What If Lata Had A Rival? - Page 5

Originally posted by: punjini

Till today, in every musical contest, people find it hard to reach even 50% of the perfection that Lata reached in her time. All her clones, be it Alka Yagnik or Anuradha Paudwal, could only sound like her clones. At higher pitches, it was so easy to spot who was the clone.

I agree with sahana on this point...alka or anuradha are no where close to her..having said that..I have a diff. opinion about singers like suman kalyanpur...I feel that in several songs Lata sound like suman then vice versa !!..one song that comes to my mind is ..

ye samaa, samaa hai ye pyaar ka akaele tum ho akaele hum hein...

also I was wandering whether, it was the case of song getting recorded in Suman's voice for picturization and later recorded again in Lata voice (since some MD's/ producers would prefer Lata over Suman ....)..

Now coming to Lata ji singing...and asha or even geeta dutt singing..this is what i feel about asha ji ..she has verstality, depth and huskiness in her voice( iam sorry cannot find a better word) that Lata lacks..asha has made up for her" handicaps"..see most of the people who says Lata is unmatchable says based on her "superior voice" quality...but is the voice itself is Impt??I mean singers like asha, geeta they have made up by bringing varitions in there voice /songs ..I donot see those variations in Lata.....The way you bring the varitions ..doesnt it called" style of singing".......

I feel Lata sounds like suman kalyanpur, usha mangeshker and perhaps asha ..probably in several of her songs.......now Lata sounding like Lata is a question to ponder..

Originally posted by: T.

With due respect to your opinion Sahana, I've read what those music composers said about her but I still do not agree with her being deified or that she is a perfect/complete singer. She was excellent technically and she could perform songs of a certain genre exceptionally well. But that is all.

May I ask whom you consider to be a perfect/complete singer?

THis is a article..a interview of lata
source : http://members.rediff.com

I swear on my music, I've never stolen any of Asha's songs

Author: Subhash K. Jha
(From FILMFARE) At long last, Lata Mangeshkar speaks up
------------------------------------------------------------ -------- The voice is unmistakable. On television, Lata Mangeshkar's new version of Vande Mataram is on. She stops mid-conversation to listen. Her nephew cajoles her to listen. Since the peerless songstress doesn't know how to say no, she assents. After a gruelling recording session of a Nusrat Fateh Ali Khan composition recorded posthumously for Kachche Dhaage, Lata Mangeshkar sounds cheerful. She has been resting, she's revivified. Even at 69 and after 50 years of playback singing, it's a gruelling regimen for her. Song recordings, concerts abroad, not to forget a 100 other social commitments which she reluctantly accedes to because she can't say no. Not even to an interview with me. Although she's extremely media shy and attention-wary, she speaks candidly, often breaking into peals of laughter over a fond memory, frequently conversing in fluent Marathi with a kin and returning to our conversation with the sweetest Sorry I've ever heard. Here, then, is the LM interview, unexpurgated: This year, you've added two new composers to your repertoire, which includes everyone except O.P. Nayyar. Could you tell us about your experience of recording compositions by A.R. Rahman and Nusrat Fateh Ali Khan? I've done three songs with Rahman this year. The first was Jiya jale in Dil Se, then one for Pukar and another film. His style is unique. Come to think of it, a singer comes off much more effectively working in Rahman's way. As you know, today there's no live orchestra present at the recording. Rahman keeps only two or three musicians with him. He feels most at home recording in his studio in Chennai. Once, I'd recorded a song with him in a small studio in Mumbai. But I think neither Rahman nor I was comfortable, we ended up recording only half a song then. Why do you think he isn't comfortable recording in Mumbai? I think perhaps he finds everything unfamiliar out here. I may be wrong though, Rahman hardly speaks. But since I wasn't keeping too well that day, we eventually recorded the rest of the song in Chennai. I like working with Rahman. He's done me a favour. Really? He records with me during the daytime... when my voice is fresh. I don't like recording at night. And I've heard that Rahman records mostly in the night. But he made an exception for me. When an artiste shows such consideration for another artiste, it feels good. Aur kaam bhi achha hota hai. Rahman doesn't take long over his recordings. Jiya jale was recorded in 40 minutes. 40 minutes?! (Laughs) Jee haan. I was sitting and humming an alaap for Jiya jale to myself. He overheard me and said, "Please continue singing. I want something like this for the song. Don't worry about where the song will end. You just keep singing." I just went on. Later when I heard the complete song, mujhe bahut achha laga. People who don't follow the language at all have even enjoyed the Malayalam passages in Jiya jale. You've been working with three generations of music composers. Isn't there a generation gap between you and composers like Rahman, Vishal Bharadwaj, Anu Malik and Jatin-Lalit? (Firmly) Nahin. In my opinion, a singer should never be conscious of such things. Irrespective of the generations they belong to, all music composers try to do their best. As a singer, I used to enjoy the challenging compositions of the past. I admit the young music directors of today are a little scared of me. But I've never ever misbehaved with any composer or told him that his tune is no good or that I'll sing it in my own way. But they might find it difficult to tell you what they want! I don't mean to praise myself. But to date, I've always tried to grasp the nuances of a song by sitting with the composer, like a student sits before a teacher. In the past, I would make suggestions while singing for Madan bhaiyya (Madan Mohan), Shankar-Jaikishen and Laxmikant-Pyarelal. Even Burman dada. Quite a few directors encouraged me to suggest an alaap here or a taan there. But I've never forced my suggestions on any music director. How would you describe your professional interaction with your brother Hridayanath Mangeshkar? I don't dare to suggest a word when I sing for him. But if I don't understand something in his composition, I do badger him with a hundred questions. At times, his tunes are quite complex, aren't they? For a singer, yes, they're complex. But I feel he's been maligned in this matter. In the past, Sajjad Hussain composed what you call complex songs. And rumours were spread that he's too exacting, temperamental and egoistic. Actually I loved Sajjad Hussain's music because like Naushad saab and Madan bhaiyya, he insisted on poetic lyrics. These composers understood and appreciated Urdu. Those who had some difficulties with Urdu or Hindi would consult specialists. For instance Burman dada and Salil Chowdhary would make a 1000 inquiries about the Urdu and Hindi words. What else would you say was remarkable about the composers of yesteryear? I'll tell you another thing about Sajjad saab's music. He was very particular about melody. Even if one instrument was slightly off-key, he would be livid. Once during a recording, he asked a famous singer to stop at the gandhar. The singer wanted to know what gandhar was. Sajjad saab was aghast. Sometimes I wonder what he would have said about today's singers. Like my brother, Sajjad
saab used to get angry about any trace of imperfection. Are any of the top composers of today perfectionists? I don't know how many of them have a deep knowledge of classical music. The earlier composers were steeped in classical music. Burman dada's knowledge of folk music was tremendous. He also used to sing very feelingly. Pancham was the master of rhythms. Pyarelal had learnt to play the violin from his father. Laxmikant too knew a bit about classical music. Madan bhaiyya was exposed to classical music in Lucknow. Sajjad saab would compose nothing but classical music. He played the mandolin superbly. As for my brother, he speaks his mind. He doesn't hesitate to praise a fellow artiste. I remember once Madan bhaiyya had come home for a meal. The music of his Jahan Ara had just been released. My brother liked the songs so much that he asked Madan bhaiyya to autograph the record. If Hridayanath doesn't like any of my songs, he criticises me immediately. I don't mind that all. In fact, I've always valued frank opinions in my life. Some people praise me to the skies and criticise me the minute my back is turned. I made Hridayanath listen to my Jiya jale. He liked it very much. I've always been very particular about songs that I sing for him. At times, I even get angry at his exacting ways. I feel the way you sang for Madan Mohan was extra-special. His compositions were like that. But no matter whom I've sung for, I've tried to give my very best. If I feel I can't do justice to a song, I opt out. If composers can't wait for me to give my best, then they're free to get their song recorded by someone else. I'm told that some singers criticise composers on their face. I could never ever do that. You've just recorded a song composed by Nusrat Fateh Ali Khan. Do you regret not having worked with him during his lifetime? I met him twice. Once I invited him over to my house. I also went over to listen to the songs he had conceived for a film. He said those songs were for me. But there was some tension in Mumbai at that time and the recordings were cancelled. He wouldn't be there in person for his song recordings. His assistant, Amar Haldipur, would be there. What was it like recording a Nusrat Fateh Ali Khan composition after he's no more? The songs in Kachche Dhaage were very difficult. He would compose songs that had a great deal of utar-chadhao. There was no space for breathing, the lines would merge seamlessly into other lines. Such concert-oriented compositions are more suitable for a male voice. They were a little awkward for me. If he was present during the recording, I'm sure he'd have taken care of the situation. I regret not working with him during his lifetime. When he came to my house, he asked for the harmonium after dinner and played a whole lot of songs for me. He said he wanted me to sing for three or four non-film albums. He has left behind some tunes. But we don't know how to go about using them. This year, you sang for Twinkle Khannna in Jab Pyaar Kisise Hota Hai. Twenty-five years ago, you sang for her mother Dimple Kapadia debut in Bobby. I've a feeling you'll be singing for Dimple's granddaughter after we're all gone. (Laughs) Then who'll listen to my songs? I don't remember if I've sung for Shobhana Samarth but I've sung for Nutan, Tanu and Kajol. You'll be surprised, but recently I saw an old film on television located in the Arabian deserts. I was surprised to see myself singing for Ruby Myers (Sulochana)! I didn't even know the song. But I said, chalo if I've sung for her as well, to bahut badi baat hai. When I was a child, I used to run off to see her films. How do you feel when you hear your own songs? I always find faults with my singing. If I don't like what I've sung, I put my fingers in my ears and run away. You know what the renowned classical singer Bade Ghulam Ali Khan said about you, don't you ("Kambakht, kabhi besura gaati hi nahin hai!")? (Laughs shyly) Yeh unka badappan tha. He was a very great singer. I truly admire him. Believe me, I always find faults in my singing, Once, Kishore Kumar told me that if he ever heard people listening to his songs, he would start speaking loudly to distract their attention. He would continue to talk loudly till the weak spots in his song were over. If one doesn't like one's own song, there's turmoil within oneself. If I'm not satisfied with a song I've recorded, I can't sleep that night. Which songs haven't you been satisfied with? Offhand, I can't recall any. But there are songs which the music composers and listeners have liked. But I've felt that I didn't do full justice to them. Which songs have you been satisfied with in recent years? Hundred per cent satisfied? The songs of Lekin and Maachis. Yesterday, I was listening to Geela geela pani from Satya. I felt I've sung it well. And I was satisfied with Arrey re arrey in Dil To Pagal Hai. But I feel I didn't do complete justice to the title song of Dil To Pagal Hai. I recently heard you singing Maati maati re in Vinay Shukla's Godmother. Do you ever get emotionally involved with the lyrics that touch your own life? I do get completely involved with the lyrics. I don't know if emotions creep in subconsciously. But I do take care to find out about the story situation and the character for whom I'm singing. Salil Chowdhary once said you fainted while listening to an emotional Bengali song that he sang for you. Yes, that incident actually happened. Your songs for the films of Raj Kapoor are timeless. What it was like working with him. His style of working was unique. With him around, there would be unforeseen tension. Sometimes, he'd come on the sets and change the entire song. Since he was a musician himself, he knew exactly what he wanted. When he wanted a hit song he'd say he wanted a poppatiya number. But personally I feel that Shankar-Jaikishen gave better music outside Raj Kapoor's films. For Raj Kapoor, they
had to work within prescribed limits. Raj Kapoor and you started your careers, as singer and director, almost together, didn't you? No. When he made Aag (1949), I was doing bit roles in films. I hadn't started singing professionally. I sang for him, starting with his second film Barsaat. Composer Anil Biswas had told Raj Kapoor about me. He invited Raj Kapoor over to Rajkamal studios to listen to me. The song was Baras baras badli bhi bhikar gayi kab aaoge. Raj saab came and heard me quietly. I was a great fan of Prithviraj Kapoor. I'd liked him very much in Sikandar. The fact that Raj Kapoor was Prithiviraj's son did make a difference. After Raj saab heard me sing Baras baras, his representative came to tell me that he wanted to see me. I couldn't recognise who the emissary was. (Laughs) Later, I came to know it was Jaikishen. So how did you get to sing for Barsaat? Actually Ram Ganguly (who composed for Aag) was supposed to do the music. Shankar-Jaikishen were Ganguly's assistants, they'd composed some of his songs. Raj Kapoor wanted to use them instead. Jiya beqaraar hai was my first song for R.K. Raj saab would joke that since I'm a classical singer, I should be treated cautiously. But after I recorded for him, he showed absolute confidence in me. In Barsaat, I ended up singing for all the female characters. But I must tell you that I would have a fight with Raj saab during every film, for one reason or another. Like? Koi aisa waisa gana aa jaye to main unse ladne lagti thi. I used to quarrel with Jaikishen also about such songs. Budha mil gaya from Sangam, for instance? Yes, they convinced me that the girl in Sangam is newly married and she's teasing her husband. Hota tha aise hi kuch kuch. Don't you miss the spirit of collaboration you shared with Raj Kapoor, Jaikishen and Laxmikant-Pyarelal? I do miss the way we used to rehearse songs. We never recorded in fragments like we do today. I don't blame anyone for this though. Today's composers are scared of me. I don't know how to communicate with them either. Jatin-Lalit and their sister Sulakshana Pandit have been coming to our home from their childhood. I must say Jatin and Lalit have been composing some very sweet songs. Were you friendly with any of the heroines for whom you sang? I was quite close to Nargisji. Also Meena Kumari and Madhubala. I'm told that in her contracts Madhubala would stipulate that only I would sing for her. I share a cordial relationship with Saira Banu to this day. Jaya Bachchan is another favourite. I remember during the making of Abhimaan, she would sit and watch me sing. I used to wonder why. Then I saw the film. During the songs, she dressed and behaved like I do during my recordings. Why have you been called an aloof, arrogant and ruthless professional? How and why did this image come about? You want to know why people are nervous of me? There's a saying that if someone burns his mouth drinking milk, he even tries to cool down chhach before drinking it. In the past, I loved to laugh and make people laugh. I used to bring chocolates to the recordings and share them with everyone. People exploited my friendly nature. They maligned my name. Once, a well-known recordist kept me back to record a small interlude in a song till late at night. Only his assistant, my sister and I were at the studio, the others had left. He kept making me sing the small interlude repeatedly. After a couple of days, I heard that he was telling people, "See how I drove Lata crazy? The song was good enough as it was recorded initially". When I heard this, I wept. Then there was a classical musician who maligned me to his hearts content. I treated some music directors, lyricists, producers and directors like my brothers. But they all maligned me. So, I decided to stop attending functions, I stopped talking excessively which was a habit with me. I would say things in jest. But my words would be misinterpreted and distorted. Who needs this? I thought. That's why I prefer staying at home with my family. Now if I'm called arrogant and unsociable I don't care. If I worry about what people have to say, then it wouldn't be possible to continue living. Recently Yash Chopra called you the most influential Indian of this century. I sang for B.R. Chopra and Yashji for the first time for Ek Hi Raasta. Hemant Kumar had given the music. At that time, I knew Yashji vaguely. When the two brothers separated I received Laxmikant-Pyarelal's message to sing for Daag. I got to know that Yashji always wanted me to sing in his films. He hardly ever talks. When he called me didi for the first time I was taken aback. Then we became friendly. And now he's like a family member. He told me that he doesn't know what he would do if you were to stop singing. It's kind of him to say such things. Whenever he asks me to sing, I say yes. I never question him. He knows what suits me and what doesn't. Yashji and his wife Pam are both very decent human beings. Before Chandni, there were strong rumours that my voice had deteriorated. Actually I'd fallen ill. Yashji had to shoot the song with a substitute voice. Then I got Yashji's urgent message, saying that I had to dub my songs immediately or it would be too late. Reluctantly, I dubbed for Mere haathon mein nau nau chudiyan hain. I wasn't satisfied with my rendition at all. But he said I was fine. Since Chandni, I've sung for all his films. He tells me six months in advance if I have to sing for his film. He is confident that Lata will never say no to him. And I never say no. Raamlaxman made news with the songs you sung for him in Maine Pyar Kiya. So why has he been talking bitterly about you of late? I can only think of one reason. Uttam Singh was an arranger for Raamlaxman. In fact, Uttam Singh still maintains that he's an arranger for Raamlaxman. Perhaps Raamlaxman is angry about Uttam Singh's music in Dil To Pagal Hai. It's one of the highest selling albums. It has no competition. Just like Raamlaxman's Maine Pyar Kiya and Hum Aapke Hain Koun..! Finally, what's the real story about Ae mere watan ke logon? Was it actually meant to be a duet as Asha Bhosle claims? I'll tell you the complete story. Hemantda (Hemant Kumar) came to me and said that in the wake of the Indo-China war, I must go to Delhi for a show on the occasion of Republic Day. I was hesitant. My sister Meena was getting married after 15 days. I was going through ill health. But every composer was after me to sing his composition at the function. I said no to everyone and decided to take four musicians with me to Delhi and sing Allah tero naam (Jaidev's song in Hum Dono). Then C. Ramchandra came to me and said, poet Pradeepji had written a patriotic song that he wanted only me to sing at the function in Delhi. Who knew at that time that Ae mere watan ke logon would become such a momentous song? Since I had turned down other composers I was hesitant. But C. Ramchandra insisted. He felt Ae mere watan ke logon would pull his career out of the doldrums. So I agreed. During the rehearsals, I suggested that we should turn the song into a duet with Asha. I don't know if she rehearsed for the song or not. But four days before we were expected to leave for Delhi, Asha backed out. I was shocked. Finally I had to rehearse and memorise the entire song from a tape on the aircraft, just a few hours before the show. I sang the song.

Panditji loved it. I went to his home to meet Indira Gandhi and Rajiv. When I returned to Mumbai, newspapers were splashed with pictures of Panditji and me. I have never stolen songs from anyone. I had suggested Asha's name myself. So why would I snatch the song away from her? I swear on my music that this is the truth. I have a feeling that someone instigated Asha into believing that Ae mere watan ke logon was meant to be her song. But you can ask Pradeepji. He'll tell you what the truth is.

Originally posted by: punjini

May I ask whom you consider to be a perfect/complete singer?

In my humble opinion, there is no perfect/complete singer till date.

A singer who is technically perfect AND has the versatility to adapt to various different genres (eastern and western) with ease would be a complete singer. That is my standard anyway - which is probably very unrealistic, 😆 but I'd like a singer like that to emerge.

As the very eccentric Sajjad himself believed - there is no end to perfection.

Lata had rivals and excellent in their field. She came up when other legendary female singers were going through some different phase of thier own. And once she gained the fame, she made sure no other can coem close to her by hook or crook. We need to remember everything is fair in the war of love and passion and she has a great passion for music

But yes she is a great singer and every Indian is proud of her

👏

Originally posted by: T.

In my humble opinion, there is no perfect/complete singer till date.

A singer who is technically perfect AND has the versatility to adapt to various different genres (eastern and western) with ease would be a complete singer. That is my standard anyway - which is probably very unrealistic, 😆 but I'd like a singer like that to emerge.

As the very eccentric Sajjad himself believed - there is no end to perfection.

👏👏👏

Even God is not perfect and makes mistake then we are merely human 😆