Sharda, who passed into the ages on June 14, had an unconventional voice.
It didn't quite fit the mould of the Bollywood playback singer, which is what made her interesting.
Sharda sang numerous hit songs in the 1960s at a time when the voices of Lata Mangeshkar and Asha Bhosle ruled the charts.
She dared to be different.
It was music director Shankar of Shankar-Jaikishan fame, who mentored Sharda and introduced her to every powerful producer of the time as the 'voice to watch out for'.
Not all the producers were convinced, but they went along with Shankar's recommendation.
Sharda sang her way into the charts with some of Shankar's best compositions: Titli Udi (Suraj), Leja Leja Mera Dil (An Evening In Paris), Chale Jaana Zara Thehro (Around The World), Tumhari Bhi Jai Jai (Deewana), Dekho Mera Dil Machal Gaya (Suraj) and Jab Bhi Yeh Dil Udaas Hota Hai (Seema) were among the biggest hits of the 1960s.
Raj Kapoor recorded two songs in Sharda's voice for Mera Naam Joker (Mera Naam Alibaba and Gao Gao Jhoomke), but they did not make it into the film.
While Sharda ploughed her way with composer Shankar staunchly by her side, many well-wishers felt Shankar was gradually destroying his career due to his obsession with her voice. It created a rift between Shankar and Jaikishan and finally tore the duo apart.
Sharda continued to sing for Shankar right until the 1980s.
A veteran film-maker who wishes to go unnamed tells me, "Her voice didn't suit any of the heroines and yet, because Shankar insisted, producers went along with his choice.
"Towards the late '60s and early '70s, it was a given that if it was Shankar-Jaikishan, it had to be Sharda for Shankar. Because of his support, she crooned her way into many hits of the 1960s. But her voice isolated Shankar from the entire film industry, including his partner Jaikishan.
"When Jaikishan passed away, Shankar had to get Manoj Kumar's help to get Lata Mangeshkar to agree to sing the songs of Sanyasi."
