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The greatest songster of all times
Bedard Tere
Pyar Ko [PADMINI] (1948) More
Aayega Aanewala [MAHAL] (1949) More
Aaj Mere Naseeb Ne Mujhko [HULCHAL] (1951) More
Aa Ri Aa Nindiya Tu Aaja [DO BIGHA ZAMEEN] (1953) More
Phaili hui hai sapnon ki baahein [HOUSE NO. 44] (1955)
More
Aaja Re
Pardesi[MADHUMATI](1958) More
O Sajana Barkha Bahar [PARAKH] (1960) More
Pyar Kiya To Darna Kya [MUGHAL-E-AZAM] (1960) More
Kaise Din Beete [ANURADHA] (1960) More
Allah Tero Naam [HUM DONO](1961) More
Kahin Deep Jale Kahin Dil [BEES SAAL BAAD] (1962) More
Ae Dilruba [RUSTOM SOHRAB] (1963) More
Woh Chup Rahe To [JAHAN ARA] (1964) More
Naina Barse
Rim Jhim[WOH KAUN THI](1964) More
Dil Ka Diya Jale [AKASHDEEP] (1965) More
Duniya Kare Sawal [BAHU BEGUM] (1967) More
Kya Janoon Sajan [BAHARON KE SAPNE] (1967) More
Dil-Vil Pyar-Vyar [SHAGIRD] (1967) More
Chalo Sajana [MERE HUMDUM MERE DOST] (1968) More
Bhai Batoor [PADOSAN] (1968) More
Aa jaane ja[INTEQUAM] (1969) More Bindiya Chamkegi [DO RAASTE](1969) More
Chalte-Chalte [PAKEEZAH] (1972) More
Raaton Ke Saaye Ghane [ANNADATA] (1972) More
Bahon Mein Chale Aa [ANAMIKA] (1973) More
Chala Vahi Des (1974) More
Satyam Shivam Sundaram [SSS] (1978) More
Dard Ki Ragini [PYAAS] (1981) More
Dikhaye Diye Ki Bekhud [BAZAAR] (1981) More
Aye Dil-e-Nadaan [RAZIA SULTAN] (1983) More
Shri Ram Bhajan/Shyam Ghanashyam (1985) More
Dil
Deewana[MAINE PYAR KIYA](1989) More
Sunio Ji Araj Mhari [LEKIN] (1990) More
Kuch Na Kaho [1942 A LOVE STORY] (1994) More
Diya Jale [DIL SE](1998) More
Bedard Tere Pyar Ko (Padmini,1948; Ghulam Haider) - "In those days, we had to record every song twice. Once for the film and again for the disc. Ghulam Haider saab was the first major composer to give me a break. One night he summoned me. I went immediately with my sister. While Haider saab sat at the piano composing the song, my sister and I waited patiently throughout the night. The next morning at 7.00 he was ready with the tune for 'Bedard tere pyar ko'. Within a couple of hours I was ready for the take. A few days later I went back to the HMV studio to record the song. This time in an abridged version. Soon after Ghulam Haider saab migrated to Pakistan."
Aayega Aanewala (Mahal,1949; Khemchand Prakash) - This was the song that defined the beginning of the Mangeshkarian magic and transformed Madhubala into an instant living legend. Ironically, Madhubala didn't lip-sync it on screen at all ! It was played in the background. But what an impact it made ! With one song Lataji wiped away all the careers of existing female singers. Ashok Kumar who played the lead in Mahal still recalls how everyone in the room reacted when the then- unknown Lata was asked to sing. Even today mention of Aaayega aanewala lights up Lataji's eyes. "It's hundred percent my favourite. I had done a number of rehearsals for the song. Actually the composer Khemchand Prakash heard me singing for Anil Biswas. A number of tunes were readied for Aayega aanewala. I was given strict instructions about the importance of the song. The producer Ashok Kumar and the director Kamal Amrohi told me I had to sing as though the heroine was approaching from a distance. Since the studio was very large, I was placed in one corner of the room and told to gradually approach the microphone in the middle of the room while singing. There were no dubbing and editing devices in those days. We had to do it all in one go. I still remember we recorded the entire day."
Aa Ri Aa Nindiya
(Do Bigha Zameen,1953; Salil Chowdhary) - "I think
this was Salilda's (Salil Chowdhary) first Hindi score. It was very difficult to
sing this number. There was no breathing space between the lines. Salilda
recorded two versions of the song, one with no orchestra. He wanted to create
the feeling of solitude as Meena Kumari sat singing all by herself."
Pyar Kiya To Darna Kya (Mughal-e-Azam, 1960;
Naushad) - The image of Madhubala dancing in a thousand images
reflected on the walls of the sheesh mahal set is as alive today as it was in
the 60s. The lyric by Shakeel Badayuni has acquired the hue of an emblem
accentuating rebellious love. It was composed by Naushad who suggested the key
line Pyar kiya koi chori nahi ki to Badayuni. The line became the highlight of
the song. Naushad feels Lataji gave her best to Mughal-e-Azam. Listen to Lataji
sing Pyar kiya to darna kya and you'll know why the composing genius Sajjad
Hussain once exclaimed, "Lata sings, the others weep before the microphone."
Allah Tero Naam(Hum
Dono, 1961; Jaidev) -When Dev Anand's Navketan banner decided to give
this prestigious assignment to S.D. Burman's assistant Jaidev. It was on
condition that Lataji sing for the film.The softie that she is Lataji
immediately set aside her differences with Jaidev to sing one of the tallest
devotional numbers ever. Classical vocalist Pandit Jasraj remembers waking up
from sleep with tears streaming down his streaming down his cheeks after hearing
the bhajan in Hum Dono. "Allah tero naam her very first song that we recorded
for the film," Lataji recalls. "Like Shankar - Jaikishan, Jaidev's tunes were
steeply scaled." Though she has sung at unbelievably high-pitch all her life
Lataji detests singing at what's traditionally the male scale. Kahin Deep Jale Kahin Dil (Bees Saal Baad, 1962; Hemant Kumar)
- Prior to this song, Lataji had fallen seriously ill. Doctors had
predicted that she'd never be able to sing again. Being a born fighter, the
Nightingale swore to bounce back. Her first recording after her illness was this
high-pitched number of haunting Dimensions. Lataji was nervous and apprehensive.
"Fortunately the recording went off very well. Hemant Kumar was of a very quiet
temperament. He knew exactly what to compose for me." Interestingly Hemant Kumar
recorded Lataji's voice during the rehearsal and okayed it as the final take,
the Nightingale says she's glad she made a comeback after her illness with an
intricate song like Kahin deep jale. She had a point to prove to her detractors
who were waiting for her downfalls and she proved it. The song won her another
Filmfare award.
Naina Barse Rimjhim (Woh Kaun Thi, 1964; Madan Mohan) - Every song in Woh Kaun Thi is precious to Lataji's heart. But Naina barse was the all-time hit."This was the time when I had fallen ill. I couldn't be present for the recording. Madan bhaiyya recorded the tune in his own voice and sent it along to Simla for the shooting. I dubbed the number later. But during the shooting spectators were shocked to see the heroine Sadhana 'singing' in a male voice. Woh Kaun Thi was a very important film for Madan bhaiyya. I felt bad when he didn't get the Filmfare award for it. But he laughed away my sorrow saying, 'It's enough of a reward for me that you feel this way.' It's sad that people didn't recognize his talent during his lifetime. They realized his worth only after he died."
Aa Jaan-e-Jaan (Inteqaam, 1969; Laxmikant-Pyarelal) - Cabaret songs used to be sister Asha Bhosle's domain. Until Aa-jaane-e-jaan. Tuned and styled specially to suit Lataji, Aa-jaan-e-jaan is today regarded as the best cabaret song in Hindi films Tell her this, and Lataji laughs. "I remember telling Laxmikant not to give me any cabaret songs to sing. He assured me I could swing it without a hitch. Aa jaan-e-jaan was tailored to suit my taste and style." The song cracked open the charts it's a favourite with Helen who danced to the opulently orchestrated numbers.
Dil Deewana (Maine Pyar Kiya, 1989; Raam Laxman) - Who would believe that Lataji was ready to call it a day when she agreed to a sing this song for the little -known Raam Laxman? And who would believes that Raam Laxman had originally prepared the tune for a nondescript film called Agent Vinod for the Rajshris? "I was ill during the recording of the songs in Maine Pyar Kiya and Chandni. Chandni was specially painful for me. Though I was unwell, I recorded 5 songs for Maine Pyar Kiya in one day." she concedes softly. It boosted the career of Raam Laxman who had been struggling for more than a decade. It also turned around the slumping fortunes of the HMV music company which according to rumours was on the verge of closure. Finally Dil deewana helped Lataji to change her mind about quitting playback singing. There was hope for film music.
Diya Jale (Dil Se, 1998; A.R.Rahman) - This is by far Lataji's most favourite number of the 90s. Mention Rahman and the experience of working with him in Chennai and she expresses the joy of a flower that has newly learnt to bloom. "A.R. Rahman's style is amazing," she enthuses. "No doubt his style is Indian. But there's heavy Arabic influence I don't think that man thinks of anything except his music." During recording she kept humming an alaap at the end to a herself. Rahman overheard her. "Keep doing it, I'll just continue to records," he urged the Nightingale. "At first I didn't think all that much of the tune," Lataji confesses. "But when I heard the recorded song I was floored. I got to sing an outstanding number after quite a while," she sighs