50 Songs of Lata Mangeshkar

Naushad and Lata Mangeshkar (Pic: Google Image Search)

“Music director Ghulam Haider mentored her as a singer. In 1948, he introduced her to producer Sashadhar Mukherjee (Filmistan Studios). Mukherjee dismissed her voice as ‘too thin’. An annoyed Haider responded that in coming years, producers and directors would ‘fall at Lata’s feet’ and ‘beg her’ to sing in their movies.”

Truer words were never spoken!

Lata Mangeshkar, the Melody Queen (Pic courtesy: SMM Ausaja)

Lata once said, “Ghulam Haider was the first music director who showed complete faith in my talent. He introduced me to many producers including S. Mukerji, a big name in film production, but when he too rejected me, Ghulam Haider was very furious. Hence, finally he convinced Bombay Talkies, a banner bigger than S. Mukerji and introduced me through their movie Majboor (1948 film)”.

Thus began Lata in 1948, and remained an active singer par excellence all through her career.

For this special occasion today, I have compiled a selection of 50 solos by Lata. They are a delightful mix of the old and many that mark the end of those 40 years popularly hailed as the “Golden Era” of Hindi Film Music. These are my personal favorites and may not include many that are ‘popular’ or are believed to be Lata’s best. While selecting these 50 songs, many others equally deserving of inclusion were eliminated because I wanted to avoid too many songs by the same composers. Within this choice, I have tried hard to provide songs from a variety of composers and lyricists. Else, Madan Mohan, Naushad, SD Burman and Shankar-Jaikishan would have ruled the roost.

The songs cut across genres and cater to many different tastes. But they are, ALL of them, gems. I have avoided duets (except one or two, which too are really not duets) and also listed them in strict chronological order to avoid any seemingly personal bias in grading them for merit or choice.

This ‘Lata’ list could have gone on to an endless number. I had to very reluctantly stop at 50 (and ‘that’ just grew and grew from an initially planned 15!). How can a ‘Lata’ special be restricted by mere numbers?

Lata Mangeshkar Painting by Raghuvir Mulgaokar. Shiva impression refers to their family deity Shiva or Mangesh from Mangeshi Temple, Goa (Pic courtesy: Ratnottama Sengupta)

Each song title is linked to its video on YouTube. Enjoy listening to your favourites as you read on. Let’s begin:

1. Mushkil hai bahut mushkil, chahat ka bhula dena (Mahal, 1949) Khemchand Prakash/ Nakhshab Jarchavi

Aayega Aanewala is among Lata’s best songs, and one that gave her an almost immortal stature. This one, also from Mahal, is not far behind. The pathos in the song, rendered by a young Lata is heart-touching.

2. Mohabbat hamari zamana hamara, Tu gaye ja aye dil, tarana hamara (Dulari, 1949) Naushad/ Shakeel Badayuni

Dulari is replete with a dozen wonderful songs; 8 of them being Lata solos and all of them excellent. Rafi’s highly popular Suhani raat dhal chuki is also from Dulari, and this one is a beauty.

3. Uthaye ja unke sitam, aur jiye ja (Andaz, 1949) Naushad/ Majrooh

Dilip Kumar was unhappy and reluctant to take the four Mukesh piano solos on him, nervous that Lata, with her Uthaye ja and Tod diya dil mera will steal the Andaz of his Songs. Naushad insisted that ‘Dilip’s songs will outshine Lata’s.’ And, they did. But, Lata is great here.

4. Lo pyar ki ho gayi jeet, balam hum tere ho gaye (Jadoo, 1951) Naushad/ Shakeel Badayuni

Jadoo has this dubious reputation of being a carbon copy of Rita Hayworth’s Loves of Carmen (1948) directed by Charles Vidor as the veteran AR Kardar, its highly successful producer/director, regarded copying Hollywood’s hit films an easy way to win at the box Office. Loves of Carmen was popular for its Gypsy music, dances and songs.  But Naushad, created his own ‘original’ and outstanding score for Jadoo; Gypsies, Flamenco Dances, Castanets and all, and Jadoo came to be regarded as a great musical.

(L to R) Anil Biswas with Lata Mangeshkar, Madan Mohan and Talat Mahmood (Pic: Madanmohan.in)

5. Man mein kisi ki preet basa le, O matwale (Aaram, 1951) Anil Biswas/ Rajendra Krishan

For the same film, the song Aye jaane jigar, dil mein samaane aaja by Mukesh has Anil Biswas providing a lengthy and brilliant piano prelude. And in this song too, the piano prelude is irresistible. With a suave Premnath at the piano and a ravishing Madhubala singing, this Lata ditty is a must watch as well as listen.

6. Jhan jhan jhan jhan payal, baje (Buzdil, 1951) SD Burman/ Shailendra

A song based on Hindustani Classical music Jhan Jhan jhan jhan manjira baje, regularly sung by SD Burman in his vocal concerts in the Calcutta of yore. The dancer is ‘Cuckoo’ of Andaz fame. This song is another one of the scores of songs that explore Lata’s amazing range.

7. Tum na jaane, kis jahan mein kho gaye (Sazaa, 1951) SD Burman/ Sahir Ludhianvi

This film has several excellent songs including Aa, gup chup, gup chup, pyar karen by Hemant Kumar and Sandhya Mukherjee. The latter sounds almost like Geeta Roy. And this Lata solo, with its plaintive appeal, is no longer just a song. The line Tum na jaane, kis jahan mein kho gaye has become proverbial, thanks to the immense popularity of the song.

8. Beimaan tore nainwa, nindiya na aaye (Tarana, 1951) Anil Biswas/ DN Madhok

Anil Biswas is known to have given training to Lata to rehearse songs to achieve perfection in recording. This song shows how intently the composer and singer worked.

Kavi Pradeep, Lata Mangeshkar and C Ramchandra (Pic: Google Image Search)

9. Tum kya jano, tumhari yaad mein, hum kitna roye (Shin Shinaki Boobla Boo, 1952) C. Ramchandra/ P.L. Santoshi

Recorded in 1952, this song seems to be a precursor to the serious discord between Lata and C. Ramchandra. As was: Chain se humko kabhi, aapne jeene na diya between Asha and OP Nayyar in 1973.

The background music for this song is subdued and mellowed to allow Lata her full rein in softly crooning the song to perfection. The result is a haunting melody.  Later, Hemant Kumar used this tune in one of his Bangla compositions, which he had sung himself. Such was the impact of this song.

10. Dil mein sama gaye sajan, phool khile chaman chaman (Sangdil, 1952) Sajjad Husain/ Rajendra Krishan

Sajjad was a great composer. Anil Biswas, the music maestro, paid him the ultimate homage saying, “He was the most original composer of our industry. All of us at some point have been inspired by something or the other of Sajjad Husain.” (See also song number 12). Hussain exploited Lata’s singing talent in his own way, creating unforgettable melodies.

11. Ae ri main toh, prem diwani mera, dard na jaane koi (Nau Bahar, 1952) Roshan/ Satyendra Athaiyya/Meera Bai

Interesting technique here of several different ‘Flashbacks’ of whole scenes played during this song, giving their own weight and narrative to the lyrics. Roshan was always looking for ways to enhance the impact of his songs in this manner. We saw a similar technique in Rahen na rahen hum (Mamta). In an outstanding performance, Ashok Kumar enacts the role of a blind person. Nalini Jaywant matches Ashok Kumar frame to frame.

Sajjad Husain and Lata Mangeshkar (Pic: Google Image Search)

12. Woh toh chale gaye aye dil. yaad se unki pyar kar (Sangdil, 1952) Sajjad Husain/ Rajendra Krishan

Songs 10 and 12 composed by Sajjad Husain display his mastery. Of all composers, Lata was the most in awe of Sajjad for his vast knowledge, competence in playing a wide range of instruments and his strict demands of nothing short of excellence. (Yeh Naushad Miyan ka gana nahin hai. Aapko mehnat karni padegi – this reported quote of Sajjad is almost synonymous with his fame)

13. Eri ali piya bin, sakhi eri (Raag Rang, 1952) Roshan/ Traditional

A brilliant composition with an extended instrumental prelude and a Lata alaap by Roshan who has introduced in his later film: Dil Hi Toh Hai (1963), for his Qawwali, Nigahein milane ko ji chahta hai the exact same Swar medley that you hear in this Ae ri ali piya bin song: Ni re ga Ga re ga ni re ma Ma ga ma ni re ga Ga re ga ni ga re Re ga , ga ma, ma dha ni Sa sa ni ni dha dha Pa pa ga reeee Sa ni dh pa ma ga re. A piece of Raag Yaman from another song 11 years earlier, in a Qawwali yet!

14. Yeh shaam ki tanhaiyan, aise mein tera gham (Aah, 1953) Shankar-Jaikishan/ Shailendra

One of the most beautiful virahageet in Hindi film music, this song was the highlight of Aah, a lesser-talked-about Raj Kapoor-Nargis film.

15. Jo main janti bisarat hain saiyyan (Shabab, 1954) Naushad/ Shakeel Badayuni

This song, rendered melodiously by Lata in the classical mould, was a great hit. Lata also sang: Jogan ban jaoongi saiyyan tere kaaran and  Marna teri gali mein.  Other songs by Rafi, Manna Dey, Lata/ Rafi,  and Lata/ Hemant Kumar, were also hits.  SJ then swore to prove that they were no less than Naushad in turning out songs based on classical music.  Hence their creations for Basant Bahar (1956).   I believe that Naushad won by a ‘Distance’.

16. Phaili huin hain, sapnon ki baahein, aaja, chal dein kahin dur (House No: 44, 1955) SD Burman/ Sahir Ludhianvi

To really enjoy this song, see this VM of the song by Anshula Creations. Conceptualised and edited by Anshula, at just 18, it is an intuitive response to the imagery and music of this song.

This Kahin Dur was to lyricists like a ‘Coefficient’.  Remember Chal kahin dur, nikal jaayein (Doosra Aadmi); Kahin dur, jab din dhal jaye (Anand); Duniyanwaalon se dur, jalnewaalon se dur, kahin dur, kahin dur (Ujala); Aa kahin dur chale jaayen hum (Laawaaris), et al?

Lata with Shankar and Jaikishan (Pic: Mangeshkar Family Collections)

17. Rasik balma, haaye, dil kyon lagaya jaise, rog lagaya (Chori Chori, 1956) Shankar-Jaikishan/ Hasrat Jaipuri

Chori Chori was filmed at a time when the Raj Kapoor-Nargis relationship was its brink. Inspired by Frank Capra’s 1934 classic It Happened One Night (which has since inspired many a film, including Solva Saal, Dil Hai Ke Maanta Nahin, Jab We Met, among others), this film is also known for its exquisite songs – both solos and duets featuring Lata. How can one forget Panchhi banoo udti phiroon, but for today, Rasik balma at no. 17.

Lata Mangeshkar (L) with Meena Kapoor and Geeta Dutt (R)
(Pic: Geetadutt.com)

18. Waqt ne kiya, kya haseen sitam (Kaagaz ke Phool, 1959) SD Burman/ Kaifi Azmi

From Lata’s ‘Shradhanjali’ Album. Lata paid her heartfelt tribute to her famed contemporary in this album, saying, “Geeta ki tabiyat mein jahan shokhi aur chanchalta thi wahan zimmidari ka bharpoor ehsas bhi tha. Humnein kai gaane ek saath gaaye, isi liye badi achchhi dosti bhi thhi. Geeta bahut jald kisi bhi baat se pareshan ho jaati thhi aur pareshani badh jaati to seedhe mere paas aa jaati. Ussey mujhse milne ki jitni jaldi hua karti thhi, utni hi jaldi Geeta ne is duniya se jaane mein bhi dikhayi.”

19. O sajana, barkha bahar aayi (Parakh, 1960) Salil Chowdhury/ Shailendra

Recorded earlier by Lata in Bengali, as the non-film Naa jeo na, Salil Chowdhury’s composition became one of Lata’s most famous songs, and an immortal favourite for Lata fans. As Mandar V Bichu writes in Lataonline: “O Sajana is a song that defines Lata in my mind. Out of her myriad memorable songs, somehow this song for me represents true essence of Lata’s matchless virtuosity. Free-flowing like an unbridled river and fragrantly fresh like a blooming flower – her voice is one to die for in this song. Purity and perfection, innocence and intensity, dignity and divine sweetness, expressiveness and erudition – all precious qualities of her singing shine through this exquisite rendition.”

Lata Mangeshkar and Salil Chowdhury
(Pic: lataonline.com)

20. Nainon mein badra chhaye (Mere Saya, 1960) Madan Mohan/ Raja Mehdi Ali Khan

A difficult song to sing that Lata turned into a pleasant melody. The twists and turns that Madan Mohan imparted to the tune flow soothingly over the ears with Lata’s velvety voice.

21. Saanwre, saanwre, kahe mose karo jorajori (Anuradha, 1960) Pandit Ravi Shankar/ Shailendra

Pandit Ravi Shankar pairing with Shailendra here. And Shailendra’s beautiful poetry for this song, as well as for Kaise din beete only emphasizes his mastery over words, apt for any situation!

Lata with Ustad Ali Akbar Khan and Pandit Ravi Shankar (Pic: Mangeshkar Family Collections)

22. Raat bhi hai kuch bheegi bheegi (Mujhe Jeene Do, 1960) Jaidev/ Sahir Ludhianvi

This is a film with the theme of the infamous ‘Chambal Valley dacoits’., somewhat on the lines of Jis desh mein Ganga behti hai. And, like the latter, Sunil Dutt’s film also owed much of its success to excellent music by Jaidev. Two other songs: Nadi naare na jao, Shyam (Asha) and Ab koi gulshan na ujde (Rafi) are outstanding as well.

23. Bekas pe karam keejiye, Sarkar e Madeena (Mughal e Azam, 1960) Naushad/ Shakeel Badayuni.

It is interesting to recall another Naushad/ Shakeel song here: Beech bhanwar mein, aan phansa hai, dil ka safeena, Shahe Madeena from the film Dard (1947), Shakeel Badayuni’s debut as a lyricist. The music composer-lyricist duo used the same words albeit differently in another song 13 years later. Naushad & Shakeel were together as a team for 25 years! (Read Shakeel-Naushad: Classy Confluence, Seamless Flow – 1)

24. Ghar aaja ghir aaye. badra, saanwaria (Chote Nawab, 1961) RD Burman/ Shailendra

RD Burman had created this tune in 1958 for Raaz, a film backed by Guru Dutt, but it was shelved. Under 19 then, RD may well have earned the distinction of being the youngest independent composer for Hindi Films. Records attribute this song to his debut in 1963 for Chote Nawab.

25. Woh jo milte they kabhi, humse deewanon ki tarah (Akeli Mat Jaiyo, 1963) Madan Mohan/ Majrooh.

A beautiful composition by Madan Mohan in a lost cause as the film sunk badly. But this lovely song on Meena Kumari is a saving grace. And Lata always gave her best for the ghazals spun by her raakhi brother whom she crowned “Ghazlon ka Shehzada“. (Read ‘Rehearsals were Never Easy, Music Sittings were Always Fun’ – Remembering Madan Mohan)

Hemant Kumar, Biswajit and Lata Mangeshkar during the recording of the songs of Bees Saal Baad, 1962
(Pic courtesy: From the collections of Pakanati Lakshmi Priya)

26. O beqaraar dil. ho chuka hai mujhko aansuon se pyar (Kohra, 1964) Hemant Kumar/ Kaifi Azmi

Kohraa, produced by Hemant Kumar, was inspired by Daphne Du Maurier’s book Rebecca and Alfred Hitchcock’s film, of the same name. Hemant Kumar replicated the tune from his Bengali hit, O nodi re (used in his first production Neel Akasher Neeche), in this song, and got Lata to do the honours.

27. Sansar se bhage phirte ho, bhagwan ko tum kya paaoge (Chitralekha, 1964) Roshan/ Sahir Ludhianvi

The lyrics highlight Sahir’s mastery over writing songs using Hindi in Devotionals/ Keertans, and songs on themes touching Hindu religious thought. There are several such examples of devotional songs by Sahir: Prabhu tero naam (Hum Dono), Aaj sajan mohe ang laga lo (Pyaasa), Aan milo aan milo shyam saanvre (Devdas), Aana hai to aa (Naya Daur) to name a few.

28. Lag ja gale, ke phir yeh, haseen raat ho na ho (Woh Kaun Thi, 1964) Madan Mohan/ Raja Mehdi Ali Khan.

This song has acquired a ‘Cult’ stature. The video has been viewed over 30 crore times by viewers! That must be a record for a vintage Hindi film song. Is it the Madan Magic? Or, was it a universal tribute to Lata, who inspired the beautiful words from Raja Mehdi Ali Khan that echo true to her own self? (Shayad, Phir is janam mein, mulaquaat ho na ho).

SD Burman with Lata

29. Piya tose naina lage re (Guide, 1965) S D Burman / Shailendra

In Guide, Piya tose represents the apogee of Waheeda’s journey as a dancer with Dev steering her career towards that achievement, Mose chhal kiye jaye is its nadir. In Piya tose, SD Burman makes some daring experiments, banking on Lata’s voice.

“The song starts off suddenly without any prelude (a habit that was quite common with SD Burman) and then moves ahead with rich orchestral interludes. The composition itself has two meters running simultaneously in the antaras. One with a long drawn out alaap as in Aayi holi aayi and the other with a fast Raat ko jab chaand chamke both blend back into the mukhda seamlessly with extremely catchy bols, set to the rhythm of ‘Dhi na k dhi n dhi n’. These bols have been woven into the overall lyrical theme of the song beautifully by the lyricist Shailendra.” (Source: Guide: The Story of Ordinary People Leading Extraordinary Lives)

The coming together of Goldie, SD Burman and Shailendra for Guide, is nothing short of a blessing to Hindi films.

30. Mose chhal kiye jaye, haye re haye, haye, dekho, saiyyaan beimaan (Guide, 1965) SD Burman/ Shailendra.

A complete and avoidable misunderstanding and feelings of having been betrayed by each towards the other leads to a point where Waheeda pours out in torrents (and while on a superb dance performance) in Mose chhal, her rage and frustration on Dev, who is standing on the sidelines, unable to take all that with his own disappointment and feeling of being let down by ‘her’ bewafa. Shailendra, with his mastery over words brings out perfectly what the two contrasting characters are saying through a superb Rafi rendering following Mose chhal in, Kya se kya ho gaya, bewafa, tere pyar mein.

Waheeda’s rage and frustration is amply reflected in the rapid fire tabla played in this song by Pandit Shiv Kumar Sharma who was roped in by RD Burman to join the music.

Lata Mangeshkar and Roshan (Pic: Mangeshkar Family Collections)

31. Rahen na rahen hum, mehka karenge (Mamta, 1966) Roshan/ Majrooh

This video features both versions, the first with Lata on the younger Suchitra Sen and the second, with Suman Kalyanpur on the older. This song too, is in itself, a tribute to Lata:

Rahen na rahen hum,
mehka karenge,
banke kali, banke saba
Bagh-e-wafa main….

Jab hum no honge,
jab hamari, khaak pe tum rukoge,
chalte chalte.

32. Kuch dil ne kaha, kuch bhi nahin (Anupama, 1966) Hemant Kumar/ Kaifi Azmi.

Hemant Kumar had this penchant for creating, whenever possible, at least one song in every film of his with an unusual structure. With Kaifi Azmi’s lyrics, this song, very imaginatively picturized by Hrishikesh Mukherjee takes one to an esoteric level. It is an introspective song – the singer, singing to her own self, muses on her loneliness, her façade, and her unspoken thoughts. Soulfully rendered by Lata, the song echoes the silence of the hills in its deeply pensive notes.

33. Rula ke gaya sapna mera (Jewel Thief, 1967) SD Burman/ Shailendra.

This was Shailendra’s last song when he was only 43, and the only song in Jewel Thief that Shailendra wrote as he was seriously unwell by then. All the other songs were written by Majrooh.

“Rula ke gaya“, indeed! Imagine what Shailendra would have given us had he lived a normal life span beyond his 43 when he was cruelly taken away by fate. An exquisite gem of a song, its impact on its listeners is well known. HQ Chowdhury, in Dhaka, Bangladesh, was so taken in by this song, that he spent years researching on Dada and came up with the authoritative biography Incomparable Sachin Dev Burman. (Read The Incomparable Music Of S D Burman Transcends Generations)

34. Megha chhaye aadhi raat, bairan ban gayi nindiya (Sharmilee, 1967) SD Burman/ Kavi Neeraj.

A University Professor in Hindi, a regular at Kavi Sammelans, Neeraj brought considerable distinction to his songs. The semi-classical Megha chhaye aadhi raat is not only rich in poetry, it makes Lata explore out the depths of her talent.

35. Hoton mein aisi baat main daba ke chali aayi (Jewel Thief, 1967) SD Burman/ Majrooh

This is on record as a duet, but the role of the male voice in this song is very limited with its occasional echo: “O…. Shalu“. It is Bhupendra Singh! I know of no other instance when Bhupendra sang for SD Burman but this song is rated among the most popular songs of both the singers, the lyricist and the composer.

Lata Mangeshkar and Madan Mohan (Pic: Madanmohan.in)

36. Baiyan na dharo. o balma (Dastak, 1970) Madan Mohan/ Majrooh

One of the best ‘Classical’ based songs in Hindi films. (I badly wanted to include another equally great Lata classical, “Mana Mohana Bade jhoothe“, but that too had to join many other superb songs in elimination).

37. Raina beeti jaaye (Amar Prem, 1971) RD Burman/ Anand Bakshi

A song that reaffirmed yet again that when it came to classical music, RD Burman was no way behind any of his contemporaries. With Lata, he explored a range of semi-classical compositions, this Amar Prem gem being among the top of the list.

38. Mausam hai ashiqana (Pakeezah, 1971) Ghulam Mohammad/ Kamal Amrohi.

Location shooting for this song was at our own ‘Ranganathittu Bird Sanctuary’ near Mysore. This, and ‘Chalo Dildar Chalo‘ are the only songs of Pakeezah not filmed with the Mujra backdrop.

39. Bada natkhat hai re (Amar Prem, 1971) RD Burman/ Anand Bakshi

Here is the perfect example of how a “Song Situation” and its proper interpretation by the composer is very crucial to the beauty and success of a song. A great composer is born with it. A gifted kavi himself, Neeraj praised Anand Bakshi’s “Pakad” on a song situation as being superior to that of any other lyricist!

S D Burman, Lata Mangeshkar and R D Burman rehearsing a song.

Director Shakti Samanta had described this song situation to composer RDB as a “usual bhajan situation”. SD Burman overheard RD composing a commonplace tune for ‘that’ situation and admonished him for ignoring the “Mother’s role” that was primary rather than someone just singing a bhajan type song. As RD Burman himself quoted later, “Your tune therefore must communicate all the agony of the nautch-girl wanting to be the mother that she can never be…. with the moving human situation in mind.” Recomposed by RD, the song became a classic; among Lata’s best. Burman called it his “best lesson in music” from his father. Lata herself rated “Bada Natkhat hai re” above her “Raina Beeti Jaye“. (Source: ‘Bollywood Melodies’ by Ganesh Anantaraman).

40. Yeh dil aur unki, nigaahon ke saaye (Prem Parbat, 1973) Jaidev/ Jan Nisar Akhtar

This song was recorded with just five musicians; Shiv Kumar Sharma on Santoor and Hariprasad Chaurasia on Flute being the key players. The print of this film somehow got destroyed.  Listening to the audio, you can’t but help be amazed at Jaidev’s beautiful music embellished with the genius of Shiv Kumar Sharma and Hariprasad Chaurasia.

41. Rajnigandha phool tumhare, mehke yun hi jeevan mein (Rajnigandha, 1974) Salil Chowdhury/ Yogesh.

Rajnigandha was to originally feature Shashi Kapoor, Sharmila Tagore and Amitabh Bachchan. Events happened that brought in Vidya Sinha and Amol Palekar, both making their debuts. Both, the debutante and the debutant, distinguished themselves, in this and in Choti si Baat. Both films owed a high degree of their phenomenal success to the songs by Salil Chowdhury, sung by Lata and Mukesh.

42. Kabhi kabhi mere dil mein, khayal aatha hai (Lata’s version) (Kabhi Kabhi, 1976) Khayyam/ Sahir Ludhianvi.

Mukesh’s solo of this song is iconic. Speaking for myself, I rate this Lata version higher for the imaginative picturization by director Yash Chopra and for Lata’s rendering. Insertion of this song with Shashi and Raakhee on screen is a brilliant move, especially when this song was not really needed in the film. The ‘lead off’ with opening lines of the Mukesh version is also a very thoughtful part of this Lata version.

Lata with Khayyam

43. Pal bhar mein yeh kya ho gaya (Swami, 1977) Rajesh Roshan/ Amit Khanna

Rajesh Roshan won a Filmfare award nomination for Swami and this haunting song by Lata is one of the several unforgettable songs in the film. (Read The Uncommon Roshan)

44. Tere liye palkon ki jhalar bunoon (Harjayee, 1981) RD Burman/ Nida Fazli

Songs for Harjayee were written by both Nida Fazli (3), better known for his ghazals and Gulshan Bawra (4). This one, a super hit for its musical content as much for its beautiful lyrics that weave surreal imagery, was written by Fazli.

45. Yeh kahan, aagaye hum. yun hi saath saath chalte (Silsila, 1981) Shiv Kumar Sharma-Hari Prasad Chaurasia/Javed Akhtar.

Silsila was Javed Akhtar’s first film as a lyricist and Dekha ek khwab toh was his first song for a film. Also, this film marked the debut of Pandit Shiv Kumar Sharma and Pandit Hari Prasad Chaurasia in film music composition, under the name Shiv-Hari. What a masterpiece it went on to become.

46. Dikhayi diye yun. ke bekhud kiya. hamein aapse bhi, judaa kar chale (Bazaar, 1982) Khayyam/ Meer Taqi Meer.

This lovely ghazal was written by Meer Taqi Meer {known as: Khuda-e-sukhan (God of poetry) and who wrote in Urdu and Persian} at least 220 years before the film Bazaar was even conceived. Meer lived between 1723 and 1810 in Agra. The poignant tune composed by Khayyam and Lata’s rendition made this a ghazal, the masses could relate to.

47. Aye ri pawan  (Bemisaal, 1982) RD Burman/ Anand Bakshi

A beautiful lyrical song, exquisitely rendered by Lata, but lost in a somewhat complicated script in this Hrishikesh Mukherjee film, meant perhaps only for the brainier sections of the audience. Although an interesting theme with a distinguished star cast, excellent music, and directed well despite the difficult characterizations, this film unfortunately does not rate an immediate recall value.

48. Aye dil e nadaan (Razia Sultan, 1983) Khayyam/ Jan Nisar Akhtar.

A Kamal Amrohi film. Khayyam, who was nominated for the ‘Best Music Director’ Award for this film, created music that reflected the era of the period film. This haunting song, with its surreal long pauses, gave listeners the intense feeling of loneliness of Razia Sultan – the first female Muslim ruler of the subcontinent, and the only female Muslim ruler of Delhi.

Lata with Bhupen Hazarika (Pic: Twitter)

49. Suniyo ji, araj mhariyo (Lekin, 1991) Hridayanath Mangeshkar/ Gulzar

Lekin, loosely based on Rabindranath Tagore’s Kshudito Pashan, won 5 National Awards, all related to its music, including Best Female Playback Singer (Lata), Best Music Direction (Hridayanath Mangeshkar) and Best Lyrics (Gulzar). Lekin also won the Filmfare Best Award for Gulzar, and a Nomination for Filmfare Best Award for Hridayanath.

50. Dil hoom hoom kare (Rudaali, 1996) Bhupen Hazarika/ Gulzar.

In Rudaali, director Kalpana Lajmi’s chose Rajasthan to base the characters, deviating from Mahashweta Devi’s celebrated novel which was located in Bihar. To depict the struggle of the subaltern, Dalit woman Sanichari, played by Dimple Kapadia, Lajmi brought in music composer and singer Bhupen Hazarika who created haunting melodies that aptly expressed Sanichari’s grief and barrenness, echoing across the sandy, arid landscapes. This song is a cry of the one whose tears have dried up and Lata does full justice to it. When she sang Dil hoom hoom kare, she was 68! Incredible!

The 50 songs here represent a fair demonstration of how over 50 years, from Khemchand Prakash to Bhupen Hazarika, a multitude of music directors, with their own unique approach and styles, got the best out of Lata that is now immortal. Lata certainly left her “footprints on the sands of time.”

(With inputs from Antara Nanda Mondal)

More Must Read in Silhouette

Journey Through Lata’s Melodies

Lata Mangeshkar Sings for Madan Mohan

‘She is Capable of Delivering Anything a Music Maker Can Think Of’ – Salil Chowdhury Speaks About Lata Mangeshkar

Abhimaan (1973) — Where Music Leads the Way