Millions of keys have been hit in favor of and against the singing legend, Lata Mangeshkar, but you will never find Lata lowering her dignity by either responding to the filth thrown at her or eagerly grab the accolades. In all her interviews, she comes across as a humble soul grateful to God for having bestowed her with the gift of melody.
Hence for such a person to pay her tribute to legends who may not be too much higher than her in stature, is clearly staying within character.
In this 1994 album, Lata pays Shraddhanjali (tribute) to six of Hindi film industry?s greatest male singers. Some of these greats are those who were prevalent even before the advent of Lata while others are Lata?s long time colleagues. Her sentiments come out very vividly in the soothing commentary she gives at the beginning of each phase of the album.
-------------------------------------------------------------------------------
----------------------------
Opening lines:
Lata begins the album by paying homage to God and her guru. Then she says that she has had the benefit of listening to and learning from many great singers. She clarifies that by singing their songs here, she is not trying to prove that she can sing better than them ? but the only thing she can give back in return to all she has learnt from them, is to pay a tribute to them.
K.L.SAIGAL
Commentary by Lata: Lata was always a fan of Saigal and wanted to meet him badly. But that opportunity never came by, since he died in 1947, before Lata moved to Mumbai.
Song 1: So jaa rajkumari (K.L.Saigal)
Frankly I?m not too great fan of Saigal and have never really liked this dreary sounding lori when I heard Saigal?s rendition. But Lata in her own style magically converts this song into a melodious beauty.
Song 2: Main kya Jaanu (Saigal)
This is one of Saigal?s most likeable number, peppy by 40s standards. Lata does a good job with the difficult aalaaps. The best part of both these songs is that it captures Lata?s voice at lower notes, which at this age, highlights the sweetness in her voice rather than torture us with those high shrill notes.
Song 3: Nain heen ko (Saigal)
This is a non-film song. I?ve never heard it earlier and wonder why Lata chose it. It is a nice song with some deep meaning, but due to its slow pace and somber atmosphere, can be easily skipped.
PANKAJ MULLICK
Commentary by Lata: Lata wanted to work with Pankajda and he had also composed some tunes for her. But somehow this never saw the light of day and her dream remained unfulfilled.
Song 4: Piya Milan ko Jaana (Pankaj Mullick)
One of Pankaj Mullick?s most popular songs, we get to appreciate the lovely music of Pankaj Mullick. The simplicity of tunes which by itself lends melody makes for enjoyable listening
Song 5: Yeh raatein, yeh mausam, yeh hasnaa hasaanaa (Pankaj Mullick)
Atleast I hadn?t heard this song earlier and am grateful to this album for introducing me to this lovely number. Simple yet soulful, Lata does a good job here as well.
MOHAMMED RAFI
Commentary by Lata: Rafi could sing any song so well ? when he sung a song, one would get the feeling that only he could have been able to sing this song. Lata has sung the maximum number of songs with Rafi.
Song 6: Kabhi Khud pe, kabhi haalaat pe (Mohd Rafi)
This Rafi gem from Hum Dono is Lata?s pick from his vast repertoire. While admittedly, Lata cannot re-create the Rafi magic in this song, she is able to bring back the memories of this introspective verse.
Song 7: Man re, tu kaahe na dheer dhare (Mohd Rafi)
One must compliment Lata for selecting some of the most priceless treasures from the Rafi treasure chest. This song from Chitralekha is one of Rafi?s absolute best. The selection reveals Lata?s preference for Rafi?s more introspective and soft styled numbers rather than the heavier ghazals or mischievous Yahoo dhamals
MUKESH
Commentary by Lata: Here you can easily sense Lata getting into more comfortable zone as she fondly remembers her Mukesh bhaiya. The association gave us some very memorable duets as well.
Song 8: Jaaun kahan bataaye dil (Mukesh)
Starting on a peppy note, the mood begins to get somber as this lovely number gets under way. While it is unfair to compare (and not really the intention) the original with Lata?s version, I must admit to having liked Lata?s rendition to that of Mukesh?s. But maybe its due to the fact that I find very few Mukesh songs to my liking.
Song 9: Kahin door jab din dhal jaaye (Mukesh)
When it comes to Mukesh?s sad songs, you cant have it any other way. And this magic of this masterpiece from Anand is too much for Lata to recreate ? and unfair for us to expect such too. Even as Lata sings, we can feel Mukesh?s presence in the background.
HEMANT KUMAR
Commentary by Lata: Lata says that as much as Hemantda was a great singer, he was a great music director as well. She has got to sing some lovely songs composed by him.
Song 10: Tum pukaar lo (Hemant Kumar)
This Hemant classic from Khamoshi is something only Hemantda can do justice to. But Lata tries her best to give you the Hemantda mood and succeeds to some extent.
Song 11: Yeh nayan dare dare (Hemant Kumar)
I?ve never heard this song before, hence it sounds very nice when Lata sings it. The haunting number from Kohraa sounds morose yet interesting.
KISHORE KUMAR
Commentary by Lata: Lata immediately gets into a playful mood as she reminisces about her association with Kishoreda and how he always used to make her laugh. They were very close to each other as they had started their careers around the same time.
Song 12: Ae mere dil ke chain (Kishore Kumar)
This zany number from Mere Jeevan Saathi has the ?Chaap? of the romantic Kishore. No one, not even Lata, can do justice to it. And you sorely miss Kishore while hearing this song.
Song 13: Yeh jeevan hai (Kishore Kumar)
A rather slow-paced song from Piya ka Ghar, Lata does a reasonably good job with this Kishore lovely. However there isn?t much to recommend in this last song of the album.
-------------------------------------------------------------------------------
----------------------------
My observations
If you observe closely, most of Lata?s selections are songs with lower notes. Lata has always said that she prefers singing such songs rather than those which have her touching the high pitch. Moreover the songs showcase the best of the singer under question and also highlight Lata?s preference for the type of songs she liked from the singer?s repertoire.
While Lata makes it very clear at the beginning that there should be no comparison of her version with the original, one does get tempted to do so. The fact that we are so used to hearing the original, gives the copy that much of a disadvantage. Yet, to Lata?s credit, she does add her special touch to one or two numbers and comes out tops.
Contd in comments...
