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Lata Mangeshkar was born in Indore on September 8, 1929, and became, absolute simply, the most accessible playback singer in Bollywood's history. She has sung for over 50 years for actresses from Nargis to Preity Zinta, as well as having recorded albums of all kinds of song. Before the 1991 edition, when her entry retreat, the Guinness Book of World Records listed her as the most-recorded artist in the world with not less than 30,000 single, duet, and chorus-backed songs recorded in 20 Indian languages between 1948 and 1987. Today that number efficiency have reached 40,000!
His father Dinanath Mangeshkar was the owner of a theater company and a considered classical singer in his own satisfactory. He started giving Lata singing lessons from the age of five, and she also studied with well-known singers Aman Ali Khan Sahib and Amanat Khan. Even at a young age she shown a God-given musical gift and could master vocal performance the first time.
Ironically, for someone of her stature, she made her entry into Bollywood at the wrong time - around the 1940’ s, when bass singers with heavily voices, such as Noor Jehan and Shamshad Begum were in style. She was deserted from many projects because it was believed that her voice was too high-pitched and thin. The resources of her entry into the industry were no less unfortunate - her father died in 1942, the responsibility of earning income to support her family fell upon her, and between 1942 and 1948 she acted in as many as eight films in Hindi and Marathi to take care of economic tribulation. She made her introduction as a playback singer in the Marathi film Kiti Hasaal (1942) but, ironically, the song was edited out!
However, in 1948, she got her big opportunity with Ghulam Haider in the film Majboor (1948), and 1949 saw the release of four of her films: Mahal (1949), Dulari (1949), Barsaat(1949), and Andaz (1949); all four of them became runaway hits, with their songs reaching to heights of what was until then unseen popularity. Her unusually high-pitched singing represented the trend of heavily nasal voices of the day totally antiquated and, within a year, she had changed the face of playback singing forever. The only two lower-pitched singers to survive her treble offensive to a certain expansion were Geeta Dutt and Shamshad Begum.
Her singing style was initially nostalgic of Noor Jehan, but she soon overcame that and elaborate her own distinctive style. Her sister, Asha Bhosle, too, came up in the late 1950s and the two of them were the queens of Indian playback singing right through to the 1990s. Her voice had a special multifaceted quality, which meant that finally music composers could stretch their creative speculation to the fullest. Although all her songs were immediate hits under any composer, it was the composers C. Ramchandra and Madan Mohan who made her sound her sweetest and challenged her voice like no other music director.
The 1960s and 1970s saw her go from, even as there were allegation that she was monopolizing the playback-singing industry. However, in the 1980s, she shorted her workload to consolidate on her shows abroad. Today, Lata sings occasionally against a sudden renaissance in her popularity, but even today some of Hindi Cinema's biggest hits, including Dilwale Dulhania Le Jayenge (1995), Dil To Pagal Hai(1997), and Veer-Zaara (2004) feature her well-known voice.
No matter which female playback singer breaks through in any generation, she cannot replace the timeless voice of Lata Mangeshkar. She is an icon without icons....
His father Dinanath Mangeshkar was the owner of a theater company and a considered classical singer in his own satisfactory. He started giving Lata singing lessons from the age of five, and she also studied with well-known singers Aman Ali Khan Sahib and Amanat Khan. Even at a young age she shown a God-given musical gift and could master vocal performance the first time.
Ironically, for someone of her stature, she made her entry into Bollywood at the wrong time - around the 1940’ s, when bass singers with heavily voices, such as Noor Jehan and Shamshad Begum were in style. She was deserted from many projects because it was believed that her voice was too high-pitched and thin. The resources of her entry into the industry were no less unfortunate - her father died in 1942, the responsibility of earning income to support her family fell upon her, and between 1942 and 1948 she acted in as many as eight films in Hindi and Marathi to take care of economic tribulation. She made her introduction as a playback singer in the Marathi film Kiti Hasaal (1942) but, ironically, the song was edited out!
However, in 1948, she got her big opportunity with Ghulam Haider in the film Majboor (1948), and 1949 saw the release of four of her films: Mahal (1949), Dulari (1949), Barsaat(1949), and Andaz (1949); all four of them became runaway hits, with their songs reaching to heights of what was until then unseen popularity. Her unusually high-pitched singing represented the trend of heavily nasal voices of the day totally antiquated and, within a year, she had changed the face of playback singing forever. The only two lower-pitched singers to survive her treble offensive to a certain expansion were Geeta Dutt and Shamshad Begum.
Her singing style was initially nostalgic of Noor Jehan, but she soon overcame that and elaborate her own distinctive style. Her sister, Asha Bhosle, too, came up in the late 1950s and the two of them were the queens of Indian playback singing right through to the 1990s. Her voice had a special multifaceted quality, which meant that finally music composers could stretch their creative speculation to the fullest. Although all her songs were immediate hits under any composer, it was the composers C. Ramchandra and Madan Mohan who made her sound her sweetest and challenged her voice like no other music director.
The 1960s and 1970s saw her go from, even as there were allegation that she was monopolizing the playback-singing industry. However, in the 1980s, she shorted her workload to consolidate on her shows abroad. Today, Lata sings occasionally against a sudden renaissance in her popularity, but even today some of Hindi Cinema's biggest hits, including Dilwale Dulhania Le Jayenge (1995), Dil To Pagal Hai(1997), and Veer-Zaara (2004) feature her well-known voice.
No matter which female playback singer breaks through in any generation, she cannot replace the timeless voice of Lata Mangeshkar. She is an icon without icons....
Lata Mangeshkar Bengali Songs Download here :
Lata Vol-1
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