He was one of the many MDs who were on Lata's side always and never believed that Ashaji cld sing as well as Lata....wrt range,scale and taal,I personally think Ashaji is as gud ......Salilda favoured Lataji more...probably idolised her,coz he favuored her over Rafi saab openly once during a disagreement.
In the 1960s, Rafi was not on good terms with Lata Mangeshkar, the most sought-after female playback singer in Bollywood, over royalty issues. Lata wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers.[11] But Rafi took a diametrically opposite view, and believed that a playback singer's claim on the filmmaker ended with the payment of agreed fee for the song. During the recording of Tasveer Teri Dil Mein (Maya, 1961), Lata lost her cool with Rafi in a certain passage of the song. Rafi felt belittled, as music director Salil Chowdhury sided with Lata.[12] The situation worsened when Lata Mangeshkar declared that she would no longer sing with Rafi. Rafi stated that he was only so keen to sing with Lata as she was with him.[12] Later, at the insistence of S.D.Burman, the two decided to make up and sing duets, but on a personal level, they were not on good terms.
.Some of his other favs included Talat .....He also favoured Rafi saab over Kishore kumar.....because he liked classically trained singers over untrained ones
"
Kishore Kumar had not formally trained in music, so that Salil Chowdhury, for his intellectual Bengali part, was not even prepared to give this actor-singer a hearing, once he got to know that Kishore lacked musical grounding. Kishore Kumar was Sheila Ramani's hero in Bimal Roy's Naukri (1954).
YET Salil Chowdhury, as the new phenom among our composers then, was dismissive of Kishore as: "I have not heard a single song rendered by you, so how could I possibly let you render my song in Naukri!"
Saying that, Salil was on the point of summoning Hemant Kumar to sing Chhota sa ghar hoga in place of our already unemployed hero of Naukri: Kishore Kumar! It was only after Kishore Kumar virtually begged Salil Chowdhury to hear him out -- as one having met, already, the intricate tonal demands of master composer Khemchand Prakash in his very first song for films -- for Bombay Talkies' Ziddi (1948): Marne kee duaaen kyun maangoon jeene kee tamanna kaun kare -- that Salil Chowdhury relented in the matter of Chhota sa ghar hoga. "To Dada Burman goes the credit for having spotted the spark in the boy so early. Each one of us composers otherwise underestimated the tremendous potential of Kishore," admitted Salil, adding, "Not until the vocal results Kishore gave me, some 18 years later, in Gulzar's Mere Apne, with Koi hota jis ko apna hum apna keh lete yaaron, did I get a real idea of how totally I had misjudged the depth and dimension of the lad as a singer." "
Edited by rock&roll - 16 years ago
CID
Mannat Har Khushi Paane Ki
Ghum Hai Kisikey Pyaar Meiin
