Whenever I think of Lata Mangeshkar, many melodious songs come to my mind whether it is her song for Khem Chand Parkash’s composition ‘Mushkil Hei Buhut Mushkil’ from Kamal Amrohvi’s film ‘Mahal’ filmed on Madhubala or ‘Rasik Balma’ filmed on Nargis for the film ‘Awara’ or ‘Aaj Phir Jeene Ki Tamana Hei’ on Waheeda Rehman for SD Burman’s film ‘Guide’ or ‘Tasveer-e-Muhabbat’ for Vyjantimala in Naushad’s ‘Sangharsh’ or ‘Bedardi Balma Tujh Ko Mera Mun Yaad Karta Hei’ composed by SJ filmed on Sadhna or ‘Yei Dil Tum Bin Kashin Lagta Nahi’ filmed on Tanuja for LP’s film ‘Izzat’ or ‘Na Jeene Kaya Hus’ for Khayyam’s ‘Dard’ filmed on Hema Malini etc. It establishes one fact that she ruled as the most suitable voice for the heroines on Bollywood for three generations. During her seven decades singing career her strength was her tuneful and sweet voice with which she ruled Bollywood’s background singing voice despite her politics played in music industry by sidelining some music composers or singers during the peak of her career. Undoubtedly she gave music lovers of the subcontinent many sweet moments in their lives when they heard her crooning. Exit of Nurjehan for Pakistan in 1947 was one reason of her success as she did not have to compete with a superior voice. Times of India reported on Sunday that veteran Indian singer and Bharat Ratna awardee Lata Mangeshkar breathed her last in Mumbai’s Breach Candy Hospital. Lovingly referred to as the ‘Nightingale of India’, she was suffering from health issues over the past few weeks and was on ventilator support in the ICU. Political leaders, Bollywood celebrities rushed to pay their last respects to the legendry singer. Her mortal remains were kept at Shivaji Park for people to pay their last respect. This singular honour was last awarded to Shiv Sena chief Bal Thackeray. Her mortal remains were taken to the Hindu Smashan Bhoomi in Dadar for last rites. His news spread like a wild fire all across the globe especially in the subcontinent. Lata sang many songs for many music composers, the details of which are available in my book Melody Makers but I shall lift my submissions from the quoted submission for music composers Madan Mohan and Khayyam as specimen of her contributions: As per my book ‘Melody Makers’, my memories of Madan Mohan Kohli date back to his music in the movie Daikh Kabira Roya in which Lata sang ‘Meri Veena Tum Bin Roye’ in Raag Aheer Bhairon. Lata’s ghazal ‘Tu Pyar Karey Ya Thukraei Hum To Hein Terey Diwanon Mein’ was also from this movie. A series of lovely melodies by Lata like ‘Hum Pyar Mein Jalney Walon Ko Chain Kahan, Araam Kahan’ from the movie ‘Jailor’ and ‘Unko Yeh Shikayat Hei Keh Hum Kutch Nahin Kehte’ and ‘Yun Hasraton Key Dagh Muhabbat Mein Dho Liye’ from the movie ‘Adalat’ and ‘Zara Si Ahat Hoti Hei to Dil Yeh Sochta Hei, Kahin Yeh Woh To Nahin’ from Chetan Anand’s ‘Haqeeqat’ and ‘Woh Chup Ranein To Merey Dil Kei Dagha Jaltey Hein’ from ‘Jehan Ara’ kept on haunting me for a long time. Before these songs came into being, Lata’s songs from a B Class movie ‘Anparh’ with Dharmender’s debut with outstanding actress Mala Sinha like ‘Hei Issi Mein Pyar Ki Aabroo’ and ‘Aap Ki Nazron Nein Samjha Pyar Kei Qabil Mujhey’ had left a deep impact on melody lovers. This combination of Lata and Madan Mohan’s command on composing and rendering Ghazals and other melodious songs has been unmatched. Madan Mohan’s inculcation with big masters of music visiting father like Ustad Faiyyaz Khan, Ustad Ali Akbar Khan, Malika-e-Mausiqui Roshan Ara Begum, Begum Akhtar, Siddheshwari Devi, and Talat Mehmood, all renowned names in the field of classical music and Ghazal singing in his house must have left a mark in his psyche. Otherwise how could he create compositions such as ‘Maine Rang Li Aaj Chunariya’ from ‘Dulhan Ek Raat Ki’ and ‘Baiyan Na Dharo’. In those days, apart from low cast films, Madan Mohan did get a Nutan film ‘Dulhan Aik Raat Ki’ and he composed the lovely number ‘Sapnon Mein Agar Mere Tum Aao to So Jaaoon’. Again I would not be doing a justice to Madan Mohan-Lata combination if I do not mention his compositions such as ‘Sapne Mein Sajan Sey’ and Do Ghari Woh Jo Paas’ (with Muhammad Rafi) pictured on beautiful Madhubala from the movie ‘Gateway of India’ and ‘Rukey Rukey Sey Qadam’ from the movie ‘Mausam’ pictured on Sharmila Tegore. My all-time favourite however is Lata’s ‘Aaj Socha to Ansoo Bhar Aei Mudatein Ho Gaein Muskurae/ Mudatein Ho Gaeein Muskuraye’ from Chetan Anand’s 1972 movie ‘Hanste Zakhm’. The Sitar introduction and interludes takes one’s breath away. It was filmed on Priya Rajvansh in a club sequence with K. N. Singh flirting with her and she remembering her love for Nivin Nishchol in flashbacks; an excellent portrayal. Another of Lata’s crooned song from this movie is ‘Betaab Dil Ki Tamana Yehi Hei/Tumhain Chaahain Gei/Tumhain Poojain Gei/Tumhain Apna Jahan Banein Gei’. These songs were penned by none other than Kaifi Aazmi. I must not forget the songs from Sadhna-Manoj’s movie ‘Woh Kaun Thi’ like ‘Lag Ja Galey Keh Phir Yei Haseen Raat Ho Na Ho’ and ‘Naina Barsey Rim Jhim’ and of course ‘Jo Hum Ney Dastaan Apni Sunai’ and the songs from Sunil Dutt-Sadhna starrer movie ‘Mera Saya’ like ‘Tu Jahan Jahan Bhi Ho Ga Mera Saya Saath Ho Ga’ and ‘Nainon Main Badra Chaaei’. About Yash Chopra getting Madan Mohan’s rejected tracks from the latter’s son Sanjeev Kohli library and Lata singing ‘Tere Liye’, ‘Aisa Dais Hei Mera’, ‘Yei Hum Aa Gaeye Hain Kahan’, ‘Do Pal’ and ‘Kyun Hawa’, ‘Hum Tau Bhai Jaise Hain’, Tum Paas Aa Rahe Ho’ and ‘Jane Kyun’, she said about singing for ‘Veer-Zaara’: “Madan Mohan was like my brother. Yashji’s like my brother. I felt I had gone back in time.” Some of memorable songs by Lata for Madan Mohan are ‘Aankhon Aankhon Mein Un Sei’, ‘Preetam Meri Duniya Main Do Din Tau Rahe Hote’ and ‘Sanwari Soorat Mun Bhai Re Piya Tori Sanwari Soorat Mun Bhai’ from 1951 movie ‘Ada’ with lyrics by Raja Mehdi Ali Khan and Prem Dhawan, ‘Ja Ja Re Ja Sajna Kahe Sapno Mein Aaei Ja Kei Dais Paraye’, ‘Jana Tha Hum Sei Door Bahane Bana Liye’ and ‘Un Ko Yei Shikayat Hei Keh Hum Kutch Nahi Kehte’ from 1958 movie ‘Adalat’ starring Nargis and Pardeep Kumar. Lyrics were penned by Rajinder Krishen, ‘Woh Jo Milte They Kabhi Hum Sei Diwano Ki Tarah/Aaj Yun Milte Hain Jaise Kabhi Pehchan Na Thi’ from 1963 movie ‘Akeli Mat Jaaiyo’ starring Meena Kumari and Rajinder Kumar with lyrics by Majrooh Sultanpuri. We have already mentioned two songs of 1962 movie ‘Anparh’ above. The others by Lata are ‘Jiya Lei Gayo Ji Mora Sanwariya’, ‘Woh Daikho Jala Ghar Kisi Ka’ and ‘Rang Birangi Rakhi Lei Kar Aai Behna’. Lyrics were penned by Raja Mehdi Ali Khan. 1952 Nargis-Raj Kapoor film ‘Ashiana’ had six lovely songs by Lata namely ‘Main Na Janu Mere Dil Ko Yei Kaya Ho Gaya’, ‘Mera Qarar Lei Ja Mujhe Beqarar Kar Ja’, ‘Mere Piya Sei Koi Ja Kei Keh De Jeewan Ka Sahara Teri Yaad Hei’, ‘Mukh Mor Na Laina Sajna Dil Bechain’, ‘Sama Hei Bahar Ka Lei Lei Maza Pray Ka’ and ‘Tum Chand Kei Saath Chale Aao’ penned by Majrooh Sultanpuri. 1953 Naseem Bano movie ‘Baghi’ had a lovely song ‘Baharain Hum Ko Dhoondhain Gi Na Jane Hum Kahan Haun Gei’ again a Majrooh penned number. A semi-classical number ‘Jaa Re Badra Bairi Ja Ja Ja Re’ penned by Rajinder Krishen was from 1960 movie ‘Bahana’. Another hit number ‘Bairen Neend Na Aaye’ was from Kishore Kumar-Anita Goha 1959 film ‘Chacha Zindabaad’, penned by Rajinder Krishen. I have mentioned a classical based song ‘Bainyan Na Dharo Balma’ from Rehana Sultan-Sanjeev Kumar 1970 movie ‘Dastak’ already. The other Majrooh penned numbers are ‘Hum Hain Mata-e-Kucha-o-Bazzar Ki Tarah’ and ‘Maai Ri Maai Ka Sei Kahun Peer Apni Ji’. 1970 Raj Kumar-Priya Rajvansh film ‘Heer Ranjha’ had two lovely songs by Lata ‘Doli Charhde Heer Nei Bain Kiya Ho’ and ‘Do Dil Toote Do Dil Haare’; the latter became very popular because of climax in its composition in the antaras. Then there was this movie ‘Aik Kali Muskurai’ in which Lata sand a superb melody ‘Na Tum Bewafa Ho Na Hum Bewafa Hain’. Just listening to the pathos of this melody brings tears in one’s eyes. Madan Mohan said in an interview that to compose this song he had to imagine and go through the agony of parting of lover with the beloved for many days before this melody came into being. It was great difficulty that I located two outstanding melodies by Lata from Bina Rai-Prem Nath starrer 1957 movie ‘Samunder’ with serene sounding orchestra and soothing impact by Madan Mohan’s genius. These songs are ‘Aa Jaa Kahin Sei Aa Jaa, Dil Ka Qarar Lei Kei’ and ‘Chain Nahi Aaei, Kahan Dil Jaye’. Lyrics were penned by Rajinder Krishen. Many beautiful melodies get lost on the way when the films do not meet box office success. Whenever I entered Alhamra Stage to perform, music composer Jozi Anjum on keyboard used to give my entry by playing Lata’s ‘Yei Mulaqat Ik Bahana Hei/Pyar Ka Silsila Purana Hei’ from 1979 movie ‘Khandan’ composed by Khayyam. Before singing my own songs, I used to sing a few lines of this song. That was in 1980s. An art work by Mary Ann Kluwer of a lone human standing in the deserts reminded me of Hema Malini singing Lata’s melody ‘Aei Dil-e-Nadan’ from Kamal Amrohvi’s ‘Razia Sultan’. It was a master piece composition by Khayyam for Lata. The silent pauses in between the song enhanced the impact of still atmosphere. The big banner movie ‘Razia Sultan’ was released in 1983. This Kamal Amrohvi’s movie was huge success, music wise. It is 1983 Urdu film also written by Kamal Amrohi, and starring Hema Malini and Dharmender in lead roles. The film’s lyrics were penned by Jan Nisar Akhtar and two songs by Nida Fazli who walked into the project when Jan Nisar Akhtar died. Some songs were sung by Lata Mangeshkar, including classics like ‘Jalta Hei Badan’. One of Lata’s songs ‘Choom Kar Raat Sulaye Gi to Neend Aaeye Gi’ apart from the ones mentioned above was a fantastic song. Earlier the movie in which Khayyam used Lata’s voice was for the song ‘Rang Rangeela Saanwara Mohe Mil Gayo Jamuna Paar’ with folk touch in its tune and rhythm and ‘Teri Duniya Mein Nahin Koi Hamara Apna’ in happy and sad moods respectively for the Apsi Irani’s movie ‘Barood – 1960’. These songs gave a very sweet touch to Lata’s voice. The song composed for Ramesh Saigol’s ‘Shaula Aur Shabnam – 1961’ that that created ripples in Indian Film music was Kaifi Aazmi’s lyrics in Rafi-Lata’s voice ‘Jeet Hi Lenge Baazi Hum Tum’. In 1966 Chetan Anand experimented with a small crawling baby looking for his mother in the movie ‘Akhri Khat’ and Khayyam composed outstanding melody ‘Baharo Mera Jeevan Bhi Sanwaro’ in Raag Pahari, one of his favourite Raags crooned by Lata. The movie ‘Aakhri Khat’ was an exceptionally well produced non-commercial movie. Only directors of the caliber of Chetan Anand could conceive and produce this movie. He also wrote its script. This was Rajesh Khanna’s first released film. Factually, his debut film was ‘Raaz’, which was released a year later. The lyrics of the songs were penned by none else than by 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 told to me by Khayyam in person, it was a challenge thrown by Sahir Ludhianvi that his ghazals ‘Mein Pal Do Pal Ka Shair Hun’ and ‘Kabhi Kabhi Merey Dil Mein Khayal Aata Hei’ would not be done justice to by any music composer. 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 relished singing the former ghazal astoundingly well. This Yash Chopra film had many other hit songs like Lata’s ‘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 Hein’ and the other ‘Aap Yun Faasilon Sey Guzatre Rahe’ both by Lata. 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 movie ‘Trishul’ again by Yash Chopra in 1978. The writer is the recipient of the prestigious Pride of Performance award. He can be reached at doc_amjad@hotmail.com