Urge to Fly

Finally, I enter into the current decade i.e. the 2000s. Lata Mangeshkar has not sung very many songs in this decade. Between 2000-2007 not more than 35 Lata Mangeshkar songs were released, and I have possibly heard every single one of them. This makes my task much simpler.

If there's anything noteworthy about Lata songs in this decade, it is her collaboration with A R Rahman. Unlike other music directors who for some strange reason continued to make Lata sing romantic songs that just didn't suit her aged voice, Rahman continued to compose songs for her that suited her age (barring one exception).

2000: Two Lata Mangeshkar songs were released this year. The first one was a typical Yash Chopra romantic duet composed by Jatin-Lalit for Aditya Chopra's Mohabbatein. In my opinion, Humko Hamise Chura Lo (a duet with Udit Narayan) was the only good song in an otherwise tepid soundtrack.

The other song, which is my pick of the year, was a prayer picturised on Lata Mangeshkar herself in Raj Kumar Santoshi's Pukaar. Though Lata  appeared clearly uncomfortable on screen, it worked well in the film because her voice was at least not being forced on 20-somethings. Composed beautifully by A R Rahman and rendered with feeling by Lata Mangeshkar I just love the overall feel of Ek Tu Hi Bharosa. I particularly like the way the composition is structured, starting off with Lata singing a passage with minimal instrumentation, which makes way for a lovely piano piece, which then merges seamlessly into the chorus section and finally back to Lata's voice underscoring the chorus. The song is light on instruments, with just a few simple notes on the piano comprising the interludes. Javed Akhtar's lyrics were also quite good.

Ek Tu Hi Bharosa (2000 - Pukaar - A R Rahman - Javed Akhtar)

 

2001: This was the most prolific year for Lata Mangeshkar in the 2000s, as around a dozen of her songs were released this year. At one end you had a few insipid duets composed by music directors like Adesh Shrivastava and Uttam Singh. Adesh Shrivastava composed a Lata-Udit duet - Pehli Nazar Mein - in Uljhan, while was wrongly credited as the composer of another Lata-Udit duet - Sare Sheher Mein Charcha in the Doosra Aadmi remake Dil Ne Phir Yaad Kiya - which was actually an Uttam Singh composition. Uttam Singh's compositions for her in Farz were quite ordinary as well. Dekhein Bhi To Kya Dekhein (a duet with Udit Narayan) was like any other Uttam Singh composition in terms of the tune, chorus and arrangement, whereas Har Subah Yaad Rakhna had an interesting tune but something seemed amiss.

Jatin-Lalit came up with two songs for Lata in 2001. The title track of Kabhi Khushi Kabhie Gham was a nice song but Lata didn't seem in form and went distinctly off-key while singing the work khushi in the middle of the song. It is my belief that some young music directors are possibly so much in awe of Lata Mangeshkar, and feel obliged when she agrees to sing their composition, that they do not insist on corrections or retakes. And there are others who probably don't shy away from it. That probably explains that even with highly degraded vocal capacity, Lata's singing for some music directors is better than the others. The other Jatin-Lalit song this year was a decent (but typically JL) tune from Dev Anand's awful Censor - Mere Dil Mein Tum Nazar Mein Tum.

In 2001 Lata Mangeshkar sang 4 songs composed by A R Rahman in 3 films. Khamoshiyan Gungunane Lagi, a duet with Sonu Nigam from One Two Ka Four, seems like a routine romantic song at first, but has intricately layered orchestration, especially the wonderful use of flute and sitar in the first interlude. Then there was a prayer O Paalanhaare from Lagaan. In the film, a large portion of this song (passages picturized on Gracy Singh) was sung by Mahalakshmi Iyer whereas Lata sections were on Suhasini Mulay, which was a good thing to do given the ages of the characters, but a big disappointment for Lata fans like me who could not hear enough of her in the film. However, the CDs and cassettes had all the female portions sung by Lata (watch Lata sing O Paalanhaare at a concert). Then there were the songs of Zubeida, which I count among the best Rahman has composed for Hindi films, including the beautifully worded (Javed Akhtar) Door Kahin Ek Aam Ki Bagiya, and two versions of the theme song So Gaye Hain.

In the late 80s when we were being subjected to Lata singing some horrendous compositions in Hindi films, Lata had collaborated with the maestro Ilaiyaraja in a few Tamil films, which resulted in melodious as well as popular songs. The first time I heard Engirundho Azhaikum (En Jeevan Paduthe, 1988), which had both a solo as well as a duet version with Mano, I couldn't get the tune out of my head for days. Then there were Aararo Aararo (Anand, 1987) and  Valai Osai (Satya, 1988), which are certainly not among Ilaiyaraja's best, but definitely very good songs. It was many years later in 2001 that Lata Mangeshkar and Ilaiyaraja worked together for a Hindi film. And we got Kaun Dagar from Lajja, which is my choice for this year.

Kaun Dagar (2001 - Lajja - Ilaiyaraja - Prasoon Joshi)

 

2002: Santoor maestro Shiv Kumar Sharma's son, Rahul Sharma made his debut as a composer with YRF's Mujhse Dosti Karoge. His compositions for the film were just about average. The film included two Lata songs - Andekhi Anjani Si (with Udit Narayan) and Jaane Dil Mein Kab Se Hai Tu (with Sonu), which included a brief 'sad' version as well.

There was just one more film with Lata songs in 2002. Lal Salaam did not even get a proper release and it's soundtrack was also not distributed properly. The soundtrack included Hridaynath Mangeshkar's characteristic compositions, penned by Gulzar. In my opinion this is one of Hridaynath's lesser works, yet it is quite listenable on the whole. It includes Humkara Jaage, Chaand Gufa Mein, Mitwa and my selection for this year - Beeta Mausam. The mukhda of Beeta Mausam is a variation of the matla of a ghazal by Gulzar, which was made popular by Jagjit Singh in the album Marasim:

एक पुराना मौसम लौटा याद भरी पुरवाई भी
ऐसा तो कम ही होता है वो भी हों तन्हाई भी

Beeta Mausam (2002 - Lal Salaam - Hridaynath Mangeshkar - Gulzar)

 

2003: For the first time since her debut, Lata Mangeshkar did not have even a single release in 2003.

2004: Yash Chopra decided to use Madan Mohan's unused tunes for his directorial venture after a gap of 7 years. Madan Mohan's son, Sanjeev Kohli, took his father's tunes for Veer-Zaara and arranged them with modern orchestration to create 9 Lata Mangeshkar tracks. Lata's vocals in 2004 were inadequate for Madan Mohan's compositions, and one missed the magic the two had created more than three decades back when their collaborative effort resulted in gems in films like Dastak, Heer Ranjha, Dil Ki Rahein, Hanste Zakhm, Hindustan Ki Kasam and Mausam in the 70s. Not only that, even the tunes selected by Yash Chopra, though melodious, were not a patch on Madan Mohan's earlier tunes. Hum To Bhai Jaise Hain was just not suited for Lata's vocals, while Lodi and Aisa Des Hai Mera were clearly below average. Do Pal Ruka and Kyun Hawa were high on the melody quotient. The soundtrack of the film included three songs that were not included in the film - Ye Hum Aa Gaye Hai Kahan was shot, but left out at the editing table and released later as a DVD extra, while Jaane Kyun and the Lata-Jagjit duet Tum Paas Aa Rahe Ho were bonus tracks just for the CD. Incidentally, Yash Chopra had toyed with the idea of calling the film Ye Hum Aa Gaye Hain Kahaan, before he finalized Veer-Zaara as the title just a month or two before the release. Jaane Kyun showed how the amazing breath control that Lata Mangeshkar was always known for, was losing its battle with age, as Aur Main Hoon sounded like Haur Main Hoon in the song.

My pick for this year is Tere Liye Hum Hain Jiye, a duet with Roop Kumar Rathod. This was the only tune in this film that had flashes of Madan Mohan's brilliance as a tunesmith.

Tere Liye Hum Hain Jiye (2004 - Veer-Zaara - Madan Mohan - Javed Akhtar)

 

2005: This year saw the release of Lata Mangeshkar second song with Nadeem Shravan in Bewafaa (the first one was almost 18 years back in Hisaab Khoon Ka). Kaise Piya Se Main Kahoon was a typical Nadeen Shravan tune, with nothing great about it. She also recorded her first song under Adnan Sami's baton for Lucky - No Time For Love - Shayad Yehi To Pyar Hai, a duet with Adnan Sami. It was good that the song played in the background instead of teenager Sneha Ullal lip-syncing to it. That would have sounded really weird!

Her song with another new composer, Shamir Tandon, is my pick for 2005. Kitne Ajeeb Rishte was the theme song of Page 3, and played in the background through the film.

Kitne Ajeeb Rishte (2005 - Page 3 - Shamir Tandon - Sandeep Nath)

 

2006: Although Jai Santoshi Maa, released in 2006, included three Lata songs, I don't count them as this year's releases because they were released as a devotional album called Jagrata way back in 1995. Surinder Kohli had composed Lal Choodiyan, Aisa Vardan and Na Chitthi Aayi in 1995, but when they were included in the soundtrack of Jai Santoshi Maa they were strangely credited to Anu Malik.

A R Rahman's Rang De Basanti was the soundtrack of the year, and his duet with Lata Mangeshkar - Lukka Chhuppi - my favourite Lata song from this year. Lata's voice just seemed right for this song about an old woman remembering her dead son. The evocative composition culminating in a sort of sargam jugalbandi between Lata and Rahman (which wasn't used in the film), and the Gulzar-esque lyrics by Prasoon Joshi made this song a great song. (watch a clip of the live recording of the song)

Lukka Chhuppi (2006 - Rang De Basanti - A R Rahman - Prasoon Joshi)

 

2007: It was just a few months back that I found out that one Lata Mangeshkar song was released in 2007. Jaane Thi Kaisi Raahon Mein was a duet from the film Strangers. Vinay Tiwari was the co-singer, lyricist as well as the composer for this song. It is a nice composition, which sounds very much like a Jagjit Singh composition, but is quite good nevertheless.

Jaane Thi Kaisi Raahon Mein (2007 - Strangers - Vinay Tiwari - Vinay Tiwari)

 

After discovering Lata Mangeshkar's early output in the 1940s, literally gushing through the 1950s and 1960s, exploring the 1970s, and all but cursing the 1980s, I turn my attention to her songs in the 1990s. As she moved into the seventh decade of her life immediately after the phenomenal success of Maine Pyar Kiya in 1989, she continues to churn out hits after hits. Her rapidly deteriorating, sub-par voice quality notwithstanding, film producers and composers alike continued to make her sing. After reaching its nadir in the late 80s, there was only one way Hindi film music could go. Up. The quality of compositions started improving and melody made a reluctant return, although some music composers seemed to be in a terrible time warp making Lata sing really atrocious songs where she was made to sing for heroines one third her age and mouth lyrics that just didn't suit her ageing voice. Why she agreed to sing them remains the biggest mystery to me. At the same time, composers like Hridayanath Mangeshkar, Bhupen Hazarika and Vishal Bharadwaj were able to find good use of her degraded tonal quality by composing songs that would suited her. This list of my favourite Lata songs from the 1990s, that I present below, should be looked at from an overall composition point of view rather than the quality of singing, because barring an occasional Lekin, the deterioration of her vocals was a given.

1990: This year had a hang-over of the late 80s. In other words, Lata's songs released this year had a high noise factor. The success of Chandni in 1989 led to a situation where it became almost mandatory to have all choodi songs sung by her. Her biggest hit of the year was Gori Hai Kalaiyan (Aaj Ka Arjun, Bappi Lahiri). Bappi Lahiri also composed songs like Na Ja Re (Aaj Ka Arjun), Maahiya Teri Kasam Jeena Nahin Jeena (Ghayal), Aur Bhala Kya Maangoon Main Rab Se (Thanedaar). Riding on the high wave of success, Anand-Milind composed a Lata-SPB duet Maine Tujhe Khat Likha (Mera Pati Sirf Mera Hai), which also became quite popular. Rajesh Roshan had Krishna Krishna (Kishen Kanhaiya), while Raamlaxman copied a Pakistani song lock stock and barrel for a Lata-Amit Kumar duet in Police Public - Main Jis Din Bhula Doon.

Rahul Dev Burman's fortune was clearly on a decline, as he composed an average Lata-Amit Kumar duet in the unreleased Tadap. This rare song - Jise Pyar Zamana Kehta Hai - is definitely not bad, but coming from RDB it's a tad disappointing.

Anu Malik still stuck to his L-P style orchestration in Awaargi. However, the two Lata songs from the film had good tunes. Aye Mere Saathiya was slightly reminiscent of LP's Zindagi Har Qadam from Meri Jung, but I like the other song somewhat especially because of the opening alaap. Again it's not a great song, but given the other Lata songs from this year, it would be my pick of the year. I'm talking about Baali Umar Ne Mera, a duet with Mohd. Aziz.

Baali Umar Ne Mera (1990 - Awaargi - Anu Malik - Anand Bakshi)

1991: A very interesting year. Lata gave playback for multiple generation of actresses, from Waheeda Rahman to Dimple Kapadia to Sridevi to Madhuri Dixit to rank newcomers like Raveena Tandon, Chandni, Zeba Bakhtiar, Sheeba and Manisha Koirala. The songs she sang ranged from pure pain to melodious masterpieces; the composers were veterans as well as newcomers. The bhed-chaal mentality of Hindi filmmakers often results in replication of past success formulas. So we had Bappi Lahiri taking a cue from the kabootar of Maine Pyar Kiya to create the insipid Tota Tota Sajan Se Kehna in First Love Letter, which also had other Lata numbers like Deewani Deewani and Jab Se Mile Naina. Dev Kohli reshuffled the words of his hit MPK number to write Deewana Dil Bin Sajna Ke for Rammlaxman to tune in Patthar Ke Phool. The same film reduced Lata and S P Balasubramaniam to mere tourist guides in Tumse Jo Dekhte Pyar Hua or film historians reeling out names of films in Kabhi Tu Chhalia Lagta Hai. The choodi success of Chandni and Aaj Ka Arjun led to Sawan Kumar Tak asking his composer duo Mahesh-Kishore to create Choodi Maza Na Degi (Sanam Bewafa), which was again a hit!! The same film also included shrieky Lata songs like Mujhe Allah Ki Kasam and Tune Dil Mera Toda, which sounded even worse thanks to a bad co-singer.

Laxmikant Pyarelal composed really sub-standard songs like Badli Hai Na Badlegi (Banjaran) and Jind Tere Naam (Pyar Ka Devta), while producing slightly better Lata songs for Subhash Ghai in Saudagar - Teri Yaad Aati Hai and Radha Nachegi. It was painful to hear Lata sing something as frivolous as Saat Kunwaron Mein for Bappi Lahiri in Farishte. Rajesh Roshan's Khat Likhna Hai (Khel) wasn't as bad as some of his other songs during that period, while Ravindra Jain dug into Punjabi folk music to compose Chhalle Pade Baalon Mein for Yeh Aag Kab Bujhegi.

This brings me to the top three soundtracks of 1991, all of which had most of the songs sung by Lata Mangeshkar. The first is Ravindra Jain's Henna, a typically RK soundtrack, with melodious songs like Main Hoon Khushrang Henna, O Jaanewale, Bedardi Tere Pyar Ne, Der Na Ho Jaye and Anardana. The best song from this film was the evocative Chithiye, a song I can listen anytime anywhere.

Then there was Shiv-Hari's Lamhe, which in my opinion is a complete soundtrack. It included quintessential Yash Chopra romantic numbers like Kabhi Main Kahoon and Yaad Nahin Bhool Gaya, as well as wonderful folksy compositions like Megha Re Megha and Morni Baagaan Ma Bole, a lori - Gudiya Rani, and a krishna bhajan - Mohe Chhedo Na.

The best of this year, and in my opinion the best since Pakeezah in 1972, was Hridaynath Mangeshkar's Lekin. Each song from this amazing soundtrack is a masterpiece by itself and Lata also sounds extremely good. Gulzar's lyrics added to the classy feel of the soundtrack. It was surprising that a classy song like Yaara Seeli Seeli became extremely popular as well. The tune of Yara Seeli Seeli was actually a re-working of Hridaynath's earlier song in V. Shantaram's Chaani (1977) - Tumhi Ho Mere Apne. Lekin had other gems like the classical Ja Ja Re, the heartbreaking Main Ek Sadi Se Baithi Hoon, and the brilliant maand - Kesariya Baalma. Kesariya Baalma had two versions, both apparently recorded at different times as is evident by Lata's tonal quality and vocal calisthenics in the two versions. Tumse Laage Nain pre-dates Baawri Bolein Log and includes more elaborate harkats and murkis. Finally, there's the song that I pick as the best of 1991 - Suniyo Ji Araj Mhari. The opening alaap of this song is one of the best I've heard in any Lata song. (watch the video here)

Suniyo Ji Araj Mhari (1991 - Lekin - Hridaynath Mangeshkar - Gulzar)

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1992: The days of Laxmikant Payelal's suzerainty in the Hindi film music industry were well and truly over by now. Their compositions were becoming increasingly monotonous and had to bear. In 1992, they composed Rab Ne Banaya and Ranjhna Ve Ranjhna in Heer Ranjha, Kitni Jaldi Ye Mulaqat and Mushkil Mein Hai Kaun in Angaar and Tu Mujhe Qubool in Khuda Gawah. None of these songs had anything unique to offer, except for the flute motif in Angaar. Sawan Kumar Tak went back to Usha Khanna, who composed Ye Dil Bewafa Se Wafa and Hum Jaisa Kahin Aapko for his regressive love triangle Bewafa Se Wafa. Anu Malik got a big opportunity in Radha Ka Sangam, which had Lata singing Do Bol Kah Ke, O Radha Tere Bina and.Bichhua More Sajna Ka Pyar. Maybe it was the theme of the film, but Anu Malik's tunes and arrangement style seemed to be in a time warp of sorts. The film was a disaster and got negative publicity due to Gulshan Kumar's act of getting Lata's songs dubbed by Anuradha Paudwal. Raamlaxman's compositions for Saatwaan Aasmaan had one nice Lata-Udit Narayan duet - Tum Kya Mile. I liked it because the tune was ear-friendly and it was unusual to hear lines like aji izzat-afzaaee ka shukriya, is na-cheez ko aap ne qaabil to samjha in the songs of that era.

I really took to Anand Milind's Vansh in 1992, despite the fact that they borrowed liberally from Illaiyaraja's Tamil tunes. The film itself was a remake of Mani Ratnam's Agni Natchathiram. This soundtrack had 3 Lata songs - Main To Deewani Huyi, Ye Bindiya Ye Kajra, and Aa Ke Teri Baahon Mein. Among these, my favourite and my selection for this year is the SPB-Lata duet Aa Ke Teri Baahon Mein, which had some nice lyrics by veteran Prem Dhawan.

Aa Ke Teri Baahon Mein (1992 - Vansh - Anand Milind - Prem Dhawan)

1993: Though this year didn't have a masterpiece like Lekin, it was still very similar to 1991. On the one end of the spectrum you had unremarkable Lata songs in films like Lootere, Dil Ki Baazi and Anmol, while there were solid soundtracks like Maya Memsaab and Rudaali at the other. Yash Chopra films like Aaina, Darr and Parampara fell somewhere in between in the at-least-one-decent-song category.

Anand-Milind composed two bland, but successful songs for Lata in Lootere - Mere Dil Pe Tune and Ae Sawan Baras Zara. Raamlaxman just didn't seem to get out of his MPK hangover and continued to produce similar songs in most of his films. The only difference was that he turned to the golden oldies for inspiration resulting in completely unimaginative rip-offs. The antara of Batao Tum Kaun Ho (Anmol) was a carbon copy of the antara of Kalyanji-Anandji's Ye Sama (Jab Jab Phool Khile). This could possibly be explained as Manmohan Desai's 'gift' for his special friend Nanda, but what is the reason for yet another version of Thandi Hawayen (Naujawan, Sachin Dev Burman) in Kaha Tha Jo Tumne in Dev Anand's Pyar Ka Tarana? Raamlaxam's other compositions like Tum Saaz Chhedo (Dil Ki Baazi), Sun Sun Sun Mere Saathiya (Anmol), and Dil Ki Lagi (Anmol) were in the MPK template.

L-P's Dil Na Kisi Ka Jaye (Kshatriya) paled in comparison to their Ye Isaq Dank Bichhua Ka for J P Dutta's previous film Batwara, even though it was designed pretty much in a similar fashion. Rajesh Roshan's Is Jahan Ki Nahin (King Uncle) was below par as well. Some of the relatively better songs this year came from the YRF stable. Dilip Sen- Sameer Sen found an entry into YRF with Aaina, which had the popular Goriya Re Goriya, but I prefer the other songs like Dil Ne Dil Se Kya Kaha and Aaina Hai Mera Chehra. The best song from this album was Ye Raat Khushnaseeb Hai, which is one of the rare cases where Sameer has penned meaningful words. Unfortunately, the lyrical brilliance of the mukhda is watered down by the relatively tame antaras. Shiv-Hari's Darr had the interestingly structured Tu Mere Samne, while their Parampara  had the nice Tu Saawan Main Pyaas as well as the wince-worthy Hum Banjare. Parampara was almost identical in its theme and content (and even some actors) to J P Dutta's Kshatriya. Both films flopped miserably.

Basu Chakraverthy (RDB's assistant) composed very melodious songs for an unreleased film called Nargis. The soundtrack included Lata solos like Are Tu Pawan Basanti, Kisi Aashiyane Mein and Kaahe Abke Ae Bahar, as well as a lovely duet with Jagjit Singh - Dono Ke Dil Hain.

Bhoopen Hazarika's Rudaali was one of the best soundtracks of the year. Lata Mangeshkar's Dil Hum Hum Kare was the best song of the track, while Jhooti Mooti Mitwa and Samay O Dheere Chalo were classy as well. Unfortunately, the picturisation of Jhooti Mooti Mitwa was at odds with the realistic feel of the film, what with the cameraman going overboard with back lighting and soft focus cameras. So while the song looked 'beautiful' on screen, it stood out like a sore thumb amid the gritty texture of the rest of the film.

After Lekin, Gulzar and Hridaynath Mangeshkar collaborated once again to create a knock-out soundtrack in Maya Memsaab. In terms of the overall feel of the music, however, there was no similarity between the modern sounding tracks of Maya Memsaab and the traditional compositions of Lekin. With songs like Ek Haseen Nigaah Ka, Khud Se Baatein Karte Rehna, Mere Sarahne Jalao Sapne, Ye Shehr Bada Purana Hai and O Dil Banjaare, Maya Memsaab is a must have for any Lata fan. My favourite songs from 1993 is Khud Se Baatein Karte Rehna.

Khud Se Baatein Karte Rehna (1993 - Maya Memsaab - Hridaynath Mangeshkar - Gulzar)

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1994: This was the year when the whole nation just went crazy about an extended wedding video that might well be titled Two Weddings (Fourteen songs) and a Funeral. Hum Aapke Hain Koun became the biggest hit in the history of Hindi film industry. With songs taking more than a third of its running time and wedding ceremonies the remaining, it wasn't surprising that songs about wedding rituals and familial relationships became extremely popular, namely Didi Tera Devar, Samdhi Samdhan, Lo Chali Main Apne Devar Ki, Wah Wah Ramji, Joote De Do. Raamlaxman 's predilection for making Lata sing inane songs manifested itself in the irritating Chocolate Lime Juice Ice Cream (!!) In this Lata dominated soundtrack the ones that I found relatively better were the title song, Mujhse Juda Ho Kar, and Maye Ni Maye. Raamlaxman composed a relatively better Lata-Sanu duet in Kanoon - Main Bani Hoon Sirf.

Raamlaxman was not the only one to make Lata croon weird lyrics. Mahesh-Kishor's I'm Very Very Sorry (Chaand Ka Tukda) gets the 'honour' of being the worst Lata song of this year - possibly the worst Lata song ever! The other song from this film - Aaj Radha Ko Shyam - wasn't bad though.

Dilip Sen Sameer Sen's second association with YRF resulted in a decent soundtrack in Ye Dillagi, but the songs didn't have much shelf life. I liked listening to Hoton Pe Bas, Dekho Zara Dekho, Gori Kalai, Lagi Lagi Hai Ye Dil Ki Lagi when they were released, but not any more. Interestingly, YRF tried to save a few bucks by making the group dancers in Gori Kalai wear the same costume as they did in Goriya Re in Aaina the previous year.

Jatin-Lalit composed their first number for Lata in Gangster - Maine Pyar Kisi Se Kiya, while Shyam Surinder also got their first opportunity to make Lata sing their composition in Elaan - Nainon Ko Baatein Karne Do. This year also saw Aadesh Shrivastava composing 3 duets for Lata in the unreleased Jaan-E Tamanna - Suniye Ji Kahiye Ji with Kumar Sanu, Ek Dil Ki Ek Dil Se with Udit Narayan and Mujhe Laagi Prem Dhun with Roop Kumar Rathod.

My favourite Lata number from this year is from Rahul Dev Burman's swan song 1942 A Love Story. Though the Kumar Sanu version of Kuchh Na Kaho is better, the wonderful tune more than makes up for Lata's not-so-good rendition.

Kuchh Na Kaho (1994 - 1942 A Love Story - Rahul Dev Burman - Javed Akhtar)

 

1995: Not many Lata songs this year. What was Rajesh Roshan thinking when he made Alka Yagnik sing for Raakhee and Lata for Mamta Kulakarni in Karan Arjun? Ek Munda Meri Umr Da was an unbearable song. Incidentally, this song was shot at the same place where I spent my childhood and where Simti Huyi Ye Ghadiyan from Chambal Ki Kasam was shot. Naushad came up with an apology of a soundtrack in Guddu, where the only 'decent' song was a Lata bhajan - Mere To Radheshyam Re.

This year belonged to Dilwale Dulhaniya Le Jayenge, the longest running Hindi film ever. Jatin-Lalit's music in this Yash Raj film was melodious, even though Lata sounded jaded. The soundtrack included Lata songs like Mere Khwabon Mein Jo Aaye, Ho Gaya Hai Tujhko To Pyar, Mehndi Laga Ke Rakhna and my pick for the year - Tujhe Dekha To Ye Jaana Sanam, which I think is the best romantic track of the 1990s and 2000s.

Tujhe Dekha To Ye Jaana Sanam (1995 - Dilwale Dulhaniya Le Jayenge - Jatin-Lalit - Anand Bakshi)

 

1996: This year marked Lata Mangeshkar's last collaboration with Laxmikant Pyarelal, with whom she had sung the maximum number of songs (close to 700). It was good that L-P gave her a song that suited her age. Main Kamzor Aurat from Prem Granth was a good way of rounding off a long standing collaboration that resulted in superlative and pathetic songs alike. Raamlaxman composed some forgettable numbers for Lata in Megha, while Shyam Surinder's Vishwasghaat had equally unremarkable songs.

The soundtrack of the year was Vishal Bharadwaj's Maachis. While writing a review of the film in 1996, I had written - "The music of Maachis is simply divine, undoubtedly the best of 1996, Papa Kahte Hain, Bhairavi and Khamoshi: The Musical notwithstanding. Rarely does one come across a score that is a near perfect amalgamation of poetry, music and singing. The music of Maachis has this haunting quality about it that goes well with the grimness of the theme. Lata Mangeshkar, Hariharan and the criminally neglected Suresh Wadkar do full justice to the complexities of the tunes and give perfect expression to Gulzar’s meaningful poetry. It is commendable that Vishal has refrained from rank commercialism while composing the score, be it the songs or the evocative background score. The end result has not only found a place for itself on the charts, it can easily qualify as one of the best film scores of this decade." I stand by every word even12 years later. Each song from this soundtrack is a gem. The Lata numbers included Aye Hawa Kuchh To Bata (which was not used in the film), Bhej Kahaar, Tum Gaye Sab Gaya, Yaad Na Aaye Koi, and my favourite Paani Paani Re.

Paani Paani Re (1996 - Maachis - Vishal Bhardwaj - Gulzar)

 

1997: By this time, Lata's output had reduced significantly. In 1997, Aadesh Shrivastava composed two highly ordinary songs for Lata in Salma Pe Dil Aa Gaya. Raamlaxman committed a crime of sorts by asking Lata Mangeshkar and Asha Bhosle (both 60+ by this time) to sing for children (!!) in Lav-Kush. The film however had a decent SPB-Lata duet Barson Ka Rin Chukane, which was thankfully picturised on Jeetendra and Jaya Prada playing Ram and Sita. The soundtrack of Yash Chopra's Dil To Pagal Hai was a big hit, with Uttam Singh composed songs like Dil To Pagal Hai, Are Re Are and Pyar Kar turning out to be chartbusters.

My pick for this year is another Vishal Bhardwaj creation from the film Betaabi - Tum Mere Ho. I choose this song despite some uncomfortable singing by Lata because of its unconventional (typically Vishal) tune.

Tum Mere Ho (1997 - Betaabi - Vishal Bhardwaj - Sameer)

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1998: The team of Gulzar and Vishal Bhardwaj created Geela Geela Paani and Tu Mere Paas Bhi Hai in Satya. However, Vishal's composition for Lata in Sham Ghansham - Tum Dono Ho Ek Se was disappointing to say the least. Uttam Singh created easy-on-the-ears tunes like Awaaz Do Humko, Pyar Ko Ho Jane Do and Chitthi Na Koi Sandes in Dushman. Jatin-Lalit composed an extremely melodious Lata-Sanu duet - Madhosh Dil Ki Dhadkan - in Jab Pyar Kisi Se Hota Hai.

This year marked Lata Mangeshkar's first collaboration with A R Rahman in Dil Se. The result was Jiya Jale Jaan Jale. Lata's voice might have sounded too old for  20 something Preity Zinta, but this song with its innovative use of chorus in Malayalam and Gulzar's great lyrics is one of my favourites from the 1990s.

Jiya Jale Jaan Jale (1998 - Dil Se - A R Rahman - Gulzar)

 

1999: After an OK Betaabi and disappointing Sham Ghansham, Vishal came up with good compositions in Jahan Tum Le Chalo and Godmother (for which he got the National Award) and above-average songs in Hu Tu Tu. Shauq Khwab Ka Hai (Jahan Tum Le Chalo) and Maati Re Maati Re (Godmother) were very good compositions. Hu Tu Tu was a mixed bag, but still quite good. Chhai Chappa Chhai had an interesting arrangement, while Itna Lamba Kash, and Ye Aaankhen (not used in the film) were decent compositions as well. Jai Hind Hind was the only disappointing song in Hu Tu Tu.

My favourite Lata song is a Nusrat Fateh Ali Khan composition in Kachche Dhaage. This song - Oopar Khuda - was recorded after Khan Saheb's death and was arranged by Uttam Singh.

Oopar Khuda (1999 - Kachche Dhaage - Nusrat Fateh Ali Khan - Anand Bakshi)

 

The 80s in my opinion represent the worst decade for Hindi film music. In fact, the worst decade for Hindi films per se. Add to that Lata Mangeshkar's rapidly deteriorating voice quality. Her voice had shown signs of deterioration in the 70s as well, but a few composers like Jaidev, Khaiyyam and Salil Chowdhury composed some outstanding songs for her. 80s were dominated by Laxmikant Pyarelal, whose output ranged from really good to sheer noise (especially in the second half of the decade), R D Burman, who thankfully continued to compose melodious tunes for Lata, and Bappi Lahiri who, in the words of Baradwaj Rangan, "was doing to Hindi film music what the villain usually did to the hero’s younger sister". For some strange reason even in the 80s, most composers continued to make Lata sing at a very high pitch, which was once her forte, but now ended up making her sound shrill. She would have effortlessly sung these compositions a decade or two back, but now seemed to struggle once too often.

Ironically, my obsession with Lata Mangeshkar's voice started in my growing up years in the 80s, when my exposure was mostly to atrocities like Jaate Ho To Jao (Desh Premee, Laxmikant Pyarelal), Mara Thumka (Kranti, Laxmikant Pyarelal), Chal Chameli Baagh Mein (Krodhi, Kalyanji Anandji), Humka Le Chal Yaara (Painter Babu, Uttam Jagdish), Chal Bhag Chalein (Kalyug Aur Ramayan, Kalyanji Anandji), Disco 82 (Khuddar, Rajesh Roshan), etc. It is only now that I call them "atrocities". At that time, however, I found these very songs interesting (!!!) and was fascinated by the 'sweetness' of Lata's voice even though she was well past her prime.

If one were to look at Lata Mangeshkar's output in the 80s, it is evident that from 1980-85 the quality of her songs was much superior to those from the 1985-89 period. And I'm not talking only about how she sounded. The compositions themselves were quite ear-unfriendly in the post 1985 period. Of course, there were a few exceptions, but the songs in the post 1985 period were in general quite unbearable.

1980: Irrespective of the quality of their compositions, Laxmikant Pyarelal were the kings when it came to churning out hits. In 1980, they had Lata croon two of their biggest hits of the year – Sheesha Ho Ya Dil Ho (Asha) and Tu Kitne Baras Ka (Karz). Kitna Aasan Hai (Dostana) was also popular but that song leaves me pretty cold.

Bappi Lahiri was yet to launch a full fledged assault on the ears of the listeners with his bizarre compositions for Jitendra-Sridevi-Jaya Prada films from the south and the noisy disco-influenced songs, and composed some really good songs for Lata like Dooriyan Sab Mita Do (Saboot), Baithe Baithe Aaj Aayi (Patita), and of course the lovely Jaane Kyun Mujhe (Agreement).

Rahul Dev Burman continued to use Lata for melodious compositions like Bhor Bhaye Panchhi (Aanchal), Aaja Sar-e-Bazaar (Alibaba Aur Chalis Chor), Bindiya Tarase (Phir Wohi Raat), and the delightful duet where Lata gave perfect expression to Gulzar's lyrics – Thodi Si Zameen (Sitara).

Rajesh Roshan's collaboration with Dev Anand in Lootmaar and Manpasand resulted in songs like Paas Ho Tum Magar Qareeb Nahin and Sumansudha Rajnigandha respectively. But what I consider his best song for Lata in 1980 is a duet with Rafi – Mujhe Chhoo Rahi Hain (Swayamwar). Madan Mohan's compositions for Chaalbaaz were released 5 years after his death and included two Lata gems – Raat Ujiyari Din Andhera Hai and Jaiye Hum Se Khafa Ho Jaiye.

In my opinion, it was Khaiyyam who composed the two best Lata songs in 1980, both duets. The first one is a duet with Kishore Kumar – Hazaar Rahein Mud Ke Dekhi (Thodi Si Bewafai). The other, which is my pick for 1980, is Simti Huyi Ye Ghadiyan from Chambal Ki Kasam. The reason why I pick this song is neither the beautiful words penned by Sahir nor the melodious tune by Khaiyyam. I have a very deep sense of nostalgia associated with this song. It was shot at the place where I spent my childhood, and I remember how excited we kids were when we learnt that a film crew had come to shoot there.

Simti Huyi Ye Ghadiyan (1980 – Chambal Ki Kasam - Khaiyyam – Sahir Ludhiyanvi)

 

1981: I am not sure if 1981 was the year when Lata was the most prolific in the 80s, but this is the year from which I have the maximum number of songs. And the list of songs I like also runs quite long. Hridayanath Mangeshkar had Kale Kale Gehre Saye (Chakra), which was unmistakably Hridaynath; Ye Ankhen Dekh Kar (Dhanwan), which had a slight Khaiyyam touch; and Kuchh Log Mohabbat Ko (Dhanwan), which lay in the L-P territory in terms of orchestration.

Khaiyyam's Dard had two Lata numbers – Na Jane Kya Hua and the moving Ahl-e-dil Yun Bhi, while Nakhuda had an above average Lata-Nitin Mukesh duet – Tumhari Palkon Ki Chilmanon Mein.

Some of the Laxmikant Pyarelal songs which were popular and I like from this year include Hum Ko Bhi Gham Ne Mara (Aas Paas), Aap Ka Khat Mila (Sharda), Mere Naseeb Mein (Naseeb), Megha Re Megha Re (Pyasa Sawan), Zindagi Ki Na Toote Ladi (Kranti), and Solah Baras Ki Bali Umar (Ek Duje Ke Liye).

Rahul Dev Burman's output included regular love songs like Kya Yahi Pyar Hai (Rocky), Dekho Maine Dekha Hai (Love Story),Apne Pyar Ke (Barsaat Ki Ek Raat) and Tune O Rangeele (Kudrat). However, the songs I absolutely love are Jahan Pe Savera Ho (Basera), which is a wonderful composition despite signs of Lata not being completely at ease with the impossibly high scale in places, and the lovely Tere Liye Palkon Ki (Harjaee).

In 1981 there were a few other composers who created decent Lata songs. These include Usha Khanna with Chand Apna Safar (Shama) and Raamlaxman with Har Ek Jeevan (Bezubaan). And then there is Bappi Lahiri's Thoda Resham Lagta Hai (Jyoti). I don't care much about this song and don't even recall having heard it till the Truth Hurts controversy and the subsequent remix version.

 The soundtrack of the year was Shiv-Hari's Silsila. This was a typical Yash Chopra score, with a wedding song, a holi song, love ballad, et al., but was steeped in melody. Dekha Ek Khwab is definitely more popular, but I prefer Neela Aasman So Gaya, Jo Tum Todo Piya and the best of the lot, Ye Kahan Aa Gaye Hum.

Now comes my pick of the year. I have always had a soft corner for Salil Chowdhury's compositions for Lata. So I must pick what was among their last collaborations. Aaj Koi Nahin Apna from Agni Pariksha. This is a song which, if composed in the 50s, would have had a lot of scale variations Salil Chowdhury specialized in. In the 80s, however, was wise enough to mould his composition to the degraded vocal capacity of his singer. This becomes very evident in the antara where you suddenly expect the tune to take much sharper jumps across octaves. Yet this doesn't take much away from the beauty of this tune.

Aaj Koi Nahin Apna (1981 – Agni Pariksha - Salil Chowdhury – Yogesh)

1982: Some of the songs I like from this year include Dard Ki Ragini (Pyaas, Bappi Lahiri), Ab Chiraghon Ka Koi Kaam Nahin (Baawri, Khaiyyam),Chandni Raat Mein (Dil-e-Nadaan, Khaiyyam), Tum Se Hi To Shuru Hai (Adhura Aadmi, Rahul Dev Burman), Ae Ri Pawan (Bemisal, Rahul Dev Burman), Jaane Kaise Kab Kahan (Shakti, Rahul Dev Burman), Kabhi Kabhi Bezubaan (Johnny I Love You, Rajesh Roshan). Laxmikant-Pyarelal's Prem Rog was popular, but none of the songs hold much appeal for me, except for Ye Galiyan Ye Chaubara. Ditto for Rajesh Roshan's Kaamchor, which had Tujh Sang Preet Lagayi (Kaamchor, Rajesh Roshan).

Talking of L-P, they produced one of the best soundtracks of the year, which unfortunately belonged to one of the biggest flops of Indian cinema – Deedar-e-Yaar. With songs like Sarakti Jaye Hai, Tumko Dekha To, and the exquisitely composed and orchestrated dance number – Aaye Wo Phoolon Ke Rath Pe. I would have surely picked Aaye Wo Phoolon Ke Rath Pe as my favourite song from this year, had Khaiyyam's Bazaar not released in the same year. How could I ignore a gem like Dikhayi Diye Yun Ki Bekhud Kiya?

Dikhayi Diye Yun Ki Bekhud Kiya (1982 – Bazaar - Khaiyyam – Mir Taqi Mir)

1983: In the 80s, it was almost a norm that if a star-son was to be launched, Rahul Dev Burman would score the music and Lata would be the lead female singer. After Love Story and Rocky in 1981, it was Betaab in 1983, where Jab Hum Jawan Honge became instantly popular. RD also composed some other romance flicks like Lovers and Romance which had Lata duets like Aa Mulaqaton Ka Mausam and Dil Ke Aasman Pe. The best RD compositions for Lata this year were Humein Aur Jeene Ki (Agar Tum Na Hote), Tujhse Naraaz Nahin (Masoom), Kahin Na Ja (Bade Dil Wala) and Jeevan Ke Din (Bade Dil Wala), which was probably Udi Narayan's first break as he got to sing a brief line at the start of the song. RD's assistants, Basu-Manohari, got a break as independent composers in Chatpatee where they composed a hummable Lata-Kishore duet – Aa Humsafar, which seemed like a curious mix of RD's and Rajesh Roshan's styles.

The LP hit machine churned out Likhnewale Ne Likh Dale (Arpan), which was once extremely popular on Chitrahar on DD; Din Maheene Saal from Avtaar, which revived Rajesh Khanna's career after an endless series of flops; Pyar Karnewale (Hero), which I personally find quite unbearable; and Nindiya Se Jagi Bahar (Hero), a nice tune that would have sounded nicer if Lata had sung it maybe a decade earlier. The thickening of her voice was becoming quite evident now. Usha Khanna's Shayad Meri Shaadi K Khayal (Souten) was probably the biggest hit of her career. Zindagi Pyar Ka Geet Hai from the same film was popular as well, but I remember getting so badly put off by the film that it was difficult for me to develop any liking whatsoever for the songs. Usha Khanna's Sweekar Kiya Maine had a couple good Lata songs, but for some unexplained reason there was a huge Khaiyyam influence in those songs. On first hearing, it's easy for anyone to mistake Ajnabi Kaun Ho Tum and Chaand Ke Paas for Khaiyyam's creations.

One of the best songs from this year is Hridaynath Mangeshkar's Tum Aasha Vishwas Hamare from Subah, but when we have Khaiyyam's Razia Sultan, where is the possibility of any other song to outshine Aye Dil-e-Nadaan. Ostensibly a solo, I consider this song to be a duet - the santoor passages almost follow Lata's vocals note to note, thus imparting a unique character to the song. And when all the music stops except for a deep thump on the tabla, it's very goosebumpy. Razia Sultan had other good Lata numbers like Jalta Hai Badan and Choom Kar Raat, but they fall short of the excellence of Aye Dil-e-Nadaan.

Aye Dil-e-Nadaan (1983 – Razia Sultan - Khaiyyam – Jaan Nisar Akhtar)

1984: There are just a handful of good Lata songs from this year. I have heard a lot about her song in Tarang, composed by Vanraj Bhatia, but I haven't heard that song. The songs that I like from this year are: Mujhe Tum Yaad Karna (Mashaal, Hridaynath Mangeshkar); Rahul Dev Burman's Gehre Halke (Duniya), Kaisi Lag Rahi Hoon Main (Jhoota Sach), Jaane Kya Baat Hai (Sunny) and Aisa Sama Na Hota (Zameen Aasmaan); and Khayyam's songs from Lorie – Bhar Lein Tumhe Bahon Mein and Aaja Nindiya Aaja.

My pick from 1984 is from Laxmikant Pyarelal's Utsav. No, not the well known Man Kyun Behka, but Neelam Ke Nabh Chhayi (the same tune as Saanjh Dhale sung by Suresh Wadkar). I like this song for two reasons – one, Vasant Dev's poetic lyrics (neelam ke nabh chhayi pukhraji jhaanki....how often do you get to hear such words in Hindi films?) and secondly, the expression Lata lends to this song, especially when in the antara she covers the sapt swars in just one word.

Neelam Ke Nabh Chhayi (1984 – Utsav - Laxmikant Pyarelal – Vasant Dev)

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1985: After 1981, this the year with the maximum number of Lata songs in my collection. By now Laxmikant Pyarelal were clearly getting stale. Noise became the hallmark of their music and it was fairly evident that little effort was being expended in creating the basic tunes. What else can one say about cringe-worthy songs like O Dilbar Janiye (Pyar Jhukta Nahin). Some of the not-so-bad songs from this year were Tum Se Mil Kar (Pyar Jhukta Nahin), Zu Zu Zu (Sanjog), Zindagi Har Qadam (Meri Jung), and Baith Mere Paas (Yaadon Ki Kasam), which was not an original tune anyway. There were two films, however, where Laxmikant Pyarelal composed relatively better songs. One was Ghulami, which had Zeehale Miskin and a multi-part Mere Pee Ko Pawan (Part 1, Part 2). Then there was Sur Sangam, a film based on classical music. Though the songs from this film (sung mostly by Rajan & Sajan Mishra) would rank nowhere in the list of best classical songs from films, but given the era when it was created, it was quite a brave effort and fairly decent at that. This film had two Lata numbers - Maika Piya Bulave and Jaoon Tore Charan Kamal Par Vaari, both of which I like. Interestingly, the situation of Maika Piya Bulave demanded that Lata went besur towards the end but my untrained ear finds her going off-key right in the first line.

R.D Burman's downfall had also started by this time. Somehow, the innovative nature of his compositions disappeared somewhere. Most of his songs from 1985 are easy on the ears, but they don't have a stand-out quality in them. A few of his Lata songs from this year: Tum Dilwalon Ke Aage (Sitamgar), Ek Baat Dil Mein Aayi Hai (Rahi Badal Gaye), Hum Tum Dono (Lava), Is Jeevan Ki (Alag Alag), Machal Machal Jata Hai (Ram Tere Kitne Naam), Bhuri Bhuri Aankhon Wala (Arjun), and of course Sagar Kinare (Sagar).

Rajesh Roshan had already lost his uniqueness by this time and his songs started sounding more like LP's. Dushman Na Kare (Aakhir Kyun?) is one such example. Debutante music director Vijay Singh produced, directed and composed for cricketer Sandeep Patil's (and Kirmani's) film debut in Kabhi Ajnabi The. While the film sank without a trace, it had a few good songs like Geet Mere Hoton Ko, Kabhi Ajnabi The, and Is Dafa.

Shiv-Hari's second collaboration with Yash Chopra in Faasle resulted in some melodious tunes like Hum Chup Hain and Janam Janam. Though the best songs from this film were sung by Asha Bhosle, my favourite Lata number from this film is In Aankhon Ke Zeenon Se, a composition that's sparse in orchestration, high on melody and excellent in terms of lyrics (Shahryar). This film also had the popular Sun Le Ye Sara Zamana.

I know a lot of people feel otherwise, but my favourite soundtrack of 1985 is Ram Teri Ganga Maili. After LP's sonorous compositions in Prem Rog, Raj Kapoor switched to Ravindra Jain, who brought in a certain Pahadi-influenced freshness to this score. Although Ravindra Jain's tunes were mostly high-pitched, I still love them. I remember the craze Sun Sahiba Sun became in those days, but I prefer Ek Dukhiyari, Husn Pahadon Ka and Ek Radha Ek Meera. And, of course, my favourite song from this year - Tujhe Bulayen Ye Meri Baahen. I like the structure of the mukhda that changes pace after the first line.

Tujhe Bulayen Ye Meri Baahen/ Suno To Ganga (1985 - Ram Teri Ganga Maili - Ravindra Jain - Ravindra Jain)

 

1986: It is tough to pick any good song from this year. Most of Lata's song from this year were with Laxmikant Pyarelal, and I don't find anyone of them worth a second listen. They follow almost the same template - over-orchestrated, high-pitched sub-standard tunes that had Lata at her shriekiest best (or should it be worst?). Let me list down these songs and you will know what I mean - Jind Le Gaya (Aap Ke Saath), Vairiya Ve (Naam), Aaj Subah Jab Main Jagi (Aag Aur Shola), pretty much everything from Naache Mayuri, which includes Sadhna Aradhna, Paijaniya Bol, Main Tose Boloon Na, and Jhoom Jhoom Naach Mayuri, and probably the biggest hit of this year Main Teri Dushman (Nagina)

The only songs from 1986 that are somewhat bearable are Mora Roop Rang (Qatl, Laxmikant Pyarelal) and Ae Sagar Ki Lehron (Samundar). Since I have started this exercise of listing down one favourite song per year, I would do so, knowing very well that the song I pick up for 1986 would not figure even in my list of 1000 or 2000 best Lata songs of all time. The song I pick up is Rahul Dev Burman's Din Pyar Ke Aayenge from Savere Wali Gaadi.

Din Pyar Ke Aayenge (1986 - Savere Wali Gaadi - Rahul Dev Burman - Majrooh Sultanpuri)

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1987: Another lousy year. Lata songs released this year include Rajesh Roshan's Tu Vaada Na Tod (Dil Tujhko Diya); LP's Jhan Jhanan Jhan Payal (Nazrana), Tujhe Itna Pyar Karein (Kudrat Ka Kanoon), and Naam Saare Mujhe (Sindoor); and Anu Malik's Tere Pyar Pe Bharosa (Hawalat). Among the relatively better ones were Rahul Dev Burman's Wo Teri Duniya Nahin (Dacait), and my selection from this year - Patjhad Sawan Basant Bahar (Sindoor).

Patjhad Sawan Basant Bahar (1987 - Sindoor - Laxmikant Pyarelal - Anand Bakshi)

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1988: For a change let me first list down the worst Lata songs from this year. The top runners for this would be Nachegi Saraswati (Ganga Jamuna Saraswati, Anu Malik), Hoga Thanedar Tu (Shahenshah, Amar-Utpal). In the bad category would be Sajan Mera Us Paar Hai (Ganga Januma Sarawati), Pati Parmeshwar (Ganga Jamuna Saraswati) Jaane Do Mujhe (Shahehnshah), and Ungli Mein Angoothi (Ram Avtaar, Laxmikant Pyarelal). In the OK category would fall Mere Pyar Ki Umar (Waaris, Uttam Jagdish) and Badal Pe Chalke Aa (Vijay, Shiv-Hari). The only song that I find good among the releases from 1988 is Kiran Kiran Mein Shokhiyan (Ek Naya Rishta, Khaiyyam).

My choice from this year will have to be from a film that never got released. I'm putting it under 1988 only because the soundtrack was released that year. I'm referring to Libaas, which saw the Gulzar-Pancham combination come up with yet another classic. All the songs from this film were sung by Lata - Kya Bhala Hai Kya Bura with Pancham, Khamosh Sa Afsana with Suresh Wadkar, and two solos Phir Kisi Shakh Ne & my pick for this year - Seeli Hawa Chhoo Gayi.

Seeli Hawa Chhoo Gayi (1988 - Libaas - Rahul Dev Burman - Gulzar)

1989: Naushad returned from a virtual retirement with an above average score in Teri Payal Mere Geet. It was difficult for both Naushad and Lata to recreate the magic they had created together more than 3 decades back, yet songs like Mohabbat Ka Ek Devta, Duniya Ke Mele and Kya Kahein Aaj Kya were better than the noise we were being subjected to in those days. Bappi Lahiri's Jaiyyo Na (Guru), Usha Khanna's Hum Bhool Gaye Re (Souten Ki Beti) and Laxmikant Pyarelal's Ye Isak Dank Bichhua Ka (Batwara) were some of the other Lata songs released this year. However, the three biggest hits of this year were Maine Pyar Kiya, Ram Lakhan and Chandni. The success of these soundtracks had a huge role to play in reviving HMV's fortunes and also led to a lot more producers clamouring to get Lata sing at least one song for their films.

Raamlaxman's music in Maine Pyar Kiya became a nation-wide craze, but I never really developed much of a affinity towards it. I found songs like Dil Deewana, Kabootar Ja, and others strictly OK. Blame it on my Sridevi fascination, but I really took to Shiv-Hari's Chandni soundtrack in those days, literally wearing off the cassette by playing it in endless loops. Mere Haathon Mein, Aa Meri Jaan and Shehron Mein Se Shehr don't hold the same appeal for me now as they did in those days, but the simple melody of Tere Mere Hoton Pe is something I still like.

My pick for this year might seem like an unusual choice. Laxmikant Pyarelal's O Ramji Tere Lakhan Ne from Ram Lakhan. I personally feel that this was LP's best composition for Lata since Aaye Wo Phoolon Ke Rath Par in 1982. The orchestration got rid of the noise factor and the chorus really added to the song, unlike in other LP songs from the 80s where the chorus played the role of making the song even more unbearable.

O Ramji Tere Lakhan Ne (1989 - Ram Lakhan - Laxmikant Pyarelal - Anand Bakshi)

 

When I thought about listing down my favourite Lata Mangeshkar songs over the years, I didn't realize it would be such a huge exercise. Although I'm done with the most difficult decades i.e. 1940s, 1950s and 1960s, there are still a lot of good Lata Mangeshkar songs to come. Some people have commented that there's no point is talking about anything beyond the 1960s. Actually, if you really look it, was there any point even in