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.



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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

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."

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

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


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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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:

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

1949 saw the release of four films. Barsaat, Andaaz (1949) , Dulari and Mahal. The songs of all four films were runaway hits particularly Aaega Aanewaalaa from the last mentioned.,[/B] 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.


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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

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.

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The Mangeshkar's family

LATA MANGESHKAR
ASHA BHOSLE
USHA MANGESHKAR
MEENA MANGESHKAR
HRIDAYANATH MANGESHKAR

Will only spotlight Lata:

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Little is known about Meena Mangeshkar;

The rest is very talented:

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

MUJRAS BY LATA

Broadly the mujras can be divided into two categories - one, where the heroine is a tawaif, or becomes one - here, expect some highly philosophical songs on love and life; two, where the tawaif is a mere side-prop to tittilate the villain (or a wronged hero) , most such songs will be more noise than substance - of course the two categories overlap, and exceptions exist in both.

Salaam-e-ishq meri jaan zaraa kabool kar lo - Muqaddar Ka Sikandar - the mother of all mujras in terms of popularity and reach. Rekha and Amitabh scorches on-screen while Lata and Kishore ignite with their sparkling vocals. As I said, Lata's voice gave a gilt-edged glitter to Rekha's, giving life to her love and passion which transcended the dirty limits of her profession.


Chalte chalte yunhi koi mil gaya tha Thaare rahiyo o baanke yaar / Inhi logon ne - Paakeezah - outstanding music in all, lovely songs, and the best movie on the life of a nautch girl. And thank God for ˜thaare rahiyo' without which antakshri gets impossibly stuck if you get the letter ˜tha˜. The beats in ˜Chalte chalte' are mesmerising while Lata's voice is impeccably thoughtful and seductive at the same time, as required by the song's mood!

Jab pyaar kiya toh darna kya - Mughal E Azam - A song that needs no introduction or description - its an all time any time hit!


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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:



The Mangeshkars: see if you know who is who:

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I promised not to start songs as yet, at least after we finished this page; but this is so important at this stage, that I felt that I should share

Lata Mangeshkar, Meena Mangeshkar and Usha Mangeshkar; blend voices to makes you remember:

Mother India:...........Duniya May Hamari
http://www.indianscreen.com/mp3/Lata/MotherIndia-Lata,U...na-DuniyaMeinHum.mp3

I wonder why Asha did not join:

Will edit this in a day or two:

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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


.[/QUOTE]


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 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.


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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

Lata took her audience on a nostalgic trip when she narrated her first encounter with Kishore Kumar, who was on the same local train as Lata, sitting opposite her. Both of them did not know each other. And Lata said she thought he was following her. When he "followed" right into the studio where she was to record, Lata ran upto music director Khemchand Prakash to complain about this "boy", only to be told that he was Kishore Kumar, the brother of the then superstar, Ashok Kumar.

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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).

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:

TO FINISH OFF THIS DECADE WE WILL LIST ANOTHER THIRTY OF HER HITS FOR 1965-1969:

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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

LATAJI RECENTLY CELEBRATED HER 78: THERE IS PICTURE IN OUR FILES SHOWING THIS OCCASION:

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Asj bhai, these are some beautifuly excerpts of Lataji's I am patiently waiting for song links to listen to

quote:

Originally posted by Rosita:
Asj bhai, these are some beautifuly excerpts of Lataji's I am patiently waiting for song links to listen to

I myself cannot wait to present some 200 songs from Lataji with translations. The waiting is worth the while believe me. And soon as I am ready, I will collect all the favourites from everyone for our list.

It is a tedious task in which we are doing the write up of hits by the decades like for instance we are finished with the 40's and 50's we are halfway done with the 60's then I will moved to the 70.s 80's and 90's, then 2000; then the actual linkages of songs.

We are getting there, this will be an extented thread, even if we have to go over 200 songs we will.

We want all the Lata Fans to be happy when we do wrap this up.

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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 settled 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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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

MAJESTICAL VOICE, UNFORGETTABLE MELODIES::

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quote:

Originally posted by chameli:

quote:

............(Raja Aur Runk 1968)

1968?
how appropriate then, that a song from this movie was/will be played for my brother's memorial

How could we ever leave out the other one from Raja Aur Runk?

Dids I will now include this one as well, thanks for your insight:

For: All Loving Moms:

Movie Name: Raja Aur Runk (1968)
Singer: Lata Mangeshkar
Music Director: Laxmikant Pyarelal
Lyrics: Anand Bakshi
Year: 1968
Actors: Kumkum, Nazima, Nirupa Roy, Sanjeev Kumar
Theme: Family Drama, Love

(Tu kitni achhi hai, tu kitni bholi hai
Pyaari pyaari hai, o maa o maa
O maa, o maa) - 2

Ke yeh jo duniya hai, yeh ban hai kaanton ka
Tu phulwaari hai, o maa o maa
O maa, o maa

Dukhne laagi hai maa teri aankhiyaan - 2
Mere liye jaagi hai tu saari saari ratiyaan
Meri nindiyaan pe apni nindiyaan bhi
Tune maari hai, o maa o maa
O maa, o maa
Tu kitni achhi hai, tu kitni bholi hai
Pyaari pyaari hai, o maa o maa
O maa, o maa

Apna nahin tujhe sukh dukh koi - 2
Main muskaaya tu muskaayi, main roya tu royi
Mere hansne pe, mere rone pe
Tu balihaari hai, o maa o maa
O maa, o maa

Maa bachon ki jaan hoti hai - 2
Voh hote hai kismat waale jinke maa hoti hai
Kitni sundar hai, kitni sheetal hai
Nyaari nyaari hai, o maa o maa
O maa, o maa

Tu kitni achhi hai, tu kitni bholi hai
Pyaari pyaari hai, o maa o maa
O maa, o maa

LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

DUETS

During the 50's the 60's and the 70's there were countless duets by Lataji, just to make it be known that I have not forgotten these aspect of songs that will need to be looked into.

Lata/Rafi
Lata/Mukesh
Lata/Kishore
Lata/Asha/Usha/Shamshad/others


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[QUOTE]Originally posted by asj:
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

DUETS


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

http://www.mohdrafi.com/uploads/Rafi_Lata_Duets.pdf

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

DUETS PARTNERS


Manna Dey, Rafi, Lata, Mukesh, Talat Mahmood: Missing Kishore Kumar:

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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).

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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quote:

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

Indeed a beautiful song from the 70's

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LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES

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.

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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

HITS FROM THE SEVENTIES BY LATA MANGESHKAR:

(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: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

HITS FROM THE SEVENTIES BY LATA MANGESHKAR:

(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............

LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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)


Continues.........

..

LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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.........

.

LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

HITS FROM THE SEVENTIES BY LATA MANGESHKAR:


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


.

Lata Mangeshkar, Alka Yagnik, Ashwariya Rai at the opening of Umrao Jaan:

LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:

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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