Lata Mangeshkar is known to have given such legendary songs to the film industry that no one till now can forget those songs. She is known as the legendary singer and the best singer that the film industry has ever got. Lata Mangeshkar started recording songs when she was 13 only. Her first song was recorded in 1942. Lata Mangeshkar’s this song was recorded for a Marathi movie but the situations turned out to be different and her first song was dropped from the album of this movie.
Each and every filmmaker when making a film have a dream that he or she prays too that something happens and Lata Mangeshkar agrees to sing for their movie. But as per the record and news to Lata Mangeshkar does not sing much now and she sang her last song in 2015 for an Indo-Pak love story.
The music industry is that industry where no singer is able to hold his or her place for many years but this legendary singer, Lata Mangeshkar has been able to remain at the top of this industry for almost 73 years.
She started in 1942 and last sung in 2015 and no doubt now also if someone wants to choose between Lata Mangeshkar and any other singer he or she will choose her only. Since 1942 no competitor has been able to bring Lata Mangeshkar down from her throne and only one singer was there who was known as a singer that can sing closely to Lata Mangeshkar and she was Asha Bhosle who is the younger sister of her. In the terms of business, there was a “Mangeshkar Monopoly” at that time.
Lata Mangeshkar was blessed to be grown in a family where music was in nerves. Her family was engaged in a theater company and Lata Mangeshkar along with her sisters grew up in an environment where music was all around. Lata Mangeshkar and her sisters were so mature that they never wanted to stop after their father, their main motive was to move forward the legacy that their father has created. And for this, they started singing. These classically trained singers were so good but no one knew that in future Lata Mangeshkar will be a legendary singer.
At that time Lata Mangeshkar was so skilled that Raag Puriya Dhanashree was on her tips. Her father was the one who recognized her talent.
A few years after her dad’s passing, Lata Mangeshkar moved to Mumbai. At first, Lata Mangeshkar was guided and sustained by Master Vinayak, a producer of the 1930s and a family companion of the Mangeshkars and furthermore by Ghulam Haider, who is known for offering Lata her first reprieve. Lata’s underlying rivalry came looking like Suraiya, Shamshad Begum, and particularly, Noor Jehan who was viewed as the pundits’ sweetheart at once, a superior vocalist than Lata.
In a 2004 exposition for Outlook magazine, veteran music author Raju Bharatan contemplated whether Lata Mangeshkar would “have achieved the ‘super’ status she did if Noor Jehan (as the ‘more splendid’ voice) had decided to remain on in India after Partition?” Bharatan posed a similar inquiry to Naushad (who gave Lata Mangeshkar the life-changing pearls, for example, Tu ganga ki mauj in Baiju Bawra and Pyaar kiya toh darna kya in Mughal-E-Azam).
Naushad felt that Noor Jehan’s transition to Pakistan decimated any odds of her container India bid. “Once Noor Jehan selected to base herself in Lahore instead of Bombay,” Naushad disclosed to Bharatan, “the range and assortment of writers who came to take a shot at her vocals turned out to be consequently limited.
Since Noor Jehan no longer appreciated the incomparable bit of leeway Lata did—of music chiefs hailing from 13 conditions of India bringing to her vocals a secret stash of tunes. Accordingly Noor Jehan lethally composed herself as a Punjabi-Urdu vocalist. While Lata Mangeshkar turned into the cosmopolitan voice of all Hindustan, agent of each praanth from Maharashtra to Orissa.” And yet, it was Naushad who requested that her sing like Noor Jehan for Mehboob Khan’s Andaz (1949)!
The tune, Aayega aana waala from Mahal ensured that Lata was staying put. Through the 1950s and 60s, Lata Mangeshkar sang in each sort, from bhajans like Allah tero naam and move numbers like Hoton pe aisi baat to moony sentimental tunes like Lag jaa storm and enthusiastic jingles like Aye simple watan ke logo.
Of all music chiefs, there’s no uncertainty with respect to who Lata’s most loved was. “I imparted a unique relationship to Madan Mohan, which was significantly more than what a vocalist and a music writer share.
This was a relationship of a sibling and a sister,” she said in a 2011 gatherer’s thing schedule called Tere Sur Aur Mere Geet. “He confided in me to sing his best structures,” she continued, posting Woh chup rahe from Jahan Ara as their preferred joint effort.
In later years, Lata Mangeshkar built up a comparable loving relationship with Yash Chopra, for whom she sang a portion of her most important modern melodies. Their joint effort has yielded such hits as Dhool Ka Phool, Kabhi Kabhie, Silsila, and Dil Toh Pagal Hai.
Lata Mangeshkar even worked with Chopra’s child, Aditya, on Dilwale Dulhaniya Le Jaayenge. Maybe, Dilip Kumar, whom she addresses as her more established sibling, said all that needed to be said when he commented, “None have had the option to rise to Lata’s refinement. It is hard for anybody to contend with her since she has put so intensely in each individual who thinks about music – there’s such a great deal of Lata Mangeshkar in everybody.”