Lata Songs Free Download

[Billie Kjergaard]

DaLata (meaning "from the tin" in Portuguese) are a British group formed in 1994 by Chris Franck and Patrick Forge. They combine Afro-Brazilian influences with other strands from the melting pot of their native London. Franck and Forge previously worked together with the Brighton-based group Batu before setting up Da Lata as a more studio based project. Franck is the main creative force as songwriter, producer and multi-instrumentalist, whereas Forge, better known as a DJ and broadcaster, is credited as co-producer. They made three albums for Palm Pictures: Songs from the Tin (2000), Serious (2003) and a collection of their remix work for other artists, Remixes, which featured their interpretations of songs by Femi Kuti, Luciano, Bebel Gilberto and Sly and Robbie, among others. After a hiatus of several years, the pair started work on a new album in 2011. It was scheduled for release in early 2013.[1]

Da Lata's first release was as Trio Da Lata for Brownswood Records in Japan. The song "Deep Water" featured former Batu vocalist Sharon Scott. However, it was their next release, a version of Edu Lobo's classic "Ponteio" that garnered attention, crossing over between house and jazz-dance audiences. "Ponteio" was supported particularly strongly in Japan and in New York by the Body&Soul DJs. Despite the success of this single, Da Lata was put on hold for a few years whilst Chris Franck wrote, produced and toured with Smoke City. In 1998, they recorded a song that had been initially demoed four years earlier; it was on the strength of the song "Pra Manha" that they were signed to Chris Blackwell's Palm Pictures.

Released in 2000, Da Lata's first album enlisted help from London-based Brazilian vocalist Liliana Chachian, who previously featured on "Ponteio", and percussionist Oli Savill. Strongly influenced by classic MPB from the late sixties and seventies, Songs from the Tin also bears the influence of dance music, comparing Da Lata with Nuyorican Soul. Barnes & Noble's online guide said:

"Impeccably produced, weighty tracks that unroll like an evening at a great dance club, where the segue is just as important as the track itself, and the transportive aspects of the music -- swelling strings, whistling synths, cool solos, and incessant percussion". -- Aim for Ecstasy

Parting company from Liliana Chachian and Oli Savill, Da Lata's second album took on other world music influences, particularly Afrobeat, to present a more diverse sound, though the Brazilian influence remained strong. Featuring guest performances from Baaba Maal, Jhelisa, Bemb Segu, and Brazilian accordionist Marcelo Jeneci, Serious "proves that Da Lata are one of the few capable of an intriguing, along-lasting dance/world fusion".[2]

After leaving Palm Pictures, Da Lata released tracks in Japan ("Ronco da Cuca") and in the UK ("This Is Not Your Job"), both of which were updated for release on their follow-up album Fabiola. A cover version of The Jam's "Going Underground", with vocals by Floetic Lara, was released as a single in December 2012.[1] The album Fabiola was released in October 2013 on Agogo Records.

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She did not engage in a versatility of genre that would breach that image. There were no discos or cabarets. Pure and pristine was her technique as was her always white sari. This earned her the title of the proverbial nightingale. But, that image is little unfair to her life and work which has been a constant companion of my late night writing sessions.

It was largely possible because of her almost lifelong partnership with Yash Chopra. For as long as he directed, she sang for him with the exception of his last film Jab Tak Hai Jaan (2012) when she had largely retired from film song. Whether she sang for Kajol in 'Mere Khwabon Main Jo Aye' (Dilwale Dulhannia Le Jayenge 1995 dir Aditya Chopra) or her contemporaries such as Madhuri and Karisma Kapoor in the iconic 'Dil Toh Pagal Hai' and 'Raat Ne Kuch Kaha' (both Dil Toh Pagal Hai 1998 dir Yash Chopra), she represented the leading ladies in the same manner as she had since her first popular song 'Aye Ga Aanay Wala' (Mahal 1949 dir Kamal Amrohi).

Time, choice of songs, modernity and perhaps age may have impacted her suitability for the majority of songs in the 90s, but her presence was undeniable because of the layers of emotion she added to the most simple of moments and the opposite was true for the complex. Her ability to act out the lyrics was the rarity that allowed women half her age to convince the audience that it was them not Lata jee who were singing on screen.

Incidentally, the young Lata Mangeshkar began her career as an actor. Her passion for music, however, took her from the sets to the recording studio, the vantage point from which she acted forever. My conscious discovery of her non-90s songs was driven both by the fact that I consumed a great deal of vintage Hindi films, and reality shows. The internet of course bridged the information gap between these sources and that of the oral history available from family. Resultantly, her many avatars through the decades, solo or in a duet, began to keep me company.

Lata Mangeshkar, as I have understood after her passing, had the unique coincidence of being a much loved singer through the generations, the socio-economic classes and geographic divides because of her ability to distinguish love from romance, progress from regret, independence from codependency, in comparison to generic distinctions of happy from sad. Her focus on the underpinnings of the lyrics allowed her to express the subconscious emotions of her listeners in a manner that they could never do so themselves.

Lata jee sang for everyone, every mood, the everyday and the extraordinary and it is exactly on all these occasions that she will be remembered. Her work will forever keep every conscious and subconscious listener company.

For nearly a month now, Lata Mangeshkar had been admitted to Breach Candy hospital. The nightingale of India's health was improving, but yesterday her health worsened and she was put on a ventilator again. Unfortunately, the veteran singer passed away today, February 6, and left everyone saddened. She was 92. After the news of her demise broke, fans across the world mourned her loss. Though she is no longer with us, her legacy will live on. In her life span, Lata Mangeshkar recorded 50,000 songs in different languages.advertisementLATA MANGESHKAR WON GUINNESS WORLD RECORDLata Mangeshkar started her career in the year 1942 and over the years, she recorded as many as 50,000 songs in 14 languages. During the 1960s, she recorded 30,000 songs and won the Guinness World Record. Following the same, she became the most recorded voice in history.

Needless to add, we have lost the most treasured gem of the Indian film industry. Lata Mangeshkar's contribution to Bollywood and other film industries will remain unmatched. She was truly a legend.LATA MANGESHKAR - THE NIGHTINGALE OF INDIA

I probably heard this song for the first time on the radio with Ammu, my mother, who would listen to old Hindi songs on the weekend. In it, Lata Mangeshkar is able to communicate deep, complex emotions. You can literally feel the desperation alternating with hope that the almighty may change the situation. This feeling is something I can relate to, particularly during the covid-19 pandemic. I have lost family to the virus, seen repeated closure of my business, illness of loved ones, and yet I have remained hopeful.

The past two years have been those of reflection. The world has gone through tough times collectively. And this song captures this moment for me. I feel that the period between 1945-65, particularly, was a golden period. Lata Mangeshkar, together with the songwriters, musicians and composers, did something miraculous at that time.

Asong that is very personal to me is Humne Dekhi Hai In Aankhon Ki Mehakti Khushboo from Khamoshi (1969). During the 1980s, we would rent a lot of video-cassettes. The only song I knew from Khamoshi was Tum Pukar Lo, and thought of it as a heavy film. But I was pleasantly surprised to see how Waheeda Rehman essayed the role of a woman who owned up to her desires, at least to herself. There was an emotional intelligence to her, that I felt I was watching a film for adults. And I was only in my teens then, so it made me feel very grown up.

At that time, a lot of Bengali film-makers were making cinema in Hindi as well as in Bengali. These films would usually have an introspective scene, with the protagonist sitting in the back seat of a car, in a rickshaw or a bus. It was a journey, not just literally but metaphorically as well. The focus was on the face, deep in thought. In this particular song (directed by Asit Sen, with music by Hemant Kumar and lyrics by Gulzar), Waheeda Rehman is a nurse probing for answers about how to take care of Rajesh Khanna, who is going through emotional trauma.

In the song, Lata Mangeshkar builds up a space to show the interior world of a woman. It resonates very strongly with me. I too spend time travelling and mulling over things. The lyrics are about ambiguity, about giving yourself the opportunity to move away from a prescribed way of action. There is this flexibility to go this way or that.

I think I connected with the song closely because of the lyrics and the way Lataji rendered it: Her diction and the grain in the voice combined to depict the lyrics sublimely. She brought soul to this vernacular song. That was one of her admirable qualities: She held herself well in vernacular languages, be it Gujarati, Marathi or any other. As a singer of popular music, she managed to dissolve the boundaries between different genres. Singing, ultimately, is about going all out in conveying bhaav and she did that in every song of hers. And as a classical musician, if there is one thing I can imbibe from her in the way she conducted her life and profession, it is discipline.

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