Here are the songs she says marked a turning point in her career-Entertainment News, Firstpost

From Dil deewana bin sajna ke mane na to Hawa mein udta jaye, here are some of Lata Mangeshkar’s best songs:

Legendary singer Lata Mangeshkar has died aged 92. She was admitted to Breach Candy Hospital after suffering from COVID-19 and pneumonia. Let’s take a look at the songs that mattered the most to “Goddess Of All Melodious” things? Here are his choices:

Aayega aanewala: Mahal (1949):

The song that actually heralded the arrival of the singing phenomenon. Lataji remembers every detail of the song: “I forgot most of my recordings. Even the songs I sang are mostly forgotten. But Aayega aanewala is still fresh in my mind. The haunting tune was composed by Khemchand Prakash. I had a series of hit songs in 1949. But this song by Kamal Amrohi Saab mahal was something else. Everyone was humming it. Everywhere I went, I sang the song. Main aapko ek mazedaar baat bataaon? The movie disc didn’t have my name on it. The singer’s name was given as “Kamini”, the character who synced the song to the screen. Since the heroine (Madhubala) played a ghost, I was literally the ghost voice in this song. It was the first of many songs I’ve sung for a ghost. The song became a rage. I had to sing it at every live concert. Ironically, I was not credited for the song. The 78 rpm disc mentioned the name on the label as “Kamini”, the character who synchronized my song on screen in Mahal.

Hawa mein udta jaye/Jiya beqaraar hai: Barsaat (1949):

“1949 was really the year I arrived as a playback singer. It was the busiest year of my life. I was running from one recording studio to another with barely any room for a break. During this year, I sang 150 to 160 songs. Most of them became hits. But Shankar-Jaikishan’s songs for Barsat were popular on a whole new level. Every song in this movie was a rage. But hawa mein udta jaye and Jiya beqaraar hai were the greatest successes of Barsat. Both were playful playful songs. Most of my biggest hits have been on a more serious note.

Vande Mataram: Anand Math (1952):

“I think it was in 1952 that Hemantda (Mukherjee) called me for the recording of this song. Did we know then that we were creating a monumental song that every Indian would sing for their motherland? I would be lying if I said no. Singing the immortal words of Bamkim Chandra Chatterjee gave me a sense of pride. I am grateful to Hemantda for choosing me for this song. I was still quite new at that time. But he felt I could do him justice. Yeh simple liye bahot badi baat tthi.”

Allah tero naam: Hum Dono (1961)):

“Of all genres of songs, devotional Bhajan is my favorite. And out of all the Bhajans, my favorite, and why just my favorite, everyone’s favorite, is Allah tero naam. It is a deeply felt lyric written by the great Sahir Ludhianvi Saab. And Jaidev Saab composed such a beautiful melody! I didn’t sing many songs for Jaidev Saab. But everything I sang for him was very special. To be honest, I knew I was singing something special when we recorded the number. Composer Jaidevji has always composed something special for me. I loved to sing his compositions.Allah tero naam was a deeply emotional Bhajan. Today, when there is such growing communal division, the message of the unity of Ishwar and Allah is more relevant than ever.

Dil deewana bin sajna ke mane na: Maine Pyar Kiya (1989):

“That song was a turning point for no other reason than the fact that it came to me at a time when I was seriously considering retirement. Nothing inspiring was happening. The film music industry was in the doldrums. I felt there was no point in continuing to lip sync. I decided to pursue my lifelong interest in classical singing instead. That’s when composer Raam Laxman came on board. came to see me with the songs of Maine Pyar Kiya.Dil dewaana and the songs of Yash Chopra chandni reignited my interest in reading singing.

Subhash K Jha is a Patna-based film critic who has written about Bollywood long enough to know the industry inside out. He tweets at @SubhashK_Jha.

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