In Raju Bharatan’s biography on Lata Mangeshkar, he says “for six years Lata did not sung for SD Burman and it gave chance to her sister Asha Bhosle to groom herself as a complete singer under Dada Burman tutelage, taking up from where she had left off in the recording custody of O. P. Nayyer. However the moment SD made up with Lata, Asha was relegated to second status. “Lata was always my first serve. Dada explained to me, paan-tinged tongue-in-cheek. “Asha became my second serve, once I again got my first serves Lata working!” “For a certain song,” Lata is quoted as saying, “I was asked by Dada Burman to sing in an extra-soft voice. I obeyed. The song was Okayed. Later Dada thought that the choice of an extra-soft voice was not a happy one. So I got another message for a re-recording. I requested for a few days’ time, as I was busy with other recordings. The machinations of certain ‘kind’ souls led to a misunderstanding and Dada called in another singer to re-record the song,” ends Lata”.

Raju Bharatan adds that certain “kind soul”, Jaidev revealed that the song was ‘Pag thumak chalat balkhaaye haay saiyan kaise dharun dheer’ set to go on Vyjantimala in “Sitaron Sei Aagey” made in 1958. It did not come up to SD’s standards. Ironically this tune was used again by SD in the movie ‘Guide’ as ‘Saiyyan be-imaan’. SD however did not agree to this observation of the interviewer.

On the above controversy, I must report the two versions, one that of Jaidev and then that of Lata (as already written above) on the reasons of estrangement. Jaidev was on the phone at Dada’s home when the request was made, through him by Dada, for a re-recording of ‘Saiyan kaise dharun dheer’ by Lata. Jaidev told me he reported to Dada, even while holding onto the receiver, what exactly Lata had said. Lata, Jaidev said, had told him there was no way she could then fit in Dada Burman for a re-recording because she was on the verge of proceeding abroad. “In that case,” Jaidev said Dada told him, “tell Lata she must give us first preference when she returns from abroad.” Jaidev said he duly communicated those Dada tidings to Lata who, according to him, would make no such first-priority re-recording commitment over the phone. “In that case,” Jaidev said Dada finally told him in a fit of pique, “tell Lata that we don’t want her at all if she can’t give us first preference on her return!”
Lata’s version is “I was upset,” “However, whenever we ran into each other (after that incident), the conversation followed the same course. “Namaskar, Dada”, I would say. To which Dada would say: “How are you Lota?” To which I would say: “I am all right Dada,” and Dada would move on. Then in Guide or Bandini, I cannot recall, I received a message that Dada wanted me. I was clearly reluctant. Then Dada telephoned himself: Lota, “I have some work, do come.” Dada scolded her and they ended up in recording two wonderful songs for ‘Bandini’, ‘Jogi Jab Sei Tu Aaya mere Duware’ and ‘Ab Kei Bhaij Bhaiya Ko Babul’. I may have missed many other Lata-SD songs but above submission suffices in the way SD used Lata’s voice amicably well in all its flexibility. All said and done, my all time favourite remains Lata’s ‘Ab Tau Hei Tum Sei Har Khushi Apni’ from ‘Abhimaan’ though ‘Teri Bindiya Re’ a duet by Lata and Rafi too is good.

Jaidev & Lata: I would remember Jaidev and Lata for at least three songs; two bhajans ‘Parabhu Tero Naam’, ‘Allah Tero Naam. Eishwar Tero Naam’ from Dev Anand-Sadhna-Nanda 1961 movie ‘Hum Dono’ and ‘Tumhain Daikhti Hun Tau Lagta Hei Aise’ pictured on Vidya Sinha and Sanjeev Kumar for the film “Tumhare Liye” with lyrics by Naqsh Lyallpuri.

It was in 1963 that Lata’s song ‘Raat Bhi Hei Kutch Bheegi Bheegi, Chand Bhi Hei Kutch Madham Madham’ kept haunting me for a long time when Sunil Dutt-Waheeda Rehman starrer movie ‘Mujhe Jeeney Do’ was released. Apart from the dance pictured by Waheeda Rehman on this song, the music was enchanting. It had another beautiful song ‘Terey Bachpan Ko Jawani Ki Dua Daiti Hun’ based on the story of a bandit who has a child from Waheeda Rehman and fearing that their child might follow his father’s footsteps, she is skeptical while praying for his long life.
His big break as a full-fledged music director came with Chetan Anand’s film, Joru Ka Bhai, with Lata’s beautiful song ‘Subha Ka Intizar Kaun Kare’. 

From :  Daily Times August 20, 2014

Lata Mangeshkar — the living legend

Part XV

Dr Amjad Parvez

Before winding up my submission on Lata-RD nexus I must mention three songs, written by Gulzar from the film ‘Aandhi’ starring Sanjeev Kumar and Suchitra Sen. These were “Tum aa gaye ho noor aa gaya hai’ (with Kishore), “Is more sei jaate hain” (with Kishore) and “Tere bina zindigi sei shikwa” again with Kishore; melodious songs.

Roshan & Lata Mangeshkar: Again I shall borrow lines from ‘Melody Makers’ “When I was a child, Lata Mangeshkar’s song ‘Saari Saari Raat Teri Yaad Sataye’ from 1958 movie ‘Aji Bus Shukriya’ used to be played on Radio repeatedly. It was a simple and lilting melody and was composed by music composer Roshan Lal. Everybody used to hum this song. Then in 1960 when I joined Government College, Lahore, another song ‘Zindigi Bhar Nahin Bhooley Gi Woh Barsaat Ki Raat’ sung separately by Muhammad Rafi and Lata Mangeshkar caught melody lovers’ attention. I would also often sing this song based in Raag Aimen Kalyan”. From the movie, ‘Malhar’ I like Lata-Mukesh’s duet ‘Barey Armanon Sei Rakha Hei Balam Teri Qasam’ the best.

It was in 1950s that Roshan composed the ever-living melody, ‘Aeiri Main To Prem Diwani Mera Dard Na Jane Koyi’ sung by the legendry Lata Mangeshkar for the movie ‘Naubahar’. The 1952 movie ‘Anhonie’ was Raj Kapoor-Nargis-Agha starrer. A song, a melodious-romantic number by Talat and Lata ‘Hain Payasey Nain Bicharey Zara Khayal Rahei’ is very good. The use of flutes uplifts this song. A unique combination of established Raaj Kumari and upcoming Lata in a Ramba Samba beat appeared in the song ‘Zindigi Badli Muhabbat Ka Maza Aaney Laga’ with Raaj Kumari singing the happy portion and Lata the sad one, in an appealing melody. Lata’s solo ‘Is Dil Ki Haalat Kaya Kahiye Jo Shad Bhi Hei Nashad Bhi Hei’ is Lata’s sad solo for this movie. The song ‘Kaha Hei Unhon Nei Yeh Raaz-e-Muhabbat, Qasam Hei Tumhein Tum Kisi Sei Na Kehna’ is Lata’s Mujra number for this movie. Typical harmonium and Sarangi interludes have been used with Tabla doing the rest.

The nineteen sixties proved to be the golden decade for Roshan and his music. His ability to use folk music with Indian classical music became his trademark and resulted in movies scores. A Black and White movie ‘Anokhi Raat’ caught my attention only for its music though the theme was interesting as well. Lata’s song ‘Mehlon Ka Raaja Mila Keh Rani Beti Raaj Karey Gi’ became my favourite song. Both the movie and its music which impressed me most by Roshan was again a Kidarnath Sharma’s movie ‘Chiterlekha’ released in 1964 wherein strong roles were played by Ashok Kumar as Yogi Kumargiri, Meena Kumari as Chiterlekha, Pardeep Kumar as Samant Beejgupta and Mahmood as Brahmachari Shwetank. This movie was based on a novel ‘Chitralekha’ written by Bhagwati Charan Verma in 1934, based on the philosophy of life and love. Two of Lata’s numbers, a dance number ‘Aei Ri Janey Na Doongi’ and happy song worth mentioning is ‘Sakhi Ri Mera Man Uljhey Tun Doley’ is captivating. In the latter song, instruments Sarod and flutes play havoc. Female nude statues depict the rich culture of that time. Another song worth mentioning by Lata from this movie is ‘Sansaar Se Bhaage Phirte Ho Bhagwan Ko Tum Kaya Paao Gey’, a taunting composition both lyrics and tune wise. The other movies worth mentioning by Roshan and Lata combination, and also commercial successes were ‘Taj Mahal’ (1963), ‘Aarti’ (1962), ‘Dil Hi To Hei’ (1963), ‘Mamta’ (1966) and ‘Bheegi Raat’. In the latter film, the best song is ‘Dil Jo Na Keh Saka Wohi Raaz-e-Dil Kehney Ki Raat Aai’ rendered both by Rafi and Lata separately and I sing this song almost in every private Mehfil of mine. It uses the full throat singing and range of singers’ voice. Again it is Raag Aimen based song. The duets ‘Jo Wa’ada Kiya Woh Nibhana Parey Ga’ and ‘Paaon Choo Lainey Di Phoolon Ko Inayat Ho Gi’, both Lata-Rafi duets from ‘Taj Mahal’ were mesmerising.

During this time Roshan gave the Hindi movies hits such as ‘Ab Kya Misaal Doon Mein Tumharey Shabab Ki’ and ‘Kabhi To Milegi, Kahin To Milegi’ (Aarti, 1962) and ‘Jurm-e-Ulfat Peh Hamein Log Saza Daitey Hein’ (another Ghazal tune in which Roshan was an expert) (Taj Mahal, 1963). He composed some melodies for the movie ‘Mamta’ (1966) (motherhood) like ‘Rahen Na Rahen Hum’ and ‘Rehte They Kabhi Jinke Dil Mein Hum Jaan Sei Bhi Pyaron Ki Tarah’ but one must not forget the Hemant Kumar-Lata’s melody ‘Chupa Lo Yun Dil Mein Pyar Mera’ from this movie. The tunes, the lyrics, the situations and the movies such as ‘Mamta’ used to be powerful in those days.

I must mention some rare songs composed by Roshan Laal and sung by Mangeshkar. Song “Ye surkhi aur ye sham” is from the 1955 movie ‘Chorra Chorri’.

From :  Daily Times August 22, 2014

Lata Mangeshkar — the living legend

Part XVII

Dr Amjad Parvez

The lyrics of the songs were penned by none other than Kaifi Azmi. Regarding the movie ‘Kabhi Kabhi’, I have mentioned in my book Melody Makers, “In 1976 this movie’s commercial success and the popularity of music broke records. As I was told by Khayyam, Sahir Ludhianvi had challenged that no music composer would do justice to his ghazals “Mein pal do pal ka shair hun” and “Kabhi kabhi merey dil mein”. The challenge was met successfully by Khayyam, especially due to the rhythmic treatment and the poetic cum musical style given to the lyrics in music composition. Mukesh and Lata Mangeshkar relished singing the former ghazal astoundingly well. This Yash Chopra film had many other hit songs like “Mere ghar aai aik nanhi pari”. Though Khayyam has been very choosy for selecting his movies right from the beginning but after ‘Kabhi Kabhi’ he got many films to compose for, one after the other. It was for ‘Shankar Hussain’ in 1977 that he gave two amazing songs, one was Kaif Bhopali’s “Apne aap raaton mein chilmanein sarakti hain” and the other “Aap yun faasilon sey guzatre rahe” both by Mangeshkar. This was Kamal Amrohvi’s son Tajdar’s movie as a producer. The tunes depicted the inscrutability of night. I don’t know whether the movie flopped or clicked but the songs are immortal. Then came the box office hit ‘Trishul’ again by Yash Chopra in 1978. It was the revenge of Amitabh, born out of illicit relation between Waheeda Rehman and Sanjeev Kumar (who leaves her for a rich woman), a well-performed movie with Mangeshkar crying for revenge in the song “Tu mere saath rahe ga munney” well written by Ludhianvi. The movie contained duets by Kishore and Mangeshkar as well; “O kabhi qasmein na torian” based on Punjab’s folk and “Kehte darti ho” (Mangeshkar & Kishore) picturised on Hema Malini and Shashi Kapoor. Another song “Muhabbat bare kaam ki cheez hai” by Mangeshkar-Kishore-Yesudas trio made the movie a musical hit, picturised on Amitabh-Hema and Shashi and last but not the least the younger pair Poonam Dhilon and Sachin were treated with “Gapoo ji gapoo ji gam gam” by Mangeshkar and Nitin Mukesh. Then appeared a beautiful song “Simti hui yeh gharian” by Mangeshkar and Rafi in “Chambal ki qasam” in this Raj Kumar, Shatrughan Sinha and Maushmi Chaterjee starrer movie.

Here I would like to quote Khayyam’s response to a tricky question posed by Dr Mandar Bichchu in the article titled ‘Khayyam and Lata in perfect harmony’ as to how was his experience of working with Lata Ji for the first time. Khayyam responded ‘To be frank, I was quite apprehensive about working with her. Our ‘Heer Ranjha’ episode was fresh and then again, I had a bitter experience when she cancelled her recording for another film of mine at the last moment for some reason. As a result, I lost contract for the film...Lata was called by Apsi Irani’s company to sing for ‘Bombai Ki Billi’ and ‘Barood’ and not by me. After singing songs for ‘Barood’ as referred to above and for the movie ‘Hum Hei Raahi Pyar Ke’, an unreleased movie, she seemed visibly moved...Whenever she liked any tune of mine, there would almost never be any verbal praise but her eyes would speak, her face lit up with a glowing smile and would blush a little’. It is history that after harmony developed between a great singer and a great composer; we witnessed dozens of outstanding melodies that came into being. Examples can be quoted like the movie Dard’s ‘Na Janey Kaya Hua’ (1981) and Razia Sultan’s ‘Aei Dil-e-Nadaan’ and ‘Jalta Hei Badan’ (1983) as reiterated above. I still remember when Khayyam visited Lahore in 1986 and on invitation of Madam Nurjehan’s residence for a dinner party; Lata’s songs from ‘Razia Sultan’ were played again and again and appreciated umpteen times by the guests. Madam seemed to be a great fan of Khayyam.

About Khayyam and Yash Chopra working together, let me quote from ‘Melody Makers’, “Yash and Khayyam then produced a low budget movie ‘Noorie’ with Poonam and Farooq Sheikh in the lead. Its music with Lata’s ‘Chori Chori Koi Aaye’ and Lata-Nitin’s ‘Noori’ with the movie based on the poverty of Kashmiris was very strong. It made this movie a colossal hit. Khayyam and Yash Chopra got estranged on the issue of sharing the booty equally for this movie as both had financed this movie equally. This episode gave an end to this beautiful team. Yash opted for Khayyam’s musicians Shiv-Hari for his subsequent movie ‘Silsila’. I wish that Yash-Khayyam team could have continued”. 

Khayyam gave “Hazaar raahein” and “Aankhon mein hum nei aap kei sapney sajae” to Mangeshkar-Kishore duo for Rajesh Khanna-Shabana Aazmi starrer movie ‘Thori Si Bewafai’. In 1982, Khayyam composed for the movie ‘Bawari’ and then for ‘Bazaar’.

From :  Daily Times August 24, 2014

Lata Mangeshkar — the living legend

Part XVIII

Dr Amjad Parvz

I can never forget Lata Mangeshkar singing Mir Taqi Mir’s “Dikhai diye yun key bekhud kiya” picturised on Supriya Pathak from the movie ‘Bazaar’. It was the simplest form of picturising a ghazal; all sitting in a garden around a bonfire and listening to the song. The touching tragedy of ‘Bazaar’ also had a beautiful ghazal of Makhdoom Mohiuddin “Phir chiri raat baat phoolon ki” by Mangeshkar and Talat Aziz. I remember having being given a treat to Rajesh Khanna’s unreleased movie titled ‘Majnoon’ (1986) when at Khayyam’s residence. The song was a lovely breeze in the air. It was “Dheeme dheeme yeh ujaley” by Yesudas and Mangeshkar.

Lakshmikant Pyarelal (LP) & Mangeshkar: A timeless melody by Mangeshkar, “Chalo sajna jahan tak ghata chaley” from the movie ‘Mere Hamdam Mere Dost’ attracted my attention to the prowess of LP in the art of music compositions. It is not the basic melody but the orchestral treatment that spoke of the duo’s genius. Another of Lata’s gem is ‘Tum Jaao Kahin Tum Ko Ikhtiar, Hum Jaein Kahan Sajna, Hum Nei To Kiya Hei Pyaar’ pictured on Sharmila Tegore. In this movie Mumtaz plays side heroine and pictured a lovely dance on Lata’s melody ‘Allah Yei Ada Kaisi Hei In Haseenon Mein’, a song composed on Qawwali beat. LP’s repertoire got its first richness through their first song ‘Hansta Hua Noorani Chehra’; a dance sequence by Lata and Kamal Barot of their first movie ‘ParasMani’ made in 1963. Though it is a fact that I did not endorse the shrieking voices in this song but still it was popular because of the rhythmic treatment given to the song. From the duet ‘Woh Jab Yaad Aei Buhut Yaad Aaei’, a duet by Rafi and Lata onwards, and the latter’s relationship with the duo lasted very long producing almost six hundred songs together. 1964 movie ‘Dosti’ was basically a Muhammad Rafi movie but Lata contributed a lovely song ‘Guriya Humse Roothi Raho Gi’.

In ‘Melody Makers’ I have remembered the 1968-1972 period in the words, “When in UK, I loved watching four movies of LP’s music namely ‘Milan’ (1967) with hit song ‘Sawan Ka Mahina Pawen Karey Shore’ sung by Mukesh and Lata Mangeshkar, ‘Ham Tum Yug Yug Se Yeh Geet Milan Kei Gaatei Rahein Gei’ is a nice duet by Lata and Mukesh from the movie ‘Milan’, ‘Shagird’ (1968) with hit song ‘Dil Vil Pyar Vyar Mein Kaya Janu Rei’ by Lata Mangeshkar, ‘Intiqaam’ (1969) ‘Kaise Rahu Chup Keh Mein Nei Pi Hi Kaya Hei’ by Lata Manageshkar and 1970’s ‘Do Raste’ with hit song ‘Bindiya Chamake Gi’ again by Lata Mangeshkar and a duet ‘Chup Gaye Saare Nazare Oei Kaya Baat Ho Gai/Tu Nei Kajal Lagaya Din Mein Raat Ho Gai’ by Rafi and Lata. Lyrics were written by Anand Bukhshi. Each of these movies had something particular to mention. Even in their earlier movies, one could remember a hit song or two like the one from the movie ‘Sant Gyaneshwar’s ‘Jyot Se Jyot Jagate Chalo’ and, ‘Khabar More Na Li Ni’” These were all Lata numbers.

Lata’s songs ‘Ruk Ja Aei Hawa’, ‘Kahna Aan Pari Mein Terey Duwaar’ (a Bhajan), ‘Ur Kei Pawen Kei Sang Chaloon Gi’ and ‘Dil Wil Pyar Vyar Mein Kaya Janoon Rei’ are beautiful melodies from the 1968 movie ‘Shagird’. The best melody I like is ‘Woh Hein Zara Khafa Khafa’, a duet by Rafi and Lata. The next year, LP gave lovely music for their movie ‘Intiqaam’ starring Sanjay Khan, Sadhana, Ashok Kumar, Helen, Iftikhar, Anju Mehindru, Leela Chitnis and Jeevan. This movie was directed by RK Nayyar. Although the best song of this movie was Muhammad Rafi’s ‘Jo Unki Tamana Hei Barbaad Ho Ja’ but Rafi-Lata’s duet ‘Hum Tumharey Liye Tum Hamarey Liye’ and finally Lata’s cabaret song ‘Aa Jaan-e-Jaan’ were catchy too. The lyrics were penned by Rajinder Krishen. This movie proved the versatility of LP. The duo was always in praise for Lata Mangeshkar and was quoted as saying that where Didi (Lata) was concerned, if the duo was to put in one-anna worth of effort, she always turned it into a sixteen-anna endeavor. It is funny that such was the composing duo’s dependence on the vocals of Lata Mangeshkar that metaphorically speaking, they imagined buying a machine whereby she could sing the female as well as male vocals! That machine did not exist at that time. Despite the use of latest computer technology in audio recordings, the soothing impact of natural voices mixed with orchestra by sonic appeal cannot be replaced.

Until 1970, LP used Mangeshkar’s voice in almost all their movies like ‘Sant Gyaneshwar’ (1964), ‘Sati Savitri’ (1964), ‘Aaye Din Bahar Ke’ (1966), ‘Sau Saal Baad’ (1966), ‘Anita’ (1967), ‘Farz’ (1967), ‘Raja Aur Runk’ (1969), ‘Jeene Ki Raah’ (1969), ‘Aan Milo Sajna’ (1970), ‘Abhinetri’ (1970), ‘Humjoli’ (1970) and ‘Khilona’ (1970).

From :  Daily Times August 25, 2014