The Songs Lata Mangeshkar Loved

All of us love Lata Mangeshkar's songs.

But which of her own evergreen melodies did she love?

Lataji had once picked her favourites, albeit reluctantly, and told Subhash K Jha just why they were so close to her heart.

 

Bedard Tere Dard Ko from Padmini (1948)

Back in those days, we had to record every song twice: Once for the film and again, for the disc.

As you know, Ghulam Haidersaab was the first major composer to give me a break.

One night, he summoned me. I went immediately with my sister.

While Haidersaab sat at the piano composing the song, my sister and I waited patiently throughout the night.

At 7 am, he was ready with the tune for Bedard Tere Dard Ko.

Within a couple of hours, I was ready for the take.

A few days later, I went back to the HMV studio to record the song. This time in an abridged version.

Soon after, Ghulam Haidersaab migrated to Pakistan.

Aayega Aanewala from Mahal (1949)

This is a hundred percent my favourite. I had done a number of rehearsals for the song. Khemchand Prakashji had heard me sing for Anilda (composer Anil Biswas).

He composed a number of tunes for Aayega Aanewala before the final tune was selected.

Since the song was very important to the film, both (Producer) Ashok Kumar and (Director) Kamal Amrohi were present at the recording.

I was told I had to sing as though the girl on screen was approaching from a distance.

Since it was a large studio, the microphone was placed at the centre and I was told to approach the mike from a corner of the studio singing the prelude, Khamosh Hai Zamana Chup Chap Hai Sitare.

Since those days, there was no dubbing or editing we had to do it all in one go.

I think we recorded Aayega Aanewala the whole day.

 

Aaj Mere Naseeb Ne Mujhko Rula Diya from Hulchul (1951)

Ah, I really like this one. Sajjad Husain's tunes were always a challenge.

I was always scared of singing his songs.

He'd come really close to explain a song.

That made me nervous.

But he wasn't a terror; he was a perfectionist.

He taught me how to sing an alaap in a subdued voice.

Like me, he was from Indore and he always reminded me of this fact.

Unfortunately, Aaj Mere Naseeb wasn't recorded properly.

 

Aa Ri Aa Nindiya Tu Aa from Do Bigha Zameen (1953)

I think this was Salilda (Salil Chowdhary)'s first Hindi score. It was very difficult to sing this number.

There was no breathing space between the lines.

Salilda recorded two versions of the song, one with no orchestra.

He wanted to create the feeling of solitude as Meena Kumari sat singing all by herself.

 

Phaili Hui Hai Sapnon Ki Baahein from House No 44 (1955)

Sachinda (Dev Burman) had his own style of putting across a composition to the singer.

He gave me the freedom to make suggestions.

He had a deep knowledge of folk music.

He used to be very particular about the song situation.

Being a singer, he could get exactly what he wanted from my voice.

If he was pleased with my singing, he offered a paan which I happily accepted. I love paan.

 

O Sajna Barkha Bahaar Aaye from Parakh (1960)

I had recorded the original version of this song for Salilda (Chowdhary) in Bengali as a Dussehra Puja number.

He often turned his Bengali compositions into Hindi numbers.

Not just me, everyone thinks O Sajna to be among Salilda's best creations.

 

Kaise Din Beete Kaise Beeti Ratiyan from Anuradha (1960)

Hrishida (Mukherjee)'s Anuradha was special. Pandit Ravi Shankar composed four lovely songs for me.

This one is my favourite. To sing for Panditji was a big event for me. Woh itne bade artiste hain!

I really respect him.

When I rehearsed the song with him, I was apprehensive. But he patiently explained what he wanted.

We recorded two songs of Anuradha in one day.

After I saw the film, I realised how well they had been composed.

 

Kahin Deep Jale Kahin Dil from Bees Saal Baad (1962)

Before the recording of this song, I had fallen seriously ill. I thought I'd never be able to sing again, that my voice was gone.

But by God's grace, I recovered. The recording went very well.

Hemantda (Hemant Kumar) was of a very quiet nature.

He knew exactly what and how to compose for me. I was very comfortable with his style.

Come to think of it, I was comfortable with every composer's style.

God has given me the knack to comprehend every composer's requirement.

 

Woh Chup Rahen To Mere from Jahan Ara (1963)

It was a classical tune. After the recording, I remember Madanbhaiya (Mohan) came inside the recording room. He had tears in his eyes.

When he was deeply moved, he used to address me as 'beta'.

Jahan Ara was Om Prakash's film. He was my Raakhi brother. He too was there during the recording.

Actually, every song by Madanbhaiya is important.

 

Ae Dilruba from Rostam Sohrab (1963)

No list of my favourites can be complete without this song.

Sajjad Husainsaab insisted that I don't stress any sur in the composition.

He wanted every note to be relaxed and unaccentuated.

I agree when you say that my voice sounds completely different in this song.

As usual, I was very scared during the recording.

Like his songs, Sajjadsaab was unique.