Isn’t it extremely difficult to write about Lata Mangeshkar as everything has already been written? But then one may argue that she had so many facets, one can always find something new to talk about. So, here is my attempt do the same. Although I’m sure this aspect too must’ve been touched upon somewhere.

From Vasant Desai in the 1940s to AR Rahman in the 2000s, Lata Mangeshkar has sung for some of the finest music directors of the Hindi Film Industry from every era. In fact, no other playback singer got the opportunity to sing with such a range of musicians from the industry. And with each one of them, her output was uniquely beautiful. This is an attempt to talk about some of those brilliant associations. While these associations have produced several gems, I have limited myself to three songs each.

Naushad

Naushad was a purist trained in Indian Classical music and his songs reflected the same purity. While he dialled down the gravitas of the Raagas for the film songs, they retained their depth and substance. And Lata Mangeshkar embodied this purity and depth in the most impeccable way. Trained in Classical singing from an early age, she became the perfect match for Naushad’s musical vision. One just needs to listen to the following songs to understand the beauty of this combination.

Mohe Bhool Gaye Saanwariya (Raag: Bhairav, Movie: Baiju Bawra, 1952)

Jaane Waale Se Mulaqaat Na (Raag: Bhopali / Yaman, Movie Amar, 1954)

Phir Teri Kahaani Yaad Aayi (Raag: Gorakh Kalyan, Movie: Dil Diya Dard Liya, 1966)

In many ways, the great singer was mentored by Naushad. In her own words, “It wouldn’t be wrong to say Naushad Saab nurtured my voice cultivated my abilities and honed my skills. He was a perfectionist to the core.”

SD Burman

SD Burman was the quintessential film music composer, with melodies suiting the moment in the movie and the lyrics. His craft was all about using songs to add to the narrative of the movie. And Lata Mangeshkar became the ideal carrier of his craft, whether it was a love song or a sad song or even a classical song. She carried his sweet melodies with utmost sincerity and élan. The following songs showcase this beautifully.

Thandi Hawaayein (Movie: Naujawaan, 1951)

Tum Na Jaane (Movie: Sazaa, 1951)

Piya Tose Naina Laage Re (Movie: Guide, 1965)

While they had a fall-out for a while in between, the senior Burman always used to say, “As long as there’s ‘Lota’, I’ve nothing to worry about.”

Madan Mohan

Madan Mohan used shades of melancholy to turn classical patternsinto ghazal like melodies. The accompanying lyrics did justice to the melodies. And the great singer added another dimension to these soulful melodies. With perfect pronunciationof Urdu words and the right amount of pathos in her voice, she brought them to life. Consider these beauties.

Yun  Hasraton Ke Daagh (Movie: Adalat, 1958)

Aapki Nazron Ne Samjha (Movie: Anpadh, 1962)

Lag Jaa Gale (Movie: Who Kaun Thi, 1964)

Their association went beyond music. They treated each other like brothers and sisters.

Salil Chowdhury

Now, this one is my favourite combination. Its complex, it’s playful and it’s effervescent. Salil Chowdhury was perhaps the greatest musical force India has ever produced. Whether inspired by Western Classical or Indian Classical or traditional folk music, his compositions were complex, layered, and tough for singers. But not for Lata Mangeshkar. In fact, she used to have fun with the complexities as if she is solving a puzzle and that’s why there is a distinct buoyancy in all her Salil Chowdhury songs. Try these songs:

O Mor Moyna Go (Album: Sera Pujor Gaan, 1953, First appearance)

O Sajna (Movie: Parakh, 1960)

Aaj Koi Nahin Apna (Movie: Agni Pareeksha, 1981)

Salil Chowdhury once said, “Maa Saraswati (Goddess of learning and music) herself reside in Lata Mangeshker’s voice. She is capable of delivering anything a music maker can think of.”

RD Burman

The world remembers RD Burman for playful and edgy numbers, but his finest compositionswere the serene melodious tracks with Lata Mangeshkar. Penned by the likes of Anand Bakshi and Gulzar these songs are sheer pearls. They shimmer with their tranquillity and poise. One can just listen to these to feel their beauty.

Bada Natkhat Hai Re (Movie: Amar Prem, 1972)

Tujhse Naraaz Nahin Zindagi (Movie: Masoom, 1983)

Sili Hawa Chu Gayi (Movie: Libaas, 1988)

Incidentally, both the first and the last song of RD Burman’s career was sung by Lata Mangeshkar (Ghar Aaja from the movie ‘Chotte Nawab’ and ‘Kuch Na Kaho’ from the movie ‘1942 A Love Story’).

While these are my favourite associations, some of her other notable collaborations were with giants like C Ramchandar, Shanker Jaikishan and Jaidev, each producing its unique set of gems.

In acareer spanning six decades, the Nightingale of India has left behind a body of work that is comparable to the works of Beethoven, Miles Davis or The Beatles both in terms of quality and the impact on popular culture.

She will always live on.

By Meraj Hasan

Meraj Hasan is a Dubai based marketing and communications professional, poet and a musician with a passion for listening to music the vinyl way. His 33 years old Technics (SL Q3) turntable along with a humble collection of LPs across genres like Rock, Classical, Blues, Jazz, Indian Classical are his prized possessions. He is also the author of a bestselling book of poems in Hindustani called, 'Khyaalon Ki Tapri'. He can be reached at +971 522766809 and meraj.hasan@gmail.com.