A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

 

From the 50's when Lataji was just begining to get into her groove. In the other decade she will wipe off all the competition.

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

 

1940s
Lata Mangeshkar's first cinematic song was for the film Kiti Hasaal (1942), produced by Vasant Joglekar. However, her father disliked the idea of any of his daughters singing for movies and so the song was dropped from the film. In 1942, when Lata was thirteen, her father died of heart disease.

Lata didn't like acting very much, but the death of her father and financial need forced her to play cameo roles in many Hindi/Urdu and Marathi films. Her first role was in Pahili Mangalagaur (1942), where she played the younger sister to actress Snehprabha Pradhan. She went on to act in many more feature films including, Maaze Baal, Jeevan Yatra (1946), and Chhatrapati Shivaji (1952). In Badi Maa, Lata acted with Noor Jehan and her younger sister Asha Bhosle. She sang for herself and did playback for Asha.

In 1945, maestro Ghulam Haider took Lata to meet producer S. Mukherji, who was planning to make a movie starring actress Kamini Kaushal. He wanted the producer to give sixteen-year-old Lata a chance to sing. The producer dismissed Lata's voice, annoying Ghulam Haider, who said, "Let me fortell today that this girl will soon put to shame everyone else, including Noor Jehan. Producers and directors will fall at her feet, begging her to sing in their films."

In 1947, Vasant Joglekar employed Lata to sing for his film Aapki Seva Mein. The popular songs composed by musician Datta Daavjekar established Lata as a leading playback singer in Bollywood. She reinforced her position with hits from the movie Majboor - Angrezi chhora chala gaya, Dil mera toda Haaye, and Mujhe kahinka na choda tere pyaar ne.

In 1949, Lata got her big break with the song Aayega Aanewaala from the movie Mahal. The song was for Bollywood's screen goddess Madhubala and was composed by Khemchand Prakash. The film was a hit and proved to be a turning point in the careers of Madhubala and Lata. The other major movie that made an impact was Raj Kapoor's "Barsaat" with music by Shankar-Jaikishan and hits such as 'Jiya beqarar hai' and 'Chhod gaye baalam.'

Lata (in the compilation "Lata In Her Own Voice") credits famed maestro Anil Biswas as her tutor in voice and breath control. Anilda got her started with the 'Anokha Pyaar' numbers like 'Yaad rakhna chaand taaron is suhani raat ko'.

Husnalal Bhagatram were the music directors that Shankar Jaikishan drew inspiration from. With a typical folksy Punjabi beat and rhythm, their numbers were embellished with either peppy or soulful poetry. Other songs include 'Chup Chup khadi ho', 'Chale jaana nahin' and 'jo dil mein khushi ban kar aaye' Lata numbers from the Rehman-Suraiya starrer 'Badi Bahen.' The music for this film was from Husnalal Bhagatram. Suraiya got her own hits to sing in this film ( Tum mujhko bhool jaao, Tere nainon ne chori kiya, etc. ) while the three Lata numbers were picturized on a secondary actress. Other Lata hits for this duo were 'Saajan ki oat leke', 'Dil leke dil diya hai', 'sainyan tori baiyyan mein' and 'Kya haal hai huzoor ke dil ka'.

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A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

1) Thandi hawayen

http://www.mastimag.com/download.php?song_id=41667

2) Pyar kiya tu darna

http://www.mastimag.com/download.php?song_id=41670

3) Aayega Aanewala

http://www.mastimag.com/download.php?song_id=41662

Nope, we have not started our Selections as yet, but this is just a preview of what we do have ahead: The difference is that when we get to our selections  our viewers and members will have much more information for every selections:

Enjoy the preview:

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Lata Mangeshkar Turns 85!

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

September 28, 1929 (age 85 years)

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

1950s

The 1950s saw Lata become a favorite singer of composers like Shankar Jaikishan, Sachin Dev Burman, C. Ramchandra, Madan Mohan, Hemant Kumar and Salil Chowdhury amongst others.

Composer Sachin Dev Burman, lyricist Sahir Ludhianvi and Lata created many songs together including Tum na jaane kis jahaan mein kho gaye (Sazaa, 1951) and Phaili hui hain sapnon ki baahein (House No. 44).

Lata and composer Hemant Kumar came up with hit song. The movie was Nagin and the been tunes from that film are still recognized today. Man dole mera tan dole, Jadugar saiyyan, Mera dil yeh pukaare aaja, Oonchi oonchi deewaaren and other songs were rendered by Lata. Another song, Chhup gaya koi re, from the film Champakali that she sang for Hemant Kumar was moving. Another popular song was 'Vande Maataram' that she sang for Hemantda in Anandmath? She went on to sing many hits for him in the 60's - for films like Anupama, Bees Saal Baad, Kohraa, Bin Baadal Barsaat, Rahgir, Khamoshi, etc.

A popular song of the early 50s by Lata, Durrani and chorus was the Lara lappa Lara lappa song from the film Ek Thi Ladki composed by musician Vinod. The song became so popular that the actress of the film, Meena Shorey, on whom the song was picturized became known as the Lara lappa Lara lappa girl.

Many of Lata's popular songs were recorded in the 1940s and the 1950s with the team of composer C. Ramchandra and lyricist Rajendra Krishan. Songs from this trio include - yeh zindagi usiki hai, mohabbat aisi dhadkan hai, jaag dard ishq jaag, o aasman waale - all from the musical blockbuster hit Anarkali; Radha na bole na bole, Kitna haseen hai mausam, aplam chaplam - all from Azaad ; Shola jo bhadke, Dheere se aaja ri akhiyan mein, Bholi soorat dil ke khote, Dil dhadke nazar sharmaaye, Mere dil ki ghadi kare - all from Albela. In addition, Lata and Amirbai Karnataki rendered the westernized song 'Gore gore o baanke chhore' for C Ramchandra in the film Samadhi. Lata went on to render songs for C Ramchandra, right from Mehfil mein jal uthi shama (from the film Nirala), the romantic O nirdayee preetam (from the film 'Stree') to the nostalgic Dil ki duniya basake sanwariya and mere man ka baawra panchi (both from 'Amar Deep) numbers and the Balma anadi man bhaaye classical composition from the film 'Bahuraani'.

Lata and Rajendra Krishan also teamed up with the composer Madan Mohan to create various ghazals including Yun hasraton ke daag (Adaalat, (1958), Hum pyaar mein jalne waalon ko (Jailor), Main to tum sang nain mila ke (Manmauji), and Na tum bewafa ho (Ek Kali Muskarai).

Lata sang some of her best known songs for the team of composers Shankar Jaikishan and lyricists Hasrat Jaipuri and Shailendra. Jiya bekaraar hai (Barsaat, 1949), Rasik Balma (Chori Chori, 1956), the title song of Hariyali Aur Raasta (duet with Mukesh), and Gumnaam hai koi (Gumnaam), all penned by Hasrat, were hits. Shailendra's Ajeeb Daastaan hai yeh (Dil Apna Preet Parai), Tum to dil ke taar chhedkar (Roop ki Rani Choron Ka Raja), and Kisi ne apna banake mujhko (Patita) were popular as well. Raj Kapoor always had the team of Shankar-Jaikishan, Hasrat, Shailendra, Mukesh and Lata for the music of his films. Lata's romantic duets with the singer Manna Dey for Raj Kapoor's films were popular - Pyaar hua ikraar hua and Yeh raat bheegi bheegi.

Shailendra and Lata also teamed up with composer Salil Chowdhury to create music for Bimal Roy movies such as Madhumati (1958) and Parakh (1960). Once, Salil Chowdhury sang an emotional Bengali song at Bimal Roy's request. After the song was finished, he found that Lata had fainted. Later Lata told him - "I was so overcome that I couldn't control myself". Lata recorded some of her most memorable songs with Salil Chowdhury, including Raaton ke saaye, Chhoti si baat, O Sajna barkha bahaar aayee (Parakh), Aaja re pardesi (Madhumati), and Itna na mujhse tu pyaar badhaa (Chhaya, duet with Talat Mehmood, penned by Rajendra Krishna).

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A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Reading about some of these songs...is certainly giving me goosebumps......am dying to spin a couple, but good things takes a little longer

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

1960's

Lata's playback songs for Madhubala - Mohe panghat and Jab pyaar kiya to darna kya from the movie Mughal-e-Azam (1960) -- became hits. The songs were penned by Shakil Badayuni and composed by Naushad.

In 1962, Lata sang the non-film patriotic song Aye mere watan ke logon at a function. The composer was C. Ramchandra and the lyricist was poet Pradeep. The song moved Indian Prime Minister, Pandit Jawaharlal Nehru, to tears.

Lata proved her versatility when she sang the Middle-Eastern number Aye Dilruba (Roustam Sohrab, 1963) for the composer Sajjad Hussain.

Hasrat Jaipuri, Shankar-Jaikishan and Lata continued to create hits like Ehsaan tera hoga mujh par (Junglee, 1961). Lata and Shankar-Jaikishan also teamed up with lyricist Shailendra to create songs like Ruk ja raat thahar ja re chanda (Dil Ek Mandir, 1963) and Tumhen yaad karte karte (Amrapali, 1966).

Lata's bhajan Allah tero naam (Hum dono, 1961), penned by Sahir Ludhiyanvi and composed by Sachin Dev Burman's assistant Jaidev, became popular. Lata also recorded other songs with Jaidev, including Yeh dil aur unki nigahon ke saaye (Prem Parvat).

1960s also saw patching-up between Lata and S D Burman. The songs from Dev Anand's Guide (1965), penned by Shailendra, were hits. The song picturized on Waheeda Rehman, Aaj phir jeene ki tamanna hai, aaj phir marne ka iraada hai (translation: Today I desire to live again, Today I intend to die) and the duet with Kishore Kumar Gaata rahe mera dil, tu hi meri manzil became evergreen hits. Shailendra, S D Burman and Lata came together again for Jewel Thief (1967). The songs Rula ke gaya sapna mera and Hothon pe aisi baat became popular. The film also saw Mohammed Rafi and Lata coming together once again to sing Dil pukaare aa re. (Earlier, they had fallen out with other on the issue of payment of royalties). Lata also sang for the 1969 movie, Aradhana, in which she recorded Kora Kaagaz tha yeh man mera with Kishore Kumar.

Lata also recorded many songs with composer Roshan (now better known as Hrithik Roshan's grandpa). In 1966, they recorded a song penned by Majrooh Sultanpuri - Rahein na rahein hum, mehka karenge (Mamta). In 1967, Roshan and Lata worked with the lyricist Sahir Ludhiyanvi for the film Bahu Begam. The song Duniya kare sawal to hum kya javaab de? became popular.

The musical duo Kalyanji-Anandji had first worked with Lata as the assistants of Shankar-Jaikishan. When they decided to compose music independently, they chose Lata as their lead female voice. The songs of the film Saraswati Chandra (1968), written by Indeevar, are examples of music that the team created. The most popular songs of the movie included Phool tumhe bheji hai khat mein (duet with Mukesh), Chandan sa badan, and Chhod de saari duniya kisike liye. Kalyanji-Anandji worked with Lata to create many more songs like O mere mitwa (Geet). Kalyanji-Anandji also composed lyricist Anand Bakshi's first hit song with Lata, Yeh sama (Jab Jab Phool Khile, 1965). Anand Bakshi's most famous songs were sung by Lata.

When Kalyanji Anandji's assistants, Laxmikant Pyarelal ("Laxmi-Pyare") decided to go independent, Lata recommended them to producers and sang for their first film. In the film Shagird (1967), Lata and Laxmi-Pyare displayed their versatility, when they created the bhajan Kanha aan padi main tere dwaar and the romantic Woh hain zara khafa khafa. The songs were written by Majrooh Sultanpuri. In 1969, Laxmi-Pyare got Lata to sing the sensual Aa Jaanen Jaan (Intadam, 1969), penned by Rajendra Krishna. The team of Anand Bakshi, LP and Lata became popular in late 1960s and 1970s. Their songs include Saavan ka mahina, pavan kare sor (Milan, 1967, duet with Mukesh) Bindiya Chamkegi (Do Raaste, 1969), and the title song of Aan Milo Sajna.

Lata recorded Baharon mera jeevan bhi savaron for composer Khayyam and lyricist Kaifi Azmi in the movie Aakhiri Khat (1966). Kaifi Azmi and Madan Mohan worked together in movies like Heer-Ranjha. Together with Lata, they produced songs like Milo na tum to hum ghabraayein. Lata sang many ghazals for the team of composer Madan Mohan and lyricist Raja Mehendi Ali Khan. Some of these include Aapp ki nazron ne samjha (Anpadh, 1962), Nainon mein badra chhaye, and Mera saaya saath hoga (Mera Saaya, 1966). Madan Mohan and Lata also worked with other lyricists like Kaifi Azmi and Rajendra Krishna. Even O. P. Nayyar, who had a bitter relationship with Lata once said, while giving an interview in Dubai, "I don't know whether Lata was created for Madan Mohan or Madan Mohan was created for Lata. But there has never been a composer like Madan Mohan, nor has there been a singer like Lata."

In 1960s, S D Burman's son, Rahul Dev Burman, also made his debut as a composer. He recorded many songs with Lata in late 1960s, including Kya janoon sajan (Baharon Ke Sapne, 1967), Aaja Piya Tohe Pyar Doon (Baharon Ke Sapne, 1967) and Ni sultana re, pyar ka mausam aaya (Pyaar Ka Mausam, 1969, duet with Rafi).


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A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Lataji, discusses her father

"He died when we were all very young. I, the eldest of his children,
was barely twelve at the time. But I remember him distinctly. He was
always so full of music that we all naturally got interested in
it. He also taught me music, although only for a little while."

"I hardly ever heard him on the the stage though," she continued, in a
reminiscent mood. "He was orthodox in his ideas. He would not let us,
his daughters, watch a play, and he was absolutely opposed to the idea
of my acting in one. He was terribly annoyed when I once acted in a
play behind his back. He did not mind our learning music, though. In
fact, he encouraged it."


I could imagine being the eldest of the family, her job to put bread on the table, there was the struggles......a test that sometime or the other we all go through.

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

About her early years and the struggle that she had to go through to establish herself as a playback singer.

"Those were hard times", she said. "We were very poor and desperately in need of money. I had, therefore, to work without respite. I remember occasions when I worked without food and sleep for two days and more.
And then there were prejudices to be overcome. It used to be said
disparagingly in those days that songs sung by Maharashtrians smelt of dal and rice! I had to disprove it and cultivate a fine Hindustani accent as well. There was so much else to learn, too, and I had to do it mostly by myself."

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Lataji gives an opinion

"A film song must be appropriate to the situation in which it is sung. It must express the mood, the interplay of emotion, the element of drama that is inherent in that situation. The words and the tune have to be apt. The orchestral accompaniment must heighten the effect of the song and it must fit in with the locale and the situation. But we don't seem to bother about it. There is a slavery of latest fashions and trends."

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

THE 60'S CONTINUES

In the 60's we were dazzled by some of her memorable tunes viz:

Kahin deep jale kahin dil(Bees Saal Baad, 1962; music by Hemant Kumar)Prior to this song, Lataji had fallen seriously ill. Doctors had predicted that she'd never be able to sing again. Being a born fighter, the Nightingale swore to bounce back. Her first recording after her illness was this high-pitched number of haunting Dimensions. Lataji was nervous and apprehensive. "Fortunately the recording went off very well. Hemant Kumar was of a very quiet temperament. He knew exactly what to compose for me." Interestingly Hemant Kumar recorded Lataji's voice during the rehearsal and okayed it as the final take, the Nightingale says she's glad she made a comeback after her illness with an intricate song like Kahin deep jale. She had a point to prove to her detractors who were waiting for her downfalls and she proved it. The song won her another Filmfare award


Allah tero naam: (Hum Dono,1961; music by Jaidev)
When Dev Anand's Navketan banner decided to give this prestigious assignment to S.D. Burman's assistant Jaidev. It was on condition that Lataji sing for the film.The softie that she is Lataji immediately set aside her differences with Jaidev to sing one of the tallest devotional numbers ever. Classical vocalist Pandit Jasraj remembers waking up from sleep with tears streaming down his streaming down his cheeks after hearing the bhajan in Hum Dono. "Allah tero naam her very first song that we recorded for the film," Lataji recalls. "Like Shankar - Jaikishan, Jaidev's tunes were steeply scaled." Though she has sung at unbelievably high-pitch all her life Lataji detests singing at what's traditionally the male scale.

Naina Barse Rimjhim: (Woh Kaun Thi,1963; music by MadanMohan)
Every song in Woh Kaun Thi is precious to Lataji's heart. But Naina barse was the all-time hit." There's an interesting story attached to Naina barse since I was indisposed Madan bhaiyya recorded the song in his own voice for the shooting. Onlookers at the shooting in Shimla were aghast when 'ghost' Sadhana sang in a male voice.When Madan Mohan missed getting the Filmfare award for his score in Woh Kaun Thi. Lataji was truly heart broken. "He never got any popular award," she laments "People realised his greatness only after his death."

Aa jaan-e-jaan: (Inteqaam, 1969; music by Laxmikant-Pyarelal)
Cabaret songs used to be sister Asha Bhosle's domain. Until Aa-jaane-e-jaan. Tuned and styled specially to suit Lataji, Aa-jaan-e-jaan is today regarded as the best cabaret song in Hindi films Tell her this, and Lataji laughs. "I remember telling Laxmikant not to give me any cabaret songs to sing. He assured me I could swing it without a hitch. Aa jaan-e-jaan was tailored to suit my taste and style." The song cracked open the charts it's a favourite with Helen who danced to the opulently orchestrated numbers.

Bindiya Chamkegi: (Do Raaste, 1969; music by Laxmikant-Pyarelal)
Filmmaker Raj Khosla was a man of many talents, Music to him was life, A born singer he could hum tunes for hours-together. Bindiya chamkegi was a Punjabi folk tune that Khosla had board his mother singing. He wanted it in his film. Not a hot favourite with the singer herself. Bindiya chamkegi brings the roof down at every live concert of Lataji. When spectators break into a jig in the aisles the decorous Nightingale baulks. But what to do. Its just one of those unavoidable things . Interestingly Lataji sang this Punjabi-folk hit long before it became fashionable to have such items in Hindi films.

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

1970s

1971 saw release of much delayed movie Pakeezah, starring Meena Kumari. The film had music by Ghulam Mohammed. The Kaifi Azmi song Chalte Chalte, rendered by Lata, became a hit. Other songs such as Inhi logon ne le lina dupatta mera and Chalo dildar chalo (duet with Rafi) also became popular.

Lata also recorded many songs in the last films of Sachin Dev Burman. Dev Anand's direcoral debut, Prem Pujari was not successful, but the songs penned by the poet Neeraj and sung by Lata were hits - Rangeela re and Shokhiyon mein ghola jaaye. The songs from Sharmilee (1971), also penned by Neeraj, included Khilte hain gul yahan, Aaj madhosh hua jaaye re (duet with Kishore Kumar), and Megha chhaye aadhi raat. S D Burman got 44-year-old Lata to sing for young Jaya Bachchan in the movie Abhimaan (1973) - Piya bina, piya bina, Nadiya kinare, Teri bindiya re (duet with Rafi). All these songs were written by Majrooh Sultanpuri.

Lata also recorded memorable songs for Salil Chaudhary in 1970s, including[B] Raaton ke Saaye (Annadata, 1971) and the title song of Chhoti Si Baat (1974). In 1974, Lata also recorded a bhajan of Mirabai, Saanware Rang Rachi with her brother, Hridaynath Mangeshkar.

The Bollywood Music scene in 1970s was dominated by the composers Laxmikant-Pyarelal ("Laxmi-Pyare") and Rahul Dev Burman. R D Burman and Laxmi-Pyare were fans of Lata and recorded a large number of songs with her and Kishore Kumar. Most of these songs were penned by either Anand Bakshi or Majrooh Sultanpuri. Lata sang a variety of songs for R D Burman, including the classical song from Amar Prem (1971), Raina Beeti Jaaye, Dilbar dil se pyaare from Caravan (1971), and Bahon mein chale aao. Lata, Kishore Kumar, R D Burman and lyricist Gulzar came together in the film Aandhi (1975) to produce duets such as Tere bina zindagi se, [B]Tum aa gaye ho and Is mod se jaate hain.

Lata, Anand Bakshi and Laxmikant-Pyarelal worked together for many films, creating songs including Mehboob ki Mehendi and Main Tulsi Tere Aangan Ki. Laxmi-Pyare also gave music in Raj Kapoor's Satyam Shivam Sundaram (1978), in which Lata sang the title song.

In 1976, Lata recorded songs for composer Khayyam and lyricist Sahir Ludhiyanvi for the film Kabhi Kabhie (1976). The title song (also sung by Mukesh) is considered a classic. Lata and Khayyam recorded many more songs, including Aap yun faaslon se (Shankar Hussain, 1977).

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

NOW IN THE 70'S SOMEONE POPPED THE QUESTION "WHY WAS LATA MANGESKAR NOT MARRIED?"

IN 1970 LATA MANGESHKAR WAS HITTING 40, ALL HER SIBLINGS WERE ADULTS, AND SHE DID NOT HAVE TO CARE

FOR THEM NOW:

WILL GET TO THIS LATER: READ ABOUT SOME ARTICLES, MAYBE I WILL BE TEMPTED TO SHARE.

MAYBE AT THE END OF THIS PIECE:

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

ANOTHER SET OF PREVIEWS SONGS BY LATA MANGESHKAR WHICH HAD MADE THE LIST:

ENJOY:

4) TU JAHAAN JAHAN CHALEGA

http://www.mastimag.com/download.php?song_id=41674

5) HAWA MEIN UDTHA JAYEE

http://www.mastimag.com/download.php?song_id=41672

6) MAN DOLE MERA TAN DOLE MERA

http://www.mastimag.com/download.php?song_id=41677

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

So far for the late 1940's we have listed about twenty popular songs from Lataji

Some of these songs were runaways hits that started to propel Lataji's career

ANDAAZ

1) Dar Na Mohabbat Karle.........Lata Mangeshker/Shamshad Begum

2) Koi mere dil mein.............Lata Mangeshkar

3) Uthaye Ja Unke Sitam..........Lata Mangeshkar

4) Meri Ladli....................Lata Mangeshkar


DULARI

5) Taqdeer Jaga Ke Aayi Hoon....Lata Mangeshkar

6) Jo dil may khushi bankar.....Lata Mangeshkar

7) Ai dil tujhe kasam...........Lata Mangeshkar


BARSAAT

8) Bichhde hue pardesi..........Lata Mangeshkar

9) Hawa mein udta jaye..........Lata Mangeshkar

10)Ab Mera Kaun Sahara .........Lata Mangeshkar

11)Barsaat Mein Hum Se Mile.....Lata Mangeshkar

12)Chhod Gaye Balam.............Lata Mangeshkar/Mukesh

13)Jiya Beqarar Hai ............Lata Mangeshkar

14)Meri Aankhon Mein Bas Gaya...Lata Mangeshkar


MAHAL

15)Ayega Ayega Aanewala.........Lata Mangeshkar

16) Dil Ne Phir Yaad Kiya.......Lata Mangeshkar


BADI BAHEN

17)Chale Jana Nahin.............Lata Mangeshkar

18)Chup Chup Khade Ho...........Lata Mangeshkar


These are all songs from 1949 Films; quite easy to select two more

A couple of these will be on our list;

We will later list about another 20's for the 50's.

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

On a second though, I think that we will not list the songs in any order, but we are mindful of having like about 100 songs,

representing the period viz:

In the period of 1940's we will have 20 songs

In the period of 1950's we will have 20 songs

In the period of 1960's we will have 20 songs

In the period of 1970's we will have 20 songs

and

In the period of 1980/1990 we will have another 20 songs

So all toll our numbers adds up to 100:

.

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Manna Dey on Lata Mangeshkar

Nobody should point fingers at her

What can you say about Lata? I came to know her when she was not 'the Lata.'

During the Bombay Talkies days, I was rehearsing with Anil Biswas and one day, she was sitting there. I was called there for rehearsals. This girl was sitting there on one side. When I finished rehearsing my song, Anilda asked me whether I knew her. I said no and he asked me to sit and listen to her sing.

When she started, I was completely swept off my feet. Those days, we had Rajkumari, Amirbai Karnataki, Shamshad, Zohrabai Ambalewali, Geeta Dutt. Lata's singing was so different from these singers.

I asked Anilda where she had learnt to sing. Anilda told me she learned singing from her father who was a stage actor and singer. Her whole family was into singing. She had a beautifully balanced voice. A cultured voice it was.

After that, we didn't meet for a long time because she was not a full-fledged singer then. She was just trying to make it in the industry.

I wouldn't be able to tell you which was the first song I sang with her or when it happened. But it's a fact that with her entry into music, and the kind of prowess she had, music directors were so attracted to her singing that other artistes were eclipsed by her. She became a favourite with almost all the music directors.

I have been an avid follower of Lata's voice. I was very attracted to it. Other singers had their limitations, but Lata was a singer who could sing everything. That was the best part of her singing.

I was given to understand that she followed Noorjehan. I always maintained that Noorjehan was a great singer, but Lata was greater. Lata could sing a love song, an emotional song, a fast number -- she was phenomenal. I don't want to compare her to anybody because she can't be.

I would say it was my good fortune that I was her close friend and sang very good and immortal songs with her. During our recordings too, whenever she would stand next to me and sing, I would marvel at her technique. Her breath control was amazing. I have learnt so many of these techniques from her and I have imbibed them too. Breathing right when singing is very important and she knew it.

Lata was not as reserved as people thought she was. She had a tremendous sense of humour. She would make us laugh a lot. During recordings, she would tell us a lot of jokes. She had a good repertoire of them with her. And she was a good mimic. She would mimic anybody she found funny and did it very well. She is so gifted in everything. This kind of talent is not something that you learn, but something you are blessed with.

This profession is such a thing where you have to be a little choosy and careful, and some element of jealousy has to be there. When you see somebody else coming up and she is good, then you can't take it lying down. If you think she is good, then you got to catch up with her. Lata was alive to all situations.

People say that you are so famous, now allow somebody else to come up. But how many people can do it? Nobody in that position will allow it. How can she back out if she is good to maintain her position? So why blame her? Other singers say we don't get any songs because of her. But they should be like her first her first and then try and compete.

I am of this firm opinion, that these days all the female singers who sing in films have Lata as their idol. All of them look at her for inspiration. The songs she has sung over the decades will always be remembered.

Of course, now she is getting in on age and she understands that. People might make wild remarks about her now, but you can't forget what she has given the music world for all these years. It's unforgettable. She stands supreme as a singer and others are just her followers. Let people say she did not let other singers sing when she was at the top -- the fact is she was good enough to be at that position. So, nobody should really point fingers at her.

I have known her from the time she was an unknown singer to the time she became the topmost singer, and I have never found any change in her as a person. She would be modesty personified whenever we met. She was never high and mighty with us.

There were times when people misinterpreted her and there must have been reasons for that, but with us she was always the same. It is unkind to point fingers at anybody without knowing the reason for it. She must have her reasons for behaving that way.

How many people in this industry meet each other with genuine affection? Then why blame Lata for what she must have said or done? I knew that Rafi was better than me, that Kishore, was in his own way, better than me, so there was no jealousy from me. Lata was unsurpassable, how could anybody hope to compete against her?

Tell me is there anybody who can sing her old songs as well as Lata does? They can never be compared to her at all. She is blessed with a talent and that is why she is Lata.

There was a function where we all were invited and I loved the way Lata spoke there. She was so humble. That was the first time I heard Lata speak in such a humble way. She said, 'I am here because of you people. If you hadn't liked me, liked my songs, how could I hope to be what I am today?' I liked her surrendering her talent to God.

She also had an impeccable pronunciation. She pronounced her words beautifully. I always liked that and I keep listening to her songs even now.

We are a little old-fashioned, so we like songs which touch our hearts. The way she sang Laage na mora jiya or Satyam shivam sundaram nobody could match that. I can cite more examples. I listen to her and Rafi's songs and sometimes even cry at the way they have sung those songs. They really touch your heart.

The amazing thing is that they (Lata and Rafi) are from this country, but people from all over the world listen to them and rejoice. Only they were destined to have this kind of undisputed talent.

I don't think she really had to struggle much because her voice captured you at the first instance. It did with me and it did with most music directors.

If you have to talk about her struggle, then yes she had to keep her eyes and ears open. How to improve, how to really grow in stature and singing. That's why she said that she loved to listen to Noojehan and learn from her.

I have told you everything that I know about her and feel about her. I can say nothing more about her that would be anything else but appreciation for her talent.

As told to Sharmila Taliculam

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Manna Dey on Lata Mangeshkar

Quote "The songs that she has sung over the Decades, will always be remembered"

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A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Yash Chopra on Lata Mangeshkar

I consider her lucky for me

Yash Chopra (One of the greatest film maker of all times)

It's difficult to talk about Lata Mangeshkar. There's so much already been written and said about her that I can't say anything new.

Today's singers take inspiration from her, which means she is the supreme. All of us have spent our entire lives listening to her songs, her voice. I know so many people who start their day listening to her songs and end it the same way.

I consider her voice a gift from Goddess Saraswati. I don't think the history of music can start without mentioning her contribution to music.

Personally, I found her to be a very humble and nice person. She has given so much love, so much affection to me -- she is a wonderful human being.

Whenever she sings for my films, it is not as a professional singer, but as a family member. She doesn't think it is a job she has to do. She enjoys singing for my films.

I am superstitious -- and I consider her lucky for my films and me. She is just fantastic even at this age. Just last week, she recorded a song for my new film. And she has sung that song beautifully. Listening to it, I felt that her voice sounded just like 10 years ago. Very fresh and young. Her quality of voice is outstanding. I know her blessings are with us.

I don't think people, who say that her voice isn't good enough today, know what they are saying. They should listen to this new song. Not only has she sung the song brilliantly, she has also lent emotions to it. The song comes alive, as a result.

I saw her for the first time a long time ago. I was an assistant and was making Dhool Ka Phool. I saw her at the recording for that film.

That was 40 years back. We became good friends then. After that when I started Yashraj Productions, she sang for all my films. And we got closer. I call her didi. She would come for recordings any time I asked her. She never refused me. In fact, she would cancel her other commitments to come and record for me.

And I have to tell you something -- she never charged me for singing in my films. She did it absolutely free. She was very encouraging and affectionate and I wish she lives many more years and continue to sing the way she always has been singing.

As told to Sharmila Taliculam

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Pyarelall (Of Laxmikant/Pyarelall fame)

She is a blessed soul

Laxmikant and I knew the Mangeshkars much before Lata became a successful singer. Her brother Hridayanathji had formed a music group named Surel Kala Kendra. 'Surel' means in sync, though we as music directors were very out of sync where singing was concerned. So we had a nice group, which consisted of the Mangeshkar brother and sisters, we and some of our other friends. And we used to get together and sing songs.

This continued till the time when we became composers. By then, Lataji had become successful and was in a position to help us, which she did. She helped us a lot then. We always got her to sing our songs. Whether they were meant for the mother in the film or the sister or the child or the vamp, she sang most of our songs.

We liked her voice so much. Only later, when she was very busy, we had to make do with others. But she always was our first choice.

Lataji was a very accommodating person. She never refused to do anything for us. If we asked her to sing a song in a particular way, she always did it without complaints. She would never discuss money at all. Whatever we said, she agreed on that.

Many people say she is very manipulative and shrewd, but we know how soft-natured she is. Of course, like all artistes she is very moody, but she is not at all manipulative.

The thing that stands out is that she is very sincere about her work. We say she is a great singer and that her voice is like Goddess Saraswati, but all this is due to her sincerity towards her work.

Whenever she comes for a recording, she comes and sits with her head bowed. She looks like she doesn't know anything. She always behaves like a student who has come to learn something. And she knows such a lot. She is a singer and a composer too, but she will always listen to whatever suggestions you have to make. Today, we sadly lack that kind of humility.

Music directors like Naushadji, Madan Mohan, S D Burman would take a lot of rehearsals, but when we did our first song Suno sajna with her, we just did one rehearsal and she had got it right. She had this knack that when we sing her the first lines, she would sing the second line too. She was knowledgeable in music.

We were very lucky we were there at her best time. She was at the top during the '50s and the '60s. Her voice was the best then and we could take advantage of that. Today, we miss her a lot.

Today, she is still at the top. She is singing for young heroines like Kajol despite her age. She still rules the music world. She still sings with the same sincerity that was there in the '50s. But what can I say about her singing now? She herself is mature and understanding, what can we say about what is right and what is wrong.

There will be many singers who come today, and they are good. But they are not as good as Lata is. Even today that is very apparent. To get that kind of success needs hard work. Lata is a blessed soul. She has a tremendous voice. She has sung the maximum amount of songs for us.

She started singing for Raj Kapoor because of us. Maybe that's why Rajsaab must have taken us too. He knew Laxmi and I were very close to Lata. But he never said this openly. She had not sung any songs in Mera Naam Joker, and the film didn't do well.

The next film, Bobby, had us as music directors. That is what I was saying. She has helped us indirectly many times this way. Through her, we got Rajsaab's films.

To become a good singer, takes a lot of hard work and effort. These days, there's a lot of talent but no devotion. Lata is very devoted to her singing. There are a lot of singers who don't know how to sing but still are very successful.

But those days Lata was supreme. You can make her sing at any level and she always managed to do it well. She didn't have any limitations to singing.

Singing needs sincerity and if you are bad at heart, you can never sing well. Lata has learnt all the good things from music and when she became famous, she gave the goodness back to it. It is really foolish of me to talk of her like this because most would know this already.

Even when Lata was very successful, she would never sing more than one song a day. Unless it was absolutely necessary. But she would never hurry up a music director. Whenever she would record for us, she would come and record for however much time we needed her for. And then she would go for the second one.

And then she used to joke a lot. She would make us laugh a lot. She would come in and first tell us a few jokes before starting the recording. Today, I know at least 25 of her jokes. The rest, I really don't remember. But her whole image of being serious was wrong.

I am not sure of whether those days, music directors were forced to work with her, but we preferred her at all times. So there was no question of her forcing us. I did hear rumours that she sidelined many singers, but the fact remains that she was good and nobody could compete with that. So I don't think any singer was sidelined because of her. No music director wanted anybody if they could get her to sing their songs. She used to be everybody's first choice.

She was so helpful. Whenever we wanted her to sing for us, she always came for it. She would ask us when we wanted her to come and whatever time we told her, she would come. She would not even tell us that she would have to go for another recording that day. So if she were so accommodating, why would we even think of other singers?

There used to be no tension while working with her. She would be with us for as long as we wanted. So much has changed today. Music is not what it used to be. But because of singers like Lata Mangeshkar, there is still some hope.

As told to Sharmila Taliculam

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

NITIN MUKESH ON LATA MANGESHKAR

Nitin Mukesh(Son of Mukesh Chand Mathur)

Truly, God preserves her

Lataji would tie a raakhi on my father, and he was simply the closest any individual in the film industry was to her. My dad called her didi, though he was an established singer when Lataji came in. He would pick her up from their house at Prabhu Kunj and take her to recordings -- and this is what Lataji and her sisters have told me.

For her Mukesh bhaiyya was very special. My initial relationship with her was that of a nephew with an aunt.

But it later changed to awe when I decided to take up singing as a profession. Maybe another Lata is there, hidden in anonymity, but unless she worships work the way she does, and has the same single-minded dedication and perfection, Lata Mangeshkar will remain untouched and unbeatable.

None of us have heard Meerabai and Saraswati, but for us she represents them as well. She's simply the most beautiful voice in modern times, untouched in voice quality, range, versatility and her eternal love for perfection.

I have had such a long professional association with her in films and on stage as well as our personal closeness due to dad. So I dare say that I have authority to speak these few lines on her.

The musicians and we, the co-singers, would become restless with the endless rehearsals before going on stage, but not her. She was the epitome of discipline and perfection, and faultless as well as effortless on the mike. And the most important point was that she, the one and only Lata Mangeshkar, needn't have put in all that effort.

She taught me how to worship my work. I noticed she would take off her slippers before going on stage. From that first time, I have emulated her to date as the only male singer who sings barefoot no matter how cold it is in any open-air auditorium.

She has also literally introduced me to the world of stage, and taught me not to take it lightly. This was on that fateful tour in 1976 when papa died after completing eight of the 10 shows. Early on this tour he had developed a throat problem because of something he had eaten and she told him to take it easy.

I was with the troupe on a casual holiday and she asked me to step in -- and I began on stage with three timeless duets with her -- Aaja re ab mera dil pukara (Aah), Sawan ka mahina (Milan) and Kabhi kabhi mere dil mein (Kabhi Kabhie).

As the roar of applause broke out, papa broke down and told her, 'Now my pension is secure.' When papa suffered that heart attack just before the ninth show, it was she who took charge, though personally she was devastated and wept loudly. She was the first to inform me when papa was declared dead.

Two months later, we were back in the US to complete the two remaining shows and she was so comforting and affectionate, ensuring that I wasn't depressed. She treated me in a big-sisterly way and announced on stage that Nitin and she did not want to leave papa's work unfinished, and so were back.

And today, thanks largely to that lady, I am settled in my main vocation. I am proud to say I emulate her in one more way on stage -- that even if I am going to sing from the same list of 50 songs every time, I rehearse on the scale she does, with complete musicians, for weeks. When you emulate, you emulate only the best, because that is like one small step in attempting to reach the heights they have reached.

It was on my tours with her -- and I was a constant feature in her shows for over 12 years after papa's death -- that I really realised both the potential of the stage as well as what Lata Mangeshkar, that pious yet disciplined lady in real life, meant to the world of music lovers. People just went mad at her shows!

In 1980, we were to perform in Guyana, West Indies. We alighted from the plane to face an ocean of humanity -- a milling throng the likes of which even she, I think, had not imagined. There seemed to be literally a hundred thousand people there and the organisers told us later that even the Queen of Great Britain and other heads of state who had visited there had not commanded even a fraction of that crowd.

The entire 60-km stretch from the airport to our hotel was lined with cheering men, women and children, most of whom were locals who did not understand a word of Hindi, but loved her songs. There was a constant shower of petals and people were literally weeping and cheering and shouting 'Laatta! Laatta!' in their West Indian accent.

And though so many were even prostrating themselves before our motorcade -- I had requested her to stand and she stood with folded hands throughout -- not a single person misbehaved. I have seen the euphoria over Michael Jackson in Bombay -- it simply wasn't in the same class! When we reached our hotel all of us were weeping uncontrollably!

Then in 1983, we decided to do a show in Swaziland, at the tip of South Africa -- a place where only 10 Indians lived. But we had no choice then, as Indians were not permitted entry into the rest of South Africa.

But you should have seen the response! People from surrounding countries had flown and driven across borders in thousands. And on the day of the show -- which was to be in an open-air auditorium -- there came one of those terrible storms with lightning and blinding rain.

But was the audience daunted? No way! We opened the show to a sea of umbrellas and raincoats in an auditorium packed to capacity! Those who were unfortunate enough to be unprotected stood for all those four hours, even holding their chairs over their heads, but no one left before the show was over.

That is one vivid image that will never go away from my mind! That is the magic, the charisma and the mesmeric artistry of Lata Mangeshkar!

In my recordings with her -- the first was Main kaise use pasand karoon for Rajji and LP's (Laxmikant-Pyarelal) Satyam Shivam Sundaram -- she was extra considerate, extra patient. She used to hop from recording to recording those days, but if she came to know that I was to be a co-singer, she would allot a longer time for me.

During our tours, as I said, she was like a big sister, and would personally ensure my comfort and my being put up in the same hotel as she was.

An episode which I can never forget happened in 1979 when we landed in Glasgow, Scotland, on a freezing day just three hours before our show. She was not too well on the flight and was complaining of a heavy head.

We were a shade worried and so many of us made different suggestions for her well being. All she said was, 'I will not eat lunch. Get me an ice-cream instead!' We were flummoxed, because we were sure that ice-cream would aggravate her headache. But we couldn't argue.

And three hours later, an extremely normal Lata Mangeshkar performed at her peak, revealing later that ice-cream always helped her in such cases.

Truly God preserves her. And I hope that He keeps at it.

As told to Rajiv Vijaykar

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

SURESH WADEKAR (SINGER)

Quote "I am fortunate I lived in her time"

Since I have always been into singing, Lata Mangeshkar has been a part of my life practically from my birth. Listening to didi has been an integral and pleasurable part of my growing up, of my sanskaar.

As a student of classical music, I was very much aware of her songs all through, though it took a few years before I could really realise what she is. After that, it never crossed my mind that the day would come when I would actually sing with her!

I met her for the first time around 1977 when I was working as Jaidevji's assistant. She recorded that lovely song Tumhein dekhti hoon for Tumhare Liye.

But my proper introduction to her was through Ravindra Jainji. He was recording a song for Devar's Mera Rakshak and I had gone to meet him. He introduced me to her. She was very warm, and pleased to know that I was from Kolhapur, a town that was like a second home to her as she had grown up there.

She asked me to send a cassette of my recorded songs to her. I had recorded five or six songs for films by that time for Ravindra Jainji and I took a cassette of these to her house.

She heard the cassette in my presence and complimented me. Then she rang up Laxmiji (Laxmikant), Kalyanjibhai, Pancham (R D Burman) and Khaiyyaamsaab. She told them all that she was sending a new boy to them and that they should give me work if they liked me.

That's how I got my introduction to all these composers. And that's why I always feel that her aashirwad (blessing) is there with me right from the beginning of my career. That she went out of her way to do so much for a newcomer speaks volumes for her greatness.

She has been a tremendous psychological support to me. In fact for me, she is saakshaat (a manifestation of) Goddess Saraswati.

My first duet with her was recorded in 1979, for Subhash Ghai's Krodhi. The song, Chal chameli baagh mein, went on to be a great hit.

For me it was a special song in so many ways -- it was my first duet with her, it was my first song for Laxmikant-Pyarelal, and it was my first song for a big film. You can well imagine what must have gone through my mind -- a curious mix of great joy and nervous fear.

Didi sensed that and was very supportive, encouraging and caring. She advised me to concentrate on the music director's requirements. 'If you make mistakes, don't worry, we can do the song again!' she kept telling me. Later we were to record more than 25 duets together, for Hindi as well as several Marathi films like Mahananda.

I consider myself extremely lucky to have listened so much to her and even sung so much with her. In short, I am fortunate that I have lived in her time.

When we did shows together, she would ensure that I, or any other junior singer for that matter, got the same izzat (respect) as her. This is not something every big name does.

Whether at a recording or a show, she ensures that the atmosphere is totally light and even humorous. One of the ways in which she livens the environment is by her fabulous gift for mimicry -- she is a great mimic. There is this dialect peculiar to Kolhapur and she would mischievously talk to me in it.

Till today, she is very concerned about my family and me. Her enquiries demonstrate a tremendous sense of apnapan, she makes detailed enquiries even about my cousins. She leaves you feeling like a part of her family.

At the same time, she's a disciplinarian where work is concerned. For her shows, the rehearsals are endless, chiefly because didi wants her songs on stage to sound exactly like their recorded versions.

I have watched her at recordings too. She thinks of every aspect of the song, and focuses on it totally. Not a single aspect of her singing remains imperfect. All other singers tend to focus on some elements, and lose out on certain others as a result.

Didi takes a song far beyond the music director's expectations and vision. Every music director expects a singer to deliver 95 per cent of what he wants, but with didi, he gets at least 150 per cent. That's why she makes such a mark. You can learn so much from just listening to her singing, listening to all those nuances which make the difference between just delivering a song and giving those refined shades to a composition which even the composer had not imagined, even if he had created the song with didi in mind!

To sum up, I can only add in Marathi that she is what can be called Parmeshwaachaa Saakshaatkaar (manifestation of a divine existence) and that her singing is like an aatmik amrutvarsha, (a rain of the nectar of the soul).

As told to Rajiv Vijaykar

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

LATA MANGESHKAR DEBUT AMIDS'T GREAT COMPETITION

Three films released in 1949. Barsaat, Andaaz and Mahal. All three smashing hits. The music of each film better than the other. In all three films the heroine's songs were sung by a young lady who had also made her debut in playback singing in 1946 but till then had not made any significant headway in her career. The success of these films changed all that. The song 'Aayega aanewala' from Mahal soared to heights of till then unseen popularity. ( It remains an all time favourite even today ) The singer was ... Lata Mangeshkar. Lata went on to become the greatest playback singer the Indian screen has ever seen. Only two singers managed to survive the Lata onslaught in the 1950s. Shamshad Begam and Geeta Roy. Though relegated to the second spot, Geeta managed to hold her own against Lata for more than a decade and she and Lata were the premier two female playback singers of the 1950s

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

The golden 50's For Lataji; the songs that categorily moved her to the top and kept her there for a very long period, those songs are

(1) Tum na jaane kis jahaan...........(Sazaa1951)

(2) Lagan More man ki.................(Baabul 1950)

(3) Panchi Bani Mein..................(Baabul 1950)

(4) Tujhko deya humne.................(Aan 1952)

(5) Aaj mere man mein Sakhi...........(Aan 1952)

(6) Bachpan ki Mohobat................(Baiju Bawra 1952)

(7) Mohe Bhool Gaye Saawariya.........(Baiju Bawra 1952)

(8) Tu Ganga ki Mouj Mein.............(Baiju Bawra 1952) with Rafi

(9) Aaja Re Ab Mera dil Pukara........(Aah 1953)

(10)Jaane ne nazar....................(Aah 1953) with Mukesh

(11)Raja ki ayegi baraat..............(Aah 1953)

(12)Yeh shaam ki tanhiyaan............(Aah 1953)

(13)Aja Ab Tu AAja....................(Anarkali 1953)

(14)Yeh Zindagi Usi Ki Hai............(Anarkali 1953)

(15)Oo Aasmaan Wale...................(Anarkali 1953)

(16)Kissine Apna Banaki Mujhko........(Patita 1953

(17)Na Shikwa hain Koyee..............(Amar 1954)

(18)Jadugar Saiyyaan..................(Nagin 1954)

(19)Man Dole Mera Tan Dole Mera.......(Nagin 1954)

(20)Jayen tu Jayen Kaha...............(Taxi Driver 1954):


Runaway hit for the Period 1955 to 1959 coming up later

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Posted by ajay2211 on September 02, 2006 at 01:45:56:

It is a known fact that Lata Mangeshkar was responsible for bringing up Laxmikant-Pyarelal. In fact Lata Mangeshkar have played major role in the entire musical career of LP. Lata has sung maximum numbers of songs under the banner of LP. Moreover Lata Mangeshkar sounds extremely melodious under the LP.

Lata Mangeshkar and Laxmikant-Pyarelal were a longer, larger, closer and more rewarding association that than what ANY composer has had with ANY singer in Hindi cinema

From 1963, to the next 35 years, Lata Mangeshkar and and Laxmikant-Pyarelal were to chalk up an astounding 700 songs together, which accounted for one in every 10 Hindi film songs recorded by the Melody Queen, and one of every four songs composed by the duo. The unmatchable variety of songs.

And what a mind boggling variety and range did we get in those 700 numbers which included chart-slammers and classics, and chaalu numbers as well as connoisseur choices. It is impossible to find that variety and that sustained excellence without monotony in the output of any other composer, with Lata or with any other singer.

We get the unmatached variety of songs of Laxmikant-Pyarelal with Lata Mangeshkar

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

LATA MANGESHKAR ON KISHORE KUMAR AND MOHD RAFI

I still miss Rafi and Kishore: Lata Mangeshkar

Mumbai:

Melody queen Lata Mangeshkar who has over the years mesmerised people with her voice, gave her audience a chance to listen to her once more - this time in a different tune, with noted singer Sonu Nigam being her host.


In a tete-e-tete with Sonu organised by Radio City on Friday for their listeners, Lata confessed that though she loved singing even at this age, she missed legendary singers and her friends like Mohd Rafi and Kishore Kumar, with whom she used to enjoy recording songs.

''I miss my friends like Mohd Rafi and Kishore who are no more,'' she said in a nostalgic mood, remembering the old times and how she had learnt music from some of the most famous and talented musicians in the country.

Getting into the grip of a radio interview, she talked about her life saying, ''Born in Indore, my father used to run his own drama company and he taught me music. He loved me a lot and use to call me 'Lata baba'. He passed away when I was 13 years old and I had to join films after that. He never hit us when we were kids, he used to talk through his eyes and we used to only see his eyes and start crying,'' she remembered.

On her association with some music stalwarts, she said: ''I learnt a lot from music directors like Anil Biswas. For example, he taught me while singing when I should release my breath. I did 'riyaz' on that, that was in 1948.''

On being prodded by Sonu about her relations with showman Raj Kapoor, the nightingale of Indian music industry said: ''I had a fight with Raj Kapoor because I wanted royalty on the songs which I sung for him, to which Raj Kapoor said –˜ if all stars come to us and start asking for royalty, you think we will give them?' But I was still adamant and Raj Kapoor had to finally give in.''

On her another strained tint with Raj, Lata said, ''Actually, during the making of Satyam Shivam Sundaram, Rajji told me he wanted Hridaynath Mangeshkar as music director since the music in the film was classical. To which I said okay and I had to leave for US on a music tour. I don't know what happened but the film was eventually given to Laxmikant Pyeralal. I spoke to Rajji about this and I was very angry and decided that I would not sing for the film.''

However, she said music directors Laxmikant Pyrelal cajoled her to sing, and it was only after the advice of her guru that she sang for the movie, getting the song passed in one take.

When Sonu asked her the secret of her refined Hindi and Urdu accent, she fondly replied: ''Mohammed Rafi used to treat me as his sister. He sent somebody to teach me Urdu. I learnt how to speak Urdu and a little bit of Arabic. I have also learnt a little bit of Tamil as I wanted to see a Tamil movie. But I know very little Tamil. I did it because people would also wonder that since I am a Marathi, my diction would not be correct.''

She appreciated the compositions of music director S D Burman and his son R D Burman and said their knowledge about music was immense and they knew all nuances of a song.

On a personal front, divulging a bit into her likings, Lata said that she loved to travel, but could not do it much these days as she had been suffering from arthritis.

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Nightingale Lata Mangeshkar presents the "Aadishakti Puraskar" to the 50+ incredible beauty, Rekha for her outstanding career in the film industry, during the 64th death anniversary of master Dinanath Mangeshkar at Kalidas Rang Mandir, in Nashik on Monday night. Rekha, who is far more ravishing than many present day actresses half her age, was flanked by Asha Bhonsle.

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Rekha's life-changing experience with Lata Mangeshkar

By Subhash K. Jha, October 14, 2006 - 08:15 IST

"Woh kehte hain na....that moment changed my life," says Rekha about the moment when the Nightingale Lata Mangeshkar called her 'Mahalaxmi' at Lataji's birthday celebrations on September 28.

"That moment changed my life," exults the diva. "You know, Lataji and I share a very special rapport that goes back to when I was probably 2 or 3 years old. That was when I heard her singing in my sleep. And what a way to be woken up! She was singing Aaja re pardesi from the film Madhumati. My mother used to hear this song at full volume. I'd jump up in my cradle and start dancing."

Rekha remembers every detail of that encounter. "I even remember the timing, and what my mom was wearing, and what perfume....So last month during Lataji's birthday celebrations I told her that I used to hear Aaja pardesi....Pardesi to miley nahin lekin iss bahaane mujhe meri Lata Didi mili. "

Rekha also recited Gulzar Saab's poetry Tumhi se janmoon to shaayad mujhe panhaan miley from her starrer Astha for Lataji. "It was so apt for Lata Didi. I went a step further and said, I wanted Lataji to be born from my womb." Rekha sighs, "What can one say about birthdays? I had no duas to give her. I think she's so cute. That's why I'd like her to be my daughter." It was at this point of Lataji's birthday celebrations that the Nightingale referred to Rekha as 'Mahalaxmi'.

Rekha confirms, "Yes, I just died at that moment. The general public may have a high opinion of me. But her? The woman I worship? That moment has changed my entire view of life . It was a very positive kind of Tsunami....it changed my life. After hearing her call me Mahalaxmi, it would be perfectly all right if I drop dead right now. It's a moment that is engraved in gold in my mind. Actually my mother used to say I'm a very special child. 'You're a Devi that's born out of my womb.' I used to laugh. But now Lata Didi saying this is front of so many people. I don't think my life will ever be the same again."

Adds Lataji, "I know she's genuinely fond of me. I love my songs for her in Ghar and Silsila. I find her very clean-hearted. Ek din to kamal hua...suddenly I was told Rekhaji had come visiting. We chatted like two sisters all evening. She told me she wanted to learn
singing. She never forgets to wish me on my birthday. Her love me for me isn't put-on."

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Balance of Power:

The Lata-Asha sibling revelry
By Screen Weekly, September 29, 2006 - 06:43 IST

For decades, the Mangeshkar sisters – Lata Mangeshkar and Asha Bhosle – have represented the epicentre of `playback power'. From the 1950s to the mid-˜80s in particular, the male arena was the fiefdom of a handful of master vocalists, but neither Geeta Dutt, Shamshad Begum and Suman Kalyanpur nor anyone else could make a dent in Lata's and Asha's supremacy and popularity. The media made much about the love-hate relationship between the two September Siblings , but the sisters have always laughed away the alleged rivalry as a frivolous fetish of the Fourth Estate and a vicarious wish of vested interests. The two Sultanas of sur thus had the perfect balance of power. If Asha Bhosle led in the number of total recordings as well as by a huge margin in Marathi films and the Marathi non-film segments. Lata's lead was more in terms of working for the heavyweight music makers and top leading ladies of Hindi cinema. In the non-film Hindi segment, Lata Mangeshkar has largely stuck to devotionals, light songs and the occasional ghazal album, whereas Asha's middle-name has been experimentation with a gamut from ghazals and classical collaborations to Indipop and albums with Western music groups. Analysing the Divas.

ASHA IN LATA'S TERRAIN:
Lata Mangeshkar's sweep on Hindi films, especially from the `50s, was so complete that after outclassing the existing top female singers she became a fixture with music directors as varied as Naushad, C.Ramachandra, Madan Mohan, Chitragupta, Salil Choudhury and finally, the men who dominated the music scene till the late `60s - Shankar Jaikishan, despite her famous rift with Shankar.

Most of these music makers barely looked beyond Lata, and Asha was a sporadic outing - check C.Ramachandra's ˜Phoolon ke mele...' (Devta) and ˜Dekh hamein awaaz na dena...' (Amar Deep), a rare Madan Mohan film like Neend Hamari Khwab Tumhare and a one-off chartbuster like ˜Jhumka gira re...'(Mera Saaya), Chitragupta's ˜Jodi hamari...'(with Manna Dey/Aulad) or Naushad's later films like Ram Aur Shyam and Ganwaar. It is virtually impossible to recall a Salil-Asha song worth its weight vis-à-vis his Lata stunners all the way from Madhumati to Chhoti Si Baat except for the `populist' Asha-Yesudas duet from this last film. As for Shankar Jaikishan, though Asha sang so many memorable songs, the cream always went to Lata, despite a ˜Sooni sooni saans ke sitar par...' (Lal Patthar) here and a ˜Dhaani chunari pehen...' (Hare Kaanch Ki Choodiyan) there.

The men who took over the S-J mantle - Laxmikant Pyarelal - too did give Asha the occasional humdingers from ˜Khat likh de saanwariya ke naam babu...' in Aye Din Bahaar Ke to ˜Hungama ho gaya...' (Anhonee) and more. But their obsession remained Lata - come cabaret, disco or semi-classical numbers.

Also in Lata terrain were top stars like Nargis, Vyjayantimala, Meena Kumari, Waheeda Rehman, Nutan, Sadhana, Mala Sinha, Saira Banu and Raakhee. Some of these stars reportedly even had Lata's playback voice as a pre-condition in their contract agreement! Of course, this does not mean that Asha had no worthy songs for them. But it was a landslide lead for Lata all through.

Among male co-singers, Mukesh and Talat Mehmood had an overwhelming lead in duets with Lata, led particularly by the Lata-Mukesh duets for Shankar-Jaikishan, Laxmikant-Pyarelal and Kalyanji-Anandji. And in the bhajan/devotional arena of Hindi films, there was another Lata grandslam - the devotionals of consequence by Asha Bhosle can be counted on the fingers of one hand, and include the classic ˜Tora man darpan kehlaaye...' (Kaajal) and ˜Saancha naam tera...' (with Usha Mangeshkar/Julie) and a few lesser songs like ˜Acche samay pe tum aaye...' (Bidaai) and ˜Kaun kahe apno ke kaam...' (with Kishore/Raampur Ka Lakshman).

LATA IN ASHA TERRITORY:
For Asha Bhosle, it was S.D.Burman's early grooming that helped a lot, but it was only when she encountered a phenomenon named O.P. Nayyar (who had reportedly sworn never to work with Lata) that Asha really thundered into her own and went beyond idol Geeta Dutt and songs for vamps and comediennes. With Dada Burman, ironically, Asha's cream came mostly in that six-year period between 1957 and 1962 when he had a personal-cum-professional rift with Lata Mangeshkar. However, Nayyar remains Hindi cinema's only major force who never recorded a single song with Asha's elder sister. And Asha's record was finally set right by R.D.Burman when despite his multiple nuggets with Lata Mangeshkar from Chhote Nawab to Libaas, it was Asha who got the exotica that made her zoom forward as the voice of choice of the modern film heroine of the ˜70s - Zeenat Aman, Neetu Singh and Parveen Babi - and gave her an identity beyond being just Helen's voice or mere Nayyar's muse.

Lata Mangeshkar had her Helen moments too, but they were few and far between, like ˜Aur mera naam hai Jameela...' (Night In London), ˜Aa jaan-e-jaan...' and ˜Mehfil soyi...' (Intequam) and ˜Iss duniya mein jeena hai to...' (Gumnaam). And so these were also virtually Lata's only intrusions on Asha's fiefdom - the cabaret. As for Zeenat, the few highs (Satyam Shivam Sundaram and Roti Kapada Aur Makaan heading a list that also included Heera Panna, Don, Ajnabee and a few others) with Lata were swamped in the Asha deluge. Lata's few good songs for Neetu Singh (like ˜Nahin nahin jaana nahin...' from Zinda Dil), and the rare Parveen hit (Kranti, Arpan, Khuddar, Kaala Patthar) were restricted largely to either L-P's prolific output or Rajesh Roshan's affinity to Lata in the late `70s.

The third ˜champion' of sorts for Asha was Bappi Lahiri, but that was chiefly for `80s heroines like Sridevi, Jaya Prada and Meenakshi Seshadri. There was lots of quantity there, but the calibre was generally below par.

As Lata reduced her quantum of work completely from the `90s, Asha continued to sing for the young Turks like Shankar-Ehsaan-Loy, Viju Shah, Sanjeev-Darshan, Sandeep Chowta, Jeet-Pritam (and later Pritam solo) , music makers who have never recorded with Lata in their films, but did get Asha to enter their recording rooms.

SIBLING REVELRY: Lata and Asha however struck an equal score with some other young composers, especially Jatin-Lalit, A.R.Rahman and Vishal Bhardwaj. The senior composers who achieved that kind of balancing act included Kalyanji-Anandji, Ravi and Hemant Kumar.

Mohammed Rafi and Kishore Kumar, and Usha Mangeshkar among the females, were singers with near-equal scores with both.

Mumtaz, Asha Parekh, Sharmila Tagore, Hema Malini, Rekha, Reena Roy, Jaya Bachchan and Sridevi (in her non-Bappi Lahiri films) were heroines in whose songs we also witnessed an equilibrium in the two-pronged Mangeshkar power.

LET'S DUET: Statistically, the two sisters have collaborated in about 75 songs, the last one of note being ˜Aaina hai mera chehera...' with Suresh Wadkar in Aaina (1993) under Dilip Sen-Sameer Sen and written by Sameer. Their first duet, in all possibility given Hindi cinema's predilection for poorly-maintained records, was ˜Yeh rookhi rookhi hawayein...' from Daaman (1951) composed by K.Datta and written by Rajendra Krishan, and the first song of note was S-J's ˜Manbhavan ke ghar...' (Chori Chori/1955) under Shankar Jaikishan.

Lata and Asha frequently shared the microphone along with other singers as company, like sister Meena Mangeshkar in ˜Banno ke haath bhari mehndi...' (Chandni Chowk / Roshan), Mohamed Rafi in ˜Muqabala humse na karo...' (Prince / Shankar Jaikishan), Mahendra Kapoor in ˜Pyar zindagi hai...' (Muqaddar Ka Sikander / Kalyanji-Anandji), Kishore Kumar and Manna Dey in ˜Sun le pyar ki dushmun...' (Pyar Kiye Jaa / Laxmikant-Pyarelal), Laxmikant in ˜Aag se aage...' (Jalte Badan / L-P) and finally Usha Mangeshkar in ˜Hamre aangan bagiyaa...' (Teen Bahuraniyan/K-A), ˜Dulhan maike chali...' (Manoranjan / R.D.Burman) and earlier ˜Mubarak hai woho dil jis pe...' (Benazir / S.D.Burman) and ˜Khile hai sakhi aaj...' (Grihasti / Ravi).

Among other music directors who have orchestrated Mangeshkar Double Bills are Asha's son Hemant Bhosle (who brought mother and aunt together in his debut film Taxi Taxie in the song ˜Laayi kahaan yeh zindagi...' ), Naushad, Madan Mohan, Roshan and Hemant Kumar, with the bulk of the share going to S-J and L-P. The distinction of having more than one duet (with both proving hits in both cases) is shared by Mother India's ˜Mere mehboob mein kya nahin...' and ˜Jaaneman ek nazar dekh le...' (Naushad) and Utsav's ˜Man kyoon behka...' and ˜Neelam pe nabh chhayi...' (L-P), the last two being among the most exquisite duets on which they ever collaborated.

C.Ramachandra's ˜Ae chand jahaan woho jaaye...' (Sharda/1957) was a rare scintillating output from this Lata-devotee composer, as was the classicism-studded Madan Mohan duet ˜Jab jab tumhein bulaya...' (Jahan Ara) and that simple but toweringly-excellent song ˜Pad gaye jhoole...' from Roshan's Bahu Begum. In contrast, Hemant Kumar's ˜Kabhi aaj kabhi kal...' from Chand was of humbler calibre, as were R.D.Burman's ˜Tere liye jeena...' (Shaan), ˜Paake akeli mohe...' (Jail Yatra), ˜Manmandir mein preet...' (Sanjog), ˜Lavangi mirchi...' (Ashanti) and ˜Saare shaher mein...' (Alibaba Aur Chalis Chor) and Laxmikant-Pyarelal's ˜Band ho mutthi to lakh ki...' (Dharam-Veer), ˜Duniya ke sitam...' (Khoon Aur Paani), ˜Kisike prem ka amrit...' (Raaste Pyar Ke), ˜Deepak mere suhaag ka...' (Maang Bharo Sajana), ˜Sun le meri behna...' (Swarag Se Sunder), ˜Tu tu badi qismat wali hai...'(Haar Jeet), ˜Aaj ki raat meri...'(Do Waqt Ki Roti) and ˜Jhoola jhoolat Kanhaiya re...'(Daku Aur Jawan). While in most one-heroine films, poor Asha was saddled with the supporting artiste and Lata got the heroine, in an unusual case it was both singers singing for Moushumi Chaterjee in ˜Baandh le man ko...' from Dil Aur Deewar, with one singer being for the reflection of the conscience.

Of a slightly better impact were Kalyanji-Anandji's ˜Main haseena naazneena...' (Baazi), R.D.Burman's ˜Kis kaaran Kamini sharmaaye...' (Chandan Ka Palna) and Laxmikant-Pyarelal's ˜Nandkishor Nandgopal...' (Madhavi).

But the bulk of the Lata-Asha humdingers came from Lata-addicts Shankar-Jaikishan through songs like ˜Yeh barkha bahaar...' (Mayurpankh), ˜Jab se laagi tose najariya...'(Shikar), ˜Naach re man badkamma...' (Rajkumar) and ˜Ho koi aayega aayega...' (Professor) and ˜Kar gaya mujh pe jaadu...' (Basant Bahar). Matching these in excellence was R.D.Burman's cute-n-catchy `Main chali main chali...' (Padosan) and Laxmikant-Pyarelal's ˜Ae kaash kisi diwane ko...' (Aye Din Bahaar Ke) and ˜Chhap tilak sab chhini...' (Main Tulsi Tere Aangan Ki).

THE CONCLUSION:
Today, Lata Mangeshkar and Asha Bhosle sing so rarely for Hindi cinema that it is a rarity to even see them as part of the same film's playback team, with the exception of a few films like Lagaan, One Two Ka Four,Mujhse Dosti Karoge! or Page 3. The balance has shifted away from the Mangeshkars, but the power is missing. Maybe today's music directors should spare thoughts and efforts on how to create new sources of power out of the existing or new singers. Will they?

Screen India

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Monopoly? What monopoly?

Lata and Asha are noble people and never tried to monopolise the Hindi film industry, says U V W Krish in response to the suggestion that Vani Jairam was eased out of Bombay

I read Ameen Merchant's response to my letter. I do not wish to get into a tussle of words; however, I must make myself clear.

Vani Jairam's Hindi songs are extremely accented, and more so her songs for Raghunath Seth. And that's evident if you have listened to O ri bansuri and Tan hai veena. And in Marathi, Bengali, it's even worse. Recently I heard a programme of her Hindi bhajans and ghazals on TV. Lata, Asha, Geeta or Suman would have done them much better. I wish she'd stop spoiling songs like Mai maine govind leenu mol, Deewaron se sar takrana, and Ye shaam chandan si mehki.

Listen to Vani's songs for Madan Mohan and O P Nayyar. She was not able to accept the fact that her accent and loudness caused her to lose. Vani was never in the same league as Lata and Asha. Listen to Lata's Rasik balama or Ye zindagi usiki hai, Asha's Bekasi hadse jab guzar jaaye or Chain se humko kabhi - and then to Vani's Hindi songs. Take her Karna fakiri phir kya dilgiri or Bala main bairagan hoongi from Meera. The difference is obvious. You may even compare Vani's Kal raat more kanha sapne mein aaye to Lata's Bada natkhat hai re or Asha's bhajans for Jaidev. If she had been so good, Madan Mohan and O P Nayyar would have continued with her. Another example: Vani's Hum ko man ki shakti dena (a children's prayer) versus Lata's Tumhi ho mata pita tumhi ho or Asha's Sab mein ek hi aatma from Sant Dhyaneshwar . Lack of expression and extreme loudness is a salient feature of Vani Jairam's voice.

Raghunath Seth's songs with Lata and Asha are far better because of their superior rendition. So it is ridiculous to believe that Vani is even close to the two queens.

The question of politics is childish and immature. Especially because several journalists (and eminent ones like Raju Bharatan) have cited several instances of the generosity of the two sisters. Else ask Suman Kalyanpur, Geeta Dutt, K S Chitra, P Susheela, S Janaki, Suresh Wadkar, Padmaja Phenani (remember she sang Vajpayee's poems -- ask her who gave her the first break), Sunidhi Chauhan, Naushad Ali, Madan Mohan's family, Salil Chowdhury's family. Is this a short list?

Also, I don't think anybody can bribe a whole industry. If Madan Mohan, Naushad, Laxmikant Pyarelal, Kalyanji Anandji, Jaidev, S D Burman, R D Burman, Kanu Roy, Salil Chowdhury, Ravi, Khayyam, even Vasant Desai, Ghulam Mohammed, Rajesh Roshan and Ravindra Jain all preferred Lata and Asha, they were all bribed? Ridiculous!

And O P Nayyar chose Vani after his split with Asha (he never worked with Lata), but yet he couldn't do much with her. He admits that he missed Asha's brilliance!

Vani's voice lacks bhaavam; she lacks the sweetness of Lata's heydays ('40s to early '80s), and the sheer brilliance of Asha. And I would love Vani-sycophants to answer one question before they compare Vani to Asha or Lata -- why did Vani not become the Nightingale of the South? Why did she lose to Chitra, Janaki and P Susheela?

Maybe the very fact that Ameen used a personal attack on me reveals something? Ask Vani how many Tamil songs she has sung in the past 10 years. Music directors prefer more expressive singers. Else watch her bhajan programmes. Try the Kabir bhajans Ho moko kahan to dhhoonde re bandhe or Naam rat laagi as examples of expressionless, stereotypical singing and bad accent.

Lata and Asha have defined playback singing in Indian film music. Even Susheela and Janaki admit it candidly. Seerkazhi Govindarajan and Pandit Jasraj, Shivkumar Sharma and Sajjad Hussain, M S Subbulakshmi and Lalgudi Jayaraman, among several others, have proclaimed that the divinity of Lata's voice is something no one has matched. Imagine M S Subbulakshmi herself saying that!

Also, I would love Mr Ameen Merchant (who sent me a nasty e-mail under a pseudonym -- anyway that's a separate issue) to stop using words like 'monopoly' against noble people. Or please convince me that the several references I have cited are wrong. Also I would love Mr Ameen Merchant (and whatever other names he/she uses) to stop parrotting the same phrases again and again.

Do not try to scare people with a long list of people with whom Vani has worked. Most of those, and several more, have worked with Lata and Asha and even called them the greatest singers in the North! That includes Raghunath Seth and Ravi Shankar and Kumar Gandharva. (By the way, Ravi Shankar turned to Vani Jairam ONLY because Lata refused to sing for Meera ).

And stop dragging people into character debates. There are better ways to waste your time.

Interssting:

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

RIDING A WAVE OF SUCCESS AFTER A SHORT WHILE

1949 saw the release of four films. Barsaat, Andaaz, Dulari and Mahal. The songs of all four films were runaway hits particularly Aaega Aanewaalaa from the last mentioned., By 1950 the Lata wave had changed the Industry. Her high-pitched singing rendered obsolete the heavy basy nasal voices of the day. Only Geeta Dutt and to a certain extent Shamshad Begum survived the Lata wave. Asha Bhosle too came up in the late 1950s and the two sisters were the queens of Indian playback singing right through to the 90s.

Though Lata sang under the baton of all the top composers barring O.P. Nayyar and with all the top playback artistes of the day, special mention must be made of her work for C. Ramchandra who made her sound her sweetest and Madan Mohan who challenged her voice like no other music director. The 1960s and 70s saw Lata go from strength to strength even as there were accusations of her monopolizing the field.

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

THE MANGESHKARS

It is the fortune of the Sangli that the renowned Mangeshkar family were residents of Sangli for 14 years. The place where they resided is still known as 'Dinanath Chowk'. Dinnath Mangeshkar and Balawant Natak Mandali staged various sangeet plays like 'Manapman', 'BhavBandhan', 'Soubhadra' and many. later with advent of family he had to close down his drama company. He tried his hand in cinema but the picture was flopped and he was in big financial problem. He died at the age of 42 only.

But his 5 children kept his name alive. Asha, Usha and Hridayanath were born in Sangli. All 5 childrens of Dinanath are excellent singers. Hridayanath is also music director. Lata Mangeshkar sung thousands of songs in almost all India languages. She is still lending her voice to young heroines. Asha Bhosale in her 60's captured the heart of youngsters with her pop songs. Lata Mangeshkar and Asha Bhosale received numerous awards. Lata has recently honored with BHARAT RATNA Award and Asha Bhosale with Dadasaheb Phalke Award. on 26 Feb 2000, the Mayor of Sangli Shri Suresh Patil brought the Mangeshkars together on the centenary celebrations of Dinanath Mangeshkar and Mangeshkar were felicitated in Sangli

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

THE MANGESHKAR'S FAMILY

LATA MANGESHKAR
ASHA BHOSLE
USHA MANGESHKAR
MEENA MANGESHKAR
HRIDAYANATH MANGESHKAR

THEY ALL DO SHARE SOME PART OF SINGING: BUT WE ARE ONLY SPOTLIGHTING

LATA MANGESHKAR

A TRIP DOWN MEMORY LANE WITH:

LATA MANGESHKAR

Little is known about Meena Mangeshkar;

The rest is very talented: