Lata Mangeshkar’s 20 iconic songs: Meri awaaz hi pehchaan hai….

Aayega aane wala (Mahal, 1949): This is the watershed year when Lata Mangeshkar, who sang this haunting Khemchad Prakash composition and took the nation’s breath away, sealed her supremacy in the Indian film industry for decades to come, with no rival in sight. The song broke all records at Radio Ceylon as people flooded their office with letters to ask for the singer’s name (The gramophone company only carried the character’s name — Kamini). Every composer took notice. Lata Mangeshkar had arrived.

Uthaye ja unke sitam (Andaz, 1949): 1949 was a turning point in Mangeshkar’s life and this song was one of the reasons for it. Picturised on Nargis, this wistful number was another one of Mangeshkar’s initial big hits. This nasal timbre of her voice in this was the result of Mangeshkar’s admiration for Noor Jehan. It was a little later that she evolved and developed a style of her own. But the song written by Rajendra Krishan and composed by C Ramachandra, catapulted her to success.

Ye zindagi usi ki hai (Anarkali, 1953): In this top-grossing film from the year, wherein Mangeshkar sang eight songs, Ye zindagi usi ki hai in the sombre raag Bhimpalasi became the defining sound of heartbreak.

Aaja re pardesi (Madhumati, 1958): In this Bimal Roy masterpiece, Salil Chaudhury gave us this achingly beautiful piece that echoes in the valley throughout the film. Even Mangeshkar has called it one of her favourites – the haunting ditty topped the radio Ceylon charts for many weeks. Impressed with the song, lyricist Shailendra had gifted flowers to Mangeshkar.

Pyaar kiya toh darna kya (Mughal-e-Azam, 1961): “Parda nahi jab koi khuda se, bando se parda karna kya…” Anarkali held court in K Asif’s magnum opus. Everything about this song — the fearlessness in Shakeel Badayubi’s lyrics, Naushad’s brave and brilliant composition, Mangeshkar’s voice and Madhubala as Anarkali immortalising the song with her cracker of a performance. In the following years, it was a lovers’ rallying call, and a lesson in strength. The nation sang this defiant message highlighting eternal love with much fervour.

Allah tero naam, ishwar tero naam (Hum Dono, 1961): This evocative bhajan by Jaidev had Sahir merge ‘Allah’ and ‘Ishwar’ in one sentence to give India a message of unity. While Mangeshkar sang this one at almost all of her concerts later, it also became a popular school prayer in the following years.

Aye mere watan ke logon (1963): Composer C Ramacahndra and Mangeshkar were not speaking to each other when Kavi Pradeep penned this piece in the aftermath of the India-China war. The two had an argument over one of Ramachandra’s recordists, whom Mangeshkar didn’t like. The two didn’t speak for over five years. But for this piece, he went to Mangeshkar’s home and requested her to sing it, which eventually went on to became a tableau of nationalism. The song was first sung on January 27, 1963. The song, a melody in Raag Asavari — a sombre morning raga — was straight and simple yet extremely evocative and with a different chord progression for every stanza.

Lag ja gale (Wo Kaun Thi, 1964): One of the finest pieces by Madan Mohan, the song is known as much for Mohan’s brilliance as it is of Mangeshkar’s. Her voice just soared through those top notes and came back down with as much ease.

Aaj phir jeene ki tamanna hai (1965): One of SD Burman’s greatest compositions and it came with Navketan’s best — Guide. Every song sparkled, with Tere mere sapne being the most intense piece of writing from Shailendra. But what caught the attention of the nation was the ‘freedom song’ one that crystallised a perfect moment in a relationship — where Rosie discovers life again. Mangeshkar was the voice of her liberation.

Kuch dil ne kaha (Anupama, 1966): This has got to be the most underestimated song by Mangeshkar, probably because it’s understated in the way she has rendered it. Hemant Kumar composed these ingenious lines from Kaifi Azmi in ambient, soft shades and Mangeshkar sang the delicate piece gently, giving it this ethereal quality that elevated the song to another level.

O sajna barkha bahar (Parakh, 1960): This raag Khamaj-based song of the rain by Salil Chaudhary – a highpoint for Mangeshkar and one of her personal favourites was also one of the most delightful moments in this Bimal Roy film.

Suniyo ji araj: The words of the bandish of raag Vihangini , a raga created by Pt Mani Prasad of the Kirana gharana, the long alaap which acts as a prelude to the song will go down in the history as one of the finest beginnings to a piece – the octave leaps sounding glorious each time she repeated the phrase.

Chalte chalte (Pakeezah, 1972): This seminal piece by composer Ghulam Mohammed and poet Kaifi Azmi, describes the contemplations of a courtesan in love. The world of Sahibjaan hinges on the steam engine’s whistle, as a constant reminder of a love note she found in her ghungroo-laden feet. It is a spectacular piece of music; set along a looped tabla groove in Keherva, and Lata Mangeshkar’s fine voice.

Raina beeti jaaye (Amar Prem, 1972): This prayer of a song from RD Burman in Raag Lalit presented his prowess as not just a maker of upbeat numbers. Someone who almost always worked with Bhosle, for this piece, he asked his wife’s sister, Mangeshkar. Bhosle fought with him, that how he gave all the good songs to “didi”. It’s an unforgettable moment, when Sharmila Tagore begins the alaap and a drunk Rajesh Khanna stops suddenly and goes upstairs, pulled in by the voice he hears.

Meri awaaz hi pehchaan hai (Kinara, 1977): RD Burman’s composition in this masterpiece of a film from Gulzar, who also wrote the song’s lyrics. The austerity in the piece and the uniformity of the pace will echo in the times to come.

Ye kahan aa gaye hum (Silsila, 1981): While the raag Chandrakaus-based bhajan Jo tum todo piya was from another universe of brilliance, it was Ye kahan aa gaye hum composed classical maestros Pt Shiv Kumar Sharma (santoor) and Pt Hari Prasad Chaurasia (flute), that caught the nation’s imagination. Its unique presentation with Amitabh Bachchan reciting poetry in the song came with a stylistic drift and thus remains extremely charming.

Aye dil-e-nadaan (Razia Sultan, 1983): In this ambitious venture by Kamal Amrohi, composer Khayyam created one of his career’s best melody and at the helm of it was Manngeshkar. We sang along with the immortal lyrics by Jaan Nisar Akhtar – Aarzu kya hai, justaju kya hai…

Yaara seeli seeli (Lekin, 1990): Mangeshkar won the National Award for this Hridayanath Mangeshkar composition. As Dimple Kapadia on the screen struggled in the desert, she looked up, Mangeshkar’s voice soared to thrilling registers with ye bhi koi jeena hai, ye bhi koi marna. It was achingly beautiful.

Man kyun behka (Utsav, 1984): One of the few duets of Lata Mangeshkar and Asha Bhosle. The story goes that when Bhosle would sing her lines and would look at her elder sister and wonder if she had done alright. Mangeshkar would nod, and Bhosle would feel a sense of relief. The tender ditty was a fresh breath of air in the 80s which were dominated by the disco movement.