In a glowing tribute to living legend Lata Mangeshkar on her 73rd birthday, which falls on September 28, M. L. Dhawan says that her voice has not lost its appeal with age and time.

The unrivalled queen of cadence: Lata Mangeshkar

LATA Mangeshkar was born on September 28, 1929. Her father, Master Dinanath Mangeshkar, was a well-known Marathi stage artiste and singer. Lata’s voice was, no doubt, a God-given gift, but it was tempered and groomed by her doting father. "If you sing for films, I won’t let you enter my house," he had warned the tiny Lata. After he died prematurely in 1942, bringing up her family seemed a herculean task for Lata. Lata had to act in a Marathi film Pahili Mangalgaur just eight days after the demise of her father. Her first attempt as a singer went unnoticed in Hindi film Aap Ki Sewa Mein in 1947.

When Lata entered the music world, it was not roses all the way for her. S. Mukherjee refused to let her do playback for Kamini Kaushal in Shaheed, saying that her voice was too thin and shrill. Even Dilip Kumar questioned her Urdu pronunciation. Lata faced the daunting task of proving her detractors wrong. Lata started her career with the dedication of a workaholic and pursued her dream of carving a niche in film music with singleminded devotion. Her voice had an innocence. With the songs of Andaaz and Barsaat, her voice acquired density, sweetness, malleability and tonal purity. Madhubala, who was immortalised as the ‘ghost’ crooning Aayega aane wala in Mahal, thereafter insisted on incorporating a condition in her film contracts that only Lata Mangeshkar would sing for her. Soon heroines like Nargis, Nutan, Geeta Bali, Nalini Jaywant, Bina Rai, Nimmi, etc. considered Lata as the oral stamp of success for the way she could express the emotions of the protagonists through her mesmerising vocals. Heroines looked more beautiful and expressive when Lata did their playback. With an avalanche of songs that followed Mahal, Andaaz and Barsaat, Lata emerged as a singer with her own distinct style. She heralded the golden era of music.

From the very beginning of her career, Lata aimed at perfection. She had such a high level of creative commitment that she never settled for anything but the best. Each song that she records is rehearsed 15/20 times with the composer. Being such a seasoned singer, Lata still insists on one last rehearsal before the final take. Naushad remembers her at the film Amar’s recording, repeatedly trying to get right one particular murki of the song Tere sadke balam, na kar koi ghum. After 18 takes, Lata fainted in the recording room. On regaining consciousness, the first thing she wanted to do was to make another attempt at the song to get the desired level perfection.

Lata has rendered over 50,000 songs in her ethereal voice. She manages to convey a vast continuum of emotions, whether it is the pining of a lover in Yara sili sili birha ki raat ka jalna, religious fervour in Allah tero naam, Ishwar tero naam, a mother’s love in the lullaby Dheere se aaja ree ankhiyan mein nindya aa ree aaja or intense patriotism in Aye mere watan ke logo, zara aankh mein bhar lo pani.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As told to Sharmila Taliculam

Childhood

Lata was born as Hema Hardikar at Sikh Mohalla, Indore in a middle-class Maharashtrian family.. She is the firstborn daughter of Pandit Dinanath Mangeshkar and his second wife Shevanti Mangeshkar. Her father was a theater actor and singer. Her siblings are Hridayanath Mangeshkar, Asha Bhosle, Usha Mangeshkar and Meena Mangeshkar (nee, Meena Khadikar). All of the siblings, except Meena (though she has sung quite a few songs, mostly with Lata and Usha), chose music as their careers.

Although she was born at Indore, Lata was raised in Maharashtra. When she was 5 years old, Lata started working as an actress in several plays in which her father was performing.

Dinanath's recitals, his tutelage of various students and his practice of music all left an indelible impression on Lata. Ironically, according to Lata, her father forbade the listening to or singing of any Hindi film music, except K. L. Saigal's songs.

1940s: Initial days in Bollywood

Lata Mangeshkar's first cinematic song was for the film Kiti Hasaal, produced by Vasant Joglekar. Her father didn't want her to sing for movies, however, and the song was dropped from the film. Her talent impressed Vasant very much though, later commenting that "she is an introvert. That's why she's not proud. But she reveals her pride in her singing."

Lata's father died while she was 13.

Lata didn't like acting very much, but the death of her father and financial need forced her to play cameo roles in many Hindi and Marathi films. Her first role was in Pahili Mangalagaur (1942), where she played the younger sister to actress Snehprabha Pradhan. She went on to act in many more feature films including, Maaze Baal, Chimukla Sansar (1943), Gajabhau (1944), Badi Maa (1945), Jeevan Yatra (1946), Mand (1948), and Chhatrapati Shivaji (1952). In Badi Maa, Lata acted with Noor Jehan and her younger sister Asha Bhosle. She sang for herself and did playback for Asha.

In 1945, maestro Ghulam Haider (who had earlier discovered Noor Jehan) took Lata to the producer of a forthcoming movie starring actress Kamini Kaushal. He wanted the producer to give 16 year old Lata a chance to sing. The producer dismissed Lata's soft voice as too immature and girlish. Ghulam Haider was extremely annoyed and said "Let me fortell today that this girl will soon put to shame everyone else including Noor Jehan. Producers and signers will fall at her feet begging her to sing in their fims."

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

In 1949, Lata got her big break with the song Aayega Aanewaala from the movie Mahal. The song was for Bollywood's screen goddess Madhubala and was composed by Khemchand Prakash. The film was a hit across India and proved to be a turning point in the careers of Madhubala and Lata. More hits followed and Lata became the most sought after playback singer, often working with composers such as Naushad and lyricists like Sahir Ludhiyanvi, Rajendra Krishna, and Majrooh Sultanpuri.

1950s: Popularity on the rise

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

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

Lata and composer Hemant Kumar also recorded many hits including Man dole mera tan dole (Nagin, 1954) and Kahin deep jale kahin dil. Many of Lata's popular songs were recorded in the 1940s and early 1950s with the team of composer C. Ramchandra and lyricist Rajendra Krishan. Some of their hits include Dheere se aaja (Albela, 1951), Radha na bole (Azaad, 1955). Lata and Rajendra Krishna also teamed up with the composer Madan Mohan to create various ghazals including Yun hasraton ke daag (Adaalat, (1958), Hum pyaar mein jalne waalon ko (Jailor), Main to tum sang nain mila ke (Manmauji), and Na tum bewafa ho (Ek Kali Muskarai).

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

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

1960s: Lata is the playback queen

Lata's playback songs for Madhubala - Mohe panghat and Jab pyaar kiya to darna kya from the movie Mughal-e-Azam (1960) -- became huge hits. The songs were penned by Shakil Badayuni and composed by Naushad. While recording Mohe panghat, Naushad told Lata "I've created this song only for you. Nobody else can render this song."

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 churn out hits like Ehsaan tera hoga mujh par (Junglee, 1961). Lata and Shankar-Jaikishan also teamed up with lyricist Shailendra to create lovely 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 S D Burman's assistant Jaidev, became hugely popular among the masses. Lata also recorded many other popular 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 huge hits. The superb song picturized on Waheeda Rehman, Aaj phir jeene ki tammana hai, aaj phir marne ka iraada hai (Today I wish to live again, Today I've decided to die) and the duet with Kishore Kumar Gaata rahe mera dil, tu hi meri manzil became evergreeen 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 very 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 landmark 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 soulful 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 very 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 finest 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 song proved that Lata can sing sensual numbers just like Asha Bhosle. The team of Anand Bakshi, LP and Lata became very popular in late 1960s and 1970s. Their popular 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 the hit Baharon mera jeevan bhi savaron for composer Khayyam and lyricist Kaifi Azmi in the movie Aakhiri Khat (1966). Khayyam recorded many other songs with her. Kaifi Azmi and Madan Mohan worked together in movies like Heer-Ranjha. Together with Lata, they produced many hit songs like Milo na tum to hum ghabraayein. Lata sang many memorable 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), Lag ja gale (Woh Kaun Thi, 1964), Nainon mein badra chhaye, and Mera saaya saath hoga (Mera Saaya, 1966). Madan Mohan and Lata also worked with many 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 beautiful songs with Lata in late 1960s, including Kya janoon sajan (Baharon Ke Sapne, 1967) and Ni sultana re, pyar ka mausam aaya (Pyaar Ka Mausam, 1969, duet with Rafi).

1970s: Lata is ageless diva

In her 40s, Lata was still the first choice of composers to sing for damsels in their 20s.

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 an overnight superhit. 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 S D 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 hit 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.

Lata also recorded memorable songs for Salil Chaudhary in 1970s, including 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 intricate classical song from Amar Prem 1971, Raina Beeti Jaaye, the frothy Dilbar dil se pyaare from Caravan (1971), the sad Mere naina sawan bhadon (Mehbooba), and the sensual Bahon mein chale aao. Lata, Kishore Kumar, R D Burman and lyricist Gulzar came together in the film Aandhi (1975) to produce soulful duets such as Tere bina zindagi se, Tum aa gaye ho and Is mod se jaate hain. The team went on to record many more classics.

Lata, Anand Bakshi and Laxmi-Pyare worked together for many films, churning out hits including Mehboob ki Mehendi and Main Tulsi Tere Aangan Ki. Laxmi-Pyare also gave music in Raj Kapoor's Satyam Shivam Sunderam (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 popular songs, incuding Aap yun faaslon se (Shankar Hussain, 1977).

1980s: Lata gets selective

In 1980s, Lata voluntarily cut down on her singing to allow new younger talent to come up. In 1982, Lata once again worked with Khayyam for the movie Razia Sultana. She rendered the breathtaking 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 Saiba Sun.

Ramlaxman was another new composer whose favorite singer was Lata. He and Lata worked together in many Rajshri Productions movies, including Maine Pyaar Kiya, Hum aapke hain kaun and Hum Saath Saath Hain. Maine Pyaar Kiya (1989) was Salman Khan's first film and set a record of sorts. The songs sung by Lata and S. P. Balasubramaniam became extremely popular - Dil Deewana, Kabootar ja ja, Aaja shaam hone aai and the title song. A large credit for the success of the film was goest to its songs.

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 Malik. Rajesh Roshan's first film Julie had some lovely romantic numbers sung by Lata, including Bhool gaya sab kuchh (duet with Kishore Kumar) and Yeh Raatein Nai Puraani.

Lata was awarded with the Padma Bhushan in 1989.

1990s

By 1990, many of Lata's fans saw her as a living legend. She was the idol of many Indian girls, who were inspired to become singers themselves. In 1990, Lata launched her own production house. Her first (and the only) movie as a producer -- Lekin -- flopped, but the music (composed by her brother, Hridaynath) was well-appreciated. The haunting "Yaara seeli seeli", written by Gulzar, is considered to be one of the best songs that Lata has ever sung.

In 1990s, Lata also recorded many non-film songs, including ghazals with Jagjit Singh. One such popular ghazal is Dhuan banake fiza mein, recorded in 1992. The songs that Lata recorded for Ramlaxman in the Rajshri Productions film Hum Aapke Hain Kaun were huge hits. About Lata's Didi tera devar deewana, Madhuri Dixit once said "I just couldn't match with her coy 'ada's" . Lata also sang for all of the Yash Chopra films, including Dil To Pagal Hai.

New composers like A. R. Rahman, Jatin Lalit and Uttam Singh considered it an honor to work with Lata. Lata once said "the problem with new composers is that they respect me very much and don't dare correct me when I go wrong in singing a line. I don't want to sing much now, but I just can't refuse when people like A. R. Rahman come to me with a tune."

A. R. Rahman has recorded quite a few hit songs with Lata, including Jiya Jale (Dil Se, pictured on Preity Zinta) and Khamoshiyan gungunane lagin.

In 1999, she was awarded the Padma Vibhushan by the Government of India.

2000s

In her later years, Lata's voice has weakened, and yet nevertheless she has been able to give good performances. The Mujhse Dosti Karoge soundtrack, where she sings some of her old songs, is done beautifully. A more recent example is in the film Veer Zaara, with songs composed by late Madan Mohan, where Lata Mangeshkar's voice stands out.

Singing style

Lata's mastery over pitch and scale is considered amazing. Bade Ghulam Ali Khan once said about Lata that "she never sings off-key." Lyricist Majrooh Sultanpuri said about her "It isn't as though she always got great lines to sing. It's the magic of her voice that elevates the lyrics."

Lata has displayed great versatility in her singing. An example of her upbeat, playful numbers is Ae Phansa from Bobby. Examples of her sad songs are Aankhiyon Ko Rehne De of the same movie or Mohabbat Ki Jhuthi of Mughal-e-Azam. However she has done some great runs too, such as in Thoda Resham Lagta Hai from the movie Jyoti.

Lata the person

More than her magical voice, it was Lata's humility that made her a favorite singer of all the composers, lyricists, actors and producers in Bollywood. Lata owns a flat in London. She and her sister Asha Bhosle can be often found vacationing in London.

Lata has received four Filmfare Awards, the Platinum Disc of EMI London and many other awards. Noor Jehan, whom Lata used to imitate in her early years as a singer, once said "people say Lataji considers me as a phenomenon. I would say that's her humility. Lataji is Lataji. No singer like her has ever been born."

In 2002, a controversy developed because soul music artist Truth Hurts sampled Lata's singing without crediting her or paying royalties in the hit single "Addictive." That same year, Ghalib Shiraz Dhalla wrote a novel about a gay Indian-American man called "Ode to Lata" in honor of the performer. 

Is it goodbye to bahaar?
By O.P. Bhagat

A fresh tang in the air. New leaves frill the bare branches. Buds open into flowers. Birds chirp and call. And rapturously a voice sings:

This is Pankaj Mullick in Doctor. Almost 60 years old, the film may have been forgotten. But the song lives on. Many stop and listen whenever it is played. By the way, not only Pankaj Mullick sang the song but he also set it to music. And he played the hero in the movie.

Another song that charmingly tells of the coming of spring, though differently, is from Chhaya. Sung by Lata Mangeshkar, it presents spring as a woman wearing anklets. As she comes dancing, plants respond to the tinkling bells as they would to the chanting of a mantra:

Chham chham nachti ayi baahar,

Pat pat ne li angrai, jhoom rahi hai dar dar.

Yet different is the advent of spring in the title song of Aye Din Bahaar Ke. The girl hears of it from the throat of a papiha and relays the news to her love:

Among the seasons, spring has always been the poets’ favourite everywhere. English Poet Thomas Nashe calls it "the year’s pleasant king". To Sanskrit poets it is Rituraja, the king of seasons.

Equally rich is the poetry of spring in our regional languages. Also in folksongs. Hindi and other film songs keep up the tradition in their own way.

Quite a few Hindi pictures have spring titles. Basant, Bahar and Naubahar, for example. But the word means a happy ending rather than the season there. Similarly, hope or happiness is implied in the titles like Baharon ki Manzil and Baharen Phir Bhi Ayengi.

Baharon ke Sapne connotes dreams of a happy time and Bahaar Ane Tak until the happy time comes. Aye Din Bahaar Ke could be another way of saying Aye Din Pyaar Ke. In our films love and spring always go hand in hand.

All these movies have spring songs. These are merry or joyful lyrics of love in a spring garden or in a lovely landscape. Sometimes, while the lovers sing in not so lush a place, flowers bloom at once and a koel pipes in.

Spring songs have been fitted in many other pictures as well. Some are songs of the season, and some other of love or longing and of the beauty of the season.

In that beautiful Naujawan song, "thhundi hawaen, lehra ke ayen", the word Basant or bahaar is not there. But the mention of rut hai jawan indicates that the season is spring. There are a few other such instances too.

In a few films, at the end, the bleak scene changes, as if by magic, to one of leafing and blossoming when, after a long and sad separation, the lovers happily come together. Then the refrain of their one time love song also echoes in the air.

In some solos or duets spring is a symbol of joy or the happy end of a journey or quest, as in the Arti chant:

Or spring is a word of reassurance to a disconsolate heart, as in the title song of Baharen Phir Bhi Ayengi:

Making love or falling in love goes on at all times of the year. But if you go by songs or poetry, spring is the season for it. Spring urges or invites you to do it. In the romance named after her, Anarkali tells Prince Salim:

Then there is a bunch of songs in which the boy equates his love and spring or takes one for the other. In Sathi the lover tells his girl:

So does the Romeo in Ap Aye Bahaar Ayi. The coming of his Juliet is to him like the coming of spring. The movie’s title serves as the burden of his song. The Hum Dono boy too uses a spring metaphor when, at their meeting, he asks the girl not to go back so soon:

The lover Sangdil words his wish yet differently when he tells the girl:

If Tansen, in the 1943 film of that name, voiced his ardour by telling Tani, Tum Basant ho, tum bahar ho, the 1965 Arzoo lover matched this by calling his love Phoolon ki rani, baharon ki malika.

How do you welcome your sweetheart? It may be quietly or excitedly. But the Suraj hero does it with floral fanfare by asking spring to shower petals on her:

Curiouser still is the Nai Kahani (1943) chap. At the sight of his girl he is so carried away that the seasons lose their meanings for him. To him it matters little whether spring comes or autumn stays on:

With love goes longing. Sometimes longing gives the joy of spring a tinge, or the loving heart a twinge of pain. The sad tone of the Taqdir (1967) song signals it:

Crooning in loneliness is the woman in Akhri Khat. She craves for that joy or beauty which spring can bring to a desolate life:

And full of despair is the Lahore song which the girl sings in separation:

Strangely enough, for a long time there has been no movie with a spring title. And few spring songs have come in. Is it goodbye to bahaar in Hindi films then?

As on the fashion front, trend change on the screen too. While in song and story the spring theme was popular, the rain theme was also there. Then suddenly the rain motif swamped the other. Even when the story or the situation did not demand it, rain songs were slipped in.

Some were nice, very nice. Some others were naughty. Since they boosted the flicks at the box office, more and more were churned out. Some time back they reached the saturation point. Now it seemed to be the turn of spring songs. And at least two trickled in.

One is in Raja Hindustani. Though the use of spring there is figurative, yet it makes a perfect blend with love and the feeling with which it is sung:

The other, is Ishq, is a lilting ditty. It goes well with the lively dance the two pairs of lovers perform then:

This augured well for spring. But before it could rise in a tide, the pop tide swept in. Till pop is on top, there is not much hope for bahaar — unless we have pop spring songs.

Her family and life

                                    Article: The Alluring Music of Madan Mohan

By Ravindra Bivalkar
	The music of Madan Mohan evokes a deep sense of amazement. Long after his death, the music continues to haunt you. Once you have listened to his compositions, you possibly cannot have any taste for the music created by the other doyens. Although I am only an avid fan of old Hindi film songs, I think that the secret of his everlasting appeal might probably rest with the firm grounding he had in Hindustani Classical Music and the care he took in setting the lyrics to tune and not vice-versa. Madan Mohan excelled in composing tunes based on classical ragas and for the sad and melancholy Ghazals. He also composed unparalleled tunes depicting the anguished pleas of a tormented soul. Much though would I like to expound on the various facets of Madan Mohan's music, I will put my feelings in respect of his memorable score for the film "Jahan Ara ", which in my opinion epitomizes all the qualities I had briefly referred to in preceding lines. The official soundtrack recording (HMV SPHO 4426) contains nine gems of unprecedented originality. The lyrics of Rajinder Kishen and the music of Madan Mohan are so well meshed that words fail to convey how vividly has Madan Mohan succeeded in portraying the subtle nuances and shades expressed in the lyrics. My personal favourites amongst these happen to be the Lata -Asha number, all the Talat Mahmood numbers, the Talat-Lata duet, two Lata solos, the Rafi solo and the Rafi- Suman duet in that order. This being my personal preference, the other fans of Madan Mohan(and whose number is legion) may find fault with it. I can only submit that I respect their sentiments and in no way is this brief excursion meant to disturb the status-quo of personal likings. The film as per my knowledge did not fare well commercially. However, the songs continue to captivate you nearly after three decades. To begin with let us consider the bewitching "Mujra," "Jab Jab Tumhe Bhulaya." The song begins with a soft rendition by Lata of the Talat solo " Main Teri Nazar Ka Suroor Hoon" (partially). Then the wailings of a lonely heart are so exquisitely etched in three stanzas that except for a stone hearted person, any person who has stayed away and / or strayed from his or her dearest one - is bound to find his eyes misty. The last stanza particularly might be a ghastly precursor to the last tragic days of Madan Mohan. "Marne ki aarzoo mein hum jee rahe hain aise Jaise ki laash aapni khud koi le chala hain" (In the fond wish of death embracing my body,I am trudging the lonely furrow of this aimless life as if carrying my own mortal remains with me). The perennial favourite Talat solos "Phir wahi sham","Teri aankh ke aasoon pee jaaon" and of course"Main teri nazar ka suroor hoon" have been perfectly tuned to convey the pathos of the lovers who cannot fulfill their cherished desire, particularly the "Phir wohi sham " number. Unless one has experienced the empty evenings and the gut wrenching pain of separation, one cannot empathize with the feelings expressed in the silken voice of Talat Mahmood. The Talat-Lata duet perfectly captures the ebullience of young love with all the unrealistic notions of what love can do. The opening music impeccably connotes the "Joie de vivre" of the young lovers. The much abused dancing around the trees and in the fields is immediately elevated to dreamy level not achieved by many. Instead of choosing Rafi, Madan Mohan had opted for Talat for all the important songs in the film. It is said that this led to a serious misunderstanding with the director of the film. However, Madan Mohan, as was his wont, did not yield ground and at the cost of opting out of the assignment, insisted for Talat's voice. The rest, to use a cliche, is history. However, Madan Mohan gave one unforgettable gem to Rafi in " Kisike yaad mein . . . " The Lata solos " Woh chup rahe to mere dil ke daag" and "Hal-e- dil unko yun sunaya gaya " perfectly bring to the fore the suppressed emotions and the fervent pleas of separated lovers. Although the words, tune and the singer provide a smooth blend of melancholy, my favourite Lata numbers happen to be from the other films. The young film goer who might not be familiar with the bygone era in the Hindi film music might very well ask a pertinent question: If the plethora of superlatives that has been used to describe the genius of Madan Mohan is to be taken at face value then Madan Mohan must have been a very successful music-director. To this- I would like to submit that Madan Mohan was indeed a successful music-director of commercially unsuccessful films. To cite some examples,"Aashiana,""Dekh Kabira Roya","Hanste Zakhm","Parawana (starring Yogita Bali, Navin Nischal and Amitabh ),"Mausam,""Heer Ranza" etc.In the eighty odd movies that had the distinction of having their music composed by Madan Mohan, only four movies were commercially successful "Bhai Bhai","Mastana","Woh kaun thi"and "Mera saya." What could have gone wrong? Probabaly, the uncompromising attitude of Madan towards the quality of his music and his culture that made him totally unfit to survive in the ghoulish world of "modern music." Arvind Gokhale, a renowned Marathi writer in one of his articles that appeared in "Maharashtra Times" had vividly portrayed the last sad days of Madan Mohan's life. He had apparently lost interest in everything and had become overtly sentimental. What can a gifted person do when there are no assignments and the cut-throat competition (literally) from others poses a series of obstacles in completing whatever assignments he has in hand ? Madan Mohan was a disillusioned man in his last days and the void of emptiness on the professional front must have led him to his sad and untimely death. I consider him as one of the last titans who has given immense pleasure to his listeners over the years through his songs like 1) Lag ja gale (Woh kaun thi) 2) Jo hamne dastaan aapni sunayee (Woh kaun thi) 3) Chanda jaa (Manamauji) 4) Main to tumsang (Manamauji) 5) Baiyaan na dharo (Dastak) 6) Hum hain mata-e-kucha (Dastak) 7) Mai re main kase (Dastak) 8) Main to peeke nagariya gati chali (Ek kali muskayee) 9) Maine rang li aaj chunariya (Dulhan ek raatki) 10) Piya le gayo ji mera sawariya (Anpadh) 11) Aap ki nazaron ne samza (Anpadh) 12) Hain isi me pyar ki aabroo (Anpadh) 13) Ja re badra bairi jaa (Bahana) 14) Sapne me sajan se do bate (Gateway of India) 15) Wo bhuli dastan (Sanjog) 16) Bhuli hui yadon (Sanjog) 17) Hoke majbur muze (Haqueekat) This is only a representative selection and many personal favourites are not mentioned for the obvious reason - space limitation. The main intention is to rekindle the interest of the modern connoisseur of Hindi film music. The fact that Madan Mohan did not get the recognition and accolades he deserved in his lifetime need not necessarily mean that his genius should go unrecognized long after his death. Madan Mohan left this world for his heavenly abode on July14 , 1975 after realizing that "Yeh duniya,Yeh mehfil mere kamki nahin". The Gods must have been woefully short of musical talent of the calibre of Madan Mohan to have him recalled in the prime of his life and without allowing him to complete his concert.