Dushera was a few days away. The year was 2004. Then a senior reporter in Delhi, I entered the cabin of my editor with an application and our boss quickly sanctioned 7 days Puja Chhutti. While signing my application he asked me, ‘if possible to do a story or two from Odiaha.’ That’s when our entertainment editor who is with India Today TV these days, joined us. On knowing that I was going home for Puja, she
asked me, Mohanty please do a review of Veer Zaara’s music, I think you will do a good job. I was not amused, for I wanted to rush to my room and pack the bags. However, I couldn’t resist the temptation. Hurriedly, I dialed to your Bombay bureau, got the number and rang. It was around 11 am. The ring tone at the other end was just soothing. The enchanting song Tere Liye of Shah Rukh KhanPreity Zinta, Rani Mukherjee starrer, Veer Zaara was playing. A few seconds after, a gentleman responded.
It’s the showman, Yash Chopra, the director of the movie. Post introduction, he said, “Mohanty ji I am in Switzerland, will call you in 20 minutes.” As promised, Mr Chopra called back. He was happy to learn from me that my dissertation paper in journalism course days was an analysis of Yash Chopra movies.
But, before I could ask him any question, he asked me, “Tell me whether you like my movies or the songs of Lataji in them?” Before I could arrange words, he said, “I am extremely lucky. Devi Saraswati Lata Ji) has blessed all my movies. I am sure, no one will remember my name, but when the people will listen to the songs, they will recall it’s from Yash Chopra film. We chatted for 35 minutes and the legendary producer-director went on and on. It’s all about Lataji. I was stunned with his respect and adoration for a singer. Something, only Lata Mangeshkar could command for six decades, from all, Raj Kapoor, Vimal Roy, Basu Chhatterjee, Shakti Samanta or name any top film
maker of any era.
As Yashji, continued about music in his movies and Lataji’s renditions, memories of my high school and early college days of the 80s came visiting me. Those were the days of Binaca Geetmala, aired on Radio Ceylone, on Wednessday, 8-9 pm. I didn’t understand even a word in Hindi, but having seen elders holding Radio sets and listen to the week’s top songs with commentaries by the legendaryAmeen Sayani
I had developed a liking for the show. My tuition used to end at 8pm. On the Binaca Geetmala day, I would run quickly, pull out the red
colored, pocket sized National Panasonic transistor and tune in. The earliest song which I kept humming – without knowing a word of it- is Lata Mangeshkar’s Zindegi Pyar Ka Geet Hey (Souten). This song used to be the Shartaaz Gaana, top song of the week, played after a beagle- for some weeks.
Then instantly, I fell in love with Ye Galiyaan Ye Chaubara (Prem Rog). It’s Lata ji’s voice again ringing in the air all around. I had become a fan of hers. A couple of years later, as I entered my college, from morning till midnight, everywhere, the songs of Ram Teri Ganga Maili were played. It was followed by the enchanting numbers of Hero, Chandni and so many great albums, with most of the songs rendered by Lataji. She was the queen of melody. She was more than a goddess for billions of people around the world, me included. Because of her voice, range, mastery over classical music and last but not the least, commitment to every song, Lata Mangeshkar was the top favorite of all leading music directors between 1950-1995-Shankar Jaikishen, Khayaam, Salil Choudhry, SD and RD Burman, Ravi, Madan Mohan, Kalyanji Anandji
Hemant Kumar, Chitragupt, Laxmikant Pyarelal, Naushad , Ravindra Jain, Bappi Lahri, Usha Khanna etc.
I had heard the highly acclaimed, Laxmikant-Pyarelal say, ” Whatever we are today is because of Lata Didi’. In another interview on Radio the duo spoke about the music of Satyam Shivam Sundaram. While the movie was being made, Raj Kapoor and Lataji had some differences, she refused to sing for the RK Banner. Laxmikant Pyarelal had taken a lot of care and composed the songs. But when, Lataji refused sing, LP left one condition at Raj Kapoor- We wouldn’t score for the film, if Lataji didn’t sing. All songs have been classically tunes and made keeping her in mind. The duo went to Lataji, begged to her and she relented.
On the morning of the recording, she arrived, as usual 15 minutes, before the scheduled time, took off her chappals as Laxmikant sang the song to her. No rehearsal. Soon, she was in front of the mike. In one take, the title track, a very difficult one, was recorded. The rest, as they say is history.
She too has sung so many amazing numbers under the new generation of composers, post 1990-Anand Milind, Jatin Lalit, Uttam Singh, A R Rehman. Singers will come and go, but there will be none like Lata, who ruled the hearts. And will continue to do that forever. The Saraswati left all of us not even twenty four hours after we had celebrated Saraswati Puja. It’s stupidity to select a few of her numbers as her best. However, I can hear each of the following ones for hours and days together.
The mesmerizing patriotic one- Aye Mere Watan Ke Logo,Tumhen Yaad Karte Karte (Amrapalli), Rasik Balma (Chori Chori), Pyar Hua Ikrar Hua (Shree 420), Naina Barse (Meri Awaaz Suno), Dikhayi Diye Yun (Bazaar), Aaj Kal Paon Jameen Par (Ghar), Main Tere Ishq
Main Mar Na Jaun Kahin (Loafer), Dil To Hai Dil (Muqqaddar Ka Sikandar), Morni Baga Ma (Lamhe) Mere Haathon Mein (Chandni), Tujhe Bulayein -Ram Teri Ganga Maili
