class to a dreamlike place on Bombay’s posh and luxurious place called Peddar Road.
This was possible for her only with the steady increasing wealth with the help of the glorious films produced by the Greatest Showman of the Bollywood.
As for your mention of Sachin Tendulkar he was a genius extraordinary and even though other players had come nearer to his records his glory would shine through the history of the World Cricket Sport. His getting “Bharat Ratna” at a very young age is proof of this. I think he is a living “Obelisk” for the Indian and World Cricket.
I met his father Professor Ramesh Tendulkar in eighties when he came to London for an International Conference on the Marathi Literature in English at the Commonwealth Institute in London and he was the Chair of the conference. It was well attended by the international community in London. He was a poet and also an analyser of the songs. He wrote a book called “Gaan Bhaan” meaning the “Mindfulness of the song”. Sadly he did not have a copy of it to sell me.
I remember him saying that he watches his son playing cricket after the match on the video. He had no quiet nerve to watch him play live on the ground.
As for me I do not watch much cricket as I have no patience to watch whole day an activity like that however it is a craze among all kinds of people and it is a gentleman’s and ladies as well game and it gave us a fine phrase “It’s Not A Cricket.”
Once again I am grateful for your comment.
Shalan Lal
Shalan ji
Thanks a lot.
Now I have got better understanding of RK’s role in the early years of Lata’s Career.
I didn’t know much about Prof Ramesh Tendulkar. Thanks for providing nice bits of information about him and also lots of info in general, in your post and in replies to the readers.
Regards
Aadesh Srivastava worked with Lata in his very first movie , but it got shelved.
KANYADAAN? ,1993.
Same fate for his next movie,too, I think.
JAANE TAMANNA.
Lata was a part of this,too.
He , went on to work with other singers and ,gave music to a number of movies and the jinx was broken with the 1997 Sawan Kumar Tak movie , SALMA PE DIL AA GAYA. He worked with her in a couple of movies later and brought out a private album with her.
I said I shall come back to the contradiction mentioned by AK about my reference to the songs of Andaz and Mela. AK points out as following:
” (The chronology does not match; ‘Andaaz’ came in 1949, whereas ‘Mela’ came a year earlier in 1948 – AK)”
This is because when I had done some research I had in my mind Mehbookhan’s song dominated and also the film was gone on the set during the 1947-48 in Mehboob’s studio.
We had 78 rpm record of that song on one side and Mukesh song “Tu Kahe Agar” from the film on the other side. This was released before the film was shown in the theatres.
Memories often play confusion in our mind.
But then he had an invitation from the Hollywood by Warner Bothers to visit Hollywood to the working of the films being made. So the film was set away and he went to the Hollywood. He was there six months and came back and started energetically to finish the shooting of the film Andaz,
And probably Mela got ahead to get released.
We have to think that the dates of releasing of the films might not be the same of the shooting of the films. The shooting of the films occur in staccato or quick available of the studio place. Mela was shot at the Wadia Studio and Mehboob’s films were shot in his own studio.
However I have got a feeling that there is some kind of confusion,
During the shooting of Mela, Naushad who wrote daily account in his monumental diary that among the Muslim artists of the film, many wanted to go to Pakistan and Naushad himself was uncertain about his future. Only Mehboob was sure to stay in India. His brother-in law Kardar packed up his studio and went to Pakistan
So the date of Mela should be according to the dates of his diary that should be in 1949.
But to avoid further discussion on the matter I shall admit I might have made wrong conclusion about my remark.
But there is a certain feeling that Naushad did not go along with Lata’s singings ability for a certain time. And Andaz and Barasaat might have changed his view.
Shalan Lal
SOY has discussed so much about this great singer and yet we know there is scope for exploring a lot more. A good way to celebrate Lata’s birthday at SOY in the year 2021 , or at anytime , is to enjoy her songs . Lata’s contributions to golden era of HFM is unmatched . Each one of her songs is special. Here is one of her thousands of songs (not heard often) …
‘ Jeevan ki beena…’/ 1957 / RANI ROOPMATI / Bharat Vyas / SN Tripathi / Lata
https://youtu.be/C7zBpZCDGXg
Mr S Joseph,
Lata Mangeshkar is forever in our hearts. She has been with us for as long as we can remember. I join you in paying my respects to her on her birthday.
Very sad to learn that Melody Queen Lata Mangeshkar is no more . Perhaps the maximum posts and comments at SOY has been on Lata Mangeshkar. She is immortal and will remain with us forever. May the departed soul RIP and God give strength to her so many followers to bear this irreparable loss.