At long last, Lata Mangeshkar speaks up (An Interview)
neha...@hotmail.com
I SWEAR ON MY MUSIC , I'VE NEVER STOLEN ANY OF ASHA'S SONGS
At long last, Lata Mangeshkar speaks up
Subhash K. Jha
--------------------------------------------------------------------
The voice is unmistakable. On television, Lata Mangeshkar's new
version of Vande Mataram is on. She stops mid-conversation to listen.
Her nephew cajoles her to listen. Since the peerless songstress
doesn't know how to say no, she assents.
After a gruelling recording session of a Nusrat Fateh Ali Khan
composition recorded posthumously for Kachche Dhaage, Lata Mangeshkar
sounds cheerful. She has been resting, she's revivified. Even at 69
and after 50 years of playback singing, it's a gruelling regimen for
her. Song recordings, concerts abroad, not to forget a 100 other
social commitments which she reluctantly accedes to because she can't
say no. Not even to an interview with me. Although she's extremely
media shy and attention-wary, she speaks candidly, often breaking into
peals of laughter over a fond memory, frequently conversing in fluent
Marathi with a kin and returning to our conversation with the sweetest
Sorry I've ever heard. Here, then, is the LM interview, unexpurgated:
This year, you've added two new composers to your repertoire, which
includes everyone except O.P. Nayyar. Could you tell us about your
experience of recording compositions by A.R. Rahman and Nusrat Fateh
Ali Khan?
I've done three songs with Rahman this year. The first was Jiya jale
in Dil Se, then one for Pukar and another film. His style is unique.
Come to think of it, a singer comes off much more effectively working
in Rahman's way. As you know, today there's no live orchestra present
at the recording. Rahman keeps only two or three musicians with him.
He feels most at home recording in his studio in Chennai. Once, I'd
recorded a song with him in a small studio in Mumbai. But I think
neither Rahman nor I was comfortable, we ended up recording only half
a song then.
Why do you think he isn't comfortable recording in Mumbai?
I think perhaps he finds everything unfamiliar out here. I may be
wrong though, Rahman hardly speaks. But since I wasn't keeping too
well that day, we eventually recorded the rest of the song in Chennai.
I like working with Rahman. He's done me a favour.
Really?
He records with me during the daytime... when my voice is fresh. I
don't like recording at night. And I've heard that Rahman records
mostly in the night. But he made an exception for me. When an artiste
shows such consideration for another artiste, it feels good. Aur kaam
bhi achha hota hai. Rahman doesn't take long over his recordings. Jiya
jale was recorded in 40 minutes.
40 minutes?!
(Laughs) Jee haan. I was sitting and humming an alaap for Jiya jale to
myself. He overheard me and said, "Please continue singing. I want
something like this for the song. Don't worry about where the song
will end. You just keep singing." I just went on. Later when I heard
the complete song, mujhe bahut achha laga. People who don't follow the
language at all have even enjoyed the Malayalam passages in Jiya jale.
You've been working with three generations of music composers. Isn't
there a generation gap between you and composers like Rahman, Vishal
Bharadwaj, Anu Malik and Jatin-Lalit?
(Firmly) Nahin. In my opinion, a singer should never be conscious of
such things. Irrespective of the generations they belong to, all music
composers try to do their best. As a singer, I used to enjoy the
challenging compositions of the past. I admit the young music
directors of today are a little scared of me. But I've never ever
misbehaved with any composer or told him that his tune is no good or
that I'll sing it in my own way.
But they might find it difficult to tell you what they want!
I don't mean to praise myself. But to date, I've always tried to grasp
the nuances of a song by sitting with the composer, like a student
sits before a teacher. In the past, I would make suggestions while
singing for Madan bhaiyya (Madan Mohan), Shankar-Jaikishen and
Laxmikant-Pyarelal. Even Burman dada. Quite a few directors encouraged
me to suggest an alaap here or a taan there. But I've never forced my
suggestions on any music director.
How would you describe your professional interaction with your brother
Hridayanath Mangeshkar?
I don't dare to suggest a word when I sing for him. But if I don't
understand something in his composition, I do badger him with a
hundred questions.
At times, his tunes are quite complex, aren't they?
For a singer, yes, they're complex. But I feel he's been maligned in
this matter. In the past, Sajjad Hussain composed what you call
complex songs. And rumours were spread that he's too exacting,
temperamental and egoistic. Actually I loved Sajjad Hussain's music
because like Naushad saab and Madan bhaiyya, he insisted on poetic
lyrics. These composers understood and appreciated Urdu. Those who had
some difficulties with Urdu or Hindi would consult specialists. For
instance Burman dada and Salil Chowdhary would make a 1000 inquiries
about the Urdu and Hindi words.
What else would you say was remarkable about the composers of
yesteryear?
I'll tell you another thing about Sajjad saab's music. He was very
particular about melody. Even if one instrument was slightly off-key,
he would be livid. Once during a recording, he asked a famous singer
to stop at the gandhar. The singer wanted to know what gandhar was.
Sajjad saab was aghast. Sometimes I wonder what he would have said
about today's singers. Like my brother, Sajjad saab used to get angry
about any trace of imperfection.
Are any of the top composers of today perfectionists?
I don't know how many of them have a deep knowledge of classical
music. The earlier composers were steeped in classical music. Burman
dada's knowledge of folk music was tremendous. He also used to sing
very feelingly. Pancham was the master of rhythms. Pyarelal had learnt
to play the violin from his father. Laxmikant too knew a bit about
classical music. Madan bhaiyya was exposed to classical music in
Lucknow. Sajjad saab would compose nothing but classical music. He
played the mandolin superbly. As for my brother, he speaks his mind.
He doesn't hesitate to praise a fellow artiste. I remember once Madan
bhaiyya had come home for a meal. The music of his Jahan Ara had just
been released. My brother liked the songs so much that he asked Madan
bhaiyya to autograph the record. If Hridayanath doesn't like any of my
songs, he criticises me immediately. I don't mind that all. In fact,
I've always valued frank opinions in my life. Some people praise me to
the skies and criticise me the minute my back is turned. I made
Hridayanath listen to my Jiya jale. He liked it very much. I've always
been very particular about songs that I sing for him. At times, I even
get angry at his exacting ways.
I feel the way you sang for Madan Mohan was extra-special.
His compositions were like that. But no matter whom I've sung for,
I've tried to give my very best. If I feel I can't do justice to a
song, I opt out. If composers can't wait for me to give my best, then
they're free to get their song recorded by someone else. I'm told that
some singers criticise composers on their face. I could never ever do
that.
You've just recorded a song composed by Nusrat Fateh Ali Khan. Do you
regret not having worked with him during his lifetime?
I met him twice. Once I invited him over to my house. I also went over
to listen to the songs he had conceived for a film. He said those
songs were for me. But there was some tension in Mumbai at that time
and the recordings were cancelled. He wouldn't be there in person for
his song recordings. His assistant, Amar Haldipur, would be there.
What was it like recording a Nusrat Fateh Ali Khan composition after
he's no more?
The songs in Kachche Dhaage were very difficult. He would compose
songs that had a great deal of utar-chadhao. There was no space for
breathing, the lines would merge seamlessly into other lines. Such
concert-oriented compositions are more suitable for a male voice. They
were a little awkward for me. If he was present during the recording,
I'm sure he'd have taken care of the situation. I regret not working
with him during his lifetime. When he came to my house, he asked for
the harmonium after dinner and played a whole lot of songs for me. He
said he wanted me to sing for three or four non-film albums. He has
left behind some tunes. But we don't know how to go about using them.
This year, you sang for Twinkle Khannna in Jab Pyaar Kisise Hota Hai.
Twenty-five years ago, you sang for her mother Dimple Kapadia debut in
Bobby. I've a feeling you'll be singing for Dimple's granddaughter
after we're all gone.
(Laughs) Then who'll listen to my songs? I don't remember if I've sung
for Shobhana Samarth but I've sung for Nutan, Tanu and Kajol. You'll
be surprised, but recently I saw an old film on television located in
the Arabian deserts. I was surprised to see myself singing for Ruby
Myers (Sulochana)! I didn't even know the song. But I said, chalo if
I've sung for her as well, to bahut badi baat hai. When I was a child,
I used to run off to see her films.
How do you feel when you hear your own songs?
I always find faults with my singing. If I don't like what I've sung,
I put my fingers in my ears and run away.
You know what the renowned classical singer Bade Ghulam Ali Khan said
about you, don't you ("Kambakht, kabhi besura gaati hi nahin hai!")?
(Laughs shyly) Yeh unka badappan tha. He was a very great singer. I
truly admire him. Believe me, I always find faults in my singing,
Once, Kishore Kumar told me that if he ever heard people listening to
his songs, he would start speaking loudly to distract their attention.
He would continue to talk loudly till the weak spots in his song were
over. If one doesn't like one's own song, there's turmoil within
oneself. If I'm not satisfied with a song I've recorded, I can't sleep
that night.
Which songs haven't you been satisfied with?
Offhand, I can't recall any. But there are songs which the music
composers and listeners have liked. But I've felt that I didn't do
full justice to them.
Which songs have you been satisfied with in recent years?
Hundred per cent satisfied? The songs of Lekin and Maachis. Yesterday,
I was listening to Geela geela pani from Satya. I felt I've sung it
well. And I was satisfied with Arrey re arrey in Dil To Pagal Hai. But
I feel I didn't do complete justice to the title song of Dil To Pagal
Hai.
I recently heard you singing Maati maati re in Vinay Shukla's
Godmother. Do you ever get emotionally involved with the lyrics that
touch your own life?
I do get completely involved with the lyrics. I don't know if emotions
creep in subconsciously. But I do take care to find out about the
story situation and the character for whom I'm singing.
Salil Chowdhary once said you fainted while listening to an emotional
Bengali song that he sang for you.
Yes, that incident actually happened.
Your songs for the films of Raj Kapoor are timeless. What it was like
working with him.
His style of working was unique. With him around, there would be
unforeseen tension. Sometimes, he'd come on the sets and change the
entire song. Since he was a musician himself, he knew exactly what he
wanted. When he wanted a hit song he'd say he wanted a poppatiya
number. But personally I feel that Shankar-Jaikishen gave better music
outside Raj Kapoor's films. For Raj Kapoor, they had to work within
prescribed limits.
Raj Kapoor and you started your careers, as singer and director,
almost together, didn't you?
No. When he made Aag (1949), I was doing bit roles in films. I hadn't
started singing professionally. I sang for him, starting with his
second film Barsaat. Composer Anil Biswas had told Raj Kapoor about
me. He invited Raj Kapoor over to Rajkamal studios to listen to me.
The song was Baras baras badli bhi bhikar gayi kab aaoge. Raj saab
came and heard me quietly. I was a great fan of Prithviraj Kapoor. I'd
liked him very much in Sikandar. The fact that Raj Kapoor was
Prithiviraj's son did make a difference. After Raj saab heard me sing
Baras baras, his representative came to tell me that he wanted to see
me. I couldn't recognise who the emissary was. (Laughs) Later, I came
to know it was Jaikishen.
So how did you get to sing for Barsaat?
Actually Ram Ganguly (who composed for Aag) was supposed to do the
music. Shankar-Jaikishen were Ganguly's assistants, they'd composed
some of his songs. Raj Kapoor wanted to use them instead. Jiya
beqaraar hai was my first song for R.K. Raj saab would joke that since
I'm a classical singer, I should be treated cautiously. But after I
recorded for him, he showed absolute confidence in me. In Barsaat, I
ended up singing for all the female characters. But I must tell you
that I would have a fight with Raj saab during every film, for one
reason or another.
Like?
Koi aisa waisa gana aa jaye to main unse ladne lagti thi. I used to
quarrel with Jaikishen also about such songs.
Budha mil gaya from Sangam, for instance?
Yes, they convinced me that the girl in Sangam is newly married and
she's teasing her husband. Hota tha aise hi kuch kuch.
Don't you miss the spirit of collaboration you shared with Raj Kapoor,
Jaikishen and Laxmikant-Pyarelal?
I do miss the way we used to rehearse songs. We never recorded in
fragments like we do today. I don't blame anyone for this though.
Today's composers are scared of me. I don't know how to communicate
with them either. Jatin-Lalit and their sister Sulakshana Pandit have
been coming to our home from their childhood. I must say Jatin and
Lalit have been composing some very sweet songs.
Were you friendly with any of the heroines for whom you sang?
I was quite close to Nargisji. Also Meena Kumari and Madhubala. I'm
told that in her contracts Madhubala would stipulate that only I would
sing for her. I share a cordial relationship with Saira Banu to this
day. Jaya Bachchan is another favourite. I remember during the making
of Abhimaan, she would sit and watch me sing. I used to wonder why.
Then I saw the film. During the songs, she dressed and behaved like I
do during my recordings.
Why have you been called an aloof, arrogant and ruthless professional?
How and why did this image come about?
You want to know why people are nervous of me? There's a saying that
if someone burns his mouth drinking milk, he even tries to cool down
chhach before drinking it. In the past, I loved to laugh and make
people laugh. I used to bring chocolates to the recordings and share
them with everyone. People exploited my friendly nature. They maligned
my name. Once, a well-known recordist kept me back to record a small
interlude in a song till late at night. Only his assistant, my sister
and I were at the studio, the others had left. He kept making me sing
the small interlude repeatedly. After a couple of days, I heard that
he was telling people, "See how I drove Lata crazy? The song was good
enough as it was recorded initially".
When I heard this, I wept. Then there was a classical musician who
maligned me to his hearts content. I treated some music directors,
lyricists, producers and directors like my brothers. But they all
maligned me. So, I decided to stop attending functions, I stopped
talking excessively which was a habit with me. I would say things in
jest. But my words would be misinterpreted and distorted. Who needs
this? I thought. That's why I prefer staying at home with my family.
Now if I'm called arrogant and unsociable I don't care. If I worry
about what people have to say, then it wouldn't be possible to
continue living.
Recently Yash Chopra called you the most influential Indian of this
century.
I sang for B.R. Chopra and Yashji for the first time for Ek Hi Raasta.
Hemant Kumar had given the music. At that time, I knew Yashji vaguely.
When the two brothers separated I received Laxmikant-Pyarelal's
message to sing for Daag. I got to know that Yashji always wanted me
to sing in his films. He hardly ever talks. When he called me didi for
the first time I was taken aback. Then we became friendly. And now
he's like a family member.
He told me that he doesn't know what he would do if you were to stop
singing.
It's kind of him to say such things. Whenever he asks me to sing, I
say yes. I never question him. He knows what suits me and what
doesn't. Yashji and his wife Pam are both very decent human beings.
Before Chandni, there were strong rumours that my voice had
deteriorated.
Actually I'd fallen ill. Yashji had to shoot the song with a
substitute voice. Then I got Yashji's urgent message, saying that I
had to dub my songs immediately or it would be too late. Reluctantly,
I dubbed for Mere haathon mein nau nau chudiyan hain. I wasn't
satisfied with my rendition at all. But he said I was fine. Since
Chandni, I've sung for all his films. He tells me six months in
advance if I have to sing for his film. He is confident that Lata will
never say no to him. And I never say no.
Raamlaxman made news with the songs you sung for him in Maine Pyar
Kiya. So why has he been talking bitterly about you of late?
I can only think of one reason. Uttam Singh was an arranger for
Raamlaxman. In fact, Uttam Singh still maintains that he's an arranger
for Raamlaxman. Perhaps Raamlaxman is angry about Uttam Singh's music
in Dil To Pagal Hai. It's one of the highest selling albums. It has no
competition. Just like Raamlaxman's Maine Pyar Kiya and Hum Aapke Hain
Koun..!
Finally, what's the real story about Ae mere watan ke logon? Was it
actually meant to be a duet as Asha Bhosle claims?
I'll tell you the complete story. Hemantda (Hemant Kumar) came to me
and said that in the wake of the Indo-China war, I must go to Delhi
for a show on the occasion of Republic Day. I was hesitant. My sister
Meena was getting married after 15 days. I was going through ill
health. But every composer was after me to sing his composition at the
function. I said no to everyone and decided to take four musicians
with me to Delhi and sing Allah tero naam (Jaidev's song in Hum Dono).
Then C. Ramchandra came to me and said, poet Pradeepji had written a
patriotic song that he wanted only me to sing at the function in
Delhi. Who knew at that time that Ae mere watan ke logon would become
such a momentous song? Since I had turned down other composers I was
hesitant. But C. Ramchandra insisted. He felt Ae mere watan ke logon
would pull his career out of the doldrums. So I agreed. During the
rehearsals, I suggested that we should turn the song into a duet with
Asha. I don't know if she rehearsed for the song or not. But four days
before we were expected to leave for Delhi, Asha backed out. I was
shocked. Finally I had to rehearse and memorise the entire song from a
tape on the aircraft, just a few hours before the show. I sang the
song.
Panditji loved it. I went to his home to meet Indira Gandhi and Rajiv.
When I returned to Mumbai, newspapers were splashed with pictures of
Panditji and me. I have never stolen songs from anyone. I had
suggested Asha's name myself. So why would I snatch the song away from
her? I swear on my music that this is the truth. I have a feeling that
someone instigated Asha into believing that Ae mere watan ke logon was
meant to be her song. But you can ask Pradeepji. He'll tell you what
the truth is.
------------------------------------------------------------------------
>From filmfare.com, October issue!
Anand Tiwari
>
>--------------------------------------------------------------------
> I SWEAR ON MY MUSIC , I'VE NEVER STOLEN ANY OF ASHA'S SONGS
>
Lata ji, I am sorry but i do not believe you.
Anand
ani...@my-dejanews.com
Thanks for posting this wonderful article.
neha...@hotmail.com wrote:
> I'll tell you another thing about Sajjad saab's music. He was very
> particular about melody. Even if one instrument was slightly off-key,
> he would be livid. Once during a recording, he asked a famous singer
> to stop at the gandhar. The singer wanted to know what gandhar was.
> Sajjad saab was aghast. Sometimes I wonder what he would have said
> about today's singers. Like my brother, Sajjad saab used to get angry
> about any trace of imperfection.
>
Does anyone know whom she is talking about?
> (Laughs) Then who'll listen to my songs? I don't remember if I've sung
> for Shobhana Samarth but I've sung for Nutan, Tanu and Kajol. You'll
> be surprised, but recently I saw an old film on television located in
> the Arabian deserts. I was surprised to see myself singing for Ruby
> Myers (Sulochana)! I didn't even know the song. But I said, chalo if
> I've sung for her as well, to bahut badi baat hai. When I was a child,
> I used to run off to see her films.
>
Which film/song is she talking about?
> Which songs have you been satisfied with in recent years?
>
> Hundred per cent satisfied? The songs of Lekin and Maachis. Yesterday,
> I was listening to Geela geela pani from Satya. I felt I've sung it
> well. And I was satisfied with Arrey re arrey in Dil To Pagal Hai. But
> I feel I didn't do complete justice to the title song of Dil To Pagal
> Hai.
>
It's hard to believe she is actually satisfied with 'arrey re arrey'. I do
agree with her choice of 'lekin' and 'maachis' songs though.
> Don't you miss the spirit of collaboration you shared with Raj Kapoor,
> Jaikishen and Laxmikant-Pyarelal?
>
Lata mentions that 'baras barsa bijli' was the song that Raj Kapoor heard
before he decided to sign her for 'barsaat'. However, Raju B. mentions in
his book that Naushad's 'uthaye jaa unke situm' was the song that clinched
the deal. What gives?
> When I heard this, I wept. Then there was a classical musician who
> maligned me to his hearts content.
Who was this?
> I can only think of one reason. Uttam Singh was an arranger for
> Raamlaxman. In fact, Uttam Singh still maintains that he's an arranger
> for Raamlaxman. Perhaps Raamlaxman is angry about Uttam Singh's music
> in Dil To Pagal Hai. It's one of the highest selling albums. It has no
> competition. Just like Raamlaxman's Maine Pyar Kiya and Hum Aapke Hain
> Koun..!
>
Maybe this is the reason she is not doing Rajshri's next film.
> Finally, what's the real story about Ae mere watan ke logon? Was it
> actually meant to be a duet as Asha Bhosle claims?
>
Once again, Lata's version is different from Raju B's. But, does it matter?
--
Cheers,
Anil P. Hingorani
-----------== Posted via Deja News, The Discussion Network ==----------
http://www.dejanews.com/ Search, Read, Discuss, or Start Your Own
ani...@my-dejanews.com
anand...@hotmail.com(Anand Tiwari) wrote:
> In article <6utoen$i...@pdrn.zippo.com>, neha...@hotmail.com says...
> >
> > I SWEAR ON MY MUSIC , I'VE NEVER STOLEN ANY OF ASHA'S SONGS
> >
>
>
> Anand
>
Do you have anything to back your claim? If yes, we would all like to hear it.
Anand Tiwari
>
>In article <6utu0p$m...@pdrn.zippo.com>,
> anand...@hotmail.com(Anand Tiwari) wrote:
>> In article <6utoen$i...@pdrn.zippo.com>, neha...@hotmail.com says...
>> >
>> > I SWEAR ON MY MUSIC , I'VE NEVER STOLEN ANY OF ASHA'S SONGS
>> >
>>
>>
>> Anand
>>
>Anand,
>
>Do you have anything to back your claim? If yes, we would all like to hear it.
Anil,
First tell me where is the claim? I just expressed my opinion. The sentence was
"Lata ji, I am sorry but i do not believe you."
Where am i claiming anything? I just expressed my gut feeling. Does my opinion
alter any facts (whatever they may be). It is absolutely possible that my
belief is wrong and she is saying the truth.
I did not back my opinion with any claims of facts because i do not have any.
However, all the stories that i have read in the magazines and books, all that i
have heard from learned people have moulded my opinion about Lata. I firmly
beleive that she finished off the careers of quite a few singers (not naming any
of them because i do not want to start a useless thread based on mere hypothesis
of pro and anti Lata groups on RMIM). Once again all this is an opinion. I did
not claim it to be the gospel truth but i do think i am entitled to express my
opinion on RMIM.
Anand
PS: Do you have any 'facts' to 'prove' that what she is saying is the truth?
Isn't it merely your belief which arises from the tremendous respect you have
for her as a singer?
sramab...@pcc.lucent.com
ani...@my-dejanews.com wrote:
> In article <6utu0p$m...@pdrn.zippo.com>,
> anand...@hotmail.com(Anand Tiwari) wrote:
> > In article <6utoen$i...@pdrn.zippo.com>, neha...@hotmail.com says...
> > >
> > > I SWEAR ON MY MUSIC , I'VE NEVER STOLEN ANY OF ASHA'S SONGS
> > >
> >
> >
> > Anand
> >
> Anand,
>
> Do you have anything to back your claim? If yes, we would all like to hear it.
>
Hmmm. I can't speak for Anand, but I remember an excerpt from an interview
with Asha Bhosle in a Marathi magazine talking about the time when Lata and
SDB had a temporary falling out.
Apparently during that time, SDB composed "Pawan Diwaani Na Maane" for "Dr.
Vidya", and was prepping Asha for it - the story ends that Asha showed up at
the studio on the recording date, only to find her "didi" already in the
studio recording the very same "Pawan Diwaani".
That's all that was written. AFAIR, Asha did not point the finger at anyone in
particular, though she was obviously very hurt.
Sanjeev
--
Sanjeev Ramabhadran
ani...@my-dejanews.com
anand...@hotmail.com(Anand Tiwari) wrote:
> Anil,
>
> First tell me where is the claim? I just expressed my opinion. The sentence
was
>
> "Lata ji, I am sorry but i do not believe you."
>
You are right. When I read it, it came across like it was more than just your
opinion. Maybe i imagined the 'tone', which is always hard to decipher in an
e-mail. Besides, when the opinion is unrelated to music (in a music group)and
related to personal comments instead, they become suspect right away:-)
> I did not back my opinion with any claims of facts because i do not have any.
> However, all the stories that i have read in the magazines and books, all that
i
> have heard from learned people have moulded my opinion about Lata. I firmly
You got the right word here: "stories". That is what they are are. Besides,
I don't believe "learned" people would partake in gossip:-)
> beleive that she finished off the careers of quite a few singers (not naming
any
This accusation has been against both the sisters. To be at the position
where Lata and Asha are, especially in a male dominated society, it is
hard to imagine that they did not play politics to get to the top of their
career. Even though I don't condone it, this seems to be the norm for most
successful people. Bottom line: let's judge these singers by their art and
not try and put that down using anything else.
>
> PS: Do you have any 'facts' to 'prove' that what she is saying is the truth?
> Isn't it merely your belief which arises from the tremendous respect you have
> for her as a singer?
>
Like I said before, does it really matter? It doesn't matter how Lata and
Asha are in their personal lives, as long as we get to revel in their
magical voices.
--
Cheers,
Anil P. Hingorani
-----------== Posted via Deja News, The Discussion Network ==----------
SKalra902
Thank you Neha, for the article. (Though personally, such articles are what I
subscribe to FF for, and now I have one less article to read.) :)))
In another mesage, Sanjeev Rambhadran wrote about Pawan Diwaani being stolen
from Asha by Lata.
However, 'stories' from those days also had it that with Dr. Vidya, S. D.
Burman was making the come back to Lata, which he had actually already started
through his son, R. D. Burman, by 'making' him use Lata's voice in his debut,
Chhote Nawaab.
Besides, S. D. Burman was a very smart person, if I may say so. During the
period Lata did not sing for him, many of Sachinda's films did not click higly
on the music box office. Sujata, Kala Paani, and Chalti Ka Naam Gaadi were the
exceptions, musically as well as at the box office. Asha was the staple voice
in O.P. Nayyar's films, who was in those times "roaring". In order to regin
his lost "market share" (using today's business language), he must have
rationalized that bringing Lata back must be the key.
As to the sequence of what happened re the Pawan Diwaani song, it is up to
individuals to believe what they want, depending upon who they heard the story
from, etc.
I firmly believe that whatever may have been the case, Lata did justice to the
'pawan diwaani' number, as well as to the other couple of her songs in the
film. All IMHO, of course.
Happy listenings.
Satish Kalra
Afzal A. Khan
>> I SWEAR ON MY MUSIC , I'VE NEVER STOLEN ANY OF ASHA'S SONGS
>>
>
>
Quite apart from the merits of what Anand and Anil have to say,
methinks the lady doth protest too much !
First of all, I don't think this question is part of Lata's
personal life, as was the case with her reported marriage
sometime back. This issue is very much a part of her pro-
fessional life. Let us consider it at some length. When
she came onto the film music scene, the other principal female
singers were Shamshad Begum, Geeta Roy and Suraiyya. The
last-named had been on the scene for quite sometime, along
with Noor Jahan and Khurshid etc. While Lata all too soon
"captured" the market, the others fell into decline. Over
the years, we have seen Lata's prowess in marketing herself,
but her success in this early phase owed principally to her
sweet voice, mastery over vocal nuances and a deep understanding
of what it takes to deliver immortal melodies. All credit to
her. Partly, she was aided by the fact that the other ladies
in the field had a rather narrow "niche" in the musical field
and were lacking in marketing ability. This may account for
the fact that they faded away sooner than their talents
warranted. The problem begins when Lata no longer had any
worthwhile rivals. The accusations against her begin from
this point of time. Due to her own abilities, she had success-
fully supplanted others, but having reached the pinnacle of
glory, the reluctance to tolerate any other competition was
all too plain to see. By itself, this can be understood and
even accepted. What people have objected to are the methods
that were employed to retain this monopoly. Throughout the
fifties and sixties and even later, we never got to hear any
unsavoury stories about the other female singers and---this
is relevant too---the male singers. I do not recall any
negative articles about Shamshad, Geeta, Suraiyya, Talat Mehmood,
Mukesh and Rafi. But stories about Lata abounded. Of course,
these are "stories" as Anil pointed out but, in these matters,
there can be no hard, clinching, incontrovertible evidence that
would "convict" Lata "beyond all reasonable doubt". We can also
consider the plight of the Music Directors of this period. We
hardly ever heard about they having quarrels or even disagree-
ments with other singers. But it was a different matter with
Lata. She never sang for O.P. Nayyar. Shankar-Jaikishan had
great many problems with her. They tried to have recourse to
other singers like Sharda, Mubarak Begum and Suman Kalyanpur.
When the services of the best singing voice are available, it is
difficult to understand why anybody should look to other singers.
She was responsible for the rise to fame of the LP duo, as a
counterpoise to SJ, who were ruling the roost at the time. She had
a well-publicised spat with SDB too and did not sing for him for
a couple of years. Her tiff with the mild-mannered Rafi has also
been documented. IIRC, it was about the question of royalty.
While Lata was absolutely within her rights on this mercenary
issue, this does not quite explain the extent of their disagree-
ment. It is possible that the resurgence of KK as a singer owed
something to this feud with Rafi. Just prior to that, when KK
was reduced to singing in B or C class movies like "Ajnabi",
"Mr. X in Bombay", "Ladka Ladki" etc., quite a few articles used
to appear in film magazines expressing Lata's support and encourage-
ment to KK. This is not to decry KK's singing abilities in any
way. He was a supremely talented person. But his idiosyncracies
are well-known. It is not easy to explain away all those articles
and comments as purely altruistic in nature. Later, even LP fell
out of favour with her and started using Kavita Krishnamurthy.
During the seventies, we used to read lots of stories about how
MDs were "threatened" if they used or even encouraged other
voices. It was said that she had such an influence over the
cine musicians that, at her say-so, they would refuse to play
the orchestra for any MD who was out of favour with her. Even
CR had reportedly been rebuffed by her and had to depend on
Asha more and more. I think Ashok has been arguing recently
that a great many good voices were lost to the IFM due to these
reasons. I think there is a great deal of truth in this.
Forty or forty-five years is a great length of time for nurturing
and bringing to the fore exceptional musical talent. But how
many consistent performers do we find in this period ? And what
is their total number of songs ? It has been customary for
all Music Directors to shower praises on Lata. No doubt she
deserves these and more. I myself would be the first to say
that hers was the Voice in a Millenium. There may not be another
Lata in the next 1000 years. But please note one point. All
these compliments are paid to her singing prowess (which is of
course legendary) but we hardly get to hear any favouable
comments or episodes about Lata as a person. It is relevant to
recall that we have heard a great many such stories about other
singers like K.L. Saigal, Mohd. Rafi, Hemant Kumar, Mukesh and
Talat Mehmood. The very fact that people speak about the "Mang-
eshkar Monopoly" (and no other) tells its own tale.
There may not be any "hard evidence" against her. Probably,
there cannot be. But the circumstantial evidence clearly points
the needle of suspicion against her.
Afzal
Anand Tiwari
says...
>
>
>Thank you Neha, for the article. (Though personally, such articles are what I
>subscribe to FF for, and now I have one less article to read.) :)))
>
>In another mesage, Sanjeev Rambhadran wrote about Pawan Diwaani being stolen
>from Asha by Lata.
>
>However, 'stories' from those days also had it that with Dr. Vidya, S. D.
>Burman was making the come back to Lata, which he had actually already started
>through his son, R. D. Burman, by 'making' him use Lata's voice in his debut,
>Chhote Nawaab.
>
>Besides, S. D. Burman was a very smart person, if I may say so. During the
>period Lata did not sing for him, many of Sachinda's films did not click higly
>on the music box office. Sujata, Kala Paani, and Chalti Ka Naam Gaadi were the
>exceptions, musically as well as at the box office.
Satish ji,
Please add "Nau Do Gyarah" to the above list. IIRC, it had no Lata songs, so
i guess the tiff between SDB and Lata had started.
Anand
Nitin Sharma
SKalra902 (skal...@aol.com) wrote:
: Besides, S. D. Burman was a very smart person, if I may say so. During the
and soon thereafter:
:
: In order to regain
: his lost "market share" (using today's business language), he must have
: rationalized that bringing Lata back must be the key.
You meant the above statement to be unrelated to the former, and not as
an evidence to the claim in the former, didn't you?
I believe that, hits or no hits, SDB did just fine even without Lata.
(of course, he did even better with her around!)
-nitin
Ashok
Thanks, Neha, for posting a readably formatted article! :)
A few remarks here, some irreverent, which came to mind as I read the
article.
> At long last, Lata Mangeshkar speaks up
Who is responsible for such monstrously inappropriate anc cheap hype?
The author or the editor of the column or the magazine?
Subhash K. Jha
>
>The voice is unmistakable. On television, Lata Mangeshkar's new
>version of Vande Mataram is on.
What is this new version? Is it the same as the old 'Anand Math'
version?
>peals of laughter over a fond memory, frequently conversing in fluent
>Marathi with a kin
She is fluent in Marathi? What a magnificent achievement?!
>This year, you've added two new composers to your repertoire, which
>includes everyone except O.P. Nayyar.
It's stale news for RMIMers that the sentence is wrong, e.g., Kanu Roy.
>
>.............................. People who don't follow the
>language at all have even enjoyed the Malayalam passages in Jiya jale.
I wonder how Lata would react to being told that that's the only part
of the song that is listenable.
>I'll tell you another thing about Sajjad saab's music. He was very
>particular about melody. Even if one instrument was slightly off-key,
>he would be livid. Once during a recording, he asked a famous singer
>to stop at the gandhar. The singer wanted to know what gandhar was.
>Sajjad saab was aghast.
Perhaps a singer who became famous since the event?! If it's Kishore,
I would say too bad for gandhaar!
>.............................Laxmikant too knew a bit about
>classical music.
Is it meant to be a compliment?!
>Sajjad saab would compose nothing but classical music.
It is at least misleading to say that.
>(Laughs) Then who'll listen to my songs? I don't remember if I've sung
>for Shobhana Samarth but I've sung for Nutan, Tanu and Kajol. You'll
>be surprised, but recently I saw an old film on television located in
>the Arabian deserts. I was surprised to see myself singing for Ruby
>Myers (Sulochana)!
Could it be right? 'Shair' perhaps? (Here's a journalist that doesn't
put in any homework!)
>.......But personally I feel that Shankar-Jaikishen gave better music
>outside Raj Kapoor's films. For Raj Kapoor, they had to work within
>prescribed limits.
Interesting.
>........................ Then there was a classical musician who
>maligned me to his hearts content.
Is it Ravi Shankar after 'Meera'? (But for "his", I would have
guessed Kishori Amonkar.)
>Then C. Ramchandra came to me and said, poet Pradeepji had written a
>patriotic song that he wanted only me to sing at the function in
>Delhi. Who knew at that time that Ae mere watan ke logon would become
>such a momentous song? Since I had turned down other composers I was
>hesitant. But C. Ramchandra insisted. He felt Ae mere watan ke logon
>would pull his career out of the doldrums.
Even such a song as that one didn't do it.
>her? I swear on my music that this is the truth. I have a feeling that
>someone instigated Asha into believing that Ae mere watan ke logon was
>meant to be her song. But you can ask Pradeepji. He'll tell you what
>the truth is.
What kind of a nitwit is this Subhas Jha? Why doesn't he do it?
Ashok
Nazir Patel
>
> In article <6utoen$i...@pdrn.zippo.com>, neha...@hotmail.com says...
>
> Thanks, Neha, for posting a readably formatted article! :)
> A few remarks here, some irreverent, which came to mind as I read the
> article.
>
>
> The author or the editor of the column or the magazine?
>
> Subhash K. Jha
> >
> >version of Vande Mataram is on.
>
> version?
>
> >Marathi with a kin
>
>
> >includes everyone except O.P. Nayyar.
>
>
> >
> >language at all have even enjoyed the Malayalam passages in Jiya jale.
>
> of the song that is listenable.
>
> >particular about melody. Even if one instrument was slightly off-key,
> >he would be livid. Once during a recording, he asked a famous singer
> >to stop at the gandhar. The singer wanted to know what gandhar was.
> >Sajjad saab was aghast.
>
> I would say too bad for gandhaar!
>
> >classical music.
>
>
>
>
> >for Shobhana Samarth but I've sung for Nutan, Tanu and Kajol. You'll
> >be surprised, but recently I saw an old film on television located in
> >the Arabian deserts. I was surprised to see myself singing for Ruby
> >Myers (Sulochana)!
>
> put in any homework!)
>
> >outside Raj Kapoor's films. For Raj Kapoor, they had to work within
> >prescribed limits.
>
>
> >........................ Then there was a classical musician who
> >maligned me to his hearts content.
>
> guessed Kishori Amonkar.)
>
> >patriotic song that he wanted only me to sing at the function in
> >Delhi. Who knew at that time that Ae mere watan ke logon would become
> >such a momentous song? Since I had turned down other composers I was
> >hesitant. But C. Ramchandra insisted. He felt Ae mere watan ke logon
> >would pull his career out of the doldrums.
>
>
> >someone instigated Asha into believing that Ae mere watan ke logon was
> >meant to be her song. But you can ask Pradeepji. He'll tell you what
> >the truth is.
>
>
> Ashok
Since my wife and I first heard Jiya Jale we both
wanted to compliment Lata for the rendition and although
it is not on the charts we both felt that A.R.Rehman gave
the right choice song in Jiya Jale to Lata.A decent selection
worthy of her talent.And she did render it superbly.
My wife is an Indian from trinidad and does not understand
Hindi but listens to film songs and Jiya Jale and Vande Mataram
are her current favourites.When I called Lata's residence
in Mumbai her sister told me that Lata would sing Jiya Jale
and she did in the Atlanta concert and we listen to many songs
and have a good ear for music and to say the chorus sounded
better than Lata's part is ridiculous.It added to make the
song even greater but Lata's control of the lyrics is just
superb.Also Pavan Deewani,Aye Mere Watan Ke Logon,Kuch Na Kaho
these are a few songs only meant for Lata.I am a fan of Lata
and Asha and I tell them both that certain songs only are meant
for Lata's voice just as certain ones are meant only for Asha's
voice.So all this controversy about Aye Mere Watan Ke Logon
is irrelevent as it was clearly meant for Lata's voice just
as Dil Cheez Kya Hai or Parde Me Rahne Do or Mere Bhaiya Mere
Chanda,and Shokh nazar ki Bijliyan are well suited for Asha's
voice.One thing is certain.In true Bollywood fashion the two
sisters inspite of their age still manage to be mired in controversy,
perhaps they even conspire together to deliberately make statements
so that atleast they will be in the news.Not bad.
In the Atlanta concert her selection of songs was great especially
a few like Teri Aaankhon Ke Siwa,Kuch Dil Ne Kaha,Hum Pyar
Main Jalne Walon Ko which are tough songs with high notes.
And except for Ajeeb Dastan which she started of somewhat slow
she never once faltered in the rendition of the other songs.
sramab...@pcc.lucent.com
Nazir Patel <yku0...@yorku.ca> wrote:
> Let me tell you how you cannot please everyone.
> Since my wife and I first heard Jiya Jale we both
> wanted to compliment Lata for the rendition and although
> it is not on the charts we both felt that A.R.Rehman gave
> the right choice song in Jiya Jale to Lata.A decent selection
> worthy of her talent.And she did render it superbly.
Well...to each his (or HER own) - I found this song a LAUGHABLE mismatch - a
20- something body pitted against a sixty-something (or at best
fifty-something) voice...The same Lata that has moved me to tears with her
heart-wrenching renditions is now making me laugh till I cry!
> better than Lata's part is ridiculous.It added to make the
> song even greater but Lata's control of the lyrics is just
That's what you think.
> superb.Also Pavan Deewani,Aye Mere Watan Ke Logon,Kuch Na Kaho
> these are a few songs only meant for Lata.I am a fan of Lata
I do not discount the possibility of songs being more suited for one singer
or the other, but while Lata's rendition of the first two are excellent, the
third is another laugher. I personally liked Sanu's better (!).
Asha could have pulled off "Ae Mere Watan Ke Logon", make no mistake about it.
Pavan Deewani would have been awesome in Asha's voice too! Both sisters have
done well in taankari in their classical based songs, but Lata's taans strike
me as gentle breezes, while Asha's are like strong gusts of wind that will
carry you off if you're off balance for even a split-second - Pavan Deewani is
not filled with taan blasts, but it would have been equally good, if not
better, in Asha's voice.
> and Asha and I tell them both that certain songs only are meant
> for Lata's voice just as certain ones are meant only for Asha's
> voice.So all this controversy about Aye Mere Watan Ke Logon
> is irrelevent as it was clearly meant for Lata's voice just
> as Dil Cheez Kya Hai or Parde Me Rahne Do or Mere Bhaiya Mere
> Chanda,and Shokh nazar ki Bijliyan are well suited for Asha's
> voice.
One song I have been so moved by in Lata's voice that I would only give it to
her is the oft-heard "Nagri Nagri Dwaare-Dwaare" from "Mother India". Add to
this the songs from the movie "Shabaab" (~~1955).
Lata is at her best in "Ganga Jamuna", but the song which I think steals the
show is Asha's "Tora Man BaDaa Paapi Saanwariyaa". I highly doubt Lata could
have pulled this one off.
A "cute" and playful but not quite outright silly song rendered extremely well
by Lata is "Balma AnaaDi" from Pocketmaar.
I wonder how Lata would have sung "Ab Ke Baras" from "Bandini", which after
all the typecasting Asha has been through, is a fairly atypical song...I
discount the songs of Jhumroo as TOO silly for Lata. Asha is absolutely
MASTERFUL in these.
Sorry for lack of organization in this post.
> In true Bollywood fashion the two
> sisters inspite of their age still manage to be mired in controversy,
> perhaps they even conspire together to deliberately make statements
> so that atleast they will be in the news.Not bad.
Interesting observation.
> In the Atlanta concert her selection of songs was great especially
> a few like Teri Aaankhon Ke Siwa,Kuch Dil Ne Kaha,Hum Pyar
> Main Jalne Walon Ko which are tough songs with high notes.
How do you know she sang the songs in the same "sur" as the original? For her
sake and everyone else's, I hope she lowered the sur a notch or two at least.
> And except for Ajeeb Dastan which she started of somewhat slow
> she never once faltered in the rendition of the other songs.
>
Didn't hear the concert, so can't comment.
--
Sanjeev Ramabhadran
Anand Tiwari
says...
>> Since my wife and I first heard Jiya Jale we both
>> wanted to compliment Lata for the rendition and although
>> it is not on the charts we both felt that A.R.Rehman gave
>> the right choice song in Jiya Jale to Lata.A decent selection
>> worthy of her talent.And she did render it superbly.
>
I could not find the original post on Zippo, therefore i am using
Sanjeev's reply to it. This is a response to the original post and not to
Sanjeev's followup. Mr Patel, do you realize that your habit of
including LONG posts in their entirety before you begin to reply to them
is highly irritating. A few days ago a fellow RMIMer requested you to control
this obnoxious habit of yours but it seems you do not pay attention to any
polite advice. On top of it, you bombard us with unwanted, unnecessary personal
details. Please keep personal details about yourself, your family, its origins
and connections to Lata mangeshkar off the group. We are not interested and for
god's sake edit your post properly.
Anand