1. Jhoom Jhoom dhalti raat (Lata Mangeshkar)

Kohraa (1964) featured the ethereal Waheeda Rehman as the mysterious rake Biswajeet’s second wife who’s haunted by his dead wife. Based on Alfred Hitchcock’s Rebecca (1940), the chilling ambience of this film was sublimated by the producer Hemant Kumar’s vintage music. Lata Mangeshkar’s Jhoom jhoom dhalti raat heightened the feeling of ominous dread in the plot. Montages of the dead woman’s spirit wandering the night in this song were exquisitely expressive. Waheeda Rehman as the Indian version of Rebecca was vulnerable, adamant and very beautiful. Kohraa was one of the superior supernatural thrillers of the 1960s where the actors respond to a particular plot rather than peripheral attractions such as songs and romance.

2. Mujhe apni duniya mein wapas bula lai (Noor Jehan)

Deewana (1964) was perhaps Lollywood’s first ever horror film. It was made way back in 1964 and took its inspiration from the Invisible Man and The Spiral Staircase. Sabiha was cast in the role of an insomniac and the film despite starting off with a certain amount of promise soon deteriorated into an insufferable bore. The intriguing aspect of the film plot that involved the marauding psychotic invisible man was completely ignored while the audience was tortured by an uninteresting romantic plot involving Sabiha, Ejaz and Ilyas Kashmiri.

However, the film had some awesome songs composed by Bengali music director Muslehuddin. It has been noticed that whenever Noor Jehan collaborated with music directors from East Pakistan (whether Muslehuddin or Bashir Ahmed), the result was magic and this song is no exception. This particular ghost song sung by Noor Jehan and chorus and picturized on Nasreen (with Zurain in the frame) was the highlight of the film. Muslehuddin’s was very good with using chorus voices, and in this song he created “that” ghostly effect by blending the chorus effectively with the main voice

3. Rahoun mei thari mein nazrein jamaey (Noor Jehan)

One of the finest ghost films coming out of Pakistan, Ghoonghat (1962) was composed, produced and directed by Pakistan’s ace composer Khurshid Anwar. In this song he used Noor Jehan’s voice effectively to create the mysterious ambience. The ringing of temple bells at the beginning of the song and the use of chorus (one of the best use of chorus in my opinion) further enhanced the haunted atmosphere of this song.

The biggest technical achievement of this film at its time was to create the atmosphere of mystery that has been captured in the outdoor location sequences. It was comparatively much easier to create such an effect on the artificial sets, where the studio lights were under the control of the cameraman and a limited space facilitated the manipulation of artificial mist. But to successfully launch such a venture in the wide expanses of a mountain was an achievement which Lollywood could well be proud of.

4. Kahin deep jaley kahin dil (Lata Mangeshkar)

Bees saal baad (1962) was based on Sir Arthur Conan Doyle’s classic novel The Hound of the Baskervilles. This ghost song was the highlight of this film and credit should be given to both the music director Hemant Kumar and singer Lata Mangeshkar for creating the spooky/haunted atmosphere required for such mystery/thrillers.

This song also remains a milestone in Lata’s career because she fell ill in 1962 and thought she would never be able to sing again. In Lata’s own words

“In 1962, I fell very ill for about three months. I thought I would never be able to sing again. One day, I woke up feeling very uneasy in my stomach. And then I started throwing up — it was terrible, the vomit was a greenish color. The doctor came and even brought an x-ray machine home because I could not move. He x-rayed my stomach and said I was being slowly poisoned. We had a servant in the house who made the food. Usha (Mangeshkar) went straight into the kitchen and told everyone that from that moment  on, she would do the cooking instead. The servant sneaked off without telling anyone and without collecting any pay. So we thought someone had planted him there. We didn’t know who it was. I was bed-ridden for three months and was so weak.

I will never forget Majrooh Sahib’s kindness to me during those difficult times. He came at six in the evening and sat by me every day for three long months. He ate whatever I ate and recited poetry and read me stories. We talked and laughed together. I thoroughly enjoyed this company.

When I was feeling well enough to sing, the first song I recorded was Hemant Kumar’s ‘Kahin deep jale kahin dil.’”

5. Kahan ho tum saheliyoun (Noor Jehan)

Although technically not a ghost song.. but the singing, the delusions/hallucinations the lonely and sick heroine is going through by being imprisoned in the haunted mansion is enough the create the disturbed and chilling atmosphere required for ghost songs.

Again Khurshid Anwar collaborates with Noor Jehan and chrous to create this spooky song for mystery/suspense/thriller Hamraaz (1967). The cobwebs, the burning candles, the delusions that her friends are dancing and singing with her, the deep sickly breaths and most of all the haunted humming done by the chorus immerses us into chilling audio-visual experience.

Note:- For a change I didn’t include Lata’s omnipresent “Aayega aanewala”. Although it is one of my favorite songs, I don’t think that song needs any introduction – Ummer Siddique

A scene from Kohraa (1964)

Back to Legends – Lata Mangeshkar

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Lata Mangeshkar with Rekha, Usha Mangeshkar and others on her Birthday party on 9th October 2010

How do you define the journey?
I feel God has sent me to earth to sing. I started singing when I was five, but I don’t think I’ve worked as hard as many other people.

Why do you say that?
After 1947 when I started playback singing, the work never stopped. Before that it wasn’t easy. I used to travel by train from Grant Road to Malad and then save money by walking instead of taking a tonga to the recording studios. I thereby saved 50 paise to Re 1 which I used to buy vegetables for my family. I was the sole bread-earner after our father passed away.

That must have been really tough on an adolescent girl.
I missed out on my childhood. I had to work hard, but I was immediately given a place in playback. One of the earliest composers to support me was Master Ghulam Haider. When he was told that my voice wouldn’t suit the heroine in a Dilip Kumar saab starrer Shaheed, he gave me songs in Majboor. Then other composers like Anil Biswasji, Khemchand Prakashji and Naushad saab came forward to sign me. From 1947 onwards there was no looking back.

There has never been a rough patch in your 65-year-long career?
I’m blessed. Nowadays I’ve almost stopped singing film songs but I enjoy singing and I continue to do the work I’m comfortable with like the recent Hamuman Chalisa and my forthcoming project with my brother. When I look back I see nothing I’d like to change.

What about your infamous rift with Mohd Rafi?
I’ll tell you what happened. We had a Musicians’ Association in the 1960s . Mukesh bhaiyya, Talaj Mehmood saab had started a campaign for artistes to get royalty so that they would have a comfortable old age. Main to leti thi royalty but I also wanted other artistes to get it. Rafi saab was instigated into opposing my campaign. In a meeting among musicians he said, ‘We get money for what we sing from producers and that’s the end of what we get.’ When he was asked his opinion Rafi saab turned to Mukesh bhaiyya and said, ‘I guess this Maharani here will say whatever has to be said.’

He meant you?
Yes. I said, ‘Of course I am a Maharani. But why are you calling me that?’ He said in front of everyone at the meeting that he won’t sing with me. I turned around and said, ‘Yeh kasht aap kyon kar rahe hain? Main hi nahin gaaongi aapke saath.’ I stormed out of the meeting and called up every music director to inform them that I would thereafter not sing with Rafi saab. We didn’t sing together for almost three years.

What about the alleged differences between you and your sister Asha Bhosle?
We’re sisters. The fights were because of her husband who was against me.

Composers gave all the heroines’ songs to you and all the supporting actresses’ songs to Ashaji …
Not always. What about so many films where only Asha sang all the songs? In fact OP Nayyarji worked only with her. Even some of Burman dada’s scores had only Asha’s vocals.

That’s because you and SD Burman had a fight.
I didn’t sing for him for sometime. Someone had caused mischief. Burman dada said, “I won’t have Lata sing my songs.’ I said, ‘I won’t sing for you.’ Asha sang all the songs for Burman dada during that period, even for Waheeda Rehman who insisted on me singing for her. Then one day out of the blue, Burman dada phoned me and said he wanted me to sing Mora gora rang lai le and Jogi jab se aaya tu aaya mere dware in Bandini. It was his son RD who brought us together. I remember Burman dada specifically told me that Mora gora rang was written by a promising new poet, Gulzar.

Who was your favourite composer?
I liked singing for Salilda (Salil Chowdhury) because his compositions were very challenging. I also loved singing for Sajjad Husain saab, then definitely SD Burman dada and RD. But in my opinion the biggest achievement was by Shankar-Jaikishan. With Raj Kapoor’s Barsaat they changed the way we looked at playback singing.

At one time you were accused of indulging in a melodious monopoly?
Once I was even asked if I tampered with the equipment during other singers’ recordings. Bataiye main kyon aisa karun? I never bothered with what other singers were doing. When Runa Laila came to India for the first time, I went to her first recording and everybody said I was just indulging in dikhawa, that in fact I had gone to see how she sang. Runa Laila met me with lots of affection. Later she too was poisoned against me. Even some male singers accused me of trying to stop them from singing.

Which heroines did you enjoy singing for?
Nargis, Meena Kumari, Madhubala, Nutan. I’d modulate my voice according to their personality.

Among today’s actresses for whom do you enjoy singing for?
I like Rani Mukerji and Kajol but I miss the camaraderie that I shared with the earlier heroines. I really miss Kishore Kumar, also Rafi saab, Mukesh bhaiyya, Shankar-Jaikishan and Madan bhaiyya who fought with me when I couldn’t be with him for raksha bandhan. That sense of apnapan is gone.

Any unfulfilled dreams?
I wish I had given more time to learning classical singing. Lekin jo hua woh bahut hi achcha hua. What I want is that future generations of Mangeshkars keep my father’s legacy alive. My niece Radha and nephew Baijanth are singing well. I wish they make a name for themselves.

Do you miss having your own children
Not at all. My siblings’ children are mine.

(This interview was conducted in 2009)

Back to Legends – Lata Mangeshkar

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Lata picks her favorite songs from her long career

Dil mera toda – Majboor (1948, Ghulam Haider)

Lata Mangeshkar

Chanda re ja re ja re – Ziddi (1948, Khemchand Prakash)

Taqdeer jaga kar aai hoon – Dulari (1949, Naushad)

Sajan ki galiyan chhod chale – Bazaar (1949, Shyam Sunder)

Tumhare bulane ko – Ladli (1949, Anil Biswas)

Chale jana nahin – Badi behan (1949, Husnalal Bhagatram)

Aaj mere naseeb ne – Hulchul (1951, Sajjad Hussain)

Bade armanoun sai rakha hai (with Mukesh) – Malhar (1951, Roshan)

Mujhse mat pooch mera ishq – Anarkali (1953, C. Ramchandra)

Jhilmil sitaroun kai tale – Naaz (1954, Anil Biswas)

Ab tera intezar kaun kare – Joru ka Bhai (1955, Jaidev)

Guzra hua zamana – Shirin Farhad (1956, S. Mohinder)

Nain so nain (with Hemant Kumar) – Jhanak Jhanak Payal Baje (1956, Vasant Desai)

Kar gaya re (with Asha Bhosle) – Basant Bahaar (1956, Shankar Jaikishan)

Chand phir nikla – Paying Guest (1957, S.D. Burman)

O mora nadan balma – Ujala (1959, Shanker Jaikishan)

Do sitaroun ka zameen par – Kohinoor (1960, Naushad)

Mere manke diye – Parakh (1960, Salil Chaudary)

Mujhe mil gaya bahana – Barsaat ki Raat (1960, Roshan)

Har ek baat pe – Non Film Ghazal (1961, Faiyaz Shaukat)

Dagabaz ho banke piya (with Usha Mangeshkar) – Burmah Road (1962, Chitragupta)

Tere pyar mein dildar – Mere Mehboob (1963, Naushad)

Jurm-e-ulfat pe – Taj Mahal (1963, Roshan)

Lata Mangeshkar with Madan Mohan

Zara si aahat – Haqeeqat (1964, Madan Mohan)

Sakhi re mera man – Chitralekha (1964, Roshan)

O beqarar dil – Kohraa (1964, Hemant Kumar)

Aaj kal mein dhal gaya – Beti Bete (1964, Shankar Jaikishan)

Dil ka diya – Aakash Deep (1965, Chitragupta)

Baharoun mera jeevan bhi – Aakhri Khar (1966, Khaiyyam)

Jeevan ke do raahe pe – Chhotisi Mulaqat (1967, Shankar Jaikishan)

Kya janoon sajan – Baharan ke Sapne (1967, R.D. Burman)

Aawara aye mere dil – Raat aue Din (1967, Shankar Jaikishan)

Kareeb aai Nazar – Anita (1967, Laxmikant Pyarelal)

Ai suru mera watan Japan – Aman (1967, Shankar Jaikishan)

Thane kain kain bol – Non-Film Bhajan (1968, Hridaynath Mangeshkar)

Soch ke yeh gagan jhoome (with Manna Dey) – Jyoti (1969, S.D. Burman)

Ek meethi si chubhan – Reshma aur Shera (1969, Jaidev)

Ghiri Ghatayen – Non-Film Geet (1969, Hridaynath Mangeshkar)

Thare rahiyo – Pakeezah (1971, Ghulam Mohammed)

Jane kyon log mohabbat kiya karte hain – Mehboob ki Mehndi (1971, Laxmikant Pyarelal)

Raaton ke saye – Annadata (1972, Salil Chaudary)

Sanjh bhai ghar aaja – Non-Film Geet (1973, K. Mahavis)

Bahon mein chale aao – Anamika (1973, R.D. Burman)

Rasm-e-ulfat ko nibhayen – Dil ki Rahen (1973, Madan Mohan)

Panna ki tamanna hai (with Kishore Kumar) – Heera Panna (1973, R.D. Burman)

Apne aap ratoun mein – Shankar Hussain (1975, Khaiyyam)

Pal bhar mein yeh kya ho gaya – Swami (1978, Rajesh Roshan)

Dikhai diye yun – Bazaar (1981, Khaiyyam)

Tum aasha vishwas hamare (with Chorus) – Subah (1983, Hridaynath Mangeshkar)

Husn pahadon ka (with Suresh Wadkar) – Ram Teri Ganga Maili (1985, Ravindra Jain)

Source :- My Favorites – Lata Mangeshkar – Vol -2 – Songs from Hindi Films (HMV)

Back to Legends – Lata Mangeshkar

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Talat Mahmood (Singer)

Talat Mahmood

1. Sapana Ban Saajan Aae – Shokhiyan (Jamal Sen)

2. Tum Na Jaane – Sazaa (S B Burmon)

3. Is Dil Ki Halat – Anhoni (Roshan)

4. Mukh Mod Na Dena – Aashiana (Madan Mohan)

5. Prit Ye Kaisi Bol Ri – Daag (Shankar)

6. Wo To Chale Gaye – Sangdil (Sajjad Hussain)

7. Bahar Aai Khili – Alif Laila (Pt. Shyamsundar)

8. Mitti Se Khelate Ho – Patita (Jaikishan)

9. Kaare Badara Tu Na Ja – Shikast (Shankar Jaikishan)

10. Aja Re Pardesi – Madhumati (Salil Chowdhury)

Chitragupta (Music Director)

Chitragupta

1. Dhire Se Aaja Ri – Albela (C. Ramchandra)

2. Kaare Kaare Baadara – Bhabhi (Chitragupta)

3. Tum Kya Jaano – Shin Shina Ki Bublabu (C. Ramchandra)

4. Tadpaoge, Tadapa Lo – Barakha (Chitragupta)

5. Rasik Balama – Chori Chori (Shanker Jaikishan)

6. Rang Dil Ki Dhadakan – Patang (Chitragupta)

7. Aja Re Pardesi – Madhumati (Salil Chowdhury)

8. Muskurao Ke Ji Nahi Lagata – Kangan (Chitragupta)

9. Sansaar Se Bhage Firate Ho – Chitralekha (Roshan)

10. Hae Re Tere Chanchal – Unche Log (Chitragupta)

Anil Biswas (Music Director)

Anil Biswas

1. Tumhare Bulane Ko – Ladli

2. Badali Teri Nazar – Badi Bahu

3. Aankhon Me Chitt Chor Samae – Mehmaan

4. Man Me Kisi Ki – Aaram

5. Mere Pyar Me – Maan

6. Allah Bhi Hai – Maan

7. Beimaan Tore Nainva – Tarana

8. Ik Pal Ruk Jana – Rahi

9. Ruth Ke Tumto – Jalati Nishani

10. Ja Mai Tose – Sautela Bhai

Note :- Anil Biswas gave Top 10 list of songs composed by himself.

Nalini Jaywant (Actress)

Nalini Jaywant

1. Dekho Ji Mora – Naubahar (Roshan)

2. Yaad Rakhana – Anokha Pyar (Anil Biswas)

3. Zil Mil Sitaron – Naaz (Anil Biswas)

4. Wo Paas Aa Rahe Hain – Samadhhi (C. Ramchandra)

5. Jivan Ke Safar Me – Munimjee (S.D. Burman)

6. Thandi Hawaen – Naujawan (S.D. Burman)

7. Hai Kahin Par – Aandhiyan (Ust. Ali Akbar Khan)

8. Chal Diya – Fifty Fifty (Madan Mohan)

9. Mushkil Hai Bahut – Mahal (Khem Chand Prakash)

10. Missing

Kamini Kaushal (Actress)

Kamini Kaushal

1. Chanda Re – Ziddi (Khem Chand Prakash)

2. Chanda Ki Chandani – Punam (Shankar)

3. Ye Raat Ye Chandani – Jaal (S.D. Burman)

4. Uthae Ja Unke Sitam – Andaz (Naushad)

5. Mohe Bhul Gae – Baiju Bawara (Naushad)

6. Mera Dil Ye Pukare – Naagin (Hemant Kumar)

7. Tum Na Jane – Sazaa (S.D. Burman)

8. Thandi Hawaen – Naujawan (S.D. Burman)

9. Chhed Gayo Mohe – Zanzar (C. Ramchandra)

10. Missing

Manna Dey (Singer)

Manna Dey

1. Khwab Me Koi – Razia Sultan (Khaiyyam)

2. Aaj Phir Jine – Guide (S.D. Burman)

3. Naina Barase – Woh Kaun Thi (Madan Mohan)

4. Rahen Na Rahen Ham – Mamata (Roshan)

5. Ai Dilruba – Rustam Sohraab (Sajjad Hussain)

6. Allah Tero – Ham Dono (Jaidev)

7. Rasik Balama – Chori Chori (Jaikishan)

8. Dhire Se Aja – Albela (C. Ramchandra)

9. Hae Re Wo Din – Anuradha (Pt. Ravishankar)

10. Ishwar Satya Hai – Satyam Shivam Sundaram (Laxmikant Pyarelal)

Meena Kapoor (Singer)

Meena Kapoor

1. Allah Tero Naam – Ham Dono (Jaidev)

2. Jyoti Kalash – Bhabhi Ki Chidiyan (Sudhir Phadake)

3. Jeevan Dor Tum Hi Sang – Sati Savitri (Laxmikant Pyarelal)

4. Piya Tose Naina – Guide (S.D. Burman)

5. Tu Jahan Jahan Chalega – Mera Saya (Madan Mohan)

6. Tum Kahan Ho – Naaz (Anil Biswas)

7. Na Koi Umang Hai – Kati Patang (R.D. Burman)

8. Kahin Dip Jale – Bis Sal Baad (Hemant Kumar)

9. Kaise Din Bite – Anuradha (Pt. Ravishankar)

10. Jo Tum Chhodo Piya – Zanak Zanak Payal Baje (Vasant Desai)

Back to Legends – Lata Mangeshkar

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Lata Mangeshkar when she was a little kid

Lata Dinanath Mangeshkar: born in Indore, Madhya Pradesh, India, on 28 September 1929 (not 1928 as noted in the Guinness Book of World Records).

Classical background acquired from singing and trainingwith her father, stage celebrity Dinanath Mangeshkar.

Following the early death of Master Dinanath Mangeshkar, the eldest daughter Lata came to be placed by her father’s friend, pioneer film-maker Master Winayak, under the musical care of Ustad Aman Ali Bhendibazarwale. After that, Lata came under the training wing of Ustad Amanat Khan Dewaswale and Pandit Tulsidas Sharma, a disciple of Ustad Bade Ghulam Ali Khan.

Inspired greatly in her early years by legendary singing stars `Malka-e-Tarannum’ Noorjehan and Kundan Lal Saigal. Lata sang K L Saigal in her path-break­ing album, `Shraddhanjali. (Tribute).

Her first song as a playback performer was in the 1942 Marathi film, `Kiti Hasaal’, but the number, Naachu ya gade khelu saari mani haus bhaari, composed by Sadashivrao Nevrekar, could not, for some reason, find a place in the film. It is this song rendered for the 1942 `Kiti Hasaal’ that Lata reckons as her starting playback point to have completed 50 years as a singer in 1992.

Acted in the Marathi films `Pahili Mangalagaur’ (1942), `Chimukla Sansar’ (1943), ‘Maze Bal’ (1943), `Gajabhau’ (1944) and `Chhatrapati Shivaji’ (1952).

Acted in the Hindustani cinema version, too, of ‘Chhatrapati Shivaji’ (1952), and also in `Badi Maa’ (1945), `Jeewan Yaatra’ (1946), `Subhadra’ (1946) and `Mandir’ (1948).

Under her own name of Lata Mangeshkar, composed the music of the Marathi film ‘Ram Ram Pahune’ (1950). Then, under the pseudonym of `Anandghan’, was the music direc­tor of four more Marathi films: `Mohityanchi Manjula’ (1963), `Maratha Tituka Melawawa’ (1964), `Sadhi Mansen’ (1965) and `Tambdi Mati’ (1969).

Her favourite song-writers: Pandit Narendra Sharma, Neeraj, Shailendra, Majrooh Sultanpuri, Sahir Ludhianvi, Naqsh Lyalpuri. Influenced on the literary side by Pandit Narendra Sharma and Majrooh Sultanpuri, acquiring the finer points of Hindi and Urdu from them.

Produced in 1953 the Marathi film `Wadal’ and, in 1988, the Hindi film `Lekin’. Winner of four Filmfare Best Playback Singer Awards (1958, 1962, 1965 and 1969) after which she renounced this honor stating that it “be directed to some other female singers who need timely encouragement more than I do now”.

Declared `Asthana Vidvan’ (one entitled to perform in the sanctum sanctorum) by the trust of Balaji Mandir.

Had, starting 1984, an award named after her by the Gov­ernment of Madhya Pradesh (she was born in the city of Indore in that state). The award is called the Lata Mangeshkar Puraskar and has been conferred upon some of her mentors and contempo­raries: Anil Biswas and Naushad Ali, Manna Dey and Kishore Kumar, Khayyam and Jaidev, upon her own sis­ter Asha Bhosle too. The only musician to refuse the award: O.P. Nayyar. The award carries with it Rs 100,000 tax free.

Late in 1986, India Today conducted an opinion poll in which it invited (12,800) readers to nominate the person who, in their opinion, most deserved to get the Padma Vibhushan for achievements in art and culture — and to rank seven others in order of preference. The poll came up with the following ranking:

1. Lata Mangeshkar

2. M F Husain

3. R K Narayan

4. Bhimsen Joshi

5. Raj Kapoor

6. Amitabh Bachchan

7. Pupul Jayakar

8. Mrinalini Sarabhai

“The only consensus of opinion was on Lata Mangeshkar, who was unanimously ranked first all along the poll sampling: North or South, East or West, male or female, students or those over the age of 60.” – Raju Bharatan

Back to Legends – Lata Mangeshkar

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Lata Mangeshkar

The doyen of playback singing in Indian cinema, Lata Mangeshkar’s songs have captured the hearts and imagination of millions around the world. In a career spanning five decades she has sung thousands of songs in several languages. Her voice is a soprano over three-octave.

Born in Indore, Madhya Pradesh, Lata Mangeshkar is eldest of the five siblings, namely. Asha Bhosle, Meena Khadikar, Usha Mangeshkar, and Hridayanath Mangeshkar. Her father, noted singer and stage actor Dinanath Mangeshkar, was her first teacher. After his demise, in 1942, she began working.

Lata Mangeshkar started her career as a child actress; she was 13 years of age. Her playback singing debut came in Vasant Joglekar’s Aap Ki Sewa Mein, in 1947. At a time when such singers as Shamshad Begum and Noorjehan ruled, she slowly made her presence felt with films such as Majboor and Mahal, for which she rendered the unforgettable Aaega, aane wala. After the Indo-China War, in 1962, her rendering of the song Ae mere watan ke logon, a song written by Kavi Pradeep, moved the then prime minister, Jawaharlal Nehru, to tears.

Lata Mangeshkar has lent her voice to heroines from Meena Kumari to Madhuri Dixit. She surprised even her fans with the range of her singing when, at the age of 70, she sang Jiya jale for the film Dil Se, which was a huge hit and was recorded in just 40 minutes. She has worked with almost all the leading music directors. She was at her best with musicians such as Naushad, C. Ramchandra, S.D. Burman, Madan Mohan, and Shanker Jaikishen. Films like Abhimaan, Dastak, and Amrapali are among her most memorable work. In the 1990s, she came up with vintage winners in Lekin (which she also produced), Rudaali, and the immensely popular Hum Aapke Hai Koun. She has also composed for and produced many Marathi films.

Lata Mangeshkar received the Dadasaheb Phalke Award in 1989 and the Bharat Ratna in 2001 – (Source :- Encyclopaedia of Hindi Cinema)

Lata Mangeshkar

Profile – Factfile – Interview – Gallery

Lata Mangeshkar’s detailed profile – Part 1 – Part 2 – Part 3 – Part 4

Statistics

Female Singers – Male Singers – Lyricists - Music Directors

Her Hindi/Urdu Film Song List

1945-1948 | 1949 | 1950 | 1951 | 1952 |

| 1953 | 1954 | 1955 | 1956 | 1957 |

| 1958 | 1959 | 1960 |

(more coming soon…)

Her Collaborations with Music Directors

Madan Mohan – Sajjad Hussain (more coming soon…)

Her Duets with Co-Singers

Mukesh – Shamshad Begum – Suraiya – Talat Mahmood

(more coming soon…)

Miscellaneous

Lata Mangeshkar’s Top 10 (chosen by other celebrities)

Lata Mangeshkar’s Favorite Songs (chosen by her and released by HMV)

Back to Legends – Lata Mangeshkar

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Lata Mangeshkar with popular lyricist Majrooh Sultanpuri

The following table lists Lata’s collaboration with Lyricists (1945 – 1992) in Hindi Movies. Songs in regional languages and non-film Hindi-Urdu songs are excluded.

The list is arranged as follows – Name of the Lyricist, total number of songs of Lata with that lyricist, total number of movies in which Lata collaborated with that lyricist.

Back to Legends – Lata Mangeshkar

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Lata Mangeshkar with Male Singers - (from left to right) Manna Dey, Mohammad Rafi, Lata Mangeshkar, Mukesh and Talat Mahmood

The following table lists approximate Lata’s duets with Male Singers (1945 – 1989)  in Hindi Movies. Songs in regional languages and non-film Hindi-Urdu songs are excluded. People who are not professional singers but said or sang a word or two are included, presumably because their names are mentioned on the record.

The list is arranged as follows – Name of the male singer (Co-Singer), total number of songs of Lata with him (Total), total number of movies in which Lata sang with him (Movies), total number of duets in which only Lata and the male is featured (Duets), and the total number of songs in which Lata, co-singer and other people are featured (it implies three or more singers) (Other).

Back to Legends – Lata Mangeshkar

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Lata Mangeshkar flanked by Meena Kapoor (left) and Geeta Dutt (right)

The following table lists approximate Lata’s duets with Female Singers (1945 – 1989) in Hindi Movies. Songs in regional languages and non-film Hindi-Urdu songs are excluded. People who are not professional singers but said or sang a word or two are included, presumably because their names are mentioned on the record.

The list is arranged as follows – Name of the female singer (Co-Singer), total number of songs of Lata with her (Total), total number of movies in which Lata sang with her (Movies), total number of duets in which only Lata and the female is featured (Duets), and the total number of songs in which Lata, co-singer and other people are featured (it implies three or more singers) (Other).