Lata’s Enduring Legacy: List of Lullabies, Love Songs, Hot, Rhythmic, Haunting and Heavenly Leg Shakers

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Mumbai–Over a musical career spanning more than seven decades, Lata Mangeshkar has bequeathed a rich treasure trove of immortal songs that are ingrained in the minds of so many generations of music lovers.

From the black-and-white era when movie songs were often recorded in crowded studios or even out in the open in the dead of night, to modern “automatic tuners,” Lata has carved out a shimmering track akin to a comet that will dazzle for millennia.

His singing heritage includes sing-song lullabies, love songs, love numbers, leg-shaking, haunting, celestial, fast-paced, both solos and duets, classical and commercial, in multiple languages , rendered with ease.

She developed an unprecedented singing style – molding her voice to the particular heroine she would be cast on screen – as her male counterpart, the equally legendary Mohammed Rafi did with aplomb, and who still remains relevant 41 years after his death in July 1980, 55 years old.

Tapping into Melody Queen’s vast repertoire of music would be a little pointless and also akin to emptying a jug of water from the musical ocean… but there are certainly a few nuggets that are universally acclaimed and remain favorites of millions of people. people.

After the obligatory early days of wrestling beginning with playback singing for the Hindi film industry in 1945, she found footing with Naushad Ali’s composition “Uthaye Ja Unke Sitam” (Andaz – 1949) which catapulted her into the Great League.

Besides Naushad, top music directors of the time like Shankar-Jaikishan, SD Burman, Husanlal-Bhagatram, C. Ramchandra, Salik Chowdhury, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Madan Mohan, Vasant Desai, Sudhir Phadke, Laxmikant-Pyarelal, Usha Khanna, competed for her voice for their varied music for best heroines or vampires, and she obliged.

As her popularity charts grew, she began ticking off – literally and figuratively – all of the competition from most established former singers and by the mid-1960s, when producers- directors lined up to ensure her voice was “compatible with all women”. was lip-synched by their actresses.

And she did full justice to the heroines and music directors and their ever-growing aspirations with a wide range of numbers for the next four decades, hailed as the “golden age” of Indian film music.

Some of the ever-hummable hit solos filmed on various main heroines (some vampires too) include: “Hava Mein Udta Jaaye” (“Barsaat”), “Chale Jaana Nahin Nain Milake” (“Badi Bahen” – both from 1949 ), “Raja Ki Aayegi Baraat” (‘Aah’ – 1953), “Man Dole Mera Tan Dole” (‘Nagin’ – 1954), “Rasik Balmaa” (‘Chori Chori’ – 1956), “Nagari Nagari, Dware Dware ” (‘Mother India’ – 1957), “Aaja Re Pardesi” (‘Madhumati’), “Unko Ye Shikayat Hai Ki Hum” (‘Adaalat’ – both 1958), “Tere Sur Aur Mere Geet” (‘Goonj Uthi Shehnai’-1959).

There are the gems of ‘Mughal-E-Azam’ (1960) like “Pyar Kiya To Darna Kya”, “Mohabbat Ki Jhoothi ​​Kahani Pe Roye”, “Hamein Kaas Tumse Mohabbat Na Hoti”, “Khuda Nigehbaan Ho Tumhara “, “Bekas Pe Karam Kijiye”; “Ajeeb Dastan Hai Ye” (‘Dil Apna Aur Preet Parayi’), “O Sajana, Barkha Bahar Aayi” (‘Parakh’), “Tera Mera Pyaar Amar” (Asli Naqli – all 1960), “Allah Tero Naam, Ishwar Tero Naam” (“Hum Dono”), “Do Hanson Ka Joda” (“Ganga Jamuna”), “Jyoti Kalash Chhalke.. (“Bhabhi Ki Chudiyan” – all 1961), ” Tere Pyar Me Dildar” (“Mere Mehboob’ – 1963), “Aaja Aayi Bahar” (“Rajkumar”), “Main Kya Karu Ram, Mujhe Budhha Mil Gaya (“Sangam”), “Lag Jaa Gale Se” (“Woh Kaun Thi” – All 1964), “Kaanto Se Kheench Ke Ye Aanchal” (“Guide”), “Ye Samaa, Samai Hai Ye Pyaar Ka” (“Jab Jab Phool Khile” – both from 1965), “Tu Jahan, Jahan Chalega”, “Nainon Me Bhadra Chhaye” (‘Mera Saaya’), “Rahe Na Rahe Hum” (‘Mamta’), “Neel Gagan Ki Chhaon Mein” (‘Amrapali’ – all 1966), “Raat Aur Din, Diya Jale” (‘Raat Au r Din’ – 1967 ), “Main To Bhool Chali Babool Ka Des” (‘Saraswatichandra’ – 1968), “Bindiya Chamkegi, Chudi Khankegi” (‘Intaqam’ – 1969).

Then came: “Babool Pyare” (“Johny Mera Naam” – 1970), the “Pakeezah” blockbusters of 1972 – “Chalte, Chalte”, “Inhi Logon Ne”, “Mausam Hai Aashiqana”, “Thare Rahiyo”; “Aaj Socha To Aansoo Bhar Aaye” (‘Hanste Zakham’ – 1973), “Yeh Raatein Nayi Purani” (‘Julie’) “Aa, Jab Tak Hai Jaan” (‘Sholay’), “Nahin Nahin, Jaana Nahina (‘ Zinda Dil’ – all 1975), “Mere Ghar Aayi Ek Nanhi Pari” (‘Kabhie Kabhie’), “Dil Me Tujhe Bithake” (‘Fakira’), “Husna Haazir Hai” (‘Laila Majnu’ – all 1976), “Dil To Hai Dila (‘Muqaddar Ka Sikandar’), “Satyam Shivam Sundaram” (‘Satyam Shivam Sundaram’ – both 1978), “Jaane Kyun Mujhe” (‘Agreement’ – 1980), “Mere Naseeb Me” (‘ Naseeb’ – 1980), “Tune O Rangeele Kaisa Jaadu Kiya” (‘Kudrat’ – 1981), “Dikhayi Diye Yun” (‘Bazaar’ – 1982), “Ae Dil-e-Naadan” (‘Razia Sultan’ – 1983 ), “Sun Sahiba Sun” (‘Ram Teri Ganga Maili’ – 1985), “Patzhar Saavan, Basant Bahar” (‘Sindoor’ – 1987),

Apart from singles, she has made many memorable duets with GM Durrani, Mohammed Rafi, Kishore Kumar, Mukesh, Mahendra Kapoor, Manna De, SP Balasubrahmanyam, Shamshad Begum, Nitin Mukesh, Anwar, Shabbir Kumar, Asha Bhosale, etc. of singers who have taken over after the disappearance of the veterans of the scene, over the decades. (IANS)

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