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LATA MANGESHKAR: PAGE 2

However Lata's reign was not always a smooth one.  There was the well known professional rivalry with her sister Asha Bhosle.  For some years she would not sing with Mohd. Rafi due to a long standing dispute over royalties.  For some years she would not work with the music director S.D. Burman.  During the peak of her career, she had a tremendous political clout within the film industry and is known to have exercised this freely; this created ill will in many quarters.

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"I declined, because there was no time to rehearse," says Lata Mangeshkar Reminiscing about the song that continues to resound at patriotic celebrations in the country, veteran singer Lata Mangeshkar says she had initially refused to be a part of it.

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This song is a tribute to honour the sacrifices of the gallant Indian Jawans (infantrymen) who in the 1962 Sino-Indian War fought to the last man and the last round on the icy desolate peaks of the Himalayas with obsolete bolt-action Lee-Enfield rifles against the assault rifles, heavy machine guns, mortars and artillery of the People's Liberation Army of China.

SINGER: LATA MANGESHKAR

MUSIC :  C RAMCHANDRA

LYRICS:  KAVI PRADEEP

AI MERE WATAN KE LOGON:

https://www.youtube.com/watch?v=sdyPozsx_6M#t=29

AI MERE WATAN KE LOGON 

http://www.mastimag.com/download.php?song_id=41376

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In the latter half of the 50's (1955-1959) we saw continued runaway hits for Lataji.
With her successes in the late 40's (we documented eighteen songs) and those in the early 50's (we have also documented 20 songs) we have seen that her rendering of continued "hits" amazingingly catapulted her career to the top, she kept that position throughout the latter part of the 50's with Songs like:

(1) Jeewan ke safar may rahi................(Muninji 1955)

(2) Mera Salaam Leja........................(Udan Khatola 1955)

(3) Nagri Nagri Dware Dware.................(Mother India 1957)

(4) O Mere Lall Aja.........................(Mother India 1957)

(5) Duniya may Hamare.......................(Mother India 1957)

(6) Chand Phir Nikla........................(Paying Guest 1957)

(7) Ai Malik Tere Bandhe Hum................(Do Akhen Bada Hath 1957)

(8) Baje Damaroo Baje Damaroo...............(Kath Putli 1957)

(9) O Raat kay Musafir......................(Miss Mary 1957) with Rafi

(10)Yeh Hasraton Ki Daag....................(Adalat 1958)

(11)Meri Man ka Bawra Panchi................(Amar Deep 1958)

(12)Aaja Re Paradisi........................(Madhumatti 1958)

(13)Tera Jaana..............................(Anari 1959)

(14)Bhaiya Mere Raakhi ko Bandhan...........(Chiti Bahen 1959)

(15)Lagay Chutayna ab Tu Sanam..............(Kali Topi Lall Rumal 1959)

(16)Rasik Balama............................(Chori Chori 1956)

(17)Hum Pyar Ne Wale Jalne Ko...............(Jailor 1958)

(18)Bindra Ban Ka Krishna Kanhaiya..........(Miss Mary 1957)

(19)Ah Laut Ki Aja Mere Meet...............(Rani Roopmati 1957)

(20)Aplam Chaplam...........................(Azad 1955) with Usha Mangeshkar*

*In the Late 80's I was very Lucky to attend the Madison Square Gardens with Lata Mangeshkar in Concert, and this song was performed by Lataji and Ushaji, very good renditions of this one; overall performance was one in a lifetime. Ofcourse the crowd gave them standing ovation.


We have now seen what makes Lata Mangeshkar what she is today, if we thought that the 40's were good, then we have seen that the 50's were better.

Could we select another 20 for the Glorious 60's, I doubt wether? definately we will have to look at about the least 50

Coming up later with the list for the "Glorious Sixties"

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LATA MANGESHKAR IN THE 60'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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LATA MANGESHKAR IN THE 60'S (HITS AFTER HITS)

FOR LATAJI, SO MUCH WERE HAPPENING IN THE 60'S; SHE WAS RECORDING HITS AFTER HITS, THOSE GEMS THAT SHE HAD GIVEN US RAN INTO MAYBE HUNDREDS TO NEARLY THOUSANDS; IF WE WERE TO LIST ONLY TWENTY.....THIS WILL BE A DISADVANTAGE SO WE HAVE DECIDED TO LIST THIRTY OF THOSE GEMS FOR THE PERIOD 1960 TO 1964; AND THEN ANOTHER THIRTY FOR PERIOD 1965-1969, SEE IF YOU CAN RECOGNISE YOUR FAVOURITE

(1) Zindagee Bhar Nahi Bholenge...........(Barsaat KI Ek Raat 1960)

(2) Teri Rahon May Khadi Hain.............(Chaalia 1960)

(3) Baje Payal Chun Chun..................(Chaalia 1960)

(4) Mohobat Ki Jhooti Kahani Pe Roye......(Mughal E Azam 1960)

(5) Pyar Kiya Tu Darna Kya................(Mughal E Azam 1960)

(6) Ajeeb Daastaan Ye Hai.................(Dil Apna Aur Preet Paraye 1960)

(7) Dil Apna Aur Preet Paraye ............(Dil Apna Aur Preet Paraye 1960)

(8) Mera Dil Ab Tera O Sajna..............(Dil Apna Aur Preet Paraye 1960)

(9) O Saajana Barkha Bahaar Aayi..........(Parakh 1960)

(10)Ehsaan Tera Hoga Mujh Par.............(Junglee 1961)

(11)Ja Ja Ja Mere Bachpan.................(Junglee 1961)

(12)Kaashmir Ki Kali Ho Main..............(Junglee 1961)

(13)Kabhi Tu Milegi Kahi Tu Milege........(Aarti 1962)

(14)Kahin Deep Jale Kahin Dil.............(Bees Saal Baad 1962)

(15)Sapne Suhane Ladakpanke...............(Bees Saal Baad 1962)

(16)Mere Dil Kabhi Tu Koi Ayega...........(Main Chup Rahongi 1962)

(17)Tumhe Ho Mata.........................(Main Chup Rahongi 1962)

(18)Aap Ki Nazron Ne Samjha...............(Anpadh 1962)

(19)Yeh Hariyali Aur Ye Raasta............(Hariyali Aur raasta 1962)

(20)Aye Meray Dilay Nadaan................(Tower House 1962)

(21)Wo Dil Kahaan.........................(Bharosa 1963)

(22)Takdeer Ka Fasana.....................(Sehra 1963

(23)Mere Mehbood Tujhe....................(Mere Mehboob 1963)

(24)Mera Naam Rita Christina..............(April Fool 1964)

(25)Lag Ja Gale...........................(Woh Kaun Thi 1964)

(26)Naina Bharse Rhimjhim Rhimjhim........(Woh Kaun Thi 1964)

(27)Tumko Hamaree Umar Lagi Jaye..........(Ayee Milan Ki Bela 1964)

(28)Main Kamsin Na Hoon...................(Ayee Milan Ki Bela 1964)

(29)Budha Mil Gaya........................(Sangam 1964)

(30)Aap Kyon Royen........................(Woh Kaun Thi 1964)

LATA MANGESHKAR FOR THE PERIOD 1960-1964:

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Lata Mangeshkar celebrating her 77th birthday by cutting a cake at Khandala near Pune on the night of September 28, 2005.

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LATA MANGESHKAR IN THE 60'S (HITS AFTER HITS)

In the latter part of the Sixties, we can say with a certain degree of authority that as difficult as it was to list thirty hits songs in the many hundreds/thousands that Lataji offered was quite impossible, so we had to settle for the least we can, not thirty but forty six and this was for the period 1965 -1969.

Some of us can recalled many of these Hits Songs of Lataji, as they were gems in a period where she was Queen of the Bollywood Industry of Playback Singing. The competitions were quickly dwindling as Lataji rules the roost with hits like:

(1) Ajee Rooth Kar Ab....................(Arzoo 1965)

(2) Bedardi Balama Tujhko................(Arzoo 1965)

(3) Gumnaam Hai Koi......................(Gumnaam 1965)

(4) Tumhe Mere Mandir**..................(Khandaan 1965)

(5) Aaj Phir Jeene Ke Tamana.............(Guide 1965)

(6) Saiyan Be-Imaan .....................(Guide 1965)

(7) Ek Tu Jo Mila........................(Himalaya Ki Godmein 1965)

(8) Pardesiyon Se Na Akhiyon Milana......(Jab Jab Phool Khile 1965)

(9) Yeh Sama Sama hai Pyar Ka............(Jab Jab Phool Khile 1965)

(10)Humsafar Mere Humsafar...............(Purnima 1965)


1965-1969 continues.......

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LATA MANGESHKAR IN THE 60'S (HITS AFTER HITS)

1965-1969 continues.......

(11) Baharon Mera Jeewan Bhi Sanvaro...........(Aakhri Khat 1966)

(12) Dheere Dheere Machal......................(Anupama 1966)

(13) Kuch Dil Na Kaha..........................(Anupama 1966)

(14) Phir Tere Kahani Yaad Aai.................(Dil Diya Dard Liya 1966)

(15) Lo Aagai Unke Yaad........................(Do Badan 1966)

(16) O Mere Shah e Khubaan.....................(Love In Tokyo 1966)

(17) Sayonara Sayonara.........................(Love In Tokyo 1966)

(18) Tu Jahaan Jahaan Chalega..................(Mera Saaya 1966)

(19) Nainon May Badra Chaye....................(Mera Saaya 1966)

(20) Rahen Na Rahen............................(Mamta 1966)

1965-1969 continues.......

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LATA MANGESHKAR IN THE 60'S (HITS AFTER HITS)

1965-1969 continues.......

(21) Aaja Piya Tu He Pyar Doon...............(Baharon Ki Sapne 1967)

(22) Kya Janoon Sajan........................(Baharon Ki Sapne 1967)

(23) Dekho Dekhoji...........................(Farz 1967)

(24) Mera Naan Hain Jhameela.................(Night iIn London 1967)

(25) Kya Jawaab Den..........................(Bahu Begum 1967)

(26) Rula Ke Gaya Sapna Mera.................(Jewel Thief 1967)

(27) Tuhe Sawariyaan Na He...................(Milan 1967)

(28) Raat Aur Din Diya Jale..................(Raat Aur Din 1967)

(29) Jab Jab Bahar Ayee......................(Taqdeer 1967)

(30) Na Tum Bewafa Ho........................(Ek Kali Muskai 1967)

1965-1969 continues.......

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LATA MANGESHKAR IN THE 60'S (HITS AFTER HITS)

1965-1969 continues.......

(31) Main To Pyar Se Tera.............(Saathi 1968)

(32) Mera Pyar Bhi Tu Hai.............(Saathi 1968)

(33) Mere Jeewan Saathi...............(Saathi 1968)

(34) Ye Kaun Aya......................(Saathi 1968)

(35) Chandan Sa Badan.................(Saraswati Chandra 1968)

(36) Milti Hai Zaindagi Main..........(Aakhen 1968)

(37) Waadiyon Mera Daaman.............(Abhilasha 1968)

(38) Mera Naam Hai Chameli............(Raja Aur Runk 1968)

(38B Tu Kitne Achhe Hai.............(Raja Aur Runk 1968)

(39) Mere Paas Awo Nazar To...........(Sanghursh 1968)

(40) Rama Duhai ......................(Aaya Saawan Jhoom Ki 1968)

1965-1969 continues.......

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LATA MANGESHKAR IN THE 60'S (HITS AFTER HITS)

1965-1969 continues.......

(41) Bndiya Chamkegi.................(Do Raaste 1969)

(42) Sajna Tere Bina Sajna...........(Raja Saab 1969)

(43) Chanda Hai Tu Mere Suraj Hai Tu...(Aradhana 1969)

(44) Tere Aankhon Ke Siva Duniya.......(Chiraag 1969)

(45) Thandi Thandi Hawa................(Prince 1969)

(46) Kitne Akele Kitne.................(Talash 1969)

This completes our choice for hits done by Lataji for the Sixties..........impressive eh, no doubt a total of 46; Maybe there could have been more, had we taken the time and made a more insight search.

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LATA MANGESHKAR IN THE 60'S (HITS AFTER HITS)

As the 1960s dawned, Lataji went from strength to strength, still unquestionably the numero uno, and formed formidable teams with music directors like Madan Mohan and Roshan. The Nargis-Madhubala-Geeta Bali generation may have been succeeded by a new generation of heroines like Sadhana, Asha Parekh and Sharmila Tagore, but Lata was a constant.

She never made any compromises. With her squeaky clean image, Lataji was steadfast about choosing the songs she wanted to sing. If she sang the rare cabaret number like Aa jaane jaan, it was more to explore the limits of her versatility. Further, she dared to disagree with giants like Raj Kapoor, Mohammed Rafi and S D Burman. For a while, they did not record with Lata. That did not affect Lata's career at all. Fortunately for film music, they soon made up with Lata.

Besides her hits, Lata also won critical acclaim for her rendition of maestro Pandit Ravi Shanker's tunes in Hrishikesh Mukherjee's Anuradha. Then Prime Minister Pandit Jawaharlal Nehru was famously moved by Lata's rendition of the non-film patriotic number Aye mere watan ke logon, and she was awarded the Padma Bhushan in 1969.

N.B As we had seen with the songs selected in the 60's Lataji was unstoppable,
if she was good in the late 40's then in the 50's she was better, but in the glorioulsy 60's she was the best......she was phenominal.

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SLOW POISON FOR LATAJI IN THE 60'S

In the early 1962 she was given slow poison. The doctor was called. He came with an x-ray machine to check her, and gave her an injection to render her unconscious, because She was in pain. For three days, She had a close brush with death. After ten days, she began to recover. The doctor told her that somebody gave her slow poison. The slow poison incident rendered her very weak. She was bed-ridden for nearly 3 months. The most surprising thing was that soon after the incident, the cook who used to work at Lataji's home, suddenly vanished without taking his wages. The cook had earlier worked with some Bollywood people. Bollywood lyricist Majrooh Sultanpuri used to regularly visit Lataji at her home daily at 6 pm. Majrooh used to first taste the food and then allow Lata to eat. He used to recite poems and stories to keep Lata in good humour

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LATA MANGESHKAR DUETS

Did you know that Lata Mangeshkar sung 407 Duets with Mohd Rafi?

Would be interesting to know how many duets Lataji sung with Mukesh Chand Mathur?

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LATA MANGESHKAR IN THE 1970'S

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).

As we had prevoiulsy pointed out that she was good in the late 40's then in the 50's she was better, but in the glorious 60's she was the best......she was phenominal.

Now we will have to delve into the 70's to find out how Lataji fares:

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LATA MANGESHKAR IN THE 1970'

quote:

Lata sang a variety of songs for R D Burman, including the classical song from Amar Prem (1971),

 

Raina Beeti Jaaye,

 

Indeed a gem from the 70's

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LATA MANGESHKAR IN THE 1970'

In the seventies and early eighties, Lata's position at the top was unshakeable as the three leading music directors of the period, Laxmikant Pyarelal, R D Burman and Kalyanji Anandji, lavished their best on her. Whether it was Satyam Shivam Sundaram, Sholay or Muqaddar Ka Sikander, Lata was a common factor.
Lata's Royal Albert Hall concert in London paved the way for other shows.

I was lucky to own this Disc, and it was palyed so many times; Will have to get a new CD of this recording.

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LATA MANGESHKAR IN THE 1970'

In 1974, the cultural parallel to workplace ˜multiculturalism' stretched as far as Lata Mangeshkar playing live at the Royal Albert Hall, London. The event was hosted by Michael Foot, then Minister of Employment. A quote from his speech is ironic given the state of South Asian workers under the then Labour administration:12 ˜Lata Mangeshkar told me just before coming up on the platform that she arrived in this country just as the lights were going up in London and the country was returning to work (clears throat, muted applause), so that her arrival here was a symbol of the future.

In 1974 Lata Mangeshkar songs were backed by the London Phil Harmonic Orchestra, and listening to the recording, it was indeed a "gem"

Unbelievable Musical Blends.

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LATA MANGESHKAR IN THE 1970'

We will try to get in the Recordings from the Royal Albert Hall

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LATA MANGESHKAR IN THE 1970's

LOS ANGELES, CA - Renowned playback singer Lata Mangeshkar has left her country but twice, first in 1974 for performances in London at the venerable Royal Albert Hall in a benefit concert for the India League, and a year later in a concert tour of major North American cities in both Canada and the United States.

These concerts resulted in a series of spectacular box-office successestwo sold out shows in New York for a total of 8,000 persons, and in Toronto where another sellout occurred, drawing 14,400 enthralled listeners.

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LATA MANGESHKAR IN THE 1970's

As we had prevoiulsy pointed out that she was good in the late 40's then in the 50's she even was better, but in the glorious 60's she was the best......she was phenominal

quote:

Now we will have to delve into the 70's to find out how Lataji fares:

 

Coming up next: Hits from the Seventies:

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LATA MANGESHKAR HITS IN THE 1970's

(1) Na Jiya Lage Na.........................(Anand 1970)

(2) Sajana Oh Sajana........................(Abhinetri 1970)

(3) Dharkan hai Dilke.......................(Abhinetri 1970)

(4) Sapera Bean Baja........................(Bhai Bhai 1970)

(5) Milo Na Tum To..........................(Heer Ranjha 1970)

(6) Mere Tamanaaon Ki Taqdeer...............(Holi Ayee Re 1970)

(7) Na Koi Umang Hain.......................(Kati Patang 1970)

(8) Tum Mujhay Yun Bhula Na Paoge...........(Pagla Kahin Ka 1970)

(9) Rangeela Re.............................(Prem Pujari 1970)

(10)Tere Karan Mere Karan Tere..............(Aan Milo Sajana 1970)

Continues............

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LATA MANGESHKAR HITS IN THE 1970's

(11) Jhilmil Sitaroon Ka Saawan................(Jeewan Mrityu 1970)

(12) Sanam Too Bewafa..........................(Khilona 1970)

(13) Dilbar Dilse Pyare........................(Caravan 1971)

(14) Jiya Na Lage Mora.........................(Budha Mil Gays 1971)

(15) Phoolon Ka Taaron Ka......................(Hare Rama Hare Krishna 1971)

(16) Rama Rama Gazab Ho Gawa Re................(Naya Zamana 1971)

(17) Wo Din Yaad Karo Wo Din...................(Wo Din Yaad Karo 1971)

(18) Kajraa Laga Ke Bindiya Saja Ke......(Jaal Bin Machli, Nrityu Bin Bijli 1971)

(19) Chalte Chalte.............................(Pakeezah 1971)

(20) Inhi Logon Ne.............................(Pakeezah1971)


Continues............

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HITS FROM THE SEVENTIES BY LATA MANGESHKAR:

(21) Mousam Hai Ashiquana...................(Pakeezah 1971)

(22) Thare Rahiyo oh Baake ...............(Pakeezah 1971)

(23) Khilte Hain Gul Yahaan.................(Sharmilee 1971)

(24) Main Aaya Tere Dware...................(Dharkan 1972)

(25) Bangle Ke Peeche*******................(Samadhi 1972)

(26) Aa Mere Saathi Aa......................(Chalia 1973)

(27) Aaj Socha Tu Aansoon Bhar Aay****......(Hanste Zakham 1973)

(28) Mere Bachpan Tu Jaa....................(Kacche Dhaage 1973)

(29) Ab Tu Hain Tumse.......................(Abhimaan 1973)

(30) Piya Bina Piya Bina....................(Abhimaan 1973)

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HITS FROM THE SEVENTIES BY LATA MANGESHKAR:

(31) Too Kya Jaane O Bewafa................(Haath Ki Safai 1974)

(32) Tere Mere Ishq Mein...................(Loafer 1973)

(33) Aeso Papi Saawan Ayo..................(Patthar Aur Paayal 1974)

(34) Chori Chori Chupki Chupki.............(Aap Ki Kasam 1974)

(35) Haay Haay Re Majboori.................(Roti Kapda Aur Makaan 1974)

Continues.........

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HITS FROM THE SEVENTIES BY LATA MANGESHKAR:

Still in the Seventies, we now look at the period 1975-1979:

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HITS FROM THE SEVENTIES BY LATA MANGESHKAR:

Still in the Seventies, we now look at the period 1975-1979:

(36) Dil Mein Kisse Ke Pyar.................(Ek Mahal Ho Sapni Ka 1975)

(37) Haan Jab Tak Hai Jaan..................(Sholay 1975)

(38) Abhi Abi Thi Dushman...................(Zakhmee 1975)

(39) Banake Kyon Begada Re..................(Zanjeer 1975)

(40) Yeh Raatein Nahi.......................(Julie 1975)

(41) Choti Say Umar Mein....................(Bairaag 1976)

(42) Ayegi Ayegi Ayegi......................(Jaaneman 1976)

(43) Tere Sang Pyar Mein....................(Nagin 1976)

(44) Jare Ja Oh Harjaee.....................(Kailcharran 1976)

(45) Mere Naina Saawan Bhadon...............(Mehbooba 1976)

Continues...........

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HITS FROM THE SEVENTIES BY LATA MANGESHKAR:

(46) Naam Gum Jayega.................(Kinara 1977)

(47) Main Tulsi Tere Aangan Ki.......(Main Tulsi Tere Aangan Ki 1978)

(48) Dil To Hai Dil..................(Muquaddar Ka Sikandar 1978)

(49) Koi Ayegaa Layega...............(Kartavya 1979)

(50) Ye Mulaquaat Ik Bahana Hai......(Khandaan 1979)

This closes the period of Lata Hits for the Period 1970-1979:

We wish to note that during the years of 1977 1978 1979........This was certainly a slowing down period for Lataji. There could have been many reasons, like for instance touring and performing concerts away from home:
However, to be accurate we need to take a closer look at the stats:

Personally I am of the opinion that the Sixties was indeed a better period in terms of quality of songs for Lataji.

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WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:

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HITS FROM THE EIGHTIES BY LATA MANGESHKAR:

In 1980s, Lata voluntarily cut down on her singing to allow new younger talent to come up.
In 1983, Lata once again worked with Khayyam for the movie Razia Sultan, singing the song Aye dil-e-naadaan.

Ravindra Jain, the blind composer who was given a big break by Raj Kapoor in Ram Teri Ganga Maili, got Lata to sing popular songs like Sun Sahiba Sun.

Ramlaxman was another new composer who worked with Lata in many Rajashri Productions movies, including Maine Pyaar Kiya, Hum Aapke Hain Kaun and Hum Saath Saath Hain. Maine Pyaar Kiya (1989) was Salman Khan's second film and set a record of sorts. The songs sung by Lata and S. P. Balasubrahmanyam became popular - Dil Deewana, Kabootar ja ja, Aaja shaam hone aai and the title song.

In late 1970s and early 1980s, Lata worked with the children of composers she had earlier worked with. Apart from Sachin and Rahul Dev Burman, Lata worked has worked with Chitragupta and his sons Anand-Milind, Roshan and his son Rajesh Roshan, and Sardar Malik and his son Anu Mallik. Rajesh Roshan's first film Julie had some numbers sung by Lata, including Bhool gaya sab kuchh (duet with Kishore Kumar) and Yeh Raatein Nai Puraani.

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HITS FROM THE EIGHTIES BY LATA MANGESHKAR:

We have pointed out the decline in the numbers of songs by Lataji for years 1977 1978 1979; and looking at the writeups of the 80's, we are being told that the reason for the slowdown were:-

In late 1970s and early 1980s, Lata worked with the children of composers she had earlier worked with. Apart from Sachin and Rahul Dev Burman, Lata worked has worked with Chitragupta and his sons Anand-Milind, Roshan and his son Rajesh Roshan, and Sardar Malik and his son Anu Mallik. Rajesh Roshan's first film Julie had some numbers sung by Lata, including Bhool gaya sab kuchh (duet with Kishore Kumar) and Yeh Raatein Nai Puraani.

Also it was stated that Lataji wanted to give newcomers a break......these reasons are acceptable, and most important it was graceful of Lataji to think in the way she did

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HITS FROM THE EIGHTIES BY LATA MANGESHKAR:

When Nazia Hassan  rattled Lata

Raju Bharatan

ON September 28, 2000, Lata Mangeshkar turns 71. And says she feels as young as those two digits reversed!

Lata Mangeshkar 'Going-on-17' is how ace composer Chitalkar Ramchandra viewed Lata when sweet on her. Lata was 26 when Chitalkar (Maze mohabbat ke aa rahen hain) Ramchandra envisioned her as sweet 16.

"You know what I found most rewarding in the way Lata came over in Aa jaa re pardesee?" Salil (Madhumati) Chowdhury (himself stuck on this supersinger) soliloquised in front of me.

"It was C Ramchandra seeking me out to congratulate me upon the fashioning of Aa jaa re pardesee. He was driving along when this melody fell upon his ears in a way that made him pull up short. 'I got the feeling that a 16-year-old was singing - and singing extra sweetly!' noted C Ramchandra."

"I have, in Aa jaa re pardesee," explained Salil to me, "used the seventh chord as basic melody, the chord of incompletion, symptomatic of 'desire unfulfilled' -- on Vyjayanthimala playing the apparition in Madhumati.

"The antaraa here was Lata's own suggestion. 'Pancham se shuru karte hain('We start from pancham), Lata said."

"Lata's integrity as a singer lay in the fact that she never ever suggested a single change of note when I composed for her," observed Salil. "But where it came to doing Aa jaa re pardesee, for the first and last time in my case, Lata made a suggestion - that we start from pancham.

"And it was a great suggestion, too. It made all the difference to the unfolding, on the screen, of Aa jaa re pardesee."

"As a tune, Aa jaa re pardesee, if you must know," added Salil, "has its unfolding origin in that piece of background music, composed by me to go with the sequence in Jagte Raho. In which Raj Kapoor, playing the vagrant, is very thirsty and asks for water."

HOW can we forget the Salilian Bhairav strains of Lata's Jaago Mohan pyaare stunner, accompanying the climax of that very sequence!

By the time Jagte Raho(1956) and Madumati hit the screen, Lata Mangeshkar had peaked as the unputdownable nightingale of the cinema in India.

Salil's Aa jaa re pardesee, in fact, was to win, for Lata Mangeshkar, the Filmfare Best Singer award (no separate honours, then, for female and male performer) -- in the year in which the citation was introduced -- 1958.

In less than a decade after that, the Padma Bhushan had been bestowed upon Lata Mangeshkar at the very young (for those times) age of 39. Today, at 71, Lata is the diva nonpareil.

WERE there, then, no serious challenges to Lata Mangeshkar in her long singing career? There were and there weren't.

In India, Lata just swept away all opposition. Runa Laila -- tele-emerging, blazing vividness, from Pakistan, on her 'packback' to Bangladesh -- did give Lata a fright. But our composers were too scared a tribe, then, to commission a 'foreigner' to mount a challenge to Lata's suzerainty.

Yet there was a happening in Lata's life and times that made a mere teenager a near despair for her. That teenybopper was Nazia Hasan.

AS I was with the Hasans in their suite in Mumbai's Taj Mahal Hotel (facing the Gateway of India), along came a wedding band playing the song that was the rage at the time: Aap jaisa koi meree zindagee mein aaye, to baat ban jaaye, baat ban jaaye.

"Mummy, my song, my song, they're playing my song!" exclaimed, ecstatic, the 13-year-old Nazia, as she rushed to the balcony for a glimpse.

That is how naive Nazia was -- when she made waves all over the subcontinent -- as the Baat Ban Jaaye Girl. In fact, as a daisy-fresh beauty did Nazia come (at the Old Lady of Boribunder) into the editor's cabin at The Illustrated Weekly Of India.

M V Kamath, at the time (1981), was the magazine's editor. And even the sepoys at The Weekly (Manohar and Jaywant among them) insisted upon being in the editor's cabin, as Nazia delighted us with a spot rendition of Aap jaisa koi.

Nazi she was to her friends - but she was no Hitler. So it was no threat at all that Nazia posed to Lata at her zenith.

But facts are facts.

AND the unvarnished truth is that Nazia Hasan's Aap jaisa koi meree zindagee mein aaye stayed put, in the top slot of Ameen Sayani's Binaca Geetmala, for (believe it or not) 14 weeks running!

There was no way even the velvet voice of Lata could scale down Nazia during that spell. Not since Lata herself had occupied an enviable slot in the same Binaca Geetmala for one full year before the film's release, with her Mera salaam le jaa charmer from Naushad's Uran Khatola (1955), had we witnessed a Binaca phenomenon like Nazia.

HOW Nazia Hasan's Aap jaisa koi took shape, in tune with her petite physique, is a story in itself.

Feroz Khan, as the maker-director of Qurbani (1980), and as a family friend, encountered Nazia, suddenly, in London and took an instant fancy for her voice.

The music directors of Qurbani were Kalyanji-Anandji. Without as much as a by-your-leave in the case of that top-selling duo, Feroz Khan got unknown Coorgi Biddu to tune (without any final wording) the song in London.

Next, the spool-tape cassette of the number was quietly sent to lyricist Indivar in Bombay -- with instructions to 'write to tune'!

Indivar was a pastmaster in the art. He came up with words that sat pat on Biddu's tune -- as Aap jaisa koi meree zindagee mein aaye.

Kalyanji-Anandji did not like it but had to lump it, as the song -- swiftly released well before the advent of Qurbani -- proceeded to make unprecedented waves in Ameen Sayani's Binaca Geetmala.

I met Ameen at the time it all happened and asked him about what ranked as the most spectacular Binaca breakthrough, in a long, long time, by a fresher-singer.

Aap jaisa koi had topped the Geetmala four times by then. Ameen (as the one who got Pak stripling Nazia Hasan, as easy on the eye as the ear, to 'hit parade' her talent) said to me:

"It's perhaps not so much a breakthrough as a fluke -- Aap jaisa koi. Either it's a fluke," went on Ameen, "or it's the harbinger of a new trend. Nothing else can explain the fact that a Pak girl, who's totally unknown in India, should achieve such super success."

What Ameen Sayani, for all his seasoning, momentarily forgot is that a popular voice knows no nationality.

Ameen, therefore, was nearer the mark when he went on to wonder if the Aap jaisa koi disco number "is perhaps the first Hindi film song the essence of which is Western, not Indian."

Following the runaway success of the number even before Qurbani's release, Nazia Hasan became a star overnight in London (where she was still schooling).

SHE was invited by the BBC to feature in radio and TV programmes like Naya Jeevan; and being asked out in Birmingham, Southall and other Asian pockets in England "to sing Aap jaisa koi in person".

This Polydor disc, we were then warned, "might have been pressed afresh by an illegal company, in Singapore, and from there found its way to Pakistan, where Nazia has become a household name on its strength".

THE fact that this was the first stereophonic recording to emerge on the Geetmala scene also clearly counted. In fact, the number came to Indivar already trendily orchestrated by Biddu -- with dummy words!

And how Nazia hit the high spots with the Indivar catchline, Aap jaisa koi meree zindagee mein aaye - the punch in the song-lyric lying in: Baat ban jaaye, baat ban jaaye.

Something so patently Western, in form and content, had not been heard on Binaca before.

A parallel was drawn with Priti Sagar's all-time Julie hit, My heart is beating, as scored by Rajesh Roshan. But, then, My heart is beating had made it to the top, in the Geetmala, but twice.

With just one hep disco number, Nazia Hasan had thus overtaken Runa Laila, too, in the Geetmala!

Runa's Kalyanji-Anandji-scored Ek se badhkar ek had finished just twice at the very top in the Geetmala.

Runa had gone one better as she dueted with Bhupendra in Jaidev's Gharaonda in a mood of: Do deewane shehar mein. This one had made it thrice to Binaca Top - ultimately a full '11 Top Notches' behind 14-times number-one: Aap jaisa koi.

WHERE, then, does Lata Mangeshkar come into all this? Well, Lata's film Aasha heart-stealer, picturised on Mohsin Khan's wife-to-be, Reena Roy, Sheesha ho ya dil ho aakhir toot jaata hai, just could not catch up with Nazia's Aap jaisa koi for 14 weeks running, hard as it tried!

The year 1980 in Hindi film music thus belonged to a Pak singer - a slip of a girl who came to India via England to capture subcontinental hearts.

Aap jaisa koi actually set a disco trend that came to be picked up by Usha Iyer, going on Kalpana Iyer, as Hari Om Hari (in Pyaara Dushman).

Feroz Khan's Qurbani came presold on the strength of the spot hit Nazia Hasan had turned out to be. Before that, Qurbani had been just another movie release on the cards -- until Nazia hit the big time.

Nazia's single song-craze ensured that Qurbani came to be proclaimed the box office hit of 1980. As highly disappointing though the vacuous Zeenat Aman might have been viewed to be, ultimately, in the way she enacted the number on the screen.

IN the Binaca Geetmala year's final count, however, Lata's Sheesha ho ya dil ho (from J Om Prakash's Aasha) just about pipped Nazia's Aap jaisa koi at the post.

Laxmikant-Pyarelal, as the composers of Lata's Sheesha ho ya dil ho, held up this happening as the triumph of Tradition over Modernity!

For all that, Hindustani film music was never the same after Nazia, maybe accidentally, invaded it.

Even today, I would like to know, from my dear friend Ameen Sayani, how discreetly he contrived to see that Lata just nosed ahead of Nazia!

I met Nazia and her parents at the same Taj -- after she had become the captive voice in India. Nazia was a year older and lovelier by then.

The Hasans told me that her marriage had been fixed. Was it this marriage that went so tragically wrong?

How keen was Nazia to continue to sing in Indian films! But there was no way either Nazia Hasan or Runa Laila could punch a hole in the wall of the Establishment.

Nazia Hasan, in the circumstances, did something else. She set -- well ahead of its times -- the personal-album trend in India.

"Has the dimension of success you've had with Aap jaisa koi changed you?" was the first query I put to Nazia, as I met up with her in India.

"You have me in front of you as before, sir. Do you see a change?" Nazia asked -- in that husky voice that had fired the imagination of India's eighties' youth.

Until Nazia 'arrived', the pride of place, in Ameen Sayani's Binaca Geetmala, had belonged to Hemlata -- her Aankhiyon ke jharokhon se title-tune having been hailed as the Most Popular Song of The Year 1978.

Of course, Hemlata is Hemlata. Lata is Lata. Nazia is Nazia. It is not a comparison I am attempting -- no way.

I am merely taking timely note of one of the many minor hurdles, encountered by the Melody Queen, in her 53 years at the top.

IS it preposterous to set up a mere 13-year-old against Lata Mangeshkar?

Well, Lata herself never took any challenge, however youthful and distant, anything less than seriously.

After all, Lata Mangeshkar herself had been but 13 years of age when she first sought a career in films. And, by a Pakistani singer, Lata perhaps could remember only one movie number, vying with her innumerable hits, for Binaca Geetmala attention.

My rewind reference is to the latter half of the 1950s, when Pakistan's Iqbal Bano held us spellbound in the Binaca Geetmala -- for weeks on end -- with her resonant rendition of the Qatil Shefai-written solo tuned by Inayat for a film, Qatil.

The solo was: Ulfat kee nayee manzil ko chala, Tu baahen daal ke baahon mein, Dil tod ne waale dekh ke chal/Hum bhee to paden hain raahon mein.

Even this one, from a Pak film (Qatil), could be played by Ameen Sayani, in the Binaca Geetmala, only because its 78-rpm disc had been pressed in India!

THE Nazia disc, by contrast, came to be pressed in London. As a schoolgirl, as Aap jaisa came her way, casually did Nazia Hasan put it over. 'Bowled over' did she have the youth of India with her elfin elegance.

Where else but in a level playing field like films could a mere 13-year-old vie for vocal attention alongside the stupendous Lata Mangeshkar?

The writer is author of Lata Mangeshkar: A Biography;UBSPD; Rs 295

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A follow up to the above article:

Millions of Asians around the world struck with disbelief mourned when they heard the news that Nazia had succumbed to her illness. Nazia passed away on August 13th 2000 in a London hospital leaving behind a three year old son.

The Government of Pakistan has conferred upon Nazia Hassan the highest civil award Pride of Performance. The award was presented to Mrs. Muniza Basir, mother of Nazia Hassan by the President of Pakistan General Pervez Musharraf Sahib in an official ceremony held at Islamabad on 23rd March 2002.

Was she a threat to Lataji?

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The Eighties will not be as fulfilling as the Sixties and Seventies but surely there are some memorable tunes, of which we shall present:

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80's

During the eighties, Mangeshkar cut down her workload to concentrate on her work abroad. She still had huge industry hits in the movies: Dil to Paagal Hai (1997), Maachis (1997), Hum Aapke Hain Kaun (1994), and Dil Se (1998). She has been the voice of actresses forty years younger than her. Even though no young new artist has been able to match her talents, some say that Mangeshkar has monopolized the field for too long. Even still, producers of the industry still find this legend and ask her to sing their new songs. She has become an Indian Institution! She has created over 30,000 solo, duet, and chorus-backed songs recorded in twenty Indian languages between the years of 1948 to 1987, and that number has probably reached over 30,000 + today!

 
AMITABH, LATAJI, YASH CHOPRA, DILIP KUMAR
LEGENDS IN THEIR OWN RIGHTS:

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HITS FROM THE EIGHTIES BY LATA MANGESHKAR:

The Eighties will not be as fulfilling as the Sixties and Seventies but surely there are some memorable tunes, of which we shall present:

Indeed the performances of Lata Mangeshkar in the Eighties were although not what one would expect however there were still popular song being dished out, some of those song were:-

(1) Hum Bane Tum Bane Ek Duje..........(Ek Duje Ke Liye 1981)

(2) Mere Naseeb Main.........................(Naseeb 1981)

(3) Tera Saath Hai To........................(Pyaasa Saawan 1981)

(4) Neela Aasman So Gaya.......................(Silsila 1981)

(5) Na Jaane Kya Hua...........................(Dard 1981)

(6) Mara Thumka................................(Kranti 1981)

(7) Tune Oh Rangeela Jaisa.....................(Kudrat 1981)

(8) Agar Tum Na Hote....................(Agar Tum Na Hote 1983)

(9) Pardes Jake Pardesia.......................(Arpan 1983)

(10)Ay Dilay Nadaan............................(Razia Sultan 1983)

(11)Jab Hum Jawaan Honge.......................(Betaab 1983)

(12)Dil Deewan Bin Sajna Ke............(Maine Pyar Kiya 1989)

(13)Kabootar Ja Ja Ja Kabootar.......(Maine Pyar Kiya 1989)

(14)Mere Hathon May Nau Nau....................(Chandni 1989)


The number of songs for Latji especially for the latter part of this decade, that is the Eighties; were dismal but we should understand that she wanted to give breaks to the new comers of whom Alka Yagnik, Hemlata, Sadhana Sargam, Anuradha Paudwal, and Kavita Krishnamurthy all bebefitted a lot during Lata's absence.