Morning, Noon and Afternoon. Review on Lata Mangeshkar

Enough has been written and said about Lata Mangeshkar’s career, work, facts and controversies. In this review, rather than focusing on these aspects, I intend to write my heart out.

Indeed, Lata Mangeshkar’s career(or rather the voice) can be compared with a bright and sunny day…

Morning(1940s and 50s):

Jaago, Mohan pyaare jaago…

Jago ujiyaaraa aaye, man ki andheraa jaaye…

Jago….

So pure, so pristine… Like the small drops of rain water sliding through the green leafs…. That was the beauty of Lataji’s voice… No frills, no attempts, no attitude… just pure blameless voice.

Of course, that was the age when music was all about tunes, melody and voice, not so much about the instruments used.

I often get into a trance listening to the beauty of Aayega Aanewala… one of the early songs that put Lataji on a high pedestal. The voice is so charming that even the music-less prelude to the song gives a feeling of utter bliss.

This was the era of the maestros like Naushad, C Ramachandra, Salil Choudhury, Anil Biswas, SD Burman and of course. the great Sajjad Hussain to put Lataji’s voice to ultimate test.

Have you ever heard the songs of Saiyaan(1951), especially Kali kali raat re? This is what is called as voice. The beauty of the song is hardly any music and special effects… all the impact comes only from the dry voice of Lataji.

Have you ever heard of Aaja re Pardeshi(Madhumati) and wondered the effect of loneliness and separation on gets from it? Or have you ever felt like flying with wings while listening to Phaili hui hai yeh sapnon ki baahein(House No 44)? Do you get goose bumps when Lataji sings Alvid alvida in Yeh Zindegi ushi ki hai(Anarkali)?

Yes, it was a pure, pristine and peaceful morning indeed. Every thing indicated to a great start to the day… like the rains are over and fresh sun has risen from behind the mountains spreading its glorious rays on the wet green leaves.

Noon(1960s and 1970s):

Suno sajnaa, papihe ne, kaha sabse pukaarke

Sambhal jaao, chamanwalo, kea aye din bahaar ke

The mornings get into the days and the day brings with it the maturity. Lataji was no exception to this. With the advent of 1960s, there came a maturity in her voice, which was distinctly different from her voice of 1950s.

This was probably the call of the day. A voice which was now more versatile, had lost the shrill that was to be seen in earlier times and that could scale any range too easily.

That is the beauty of the noon. Its bright, powerful and gives the feeling that there is nothing difficult under the sun. You find all colors, all moods and all levels of energy.

And why not? With the likes of Shanker-Jaikishen, Lakshmikant-Pyarelal and RD Burman dominating the scene and the old maestros still going strong, 1960s was indeed the era of versatility.

On one hand while Kaanton se kheench ke yeh aanchal gave the feeling of breaking free from all bounds, the music of Madan Mohan brought in the finest ghazals, especially Aap ki nazron ne samjha. While Lataji was uncomparable with classical based songs, the dard in her tone had still not died down. You can think of Naino mein badraa chhaye for a combination of these two.

Probably the new angle to her voice was the emergence of an X factor, which was evident in Aa janejaan(Inteqam), Inhi logo ne(Pakeeza) and of course – my favourite – Raat bhi hai kuchh bhigie bhigie. At the same time, her voice was still breathing the freshness of the morning with likes of O sajnaa barkhaa bahaar aayee.

Of course, the noon also brings with it a sense of absolute power and a sense that may be interpreted negatively by the onlooker.

With the absolute success also came several controversies and conflicts. One of such controversies saw the sad separation of a great pair – Lataji with C Ramachandra – a singer – composer duo par excellence. This period was also ripe with rifts with many stars of the industry… but all is well that ends well.

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