{"id":10632,"date":"2026-04-12T11:36:32","date_gmt":"2026-04-12T06:06:32","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=10632"},"modified":"2026-04-13T10:21:42","modified_gmt":"2026-04-13T04:51:42","slug":"asha-bhosle-matchless-voice","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/asha-bhosle-matchless-voice\/","title":{"rendered":"Asha Bhosle: The Many Moods of a Matchless Voice"},"content":{"rendered":"<div id=\"attachment_10639\" style=\"width: 410px\" class=\"wp-caption alignleft\"><img decoding=\"async\" aria-describedby=\"caption-attachment-10639\" class=\"wp-image-10639 size-full\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Asha.jpg\" alt=\"Asha Bhosle\" width=\"400\" height=\"297\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Asha.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Asha-150x111.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Asha-300x223.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-10639\" class=\"wp-caption-text\">Asha Bhosle (Pic courtesy: Internet)<\/p><\/div>\n<p>Asha Bhosle \u2013 the name conjures up such a mesmerising medley of songs, spanning genres and styles that you are left wondering what to pick from her awe-inspiring repertoire.<\/p>\n<p>From classical songs to ghazals, from devotional to pop, from melancholic to comic, from club songs to pathos-laden songs \u2013 Asha Bhosle traversed the gamut of Hindi film music with \u00e9lan. Each song she rendered carried her indelible stamp \u2013 the texture, the tone, the verve and the pathos, so uniquely hers. One could immediately recognise that it was an Asha song and yet, it was never out of place with the situation or the actress on whom it was filmed.<\/p>\n<p>Today, the legendary singer has left for her eternal abode, leaving behind her enduring aura and an unmatched legacy. We remember her with a hand-picked selection of songs, that display, to some extent, her massive range.<\/p>\n<h2><em><strong>Ambar ki paak surahi<\/strong><\/em><\/h2>\n<p>Written by Amrita Pritam, this is poetry woven into a beautiful melody by the renowned sitarist Ustad Vilayat Khan. The film <em>Kadambari<\/em>, was one of those middle-of-the-road films that created an offbeat genre of films in the 70s, bringing middle class realities to the screen. Starring Shabana Azmi and Vijay Arora, the film came and went but left behind this soft, melodious song that one can hum in solitude. The song is replete with striking imagery.<\/p>\n<p><em>kaise iskaa karz chukaayen<br \/>\nmaang ke apni maut ke haathon<br \/>\numar ki choli see hai hamne,<br \/>\nbaat kufr ki ki hai hamne<br \/>\nambar ki ek paak suraahi,<br \/>\nbaadal kaa ek jaam uthaa kar<\/em><\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong>Ambar ki paak surahi<\/strong><\/em> (<em>Kadambari<\/em>, 1975)\u00a0Ustad Vilayat Khan \/ Amrita Pritam \/ Asha Bhosle<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/4ZM5ue0KlW8?si=1gXBn3tJTCgbDX-a\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<h2><strong><em> Re man sur mein gaa<\/em><\/strong><\/h2>\n<p>Love Triangle or Love Square, call it what you will, <em>Lal Patthar<\/em> with its four-cornered love story stands out not only for its powerful performances and unusual storyline but also for its unforgettable semi-classical music by Shankar Jaikishan.<\/p>\n<p>Based on a story &#8216;Lal Paathor&#8217; by eminent Bengali writer Prashanto Choudhury<strong>,\u00a0<\/strong>this FC Mehra film starring Raaj Kumar, Hema Malini, Rakhee and Vinod Mehra is a remake of the 1964 Uttam Kumar-Supriya Choudhury starrer <em>Lal Pathar,<\/em> which was directed by Sushil Majumdar and was equally known for its music.<\/p>\n<p>A story of intense passion, jealousy, love and rage that consumes everything and everyone around &#8211; <em>Lal Patthar<\/em> is unlike the usual run-of-the-mill masala films.<\/p>\n<p><em>Re man sur mein gaa<\/em> is a song that transcends time. Gopaldas Neeraj writes a song celebrating music &#8211; music is the rhythm of life, the highs and lows of it are like Madhyam and Pancham.<\/p>\n<p><em>Jeevan hai sukha-duhkh ka sangam<br \/>\nMadhyam ke sang jaise pancham<br \/>\nDonon ko ek bana<\/em><\/p>\n<p>The heart beats in tune with the rhythm of time, so just let yourself flow.<\/p>\n<p><em>Dil jo dhadake taal baje re<br \/>\nTaal taal mein samay chale re<br \/>\nSamay ke sang ho ja<\/em><\/p>\n<p>Music is the universe, where tune is the king and melody the queen. Be the instrument which plays along.<\/p>\n<p><em>Jag hai geeton ki rajdhaani<br \/>\nSur hai raaja, lay hai raani<br \/>\nsaaz-roop ban ja<\/em><\/p>\n<p>Profound and so deep, isn\u2019t it? One wonders, if only, one can look at life as music \u2013 melodious and rhythmic in every note.<\/p>\n<p>Amazing aalaps and murkis by Manna Dey and Asha Bhosle, and a fascinating use of instruments by Shankar Jaikishan. Well, you don&#8217;t have too many songs like this one. A class apart!<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong> Re man sur mein ga <\/strong><\/em> (<em>Lal Patthar<\/em>, 1975) Shankar Jaikishan \/ Neeraj \/ Asha Bhosle and Manna Dey<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/vzkux4LWh5I?si=Im7fo57koCcEYTrk\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<h2><strong><em> Kaali ghata chhaye mora jiya tarsaaye<\/em><\/strong><\/h2>\n<p><em>Aise mein kahin koi mil jaaye<\/em> &#8211; that&#8217;s how the song begins with humming and an alaap (not with the first line <em>Kaali ghata chhaye<\/em>). It is Sujata&#8217;s secret wish, singing all to herself. The looming clouds are her audience. And we are too.<\/p>\n<p>Nutan looks exquisitely beautiful with Bimal Roy capturing her most photogenic profiles. Its a song synonymous with the onset of rains \u2013 not pouring rains. Its the first song that comes to mind as soon as the sky darkens.<\/p>\n<p>Sujata quietly closes the door before singing \u2013 so it&#8217;s just us who hear her song. Majrooh Sahab does what he loves doing \u2013 writing from a woman&#8217;s point of view. Burman Dada uses his favourite flutes. There are two flutes &#8211; one low-scale wind flute in the prelude and the other a high-scale flute. The sitar and tabla are soft, rippling like flowing rain water. &#8220;The taal is an 8 matra Keharva which so very well designed as if raindrops are falling.&#8221;<\/p>\n<p>Asha sings from her soul \u2013 just notice the delicate velvet-like expressions (so different from the masti-laden Asha).<\/p>\n<p><em>hoon main kitni akeli wo yeh jaante<\/em><br \/>\n<em>mere berang jeewan ko pehchaante<\/em><br \/>\n<em>mere haathon ko thaame hanse aur hansaaye<\/em><br \/>\n<em>mera dukh bhulaaye kisi ka kya jaaye<\/em><\/p>\n<p>Bimal Roy makes this song and scene the world of the lonely Sujata. She has the clouds and the flowers and the plants as her friends. And wishes someone would just come and hold her hand, make her laugh and forget her sorrow.<\/p>\n<p>Simple girl, simple wishes.<br \/>\nSimple lyrics, simple music.<br \/>\nWhen they come together &#8211; they create a masterpiece. And it is Asha, bringing it to us.<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong> Kaali ghata chhaye <\/strong><\/em> (<em>Sujata<\/em>, 1975) Shankar Jaikishan \/ Neeraj \/ Asha Bhosle and Manna Dey<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/yZMyPcef_ws?si=0-mGFjn_Dp3e0zfE\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<h2><em><strong> Piya, piya, piya mera jiya pukaare<\/strong><\/em><\/h2>\n<p>We can have a full article on just Asha&#8217;s humming and alaaps. \u00a0SD Burman wrote in his autobiography, \u201cLata\u2019s sister Asha is also a very high calibre artist. She has that youthful vigour in her. With the two sisters, it was worth experimenting as they went merry with all types of songs. Asha, also has the rare quality of singing all kinds of songs, from the husky type to the soft ones. This is a great quality in a singer.\u201d Dada\u2019s innovative spirit flashed brightly in <em>O nigahein mastana<\/em>, where he made Kishore sing the song and interspersed his lines with Asha\u2019s delectable humming and an aalap in the last interlude.<\/p>\n<p>While on humming, we can think of the ultimate tonga song &#8211; the prankster Kishore Kumar and the pigtailed Chand Usmani. What more do you need to start bobbing wherever you are. The song is packed with exuberance and energy. It&#8217;s a romance with love and with life, with an irrepressible urge to celebrate the joy of living. And yes, Asha\u2019s alaap \u2013 that famous interrupted one with Kishore Kumar on screen putting up his hand to stop Chand Usmani&#8217;s &#8220;aaaa&#8221;.<\/p>\n<p>Enjoy the tug-bug-tug-bug song&#8230; \ud83d\ude0a<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong> Piya, piya, piya mera jiya pukaare <\/strong><\/em> (<em>Baap re Baap<\/em>, 1955) O P Nayyar \/ Jaan Nisar Akhtar \/ Kishore Kumar and Asha Bhosle<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/JpYfxqsKVYk?si=_qyYNzIMYbwmlR9G\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<h2><em><strong> Sa sa sa sa re <\/strong><\/em><\/h2>\n<p>When Kishore and Asha are at the microphone for a fun song, they turn on the humour valve fully. There are umpteen examples of their comic songs together. But since we are talking about aalap, here\u2019s one that\u2019s a pure tongue-in-cheek take on classical music.<\/p>\n<p>So we have Kishore Kumar singing \u201cclassical\u201d music, vigorously shaking with every note he sings. The more he shakes, the more classical it gets!! And the tabalchi and Mama ji strumming the tanpura start shaking too. Mama ji is initially a bit suspicious at Kishore&#8217;s antics but gets totally lost in the music with his eyes closed. So much so that Kishore winds his arm around the tanpura and starts strumming it ulta! So you have two people strumming one tanpura!<\/p>\n<p>Hindi films have stretched dramatic irony beyond every possible limit and this is no exception. So we all know what&#8217;s going on between the two lovebirds who sing about &#8216;marega Mama&#8217; but Mama is in a trance.<\/p>\n<p>Shailendra cooks up a rapid \u201cclassical\u201d exchange between Kishore and Asha in verse right under the nose of Mamaji. SD Burman brings out his naughtiest side to create a hilarious piece that has generous doses of Kishore Kumar\u2019s madcapism, with Asha following the cue brilliantly. \u00a0The pi\u00e8ce de resistance is Kishore breaking into a rapid-fire sargam &#8211; &#8216;vasco da ga ma&#8217; with teen taal on the tabalchi&#8217;s head. Can&#8217;t stop giggling when this one is on \u2013 a solid mood uplifter.<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Sa sa sa sa re <\/strong><\/em> (<em>Naughty Boy<\/em>, 1962) SD Burman \/ Shailendra \/ Kishore Kumar and Asha Bhosle<\/span><\/p>\n<div id=\"attachment_10634\" style=\"width: 1254px\" class=\"wp-caption alignnone\"><a style=\"font-weight: bold; background-color: transparent;\" href=\"https:\/\/www.youtube.com\/watch?v=MUBbuZTL21Q&amp;list=RDMUBbuZTL21Q&amp;start_radio=1\"><img decoding=\"async\" aria-describedby=\"caption-attachment-10634\" class=\"wp-image-10634 size-full\" src=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Sa-sa-sa-re-ga-ga-ga-re.jpg\" alt=\"Sa sa sa re ga ga ga re\" width=\"1244\" height=\"698\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Sa-sa-sa-re-ga-ga-ga-re.jpg 1244w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Sa-sa-sa-re-ga-ga-ga-re-400x224.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Sa-sa-sa-re-ga-ga-ga-re-1024x575.jpg 1024w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Sa-sa-sa-re-ga-ga-ga-re-150x84.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Sa-sa-sa-re-ga-ga-ga-re-768x431.jpg 768w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2026\/04\/Sa-sa-sa-re-ga-ga-ga-re-300x168.jpg 300w\" sizes=\"(max-width: 1244px) 100vw, 1244px\" \/><\/a><p id=\"caption-attachment-10634\" class=\"wp-caption-text\"><a href=\"https:\/\/www.youtube.com\/watch?v=MUBbuZTL21Q&amp;list=RDMUBbuZTL21Q&amp;start_radio=1\">Sa sa sa sa re ga ga ga ga re<\/a><\/p><\/div>\n<p><strong>\u00a0<\/strong><\/p>\n<h2><em><strong> Aanki chali, baanki chali <\/strong><\/em><\/h2>\n<p>Asha Bhosle, RD Burman and Gulzar made a team that found a delicious joy in breaking the set norms of music. From the blank verse of <em>Mera kuch saaman<\/em> to the semi-classical <em>Piya bawri<\/em> and a whole album of exceptional songs in <em>Dil Padosi Hai<\/em>, the trio came up with immortal songs. One such unforgettable album was <em>Namkeen<\/em>, where Asha\u2019s voice was used in a range of songs \u2013 from the melancholic <em>Phir se aayo badra bidesi<\/em>, and the mujra <em>Badi der se megha barsa<\/em> to the sing-song folk-styled <em>Aanke chali baanke chali. <\/em><\/p>\n<p>Trust Gulzar to come up with these lines which only one who knows about Bengal\u2019s food culture can relate to. Why he put them in is anybody&#8217;s guess but they sure are a teaser! For those who don\u2019t know the meaning of the lines &#8211; <em>Paanta bhaate taatka baigun poRRa<\/em> \u00a0&#8211; this is actually a simple meal of boiled rice with its water retained, topped with a freshly roasted eggplant &#8211; it is a sufficiently filling and nutritious meal for people who cannot afford the regular dal-chawal-subzi-bhaaji-chutney meal.<\/p>\n<p>Asha Bhosle supported by Alka Yagnik excels in this beauty of a creation. RD Burman uses the beat of the huge mortar to lend a lively note to the giggling sisters singing as they work.<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong> Aanki chali baanki chali <\/strong><\/em> (<em>Namkeen<\/em>, 1982) \u00a0RD Burman \/ Gulzar \/ Asha Bhosle and Alka Yagnik<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/slveXAZ4Jzc?si=4rXvydb4zGNQmWpq&amp;start=299\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<h2><em><strong> Deewana mastana hua dil<\/strong><\/em><\/h2>\n<p><em>Bombai Ka Babu<\/em> was a story way ahead of its times and a stellar star cast of Dev Anand and Bengal\u2019s queen of hearts Suchitra Sen. The film gave Majrooh Sultanpuri and Burman Dada the scope to create a necklace of sparkling songs of myriad hues.<\/p>\n<p>Asha and Rafi ruled in this musical. Think of the vivacious Suchitra Sen with her magnetic screen presence making a million hearts turn with <em>Dekhne mein bhola hai dil ka salona <\/em>and <em>Aise mein kachu kaha nahin jaye<\/em> (both sung by Asha). Or her effervescent, verve laden celebration of spring with Dev Anand in <em>Deewana mastana hua dil<\/em>. Asha\u2019s heavenly alaap and sargam flags off a fun Rafi-Asha duet where Majrooh\u2019s lyrics rejoice nature, beauty, love and longing, buoyed by Burman Dada\u2019s youthful music. Another Rafi-Asha duet <em>Pawan chale to uthe<\/em> was equally frolic laden. As spring gives way to summer now, let\u2019s listen to <em>Deewana mastana hua dil<\/em> once more to bid adieu to the season and the singer.<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong> Deewana mastana hua dil <\/strong><\/em> (<em>Bombai Ka Babu<\/em>, 1960) SD Burman \/ Majrooh Sultanpuri \/ Asha Bhosle and Mohd Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Mf7PBnFrH5A?si=kFIKDO2OSp-0YZDc\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2><em>Naina hai pyaase mere<\/em><\/h2>\n<p>Talking of emoting, one cannot help but think of how these singers made every embellishment sound so natural in the song. Asha\u2019s happy giggle at the end of the deeply introspective song <em>Naina hain pyaase mere<\/em> adds a dimension to the song, taking it to another level. Composed by the under-rated Kanu Roy, this is a gem in the pearl-studded album of <em>Aavishkar<\/em>.<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong> Naina hai pyaase mere<\/strong><\/em> (<em>Aavishkar<\/em>, 1973) Kanu Roy \/ Kapil Kumar \/ Asha Bhosle <\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/TnGQRqKWknc?si=BfCo2Jc0O1nNLUvQ\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h2><strong><em> Kal ke apne na jaane kyun, ho gaye aaj paraye<\/em><\/strong><\/h2>\n<p>Asha Bhosle\u2019s versatility extended across genres, styles and also languages. She sang songs in various languages, including English. Apart from an enviable body of work in Hindi and her native Marathi, she had a rich repertoire in Bengali too. She could speak Bangla with ease, if not with expertise and not surprisingly, music directors from Bengal chose her for their film songs, Rabindra Sangeet and non-film (adhunik) songs. When singer-composer Shyamal Mitra forayed into Hindi music, he picked Asha to sing the pensive <em>Kal ke apne na jaane kyun, ho gaye aaj paraye <\/em>in<em> Amanush. <\/em><\/p>\n<p>Asha\u2019s forte of getting into the heart of the character she would sing for is evident in this gem, picturised on Sharmila Tagore and Uttam Kumar. The pain bursts forth in every word, with the singer emoting the song as much as the actress on screen.<\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong> Kal ke apne na jaane kyun<\/strong><\/em> (<em> Amanush<\/em>, 1975) Shyamal Mitra \/ Indeevar \/ Asha Bhosle <\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/Lql5G43-DD8?si=2UF2t6BwRd4tlY0C\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2><em>Kon shey aalor swapno niye<\/em><\/h2>\n<p>The one song that takes me away, far away in an instant, is this ethereal beauty from <em>Pratham Kadam Phool<\/em>. Music director Sudhin Dasgupta exploits the pitch of Asha\u2019s voice so beautifully, making it rise and fall to create a dreamy song about taking flight into the unknown. The song is picturised on a gorgeous Tanuja singing by the riverside, almost to herself, although Soumitra Chatterjee (playing her husband) and Shubhendu Chatterjee look on in admiration. Even if you don\u2019t understand the lyrics, simply immerse yourself in the melody. You will find yourself spreading your wings into the azure sky as Asha scales up with <em>Chhaya neel shimaanaye\u2026<\/em><\/p>\n<p><span style=\"color: #c2150a;\"> <em><strong> Kon shey aalor swapno niye <\/strong><\/em> (<em>Pratham Kadam Phool<\/em>, 1969)\u00a0Sudhin Dasgupta \/ Pulak Bandyopadhyay \/ Asha Bhosle<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/vtnOBoiArTM?si=x6VWnl1_5nV4UzZ2\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p><strong>More Must Read in Silhouette<\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/kanan-devi-first-singing-star\/\">Kanan Devi: \u2018The First Singing Star\u2019<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/manna-dey-a-story-of-amazing-versatility-part-1\/\">Manna Dey: A Story of Amazing Versatility \u2013 Part 1<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/geeta-dutt\/\">Geeta Dutt \u2013 The Skylark Who Sang From The Heart<\/a><\/strong><\/p>\n<p><strong><a href=\"https:\/\/learningandcreativity.com\/silhouette\/talat-mahmood\/\">Hain Sabse Madhur Woh Geet: Melodies of Talat Mahmood<\/a><\/strong> <\/p>\n<!-- AddThis Advanced Settings generic via filter on the_content --><!-- AddThis Share Buttons generic via filter on the_content -->","protected":false},"excerpt":{"rendered":"<p>A tribute to Asha Bhosle\u2019s versatility, the singer who could move across genres, moods, eras and languages with ease, revealing a different shade of her artistry each time.<!-- AddThis Advanced Settings generic via filter on get_the_excerpt --><!-- AddThis Share Buttons generic via filter on get_the_excerpt --><\/p>\n","protected":false},"author":4,"featured_media":10641,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[822],"tags":[1762,665,1268,1242,1814,1195,515,1802],"class_list":["post-10632","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-golden-voices","tag-asha-bhosle","tag-gulzar","tag-kishore-kumar","tag-mohd-rafi","tag-op-nayyar","tag-rd-burman","tag-sd-burman","tag-shankar-jaikishan"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/10632","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/comments?post=10632"}],"version-history":[{"count":5,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/10632\/revisions"}],"predecessor-version":[{"id":10646,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/10632\/revisions\/10646"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/10641"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=10632"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=10632"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=10632"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}