Lata Mangeshkar: Ten Solos, Ten Composers – Part 2

When Lata Mangeshkar passed away earlier this month, I wrote a tribute post in which I listed ten songs, all solos, that Lata had sung for ten different composers. Naturally—given Lata’s record number of songs—there were many, many songs and many composers that didn’t get covered in the list. Blog readers helpfully suggested other great songs that could have been part of the list, or which they especially liked; some wondered why I had not listed this song or that. Or why so-and-so composer had not been included.

Even when I had been compiling that post, I’d been thinking, there really ought to be a sequel to this. A post, at least, to include some of the other great music directors for whom Lata sang some exceptional songs. As well as the music directors who may not have been very famous, but who were nevertheless very talented.

So, here they are: ten more composers, ten more solos. Note that, the sheer volume of composers, both great as well as relatively obscure, means that there will be some who have still not been listed. There are more sequels coming up.

In the meantime, these songs. As before, these are all from pre-1970s Hindi films that I’ve seen. Also, I have not included in this list any songs that I listed in my very first Lata Mangeshkar song list. In no particular order:

1. Bahaaron mera jeevan bhi sanwaaro (Aakhri Khat, 1966): With Khayyam. A young village woman, in love with the city artist who’s come into her life, serenades the spring—and not just the spring, but him. Like the spring, he has brought brightness and beauty and happiness into her life. She welcomes him, invites him to adorn her life, make him his. A lovely, gentle song that is somehow both shy as well as bold (a sentiment further accentuated, I think, by the fact that Indrani Mukherjee’s character is blissfully unaware that Rajesh Khanna’s character is watching her as she moves about, under the flowering tree).

Despite having composed music for only a handful of films in the 50s and 60s, Khayyam worked with quite a few female singers, with Asha Bhonsle a frequent choice, in films like Phir Subah Hogi and Mohabbat Isko Kehte Hain. But this song with Lata Mangeshkar is, I think, one of Khayyam’s best solos for a female voice.

2. Kabhi toh milegi kahin toh milegi (Aarti, 1962): With Roshan. Roshan composed the music for two of my absolutely favourite Lata solos: the defiantly dignified Jurm-e-ulfat pe from Taj Mahal for one, the embittered Rehte thhe kabhi jinke dil mein from Mamta for another. But he did create other standout tunes too, both solo as well as duet, featuring Lata’s voice.

Here is another of my favourites: a melodious, uplifting song of hope: of the comfort that better times lie ahead. Somewhere, sometime, there will be the land of our dreams. The lyrics are great, but so is the music, and the way Lata’s voice moves, up and down the scales, now almost echoing in its sweetness, now clear and bell-like.

3. Na dir dim (Pardesi, 1957): With Anil Biswas. When Richard posted his list of Lata Mangeshkar songs, I was very happy to see Na dir dim there, and admitted to Richard that this was a song that had been on my shortlist. Since I did have it in the back of my mind that I would do a sequel to my Lata song list, I didn’t harbour too many regrets about leaving the song out of that post.

Here it is, therefore: Lata singing for the very accomplished Anil Biswas, in a song that’s a superb showcase of how good Lata was at classical music too. Na dir dim, I personally feel, should be listened to separately to appreciate Lata’s singing: while watching it, I at least find myself so absorbed in Padmini’s dance (and her beauty; she looks like she stepped out of a Raja Ravi Varma painting) to pay much attention to the song.

4. Kaise aaoon Jamuna ke teer (Devta, 1956): With C Ramachandra. Lata Mangeshkar was famously C Ramachandra’s muse, the singer for whom he composed many of his best tunes, including some duets that they sang together too, such as the ebullient Shola jo bhadke (which never fails to surprise me; Lata sounds so different from her usual self in that) and the romantic Kitna haseen hai mausam.

Among the many C Ramachandra-Lata tunes that I love is this one with a classical lilt. Anjali Devi, as the princess aching to go out to meet her lover, finds herself constrained to stay at home and entertain her father, who demands a song. Naturally, distressed and impatient, she sings of what she feels. I love the immaculate control Lata has in her voice in this song: every note is perfect, every nuance just in the right place.

5. Jaa re baadal jaa (Kailashpati, 1962): With Avinash Vyas. A music director who is not as well-known in Hindi cinema as he should be, Avinash Vyas was feted more in Gujarati cinema, for which he composed many songs. In Hindi cinema, he seems to have got slotted into composing for mythologicals: Shri Vishnu Bhagwaan, Ram Lakshman, Ram Bhakti, Waman Avtar and Kailashpati among them. It says a lot for Vyas’s talent and dedication, as also that of Lata, that between them they produced this lovely song for a film that was otherwise pretty average. I actually watched Kailashpati just for this song, so you can imagine.

6. Aaja aaja bhanwar (Rani Rupmati, 1959): With SN Tripathi. One of several composers (Hemant was another, as were Kishore Kumar, and, earlier, Pankaj Mullick) who donned many hats, SN Tripathi didn’t just compose music, he also wrote and directed films. And he acted in them. Most of the films SN Tripathi directed were mythologicals or historicals, but he composed music for a rather more varied lot of films. Historicals and mythologicals still dominated his oeuvre, and SN Tripathi’s skill at composing classical, raga-based songs meant that he created some of the most enduring songs of this type in Hindi cinema.

Aaja aaja bhanwar is the second song of a two-song set, the first one being Ud jaa bhanwar, sung by Manna Dey. The scenario is of a ‘competition’ of sorts; Tansen (?) sings a song urging the bhanwra to fly away, to flee the prison of the lotus; Rani Rupmati (Nirupa Roy) counters him by enticing the bhanwra back into the embrace of the lotus. Both songs are beautiful, and while Lata’s song is much shorter than the longer piece Manna Dey sings, her singing is as skilled, as controlled, as nuanced.

7. Sab kuchh lutaake hosh mein aaye (Ek Saal, 1957): With Ravi. For me, most of Ravi’s best songs have been sung by Asha Bhonsle; but, now and then, there is a Lata song that really appeals to me. There is, for instance, the misery of Lo aa gayi unki yaad from Do Badan, which conveys the woe and exhaustion of a woman whose last hope of seeing her lover is now nearly dead. And there is this, another song of pain: the pain of betrayal, of realizing that the loved one is two-faced, unfaithful, a lover not of oneself but of one’s wealth.  Talat Mahmood sang one version of this song, and Lata another; both are wonderful songs. Lata’s voice is so restrained, so deliciously slow and controlled in the beginning of this song, and crescendoing so beautifully further on.

8. Mile nain gaya chain (Private Secretary, 1962): With Dilip Dholakia. One of the reasons for my love of the music of 1950s-60s films is that there were almost no songs that were outright painful to the ears. Some may not have been as melodious or memorable as others, but offhand, I can’t think of any songs that have made me want to block my ears and shut out the song. That may have been because almost everybody composing music back then was so good. Even obscure music directors, now forgotten, often composed songs that outlived the films they appeared in. Dilip Dholakia (or D Dilip, as he was credited in Private Secretary) seems to have always worked as an assistant to the music director (mostly Chitragupta), except in this one film, for which he created some lovely tunes, including the delightfully infectious Pyaar ka maara hoon main Julie.

And there’s Mile nain gaya chain, the music so lilting and happy, Lata’s voice infused with the same ebullience. There’s a joyousness here, a shyness along with the celebration as this young woman exults over her newfound love.

9. Mushkil hai bahut mushkil (Mahal, 1949): With Khemchand Prakash. I was torn about this one, because for me, the one Khemchand Prakash-Lata Mangeshkar song is the one that is so iconic, it pretty much symbolizes Lata’s entry into the world of Hindi cinema, the aalaap of what was to become the most dominant female voice of the industry for the next several decades. But Aayega aanewaala had been covered in my very first Lata Mangeshkar list, and my self-imposed rule meant I couldn’t reuse it here.

But, while Aayega aanewaala is the quintessential Mahal song, there are other great songs in the film too, including this one. Mushkil hai bahut mushkil has also that quiet, controlled singing that Lata excelled in, and her voice fits Madhubala so well. By the way, my uncle Verni is the one who played the guitar for this song.

10. O ghata saanwari thodi-thodi baanwari (Abhinetri, 1970): With Laxmikant-Pyarelal. Laxmikant-Pyarelal came into their own only during the late 60s (which means my blog doesn’t feature too many of their films), but given that they were so prolific, and Lata, of course, still ruled female playback singing, it’s not surprising that she sang a number of songs for them, not just in this decade, but through the 70s and into the 80s as well. This one, on the cusp, for example: picturized on a young and very pretty Hema Malini, who’s going about, doing exercises, having a bath, pampering herself as it pours outside. Lata’s voice matches what’s happening on screen perfectly: slightly out-of-breath (she’s been doing calisthenics, after all), but gamely singing on; happy, contented.

And yes, I still have other songs, other composers, I haven’t covered. There will be at least two more posts about those. In the meantime, please feel free to share Lata songs from the composers who appear on this list (or, really, others as well). I’m looking forward to seeing your choices.



49 thoughts on “Lata Mangeshkar: Ten Solos, Ten Composers – Part 2

  1. Raina beeti jaye & Megha Chhaye Aadhi Raat” are among her unforgettable classics, which will last very long . However , one gets a creepy feeling about the fact that she had picked a peccadillo with Rafi saab, that saint among men leave alone achievers, over a trivial issue & dragged him into a needless scrap and besmirched her own standing .


  2. Dear Madhu ji,

    One has to keep in mind your restriction “please feel free to share Lata songs from the composers who appear on this list”.

    I would like to add (subject to WordPress approval) this soulful song from a Film also Directed by SN Tripathi (not many know that he also composed “Parwar e Digar e Alam”)

    With warm regards



    • “One has to keep in mind your restriction “please feel free to share Lata songs from the composers who appear on this list”.

      I have edited that now, so feel free to post songs from other composers too! :-)

      The songs of Piya milan ki aas were nice, and I like this title song too. Thank you for that.


      • Dear Madhu ji,

        Many thanks for editing that final Clause.

        Many are familiar with Marathi Singer and Composer. SUDHIR PHADKE.

        Here is one of his Melodious Compositions from the 1951 Film
        “MALTI MADHAV”

        (बाँध प्रीति फूल डोर, मन लेके चित्त चोर, दूर जाना ना……)

        [ Not many would miss the tune which is familiar to most of us – a song from a Bangla Film. But before you jump to conclusions, please note that the Bangla Film, namely “SHAPMOCHAN”, was released a good 4(four) years after “MALTI MADHAV”.

        In fact, Sudhir Phadke had composed this tune much earlier, but could not find a situation to utilise it.

        No I am NOT saying that Hemant Kumar copied the tune. Tauba tauba!
        Let’s just say that he was “inspired” by the original score by Sudhir Phadke :)

        Some of you may recall that it was Sudhir Phadke who had composed that well known number “Pehli Tarikh ” by Kishore Kumar from the Film of the same name ]

        With warm regards



        • I hadn’t heard either of these songs before. How lovely they are (though I must admit to a special fondness for Hemant’s voice, which is why I like the Bengali version better). Thank you, Parthaji, for these.

          Sudhir Phadke was also the composer of Jyoti kalash chhalke, if I’m not mistaken? That’s from another film I need to watch.


  3. It’s a testimony to the number of talented composers who populated the Hindi film music scene in those three decades, isn’t it, that we can each of us make several lists of one singer under varying themes and not overlap at all? And it’s not just Lata, either.

    Such a beautifully curated list, Madhu. Each one of these songs that you have listed is a gem. I can completely understand Bade Ghulam Ali Khan’s admiring comment during this period – Kambakht besuri hi nahin hoti!
    Let me offer you:
    Guzra hua zamana from Shirin Farhad with S Mohinder

    Yaad suhaani teri from Benarsi Thug with Iqbal Qureshi

    And this is a particular favourite: Pankh hoti to ud aati re from Sehra with Pt Ramlal Choudhary.


    • Thank you for these songs, Anu! Both Shireen Farhad and Banarsi Thug are on my shortlist for the last post in this series, though I hadn’t decided on which song I’d use from either of these. Pankh hote toh ud aati re was one I must admit I hadn’t known the composer of – so a very special thanks for that. :-)


    • I have to confess I don’t know who Sugandha Mishra is, but knowing what Lata sounded like later (much after she should have already retired), I don’t think I want to try searching for Sugandha Mishra to listen to her voice.


  4. This is another very good list, Madhu, and many thanks for the reference too. When you mentioned on my blog that “Na Dir Dim” was on your short list, I realized that this was far from the first time that you mentioned a “short list,” and I wondered how many songs on your short lists eventually get included in main lists. Well, in this case, we have an answer: obviously, a lot. How long was that short list?

    Two posts with ten songs each (all from different music directors) and multiple ones promised in the future? That is impressive. And I am looking forward to the sequels.

    By the way, I liked your comment about “Na Dir Dim,” that it had to be listened to separately from the film clip because Padmini distracted too much from the song with her dance and her beauty. No argument there!

    As you know, there were two other music directors on my list that appear on your list here: Khemchand Prakash (for you know what song) and Khayyam (for something a bit later, as you know – “Jalta Hai Badan” from Razia Sultan). Unfortunately, I had to leave C. Ramchandra on my own (relatively short) short list. There was one song in particular that I had in mind, a beautiful piece sung for Jayashree’s convalescing character in Parchhain. So, that’s the one I would like to offer here:


    • I’m glad you enjoyed this list, Richard – thank you. And yes, I was thinking you’d agree with that bit about Padmini looking so utterly distracting in Na dir dim – I really had to listen to that song once on its own, deliberately without watching the video, to appreciate the music and singing. ;-)

      My shortlist for that first post wasn’t very long, to be honest. That’s because there were several songs I couldn’t not include. And since I had decided on one song per composer, it wasn’t too difficult to figure out which song I would include for each of the composers in that list. The composer (duo, actually, not one) who made it very difficult to choose one song were Shankar-Jaikishan: they made some really fabulous songs with Lata!

      Thank you for Kattate hain dukh mein yeh din – I hadn’t heard this one before. What a beautiful song.


  5. Wow! That’s a beautiful list Madhuji!
    And I’m very happy to see Ja Re Badal Ja and O Ghata Sawari on the list. I love both the songs, mainly the one from Kailaspati. I love singing that one. I’ve tried it several times.
    I would add,

    Chhun chhun chhun baje payal by Roshan

    Ye baharon ka sama by N Datta

    Ruk ja Ae hawa by L P

    Of course,
    Ja ja re Chanda ja re by D Dilip

    And it was obvious for me to remember my thesis ;-)
    My series on Lata’s association with lesser known composers. It had 100+ composers.


    • Lovely songs, Anupji! Thank you so much for these. :-)

      I remember your series of posts. That comprised the last word on Lata’s work with the composers of Hindi cinema – very meticulous research there!


  6. Your promise of more Lata songs lists to come made me chuckle a bit – you could probably devote the entire year to Lata and not run out of themes or repeat a song. It’s an awe inspiring thought!

    I like all the songs in your list except for “sab kuch luta ke hosh mein aaye,” which I confess makes me wince at the “aye maut jaldi aa” part. That said, here is a Lata for Ravi song that I do love:

    Aye mere dil-e-nadaan – Tower House/Ravi/Asad Bhopali

    Since Roshan is a favorite, here’s another Lata solo by him that I love.

    Yehi bahar hai duniya ko bhul jaane ki – Raag Rang/Roshan/Sarshar Sailani


    • You’re so right about there being lots of themes for Lata songs – dance songs, solos, duets, songs in languages other than Hindi, sad songs, happy songs, songs-not-Lata-like, dance songs… and so many more. One could create a blog devoted only to her songs. :-)

      Thank you for the ones you’ve posted, Shalini. I had Ae mere dil-e-naadaan on my shortlist, so especially happy to see that here.


      • Dear Madhu, You did say one could post songs sung by Lata Mangeshkar, for composers who are not on “this list”, so here are two songs from a Basu Chatterjee film — “US PAAR” (1974) with music composed by S.D. Burman.

        (I hope I am not erring in posting these songs here….)

        Unfortunately , since the film did not fare well at the box-office, the film “US PAAR” and these beautiful songs remained unseen, unheard of…

        “Yeh Jab Se Huyi Jiya Ki Chori”

        “Tumne Piya Diya Sab Kuchh Mujhko”

        A brief note:

        I did happen to watch most of the picturisation of these songs, shot on a tributary of the Kaveri River near Srirangapatna, in Karnataka (in 1974).

        Revisiting these songs, after all these years, makes one realise how effortlessly and beautifully, Lata Mangeshkar adapted her voice to the playful Moushimi Chatterjee!

        Madhu, and friends contributing to this Tribute to Lata Mangeshkar: …
        This has been an amazing unforgettable journey!
        Thank you!

        Praba Mahajan


  7. Dear Madhu ji,

    I had tried posting this comment earlier, but WordPress had other ideas. Someone up there doesn’t like me :)

    The story goes that the Lady in question, SARITA DHILLON had gone to witness the shooting of the Film SHAHEED which was being held at Actor Pran’s sister’s house in Ludhiana. Manoj Kumar, who was also ghost Directing the Film was so floored by the vivacious charm of Sarita that he insisted that she be made a part of the Film. Unfortunately, all the Roles had already been cast and it was too late.

    Prem Dhawan, who was also writing the Dialogues hit upon the idea of introducing Sarita’s character as the love interest of Bhagat Singh and she was cast as the Village Headman’s daughter whom Bhagat Singh’s mother had already selected as her Bahu. In the event, the role showcased Bhagat Singh’s love for the Country when he declared that he would marry only when the Country was free.

    The Song is in typical Punjabi Tappe style and is one of the few Films in which Prem Dhawan has also Directed the Music.

    Have a heart WordPress!



  8. Dear Madhu ji,

    Anup ji, in his extremely well researched Series on Lesser Known Composers, had covered 100+ Composers in his 8-part Series. In such an elaborate work, nay Magnum Opus, it is natural that one or two may be overlooked.

    The person I am referring to is USTAD ALI AKBAR KHAN. He had Composed for a few Hindi Films, most notable one being for Chetan Anand’s “AANDHIYAN”. The List of people who were involved in creating the Music for AANDHIYAN reads like a Who’s Who? Apart from the Ustad himself, who was not even 30 then, there was RAVI SHANKAR on Sitar & Surbahar, PANNALAL GHOSH on the Flute, with Composer JAIDEV assisting him in setting heartfelt Words by PANDIT NARENDRA SHARMA to Music. Last but not least there was LAXMI SHANKAR as Dance Director.

    The one song that stands out is this Song, a kind of Anthem Song for the Film, appears in the Film in 3 scenes and is hence a long song. It is also an extremely difficult song with the scales changing every so often. No doubt, it evokes Pathos, but we must bear in mind that the Film was dealing with the situation just after Partition when there was sadness all around.

    With warm regards



    • I had never heard Kahin par shaadmaani aur kahin naashaadiyaan before – I had heard of Aandhiyaan, but didn’t know what it was all about. I should put it on my watch list; it sounds interesting. Thank you for this, Parthaji.


  9. Dear Madhu ji,

    I think I have managed to hoodwink WordPress. Now I go to his Site and say “Hey, I want to comment on Madhulika’s Site” and Presto, the right page opens up! Then it’s a matter of scrolling down to the bottom of the Page and Type in the Comments, as I am doing now. For some peculiar reason, WP makes a distinction between POST and SITE. I wonder why?

    SAJJAD HUSSAIN was a Maestro. He was the only person who could play a Complete Raag on the Mandolin, and he was a regular performer at the Annual SAWAI GANDHARVA Festival organised by BHIMSEN JOSHI in Pune. As Lata ji has herself admitted, he was a hard task master who would write the scores for each Instrument, even the Tabla, and HE NEVER HAD AN ASSISTANT!

    He was proud of his creative abilities and therefore had limited number of friends in the Film Industry. He was known as the “Enfant Terrible” of the Film Industry and died unsung on 21st July 1995. He was given a quiet burial at the Mahim Cemetery with only Fellow Composer KHAYYAM and Singer ANUP JALOTA turning up on behalf of the Film Industry.

    Here is the Audio of a “Timeless Classic” by Lata ji, rendering a woman’s heart bleed in Song, words by SHAMS AZIMABADI, Composed by Sajjad Hussain

    Hope you like it.

    With warm regards



    • Ah, yes. Sajjad Hussain appears on one of my upcoming Lata solos lists. :-) He was a hugely talented composer, such a pity that he seems to have been too abrasive to be able to get on with most people. I hadn’t heard Bhool jaa ae dil mohabbat ka fasaana, superb song. Thank you for this.


  10. My earliest memory of a Lata Mangeshkar song is the Lori from the LP my parents had.. Dheere se aaja ri akhiyan mein from Albela, Music C Ramachandra

    And I think the mellifluousness of Lata Mangeshkar’s voice lent her to singing loris really well.
    So here is a collection of some old, some newer , and many many more that I may have missed (and left out ) …

    Aaja ri aa nindiya tu aa, Do Beegha Zameen, music by Salil Chowdhury

    Neend Pari lori gaye from Char Diwari, Music Salil Chowdhury

    Gudiya humse roothi rahogi (not entirely a Lori, but closee enough ) from Dosti, Music Lakshmikant Pyarelal

    Main gaoon tu chup ho ja , from Do Aankehin Barah Haath, Music Vasant Desai

    Chanda o chanda , from Laakhon Mein Ek, Music Music RD Burman

    Mera raja beta , from Anurag , Music SD Burman

    Aa ri aaja , Nindiya tu le chal kahin, from Kunwara Baap, Music Rajesh Roshan

    Ik din hasaana , from Benaam, Music RD Burman

    Chandni re jhoom from Naukar , Music RD Burman

    This stunningly beautiful Bhojpuri Lori as a bonus , Hey Chanda Mama, aare Aawa paare Aawa..Movie Bhouji, Music Chitragupta (not very sure though)


    • Thank you for these, ak – and especially for the Bhojpuri song, which I loved. Coincidentally, I am currently reading the recently published biography of Majrooh Sultanpuri by Manek Premchand, and that has a section on the Bhojpuri songs he wrote. This one had struck me and I’d told myself I must listen to it sometime. Thank you for making that easier for me! :-)


  11. A very nice post. And I liked the idea to include composers who were not included in original tribute post.
    Out of composers you have mentioned, Khayyam tops my favourite list. So I shall start with him.
    ‘Ae Dil E Nadan’ from ‘Raziya Sultan’

    Rendition is flawless of course and Khayyam work wonders with silence. What I liked most the way Lata humms – clear, in tune and sweet.

    ‘Yeh Mulaqat ek bahana hai’ from ‘Khandan’

    This songs grips from first line and Lataji sounds like wind chimes.

    Hridaynath Mangeshkar worked very little in Hindi. I find this ‘Yeh aankhen dekhkar’ from movie ‘Dhanwan’ a hidden gem (of course I ignore the silly picturization)

    ‘Maya Memsaab’ album comprises far better songs than the famous title song. I am restricting myself to mention just ‘Mere Sarhane jalao sapne’

    ‘Suniyo ji Araj mhari’ from ‘Lekin’ is enough to showcase combined talent of siblings.

    ‘Rudaali’ is famous work of Dr. Bhupen Hazarika and my favourite is

    Vishal Bhardwaj in his early career composed for ‘Maachis’. In ‘Pani Pani Re’ & ‘Bheje Kahar Piyaji bula lo’ is Lataji has become voice of Tabu’s anguish.

    Yash Chopra defined romance for me with ‘Tere Mere Hotho pe’ from ‘Chandni’.

    ‘Mohe chhedo na’ from ‘Lamhe’ where Sridevi’s expressions and Lataji’s voice go hand in hand.

    And in the same movie, her mature voice fits Vaheedaji as a nanny singing ‘Gudiy Raani’ for young Sridevi

    (Although my rational side chides me that why any Gudiya should be tempted with Rajkunvarji in this era. Then I think of Anil Kapoor being Raj Kunvar and ohh well…)

    Lataji sang lots of songs with Shiv-Hari which might be far better than these ones. But these ones stayed with me.

    Then there is a soothing lullby ‘Dur kahi ek aam ki bagiya’ from Zubeida with A. R. Rehmaan.

    In a recent article on Lataji, it was pointed out that if the song was to start with any sher or prose, she would voice it beautifully. Here is an example from ‘DDLJ’ by Jatin-Lalit. Overall song is not her best one but she starts and ends it beautifully.

    Title song from ‘Hum Aap ke Hai Koun’ which is the only song by Raam Laxman which I like to hear time and again.

    ‘Husn Ki Waadiyo mein’ and it’s sad version ‘Ghoongat Utha ke Na Dekha’ from ‘Waaris are probably the only songs I have ever heard of duo Uttam Singh-Jagdish Dhody. And I like Lataji in both.

    In later years, she sang for Uttam Singh in ‘Dil To Pagal Hai’

    Lataji has sung some beautiful songs with Ravindra Jain like ‘Tera Mera Saath Rahe’. But few would recall ‘Ek Radha Ek Meera’ from ‘Ram Teri Ganga Maili’


    • That is quite a representative list of Lata’s major songs from the 1970s onward! Thank you – interesting, and of course (given that I watch so few films from after the 70s), many that I’d either never heard before, or had forgotten about. Though, personally, I feel there was a certain point beyond which her voice started to grate on me.


  12. Dear Madhu ji,

    When was the last time you saw a Romantic Song picturized on a Villain? Well, not exactly the Villain singing, but let’s face it, Villains are also humans, with feelings and some are a trifle good looking too!

    It happens that there are some spare Romantic Songs in a Film and the supporting Actress is beautiful. So, the Director decides to picturize the Song with her wooing the Villain. It’s Ok with the audience, as long as the Villain gets bashed up by the Hero in the end.

    There was this 1949 Film JEET starring Dev Anand and Suraiyya – the same in which the two were supposed to get married on the set itself, till someone squealed to her Granny who stormed the Set and dragged her away, just in time.

    In JEET, there are 2 (two) songs picturized on Actress SURAIYYA CHOWDHURY, reportedly a Bengali Muslim Actress from Calcutta, and the Villain played by MADAN PURI. Here are the two songs, Composed by ANIL BISWAS

    (मस्त पवन है चंचल धारा…..)

    (हंस ले गा ले ओ चाँद मेरे ….)

    [ The Film JEET was Produced by PRATAP RANA, who had served in Netaji’s Azad Hind Fauj as a Colonel. Jeet, incidentally was the name of his first wife who passed away shortly after marriage due to an illness. His second wife was named VIDYA who died during childbirth, leaving behind an infant daughter. It is said that RANA was so overcome by grief, that he simply walked away, without even looking at the child. In the event, the baby was brought up by her grandfather, Director MOHAN SINHA, who not only gave the little girl her mother’s name, VIDYA, but even gave her his own surname
    SINHA. Later she grew up to be Actress VIDYA SINHA, who passed away not too long ago ]

    With warm regards



    • Ah, very nice, Parthaji. And very apt! – because I have been compiling a song list of ‘singing villains’. These don’t really fit, given that Madan Puri’s character doesn’t sing, but still interesting.

      And thank you for the bit about Vidya Sinha. Interesting!


  13. Bappi Lahiri was famous for his disco music. Very late in my life I realized that he has composed some really sweet songs.
    ‘Aao tumhe chaand pe le jaye’ from Zakhmee is my favourite.


  14. What to say about your posts especially when they are about music ? You have presented a part of your treasure of information for the music lovers and your admirers will be restless for the balance part which will come in the form of sequels to this post (and its predecessor). The first two songs of your list have been my personal favourites for decades but the other ones are no less for me. A lot of relevant information has been laid out in the comments section also. It’s been an unexplainable joy of floating in this river of music.


  15. About half of these songs were new to me. Although many are very lovely, “Baharon Mera Jeevan Bhi Sanwaro” seems correct today: we are getting our garden ready as spring comes (very, VERY slowly) to New England.


    • Another friend, who also lives in New England, echoed pretty much what you’re saying, when I posted a photo on Facebook the other day, with a caption about how spring was giving way to summer here. It’s getting hotter by the day here, and I have a feeling it won’t be long before we’ll have to be turning on ACs.

      Liked by 1 person

  16. Wonderful collection. Let me share couple of my lata favorites below:

    Arre koi jaao re piya ko bulao:

    Koi ghar aayega pyaar jagaayega:


  17. The song “Baiyan Na Dharo” from the movie Dastak is also a classic ,though many seem to have forgotten it . It was composed by Madan Mohan in ‘Charukesi raag” & was highly popular in the 70s


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