#lata hit songs

[nuthingness]

तेरे होंठो पे रात ये बहाना था

गोरी तुझको तो आज नहीं आना था

[starburns]

why is my chem sir literally a high school bully

[infohundred]

लता मंगेशकर की पहली पुण्यतिथि

भारत की कोकिला लता मंगेशकर का 6 फरवरी 2022 को उनकी पहली पुण्यतिथि के अवसर पर निधन हो गया। 1929 में जन्मी, वह भारतीय फिल्म उद्योग में सबसे प्रभावशाली और प्रतिष्ठित पार्श्व गायिकाओं में से एक थीं। आठ दशक से अधिक के करियर के साथ, उन्होंने कई भाषाओं में हजारों गाने रिकॉर्ड किए और एक सांस्कृतिक प्रतीक बन गईं। मंगेशकर ने 1942 में मराठी फिल्म “किटी हसाल” से अपने गायन करियर की शुरुआत की और दुनिया में…

[doyoulikethissong-poll]

Udit Narayan - Bholi Si Surat 1997

Dil To Pagal Hai (The Heart Is Crazy) is a 1997 Indian Hindi-language musical romance film directed by Yash Chopra. The film stars Shah Rukh Khan, Madhuri Dixit, Karisma Kapoor and Akshay Kumar. It was the third film to feature Shah Rukh Khan opposite Madhuri Dixit, with two more to come, including the international hit Devdas (2002).

Made on a budget of ₹90 million (US$2.48 million), which includes print and advertising costs, Dil To Pagal Hai grossed over ₹710 million (US$19.55 million) worldwide, becoming the highest-grossing film of the year. (But tbh, personally I think it's only watchable because of its soundtrack.)

The soundtrack of Dil To Pagal Hai includes 10 songs. The songs for the film were composed by Uttam Singh, while the lyrics were written by Anand Bakshi. Most of the songs were sung by Lata Mangeshkar and Udit Narayan. The music was a major hit among the audience, with the album becoming the best-selling Bollywood soundtrack of the year and second-most of the 1990s decade, with 12.5 million soundtrack album sales. In 2008, Chopra launched an unreleased song from the soundtrack, titled "Chanda Ki Chandni (Kitni Hai Bekarar Yeh)" sung by Lata Mangeshkar & Kumar Sanu.

"Bholi Si Surat" received a total of 71% yes votes!

[thecrazyinktrovert]

Love English music all you want, but NOTHING, I repeat NOTHING, hits harder than desi music. Like every single singer has their own trademark genre which they can execute PERFECTLY?? 

Can we talk about Arijit’s Mai gehra tamas tu sunehra sawera main tera in Kalank? 

or his Tum sath ho ya na ho kya fark hai, bedard thi zindagi bedard hai in Agar tum sath ho? 

or Tujh sang sukhi roti bhaye in Mast Magan? Ok leave that. 

Lets talk about Atif’s Khayalon me lakho baaten yun toh keh gaya, bola kuch na tere saamne in Tu jaane na?

or Rafta rafta tera hua, tere bin mai hu benishan in Tera hua?

or Tenu lakhan ton chhupa ke rakhaan akkhaan te sajaa ke tu ae meri wafaa, rakh apna bana ke main tere layi aan yaara in Dil Diyan Gallan? Ok leave that

Let's talk about KK's Chaand Teri roshni ka halka sa ek saaya hai in Ajab Si?

Or dil kyun yeh mera shor kare, idhar nahi udhar nahi teri orr chale in Dil Kyu Yeh Mera?

Or lut Gaye hum teri mohabbat me in Tadap Tadap? Ok leave that.

Let's talk about Jubin Nautiyal's tum se jo mil gaye, Mausam khil gaye, khudse ladne Lage hum sawarne lage in sawarne lage?

Or Mausam mohabbaton ke, lamhe ye chahaton ke apne liya bane hai maan le in Gazab ka hai din?

Or tere bina main na rahu mere bina tu in raatan lambiyan? Fine, leave that as well. 

Lets talk about Shreya Ghoshal's kaise huzurji ye lab dikhlaaye, chuppi lagake bhi gazab hai yeh dhaye in saibo.

Or Ye ishq haaye baithe bithaaye jannat dikhaye hain in ye ishq?

Or Dil bharta nahi, aankhen rajjti nahi, chaahe kitna bhi dekhti jaaun, waqt jaaye main rok na paaun in Thodi Der?

And DO NOT get me started on Mohammad Rafi, Kishore Kumar, Lata Ji, Asha ji and Sonu Nigam. Desi songs are peak lyrics, romance, emotion and vocals. You're straight up wrong if you think ANYTHING can beat that. I love Taylor, 1D and all, but Hindi songs? Absolutely unmatched!

Comment/reblog you favourite lyrics below!

[bollywoodirect]

Tribute to Saraswati Devi, the first woman music director in Hindi films, on her 44th death anniversary (09/08/1980).

Born in a Parsi family in 1912, Saraswati Devi was a trained classical singer and rose to become India’s first woman music director of Bollywood.

A musical rage in the 30s and early 40s, Saraswati Devi's musical career was mostly confined to films produced by Bombay Talkies. Starting with 'Jawani Ki Hawa' in 1935, she went on to compose highly popular music for hit films like Achhut Kanya, Kangan, Bandhan and jhoola.

She was born as Khursheed Manchersher Minocher – Homji.

She changed her name to escape the wrath of the conservative elements of her community as they could never stand that a lady from their clan would enter the film world.

Once when at a gathering the Bombay Talkies owner Himanshu Rai heard her, he instantly invited her to join his concern as a music director. She was reluctant at first, not knowing how she would adjust herself to the needs of the film industry. But finally she accepted the offer.

She was the first woman music director no doubt. But the biggest challenge she faced was to groom non-singers into singers. That was a very, very big challenge in view of the competition from New Theatres as she didn’t have a Saigal or a Kanan to sing her compositions. That is why one should say that she had a formidable task to perform unlike her counterparts like R.C.Boral, Tamir Baran and others in Calcutta.

The biggest contribution by Saraswati Devi, therefore, was to produce hit songs through the lips of non-singers like Ashok Kumar, Devika Rani and Leela Chitnis.. Right from Achchut Kanya till Jhoola, Saraswati Devi went on rampage, so to speak, producing one hit after another. Leela Chitnis could sing hit songs like, ‘Meera ke jeevan ki sooni parri re sitar’ (Kangan), ‘Man bhavan lo sawan aya re’(Bandhan) and ‘Jhoole ke sang jhoolo jhoolo mere man’.(Jhoola) Imagine Saraswati Devi producing a golden jubilee hit in the voices of Ashok Kumar and Devika Rani in film ‘Achhut Kanya’ (a film that Nehru saw and appreciated)-‘Main ban ki chirriya ban ke ban ban bolun re’. The biggest hit by her was the marching song of Bandhan, ‘Chal chal re nau jawan’ sung in solo by Ashok Kumar, sung in chorus by Ashok Kumar and sung as a duet by him with Leela Chitnis. She used a non-singer like Sneh Prabha to sing the Puner Milan song, ‘Nacho nacho pyare man ke mor’. The male singer she had was Arun Kumar, who sung for Kishore Sahu in Punermilan, for Mumtaz Ali in ‘Jhoola’ (Main to Dilli se dulhan laya re he babuji) and others. Incidentally, it was she who gave break to Kavi Pradeep as a singer though he was writing lyrics for the concern since 1939 from film ‘Kangan’. She first used him in that immortal song of ‘Bandhan’ which is played in the back ground: ‘Piyu piyu bol praan papeehe piyu piyu bol’ Pradeep did sing subsequently some big hits after leaving Bombay Talkies. But in ‘Jhoola’ he has left behind a memorable song too tuned by Saraswati Devi: ‘Mere bichade hue saathi teri yaad sataye, baar baar teri chavi aye birha agan jaraae’

After she left Bombay Talkies, she shot into limelight again in the early fifties when she tuned two non-film ghazals for Habib Wali Mohammad. These were: ‘Lagta nahin hai dil mera ujjarre dayar mein’ and ‘Yeh na thi hamari kismet ke visaal-e-yaar hota’. When you listen to her compositions, specially the indigenously-flavored background music, you are transported into the environment of the India of the early 20th century.

During the later years of her life, the bad and selfish film world turned apathetic towards the doyenne. Not even a single person visited her when she fractured her hip bone after falling from a private bus. The legendary singer and India’s first female music director left for a better world in 1980 with no one to mourn her death. Even the media did not find her worthy of an obituary. Image: Saraswati Devi, Lata Mangeshkar, Madan Mohan, Jaikishan, Anil Biswas and Naushad

[theinfinitedivides]

listening to the PS:2 soundtrack again in an attempt to bite the bullet and psyche myself up to watch both films back to back in August(? that's the goal at least, if i get to watch it earlier even better) and i have been stuck on Veera Raja Veera for an hour and a half. i have also figured out my personal ranking for all versions of the song at last and it went about as well as i would have expected. it started to get too long for the f*cking tags tho so i decided to put in this post, we'll see how it goes from here—list is in order from least liked to most liked btw

5. going to start this off by saying i'm so so sorry to Gulzar but it's something about the rhythm for me. the lyrics are lovely but the way they are lining up with the music in the Hindi version,,,,,,, or failing to in certain parts,,,,,, it's not it. it's not it. it does well in the first minute or so and then heads downhill from there, and tbh it's not his fault i think it's just the sheer amount of syllables that they have to fit in compared to the original? and with that in mind it's not going to sound the same, obviously, but what salvages it from being a complete disappointment is the way we got both Shreya Ghoshal and Kavita Krishnamurthy as a duet in this year of our Lord 2023. Kavita, who still sounds the same as she did on the Dil Se soundtrack singing Satrangi Re and the Hum Dil De Chuke Sanam soundtrack and the Devdas soundtrack and the Yaara Dildaara soundtrack and the K3G soundtrack with Bole Chudiyan and Shreya Ghoshal who is a pleasure to listen to on practically everything she touches (Bajirao Mastani and Rab Ne Bana Di Jodi and that aalap just before her verse with Kavita here i'm looking at you) and— *inhales* *exhales* ok. do appreciate them letting Kavita take the 'चुन चुन चुन चुन / जाली रे जाली चिंगारी' portion in the Hindi translation bc she sounded beautiful there. (she always reminded me of Lata in that regard i think, and for some inexplicable reason i've by extension connected the two of them to Zohra Sehgal in some of her roles)

favorite line — 'दुश्मन पे टूटे जब | बिजलियों का वीर' / 'dushman pe toote jab | bijilyon ka vaar'. this is one of those times where the rhythm works in their favor and works well, and it leads perfectly into the rest of the verse imo. also @ that one guy going 'योद्धा~~' / 'yodhaa~~' at the very end of the song ty for your service

3. in contrast to the rhythm problems of the Hindi the Kannada recording is very smooth? i don't know if that makes sense as someone who doesn't speak the language but it's like water. like water in a stream just one after another going over the stones in the riverbed as it passes or the waves lapping against the side of the ship or the gentle sound wind chimes make when they hit against each other in the lightest breeze—the phrasing doesn't feel forced (ty Jayant Kaikini sir) and the syllables match the music as well as the original. ofc Rakshita Suresh and Sivasri Skandaprasad have a part to play with their solos in this sounding as good as it does, despite its ranking on my list (which will be explained in the next entry), and while i expected nothing less from Rakshita after Kirunage, this is the first i'm hearing from Sivasri and she blew me away. i had to listen to it several times to be able to tell them apart, and i might still be wrong bc their voice color is very, very similar, but they took what Rahman gave them and made it their own. (is it Rakshita that starts and Sivasri that continues? i'm thinking that it alternates between them with Sivasri ending that portion)

favorite line — 'ಮಳೆಗರೆವಾಗ ಬಾಣ | ಅಡಗಳು ಎಲ್ಲಿ ತಾಣಾ' / 'malegarevaaga baana | adagalu elli thaana'. this is where the river analysis stands out to me bc this feels like putting pebbles said river into a tumbler and rolling them over and over until they come out smooth and polished and just. right. (i am using the word smooth a lot to talk about the Kannada version sksksksk but can you blame me)

3. technically Malayalam and Kannada tie for third place on here (there is no fourth place. there is 4.75th place rounded up to fifth place and that belongs to the Hindi entry as previously stated) but Malayalam has the slightest edge for me. in terms of sound/pronunciation it's the closest to the original—i know most scholars believe that Malayalam descended from Tamil and split early on, so that might have something to do with it, but it sounds like a perfect cross between the flow of Kannada and the strength of the Tamil and ugh. pair that with Srinivas featuring and Shweta Mohan taking on that solo (by herself!!! and eating that sh*t like it was a duet!!!) and Rafeeq Ahamed as the lyricist and i play it almost as often as i play the original. (i was almost half expecting to hear the extension at the end in this version, that's how good it was)

favorite line — 'കടലിൽ ചുഴലി പോലെ | തവ നൗക കളിരമ്പി' / 'kadalil chuzhali pole | thava noukakalirambi'. i am in love with what Shweta does here, especially with the latter half of the line ('... നൗക കളിരമ്പി' / 'noukakalirambi') since she just heads straight into the 'വൻകടൽ...' and for some reason that is so auditorily pleasing to me. i don't have any rational thoughts behind that that's just how it is. her aalap before her verse is also breathier/softer than Shreya's if that makes sense but it fits her perfectly

2. Telugu. holy f*ck, Telugu. you put Shankar Mahadevan (i don't think i've ever heard him sing a bad song. ever. at least not what i've heard) and Chinmayi (Tere Bina???? Mayya Mayya???? Titli???? i'm still not over any of them from her????) in the same song you make every f*cking verse rhyme almost exactly courtesy of Chandrabose if Kannada is the sound of water then Telugu is pure silk and honey and the feel of something melting in your mouth and you expect me to stay alive? the actual f*ck? admittedly i may be biased bc one of my OCs is Telugu and i have been putting Telugu covers from my Bollywood playlist on loop for inspo but uh Rahman what the f*ck. what the f*ck am i supposed to do with that kind of genius

favorite line(s) — 'సమరం శ్రుతించైరా శిఖరం స్పృశించైర' / 'samaram shruthinchaira shikharam spushinchaira' & 'విధిగా తెగించైర | విధినే వదించైర | విలయం దరించైర | విజయం వరించైర' / 'vidhigaa thegincheyraa | vidhine vadhincheyraa | vilayam dharincheyraa | vijayam varincheyraa'. the f*cking alliteration? hello? also the 'veera raja veera' at the end of this version in particular gives me full body chills bc there is someone going up with the harmonization every time there's a new line. i don't know who it is but he's (they're? could be multiple vocals) going up and i am crying shaking throwing up on the floor having a spiritual experience etc etc

and finally 1. the top spot. the place where everything has been leading through this long ass piece that i have put you to suffer through

and ykw Tamil is pretty much self-explanatory i think: we bring Shankar back as we should but this time K.S Chithra (Asoka!!! Main Prem Ki Diwani Hoon!!! Bombay and Thoda Thoda from Indira/Priyanka and the live version of Jiya Jale that Rahman did in Dubai!!!) and Harini (also sang for Indira/Priyanka and featured on Varayo Thozhi from Jeans) are with him and Ilango Krishnan's lyrics take over and flatline me on the f*cking operating table. before it flatlines me however i break into goosebumps every time i hear it start, bc lbh it is impossible not to when you have the f*cking vocals coming in like 'காணீரோ? நீர் காண் | சோழ வெற்றி வாள் ஒன்றை காணீரோ? | ஓ அழகிய பூவே! செல்லுதியோ | மலரிடு போ சகி!' if you stay sane during that opening you are a liar get off my feed unfollow and block i don't want you anywhere near me for the next six years or however long it takes Mani Ratnam to make his next masterpiece. no coherent thoughts head empty MV playing on loop he and Rahman own me now they have the copyrights

favorite line (had to split everything into two blocks bc Tumblr was tryin to f*ck up my sh*t) — 'எம் தமிழ் வாழ்க வாழ்க! | வீர சோழம் வாழ்க! | நற்றமிழ் வாழ்க வாழ்க! | நல்லோர் தேசம் வாழ்க!' / 'em thamizh vaazhga vaazhga! | veera sozham vaazhga! | natramizh vaazhga vaazhga! | nallor thesam vaazhga!'. technically this isn't my favorite favorite line bc i have to do a seperate ranking for that below + it's exclusive to the Tamil version and i am trying to make this a wholistic review but. it's f*cking up there let's just say that. i think i mentioned in the tags of a different post of how i've been doing genealogy research and (in the process) tentatively confirmed the possibility of there being some South Asian descent from my dad's side, specifically Tamil or Telugu based on the stories/timeline of French occupation in the Caribbean and portions of the Indian subcontinent, and there's something in me that shifts every time we get down to the last twenty or so seconds and this hits. i don't know what it is, truly—maybe the remnants of the genes of my ancestors and their pride for their land, their language—but it's there and it's loud and if it's the right day at the right time i will start crying btw. full on sobbing like a little bitch. you didn't ask but i told you anyway

after all of *motions* that, i am also offering a bonus ranking of the section of VRV that makes me rewind every f*cking time it comes on in every language, bc it featured heavily in creating my eventual rankings and i would be remiss to not mention it. so here have this additional dive into my thought process during these trying times of hyperfixation rip

'आंधी से तेज़ | तूफ़ान से तेज़ | चुन चुन चुन चुन | जाली रे जाली चिंगारी | अंग अंग अंग अंग | लागे रे लागे अंगारे' / 'aandhi se tez | toofaan se tez | chun chun chun chun | jaali re jaali chingaari | ang ang ang ang | laagey re laagey angaare', Hindi — still at the bottom of the list here, but the inflection during the repetition ('chun chun chun chun' and 'ang ang ang ang') salvages it somewhat. nothing else to say it about it otherwise, since i already addressed Kavita's voice here earlier

'വാക്കാകെ നീ കാറ്റാക നീ | ശര ശര ശര ശരമേയ്ക | വേൽമഴ നെയ്തിട് | റ പറ പറ പറ വിറകൊൾക | പായട്ടെ പായ്വഞ്ചികൾ' / 'vaakkaaka nee kaattaaka nee | shara shara shara sharameyka | velmazha neythidu | para para para para virakolka | paayatte paayvanchikal', Malayalam — taking that third place as always, but its tied partner in the general rankings is higher up in this list for a change. i think the very last part ('പായട്ടെ പായ്വഞ്ചികൾ' / 'paayatte paayvanchikal') is what throws me off tho bc of the way they distributed the line, since on the first listen i was expecting them to go 'paayatte paayvan-chi-kal' and they chose 'paayatte pa-ay-van-chikal' instead. it's not like it decreases the overall quality of the song or anything it's just a very specific hang up i have. who knows maybe my preferred pronunciation would have f*cked with the meaning and we do not want that

'సుడిగాడ్పులా అడుగేయరా | సర సర సర సర | శరమే తనువే తాకగా | చర చర చర చర | చెలరేగాలి వేగంగా' / 'sudi gaadpulaa adugeyyaraa | sara sara sara sara | sharame thanuve thaakagaa | chara chara chara chara | chelaraegaali vegangaa', Telugu — this ties with Malayalam for third place and, much like it, my quirk is specfically with the last part ('చెలరేగాలి వేగంగా' / 'chelaregaali vegangaa'). my preferred is 'chelare-gaali ve-gan-gaa', they gave me 'chelare-gaa-li ve-gan-gaa'. again, not an issue, this is just me, i'm sure they knew what they were doing otherwise they wouldn't have recorded it like that in the first place

'ನೀ ಜ್ವಾಲೆಯು ನೀ ಗಾಳಿಯೂ | ಸರ ಸರ ಸುರಿವ | ಮಳೆಯಂತೆ ಶೂಲಗಳು | ಭರ ಭರ ಭರ ಭರನೆ | ಭೋರ್ಗರೆವ ಪಂಜುಗಳು' / 'nee jwaaleyu nee gaaliyuu | sara sara suriva | maleyanthe shoolagalu | bhara bhara bhara bharane | bhorgareva panjugalu', Kannada — there are at least two portions here that sound eerily similar to the original and that is why this version has moved up to spot two. it takes that water comparison i made and uses it to its advantage so much and it rotates in my mind like a rotisserie chicken at just at the right angle and it's just!!!! it's just!!!! God pls keep me from putting this in my mouth and biting it's too good

'கூற்றாகிச் செல்... | காற்றாகிச் செல்... | சர சர சர சரவெனவே | மழை தான் பெய்திட | பர பர பர பரவென | பாயட்டும் பாய்மரம்' / 'kootraagi sel... | kaatraagi sel... | sara sara sara saravena | velmazhai thaan peidhida | para para para paravena | paayattum paaimaram', Tamil — when this hits i blank out and come to at random intervals. cannot pinpoint the time the place etc but it happens and when it does i go f*cking feral. this one i am indeed putting in my mouth and biting bc the entire thing from 'para para...' onwards??? more alliteration more alliteration more f*cking alliteration. i remember someone making a post on here that said that certain parts of VRV sound like pearls bouncing off of the floor (was it @mizutaama? i apologize for the tag but i think that was you) and i think this is what they were referring to but my ears are that f*cking floor. i thank God every day for that

anyway mutuals (and non-mutuals who are just as obsessed about PS as i am) i'm sorry for clogging your feed with my opinions on a film i haven't even watched properly, pls feel free to roast me about my ranking choices. or agree but it doesn't really matter at this point bc even tho i could be talking out of my ass in terms of actually speaking said languages (i,,,,, do not unfortunately) i've said what i needed to say sksksksk

[coffee-without-anesthetics]

the 1-800-OŚWIECENIE album is about many things, and among them is discontent with your own situation, frustrations with the present, reminiscing the past, and wondering about the future: the first song of the album, bearing the same name as it, greets us with remembrance of past days - a thousand-days-longs vacation, just where have we been, what have we been doing with all that time? listing off many improbable and probable things alike, the narrator somewhat concludes that, maybe, "i have simply been living". he also speaks of his tiredness after it all ("i have enough of thinking / i do it all the time") and wishes for someone else to take his decisions for him. after this wondering, we are hit multiple times with nostalgia for childhood summers - Całe Lata and Gelato both sing about their heat and never-ending days that now seem like mere flashes ("summer lasted for years / now only around three weeks"), and how autumn is marching on ("september is on its way, and with it the cursed chill") despite us clinging to the unbearable sun of those times. from this fondness of the past trickles down a resentment of the present times: Mix Sałat sings of the eternal cycle of routine and the desire to break free from it, to dare to dream higher ( "quit smoking on monday / go buy some cigs on wednesday", "you painstakingly live from weekend to weekend", "cause you have life but could be living better / cause you have a boss but could be the boss yourself"). also lamenting modern times is Pakiet Platinium, which criticizes mindless consumerism with each of its verses and presents the inherent disappointment that awaits if if we fall victim to the predatory ads we live surrounded by ("i bought a car not even knowing what for but at a good price / got enticed by an ad on CNN late at night"), even so far as ending the song by singing of a man buried in a tomb bought by himself, while a priest recites a bank document listing his expenses. as for the future, it is presented as an unknowable: the final song of the album, EINECEIWŚO 800-1, is about the narrator wondering what awaits him following this release (a midnight radio emission in the narrative), rattling off dozens of things he could do before ending it with a "maybe nothing will change again / maybe i'll continue to simply live" and thanking us for listening.

[faunandfloraas]

stars and raindrops by seungmin ( in my mind it's practically Your Song) and lag ja gale se phir by Lata Mangeshkar (slow song for rainy nights + a song rec for you (⁠ ⁠╹⁠▽⁠╹⁠ ⁠) )

ooooh high compliment, thank you 🥺 this is such a lovely song, too 💗

[jurassiczoostudio]

Transport yourself to a bygone era with timeless melodies! Revisit the golden age of Bollywood with our curated collection of super hit old hindi songs mp3 free download. Relive the magic of Lata Mangeshkar's soul-stirring vocals or Kishore Kumar's enchanting tunes. Immerse yourself in the lyrical beauty of classics that have stood the test of time. Rediscover the joy of melodies that continue to resonate with generations. Dive into the musical treasure trove and download your favorite tracks effortlessly. Let the melodies of yesteryears accompany you on a nostalgic journey through the heart of Hindi cinema."

[theblackpearlofwakanda]

Explore the timeless charm of Bollywood's golden era with our curated collection of super hit old hindi songs mp3 free download in high-quality MP3 format. Immerse yourself in the soulful melodies and unforgettable lyrics that defined an era of cinematic brilliance. From Lata Mangeshkar's ethereal vocals to Kishore Kumar's iconic tunes, this treasure trove encapsulates the essence of classic Hindi cinema. Rediscover the magic of evergreen hits that have stood the test of time, transcending generations. Indulge in nostalgia and relive the beauty of vintage Bollywood with our extensive selection of super hit old Hindi songs, all easily accessible for a musical journey down memory lane.

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In Memoriam: Celebrities who died in 2022

In Memoriam: Celebrities who died in 2022

Peter Bogdanovich, 82. The ascot-wearing cinephile and director of 1970s black-and-white classics like “The Last Picture Show” and “Paper Moon.” Jan. 6.

Sidney Poitier, 94. He played roles of such dignity and intelligence that he transformed how Black people were portrayed on screen, becoming the first Black actor to win an Oscar for best lead performance and the first to be a top box-office draw. Jan. 6.

Marilyn Bergman, 93. The Oscar-winning lyricist who teamed with husband Alan Bergman on “The Way We Were,” “How Do You Keep the Music Playing?” and hundreds of other songs. Jan. 8.  

Bob Saget, 65. The actor-comedian known for his role as beloved single dad Danny Tanner on the sitcom “Full House” and as the wisecracking host of “America’s Funniest Home Videos.” Jan. 9.

Dwayne Hickman, 87. The actor and network TV executive who despite numerous achievements throughout his life would always be remembered fondly by a generation of baby boomers for his role as Dobie Gillis. Jan. 9.  

Ronnie Spector, 78. The cat-eyed, bee-hived rock ‘n’ roll siren who sang such 1960s hits as “Be My Baby,” “Baby I Love You” and “Walking in the Rain” as the leader of the girl group the Ronettes. Jan. 12.

Fred Parris, 85. The lead singer of the 1950s harmony group the Five Satins and composer of the classic doo-wop ballad “In the Still of the Night.” Jan. 13.

Ralph Emery, 88. He became known as the dean of country music broadcasters over more than a half-century in both radio and television. Jan. 15.

Yvette Mimieux, 80. The blond and blue-eyed 1960s film star of “Where the Boys Are,” “The Time Machine” and “Light in the Piazza.” Jan. 17.

Meat Loaf, 74. The rock superstar loved by millions for his “Bat Out of Hell” album and for such theatrical, dark-hearted anthems as “Paradise By the Dashboard Light,” “Two Out of Three Ain’t Bad,” and “I’d Do Anything for Love (But I Won’t Do That).” Jan. 20.  

Louie Anderson, 68. His four-decade career as a comedian and actor included his unlikely, Emmy-winning performance as mom to twin adult sons in the TV series “Baskets.” Jan. 21.

Howard Hesseman, 81. He played the radio disc jockey Dr. Johnny Fever on the sitcom “WKRP in Cincinnati” and the actor-turned-history teacher Charlie Moore on “Head of the Class.” Jan. 29.  

Ashley Bryan, 98. A prolific and prize-winning children’s author and illustrator who told stories of Black life, culture and folklore in such acclaimed works as “Freedom Over Me,” “Beautiful Blackbird” and “Beat the Story-Drum, Pum-Pum.” Feb. 4.

Lata Mangeshkar, 92. A legendary Indian singer with a prolific, groundbreaking catalog and a voice recognized by more than a billion people in South Asia. Feb. 6.

Betty Davis, 77. A bold and pioneering funk singer, model and songwriter of the 1960s and ‘70s who was credited with inspiring then-husband Miles Davis’ landmark fusion of jazz and more contemporary sounds. Feb. 9.

Bappi Lahiri, 69. A popular Bollywood singer and composer who won millions of fans with his penchant for feet-tapping disco music in the 1980s and 1990s. Feb. 15.

Mark Lanegan, 57. The singer whose raspy baritone and darkly poetic songwriting made Screaming Trees an essential part of the early Seattle grunge scene and brought him an acclaimed solo career. Feb. 22.

Sally Kellerman, 84. The Oscar and Emmy nominated actor who played Margaret “Hot Lips” Houlihan in director Robert Altman’s 1970 film “MASH.” Feb. 24.  

Emilio Delgado, 81. The actor and singer who for 45 years was a warm and familiar presence in children’s lives and a rare Latino face on American television as fix-it shop owner Luis on “Sesame Street.” March 10.

Traci Braxton, 50. A singer who was featured with her family in the reality television series “Braxton Family Values.” March 12.

William Hurt, 71. His laconic charisma and self-assured subtlety as an actor made him one of the 1980s foremost leading men in movies such as “Broadcast News,” “Body Heat” and “The Big Chill.” March 13.  

Brent Renaud, 50. An acclaimed filmmaker who traveled to some of the darkest and most dangerous corners of the world for documentaries that transported audiences to little-known places of suffering. Killed in Ukraine when Russian forces opened fire on his vehicle. March 13.

Taylor Hawkins, 50. For 25 years, he was the drummer for Foo Fighters and best friend of frontman Dave Grohl. March 25.

Estelle Harris, 93. She hollered her way into TV history as George Costanza’s short-fused mother on “Seinfeld” and voiced Mrs. Potato Head in the “Toy Story” franchise. April 2.  

June Brown, 95. She played the chain-smoking Cockney matriarch Dot Cotton on the British soap opera “EastEnders” for 35 years. April 3.

Bobby Rydell, 79. A pompadoured heartthrob of early rock ’n roll who was a star of radio, television and the movie musical “Bye Bye Birdie.” April 5.

Gilbert Gottfried, 67. The actor and legendary standup comic known for his raw, scorched voice and crude jokes. April 12.

Liz Sheridan, 93. She played doting mom to Jerry Seinfeld on his hit sitcom. April 15.

Robert Morse, 90. An actor who won a Tony Award as a hilariously brash corporate climber in “How to Succeed in Business Without Really Trying” and a second one a generation later as the brilliant, troubled Truman Capote in “Tru.” April 20.

Naomi Judd, 76. Her family harmonies with daughter Wynonna turned them into the Grammy-winning country stars The Judds. April 30.

MORE: Maren Morris, Carrie Underwood and more react to death of Naomi Judd

Mickey Gilley, 86. A country singer whose namesake Texas honky-tonk inspired the 1980 film “Urban Cowboy” and a nationwide wave of Western-themed nightspots. May 7.

Fred Ward, 79. A veteran actor who brought a gruff tenderness to tough-guy roles in such films as “The Right Stuff,” “The Player” and “Tremors.” May 8.

Ray Liotta, 67. The actor best known for playing mobster Henry Hill in “Goodfellas” and baseball player Shoeless Joe Jackson in “Field of Dreams.” May 26.  

Andy “Fletch” Fletcher, 60. Keyboardist for British synth pop giants Depeche Mode for more than 40 years. May 26.

Ronnie Hawkins, 87. A brash rockabilly star from Arkansas who became a patron of the Canadian music scene after moving north and recruiting a handful of local musicians later known as the Band. May 29.

Ann Turner Cook, 95. Her cherubic baby face was known the world over as the original Gerber baby. June 3.  

Jim Seals, 80. He teamed with fellow musician “Dash” Crofts on such 1970s soft-rock hits as “Summer Breeze,” “Diamond Girl” and “We May Never Pass This Way Again.” June 6.

Jean-Louis Trintignant, 91. A French film legend and amateur race car driver who earned acclaim for his starring role in the Oscar-winning film “A Man and a Woman” half a century ago and went on to portray the brutality of aging in his later years. June 17.

Mark Shields, 85. A political commentator and columnist who shared his insight into American politics and wit on “PBS NewsHour” for decades. June 18.

James Caan, 82. The curly-haired tough guy known to movie fans as the hotheaded Sonny Corleone of “The Godfather” and to television audiences as both the dying football player in the classic weeper “Brian’s Song” and the casino boss in “Las Vegas.” July 6.  

Tony Sirico, 79. He played the impeccably groomed mobster Paulie Walnuts in “The Sopranos” and brought his tough-guy swagger to films including “Goodfellas.” July 8.

Larry Storch, 99. The rubber-faced comic whose long career in theater, movies and television was capped by his “F Troop” role as zany Cpl. Agarn in the 1960s spoof of Western frontier TV shows. July 8.  

William “Poogie” Hart, 77. A founder of the Grammy-winning trio the Delfonics who helped write and sang a soft lead tenor on such classic ���Sound of Philadelphia” ballads as “La-La (Means I Love You)” and “Didn’t I (Blow Your Mind This Time).” July 14.

Taurean Blacque, 82. An Emmy-nominated actor who was known for his role as a detective on the 1980s NBC drama series “Hill Street Blues.” July 21.  

Paul Sorvino, 83. An imposing actor who specialized in playing crooks and cops like Paulie Cicero in “Goodfellas” and the NYPD sergeant Phil Cerreta on “Law & Order.” July 25.

Tony Dow, 77. As Wally Cleaver on the sitcom “Leave It to Beaver,” he helped create the popular and lasting image of the American teenager of the 1950s and 60s. July 27.  

Bernard Cribbins, 93. A beloved British entertainer whose seven-decade career ranged from the bawdy “Carry On” comedies to children’s television and “Doctor Who.” July 27.

Nichelle Nichols, 89. She broke barriers for Black women in Hollywood as communications officer Lt. Uhura on the original “Star Trek” television series. July 30.  

Pat Carroll, 95. A comedic television mainstay for decades, Emmy-winner for “Caesar’s Hour” and the voice of Ursula in “The Little Mermaid.” July 30.

Judith Durham, 79. Australia’s folk music icon who achieved global fame as the lead singer of The Seekers. Aug. 5.  

Olivia Newton-John, 73. The Grammy-winning superstar who reigned on pop, country, adult contemporary and dance charts with such hits as “Physical” and “You’re the One That I Want” and won countless hearts as everyone’s favorite Sandy in the blockbuster film version of “Grease.” Aug. 8.

Lamont Dozier, 81. He was the middle name of the celebrated Holland-Dozier-Holland team that wrote and produced “You Can’t Hurry Love,” “Heat Wave” and dozens of other hits and helped make Motown an essential record company of the 1960s and beyond. Aug. 8.  

Wolfgang Petersen, 81. The German filmmaker whose World War II submarine epic “Das Boot” propelled him into a blockbuster Hollywood career that included the films “In the Line of Fire,” “Air Force One” and “The Perfect Storm.” Aug. 12.

Anne Heche, 53. The Emmy-winning film and television actor whose dramatic Hollywood rise in the 1990s and accomplished career contrasted with personal chapters of turmoil. Aug. 14.

Bob LuPone, 76. As an actor, he earned a Tony Award nomination in the original run of “A Chorus Line” and played Tony Soprano’s family physician, and also helped found and lead the influential off-Broadway theater company MCC Theater for nearly 40 years. Aug. 27.

Charlbi Dean, 32. The South African actor and model who had a breakout role in “Triangle of Sadness,” which won this year’s top prize at the Cannes Film Festival. Aug. 29.

Marsha Hunt, 104. One of the last surviving actors from Hollywood’s so-called Golden Age of the 1930s and 1940s who worked with performers ranging from Laurence Olivier to Andy Griffith in a career disrupted for a time by the McCarthy-era blacklist. Sept. 7.

Ramsey Lewis, 87. A renowned jazz pianist whose music entertained fans over a more than 60-year career that began with the Ramsey Lewis Trio and made him one of the country’s most successful jazz musicians. Sept. 12.

Jean-Luc Godard, 91. The iconic “enfant terrible” of the French New Wave who revolutionized popular cinema in 1960 with his first feature, “Breathless,” and stood for years among the film world’s most influential directors. Sept. 13.

Irene Papas, 93. The Greek actor and recording artist renowned for her dramatic performances and austere beauty that earned her prominent roles in Hollywood movies as well as in French and Italian cinema over six decades. Sept. 14.  

Henry Silva, 95. A prolific character actor best known for playing villains and tough guys in “The Manchurian Candidate,” “Ocean’s Eleven” and other films. Sept. 14.

Louise Fletcher, 88. A late-blooming star whose riveting performance as the cruel and calculating Nurse Ratched in “One Flew Over the Cuckoo’s Nest” set a new standard for screen villains and won her an Academy Award. Sept. 23.

Pharoah Sanders, 81. The influential tenor saxophonist revered in the jazz world for the spirituality of his work. Sept. 24.

Coolio, 59. The rapper was among hip-hop’s biggest names of the 1990s with hits including “Gangsta’s Paradise” and “Fantastic Voyage.” Sept. 28.

Kevin Locke, 68. An acclaimed Native American flute player, hoop dancer, cultural ambassador and educator. Sept. 30.

Sacheen Littlefeather, 75. The actor and activist who declined Marlon Brando’s 1973 Academy Award for “The Godfather” on his behalf in an indelible protest of Hollywood’s portrayal of Native Americans. Oct. 2.

Loretta Lynn, 90. The Kentucky coal miner’s daughter whose frank songs about life and love as a woman in Appalachia pulled her out of poverty and made her a pillar of country music. Oct. 4.

Judy Tenuta, 72. A brash standup who cheekily styled herself as the “Love Goddess” and toured with George Carlin as she built her career in the 1980s golden age of comedy. Oct. 6.

Jody Miller, 80. Her hit “Queen of the House” won the 1966 Grammy Award for best country performance by a woman. Oct. 6.

Anita Kerr, 94. A Grammy-winning singer and composer whose vocal group the Anita Kerr Singers provided the lush backdrop to the Nashville Sound. Oct. 10.

Angela Lansbury, 96. The scene-stealing British actor who kicked up her heels in the Broadway musicals “Mame” and “Gypsy” and solved endless murders as crime novelist Jessica Fletcher in the long-running TV series “Murder, She Wrote.” Oct. 11.

Robbie Coltrane, 72. The baby-faced comedian and character actor whose hundreds of roles included a crime-solving psychologist on the TV series “Cracker” and the gentle half-giant Hagrid in the “Harry Potter” movies. Oct. 14.

Joanna Simon, 85. An acclaimed mezzo-soprano, Emmy-winning TV correspondent and one of the three singing Simon sisters who include pop star Carly. Oct. 19.

Lucy Simon, 82. The composer who received a Tony nomination in 1991 for her work on the long-running Broadway musical “The Secret Garden.” Oct. 20.

Leslie Jordan, 67. The Emmy-winning actor whose wry Southern drawl and versatility made him a comedy and drama standout on TV series including “Will & Grace” and “American Horror Story.” Oct. 24.

Julie Powell, 49. A food writer who became an internet darling after blogging for a year about making every recipe in Julia Child’s “Mastering the Art of French Cooking,” leading to a book deal and a film adaptation. Oct. 26.

Jerry Lee Lewis, 87. The untamable rock ‘n’ roll pioneer whose outrageous talent, energy and ego collided on such definitive records as “Great Balls of Fire” and “Whole Lotta Shakin’ Goin’ On” and sustained a career otherwise upended by personal scandal. Oct. 28.

Takeoff, 28. A rapper best known for his work with the Grammy-nominated trio Migos. Nov. 1.

George Booth, 96. A prize-winning cartoonist for The New Yorker who with manic affection captured the timeless comedy of dogs and cats and the human beings somehow in charge of their well being. Nov. 1.

Aaron Carter, 34. The singer-rapper who began performing as a child and had hit albums starting in his teen years. Nov. 5.

MORE: Backstreet Boys perform emotional tribute to Aaron Carter during show

Leslie Phillips, 98. The British actor best known for his roles in the bawdy “Carry On” comedies and as the voice of the Sorting Hat in the “Harry Potter” movies. Nov. 7.

Jeff Cook, 73. The guitarist who co-founded the country group Alabama and steered them up the charts with such hits as “Song of the South” and “Dixieland Delight.” Nov. 8.

Gal Costa, 77. The singer was an icon in the Tropicalia and Brazilian popular music movements and enjoyed a nearly six-decade career. Nov. 9.

Kevin Conroy, 66. The prolific voice actor whose gravely delivery on “Batman: The Animated Series” was for many Batman fans the definitive sound of the Caped Crusader. Nov. 10.

Gallagher, 76. The long-haired, smash-’em-up comedian who left a trail of laughter, anger and shattered watermelons over a decadeslong career. Nov. 11.

John Aniston, 89. The Emmy-winning star of the daytime soap opera “Days of Our Lives” and father of actress Jennifer Aniston. Nov. 11.

Robert Clary, 96. A French-born survivor of Nazi concentration camps during World War II who played a feisty prisoner of war in the improbable 1960s sitcom “Hogan’s Heroes.” Nov. 16.

Jason David Frank, 49. He played the Green Power Ranger Tommy Oliver on the 1990s children’s series “Mighty Morphin Power Rangers.” Nov. 19.

Wilko Johnson, 75. The guitarist with British blues-rock band Dr. Feelgood who had an unexpected career renaissance after being diagnosed with terminal cancer. Nov. 21.

Irene Cara, 63. The Oscar, Golden Globe and two-time Grammy winning singer-actor who starred and sang the title cut from the 1980 hit movie “Fame” and then belted out the era-defining hit “Flashdance ... What a Feeling” from 1983′s “Flashdance.” Nov. 25.

Freddie Roman, 85. The comedian was a former dean of The Friars Club and a staple of the Catskills comedy scene. Nov. 26.

Christine McVie, 79. The British-born Fleetwood Mac vocalist, songwriter and keyboard player whose cool, soulful contralto helped define such classics as “You Make Loving Fun,” “Everywhere” and “Don’t Stop." Nov. 30.

Julia Reichert, 76. The Oscar-winning documentary filmmaker behind “American Factory” — often called the “godmother of American independent documentaries” — whose films explored themes of race, class and gender, often in the Midwest. Dec. 1.

Bob McGrath, 90. An actor, musician and children’s author widely known for his portrayal of one of the first regular characters on the children’s show “Sesame Street.” Dec. 4.

Kirstie Alley, 71. A two-time Emmy winner whose roles on the TV megahit “Cheers” and in the “Look Who’s Talking” films made her one of the biggest stars in American comedy in the late 1980s and early 1990s. Dec. 5.

Angelo Badalamenti, 85. The composer best known for creating otherworldly scores for many David Lynch productions, from “Blue Velvet” and “Twin Peaks” to “Mulholland Drive.” Dec. 11.  

Stephen “tWitch” Boss, 40. The longtime and beloved dancing DJ on “The Ellen DeGeneres Show” and a former contestant on “So You Think You Can Dance.” Dec. 13.

MORE: Ellen DeGeneres mourns tWitch in first on-camera message since his death

Shirley Eikhard, 67. The singer-songwriter who supplied songs for Cher, Emmylou Harris, Anne Murray, Chet Atkins and found lasting fame penning Bonnie Raitt‘s Grammy-winning 1991 hit “Something to Talk About.” Dec. 15.

Thom Bell, 79. The Grammy-winning producer, writer and arranger who helped perfect the “Sound of Philadelphia” of the 1970s with the inventive, orchestral settings of such hits as the Spinners’ “I’ll Be Around” and the Stylistics’ “Betcha by Golly, Wow.” Dec. 22.  

**It’s only December 28, this list might expand**

Pelé 82. (1940–2022), soccer icon Dec. 29

Barbara Walters 93. 1929 – 2022) was an American broadcast journalist and television personality. Dec. 30

Pope Benedict XVI, 95; born Joseph Aloisius Ratzinger, 1927 –2022. was the head of the Catholic Church and sovereign of the Vatican City State from 19 April 2005 until his resignation on 28 February 2013. Dec. 31

[my-music-1460]

Jatin-Lalit: Reviving Melodious Music in Bollywood

The name Jatin-Lalit evokes nostalgia and admiration among Bollywood music lovers. This legendary music duo carved an unparalleled niche for themselves in the 1990s, creating melodies that continue to resonate across generations. Known for their ability to blend soulful tunes with memorable lyrics, Jatin-Lalit’s compositions have stood the test of time. Their work, filled with emotional depth and innovative sounds, has left an indelible mark on the Indian music industry. Whether it’s the iconic love ballads from Dilwale Dulhania Le Jayenge or the energetic beats of Jo Jeeta Wohi Sikandar, Jatin-Lalit mastered the art of making songs that linger in the hearts of listeners. Their influence on Bollywood’s golden era remains undeniable, ensuring that their legacy endures.

The Beginning of a Golden Era

Jatin-Lalit began their musical journey with the 1992 film Yaara Dildara. Although the movie didn’t make waves, its song Bin Tere Sanam became an instant hit and remains a classic even today. This early success marked the start of a career that would define Bollywood’s musical landscape for over a decade. The duo’s ability to create tunes that appealed to both traditional and modern audiences set them apart from their contemporaries.

Signature Style of Jatin-Lalit

Jatin-Lalit’s signature style was deeply rooted in melody. Unlike many composers who experimented heavily with Western influences, the duo focused on creating songs that emphasized emotional resonance. Their music was often characterized by:

Simple yet powerful melodies.

Thoughtful integration of instruments like the flute, tabla, and violins.

Lyrics that perfectly complemented their tunes, often penned by celebrated lyricists like Anand Bakshi and Sameer.

Songs like Tujhe Dekha To Ye Jana Sanam (DDLJ) and Pehla Nasha (Jo Jeeta Wohi Sikandar) exemplify their mastery over romance and nostalgia.

Chartbusters and Accolades

Jatin-Lalit’s discography reads like a greatest hits album of 1990s Bollywood. Films such as Dilwale Dulhania Le Jayenge, Kuch Kuch Hota Hai, and Kabhi Khushi Kabhie Gham are iconic not just for their cinematic excellence but also for their unforgettable music.

Some of their most notable songs include:

Mehndi Laga Ke Rakhna — A wedding anthem that remains a staple in Indian celebrations.

Jaadu Teri Nazar — A hauntingly beautiful love ballad.

Ladki Badi Anjaani Hai — A playful and charming duet.

The duo received numerous awards and nominations throughout their career, including Filmfare Awards for Best Music Director.

Collaborations with Bollywood’s Finest

Jatin-Lalit worked with some of Bollywood’s most celebrated voices, including Lata Mangeshkar, Kumar Sanu, Udit Narayan, and Alka Yagnik. These collaborations brought out the best in both the singers and the compositions, creating songs that have become benchmarks in Indian music.

They also had fruitful partnerships with directors such as Yash Chopra and Karan Johar, ensuring that their music perfectly aligned with the storytelling of the films.

Parting Ways and Solo Ventures

In 2006, Jatin-Lalit decided to part ways, ending a chapter that had given Bollywood some of its most cherished melodies. While both ventured into solo projects, their collective magic remains unmatched. Fans continue to hope for a reunion, but their existing body of work is a treasure trove of timeless music.

Why Jatin-Lalit’s Music Stands the Test of Time

One of the reasons Jatin-Lalit’s music remains evergreen is its universal appeal. Their compositions are not bound by trends or fads but are instead rooted in genuine emotion and musicality. Even decades later, their songs are celebrated in karaoke sessions, wedding playlists, and Bollywood retrospectives.

Conclusion: Jatin-Lalit’s legacy in Indian music is nothing short of legendary. Their ability to create timeless tunes that transcend generations is a testament to their unparalleled artistry. From soulful ballads to energetic dance numbers, their music encapsulates the very essence of Bollywood’s golden era. The focus keyword, “Jatin-Lalit,” continues to be synonymous with quality, emotion, and nostalgia in the Indian music landscape. As fans revisit their iconic tracks, it becomes clear that their contributions to Bollywood will be cherished forever.

[musicverse11]

Mohammed Rafi and the Magic of Romantic Melodies

When we think of Bollywood’s golden era, a few names stand out as legends who shaped its identity. Among them, Mohammed Rafi holds a special place as a singer whose voice transcended generations. Born on December 24, 1924, in Kotla Sultan Singh near Amritsar, Rafi’s journey from a small village to becoming the most celebrated playback singer in Indian cinema is nothing short of extraordinary. His melodious voice, incredible versatility, and dedication to his craft made him an icon whose songs continue to touch millions of hearts worldwide.

This article explores how Rafi defined an era of Indian music, his contributions to Bollywood, and the lasting legacy of his unmatched talent.

A Humble Beginning

Mohammed Rafi’s life began in a modest household in Punjab, where his love for music was evident from a young age. Legend has it that Rafi was inspired by a wandering fakir who sang soulful tunes in his village. This early exposure to music planted the seeds of a passion that would later blossom into a legendary career.

Rafi’s family recognized his potential and supported his ambitions, leading him to train under esteemed musicians like Ustad Bade Ghulam Ali Khan and Firoze Nizami. His rigorous training in classical music became the foundation of his versatile singing style, which allowed him to perform effortlessly across various genres. Despite his growing talent, Rafi remained humble, a trait that endeared him to colleagues and fans alike.

Rise to Stardom in Bollywood

Rafi’s Bollywood journey began in 1944 when he sang for the Punjabi film Gul Baloch. However, his big break came in 1946 with the song “Tera Khilona Toota Balak” in Anmol Ghadi, composed by Naushad Ali. This marked the beginning of a partnership that would produce some of the most iconic songs in Indian cinema.

Rafi’s golden era coincided with Bollywood’s rise during the 1950s and 60s. Collaborating with renowned composers such as Shankar-Jaikishan, S.D. Burman, and O.P. Nayyar, Rafi lent his voice to leading actors like Dilip Kumar, Dev Anand, and Shammi Kapoor. His ability to adapt his singing style to suit the personality of the actor on screen was unparalleled, earning him the reputation of being Bollywood’s most versatile playback singer.

A Voice for Every Mood

One of Rafi’s greatest strengths was his ability to convey a spectrum of emotions. Whether it was the romantic charm in “Chaudhvin Ka Chand Ho,” the spiritual depth in “Man Tarpat Hari Darshan Ko Aaj,” or the playful mischief in “Sar Jo Tera Chakraye,” Rafi’s voice captured the essence of every mood.

He was equally adept at soulful ghazals, energetic dance numbers, and heart-wrenching ballads. Songs like “Kya Hua Tera Wada” and “Dil Deke Dekho” highlight his ability to evoke deep emotion, while tracks like “Yahoo! Chahe Koi Mujhe Junglee Kahe” demonstrate his knack for high-energy performances. This versatility set him apart from his contemporaries and ensured that his voice became the heartbeat of Bollywood music.

Timeless Collaborations

Rafi’s collaborations with composers and lyricists played a crucial role in shaping Bollywood’s musical landscape. His long association with Naushad resulted in evergreen classics like “O Duniya Ke Rakhwale” and “Madhuban Mein Radhika Nache Re.” His work with Shankar-Jaikishan gave us gems like “Baharon Phool Barsao.”

Notably, Rafi’s duets with female playback singers like Lata Mangeshkar and Asha Bhosle are considered some of the finest in Indian music history. Whether it was the romantic “Aaja Sanam” with Lata or the lively “Aankhon Hi Aankhon Mein” with Asha, Rafi’s voice complemented his co-singers perfectly, creating magical musical moments.

Challenges and Triumphs

Like any artist, Rafi faced challenges throughout his career. The rise of Kishore Kumar during the 1970s led to increased competition, yet Rafi’s resilience and dedication never wavered. He continued to deliver hits, such as “Pardah Hai Pardah” from Amar Akbar Anthony and “Main Zindagi Ka Saath” from Hum Dono. His humility and professional ethics won him admiration from peers and music directors alike.

Despite his immense success, Rafi remained grounded, always prioritizing his craft over personal gain. It is said that he would often refuse payment for songs if the producer faced financial difficulties, highlighting his generous and selfless nature.

The Legacy of a Legend

Rafi’s untimely death in 1980 left a void in the Indian music industry that remains unfilled. Yet, his legacy lives on through the countless songs he recorded over his career. He received several awards, including the Padma Shri in 1967, in recognition of his contribution to Indian music.

Today, Rafi’s songs continue to resonate with audiences of all ages. His music is a bridge between generations, played at family gatherings, weddings, and cultural events. Even decades after his passing, Rafi’s voice has an unmatched ability to evoke emotions and connect people through the universal language of music.

Conclusion

Mohammed Rafi voice is not just a part of Bollywood’s history; it is a symbol of its golden era. His ability to embody the essence of every song, combined with his humility and dedication, made him a legend whose influence extends far beyond the boundaries of cinema. As we listen to his timeless tracks today, we are reminded of a time when music was pure, heartfelt, and unforgettable.

Mohammed Rafi’s songs are more than just melodies; they are memories etched in time. Which Rafi classic is your favorite? Share your thoughts and memories in the comments below. And if you’re new to his music, take a journey through his discography to discover the magic of a voice that truly defined an era.

[bollywoodirect]

Birthday greetings to the living music legend of the Hindi film industry, Sri #Pyarelal Ramprasad Sharma (03/09).

The iconic music director duo #LaxmikantPyarelal is synonymous with Hindi film music, particularly its popular hits. Born on September 3, 1940, Pyarelal Ramprasad Sharma is the son of the renowned trumpeter, Pandit Ramprasad Sharma, also known as Babaji. Under his father's guidance, Pyarelal started learning the violin at just 8 years old, dedicating 8 to 12 hours daily to practice. He further refined his violin skills under Goan musician Anthony Gonsalves. The song "My Name Is Anthony Gonsalves" from the film Amar Akbar Anthony is a tribute to Gonsalves, featuring music by the Laxmikant–Pyarelal duo.

At 12, Pyarelal began playing the violin in various studios, including Ranjit Studios, to support his family financially. His brother, Gorakh Sharma, also contributed by playing guitar for songs composed by Laxmikant-Pyarelal.

The duo first gained widespread recognition with their music for the 1964 film Dosti, produced by Rajshri Productions. Despite relatively unknown lead actors, the film's memorable songs like "Chahoonga Main Tujhe Shaam Savere" and "Rahi Manwa" made it a hit. Many initially thought Laxmikant–Pyarelal was a single person. They won their first Filmfare Award for Best Music Director for Dosti, beating industry giants like Shankar–Jaikishan and Madan Mohan. Their subsequent work in films like Lootera, which featured famous Lata Mangeshkar songs, also gained fame.

By 1966, Laxmikant–Pyarelal had firmly established themselves in Bollywood. They continued to earn acclaim for their music in films like Aaye Din Bahar Ke and Pyar Kiye Jaa. In 1967, they had a series of hits, including the Golden Jubilee musical hit Farz, and other big-star films like Anita and Shagird. They won their second Filmfare Award for the film Milan.

Laxmikant–Pyarelal, along with contemporaries like Rahul Dev Burman and Kalyanji-Anandji, represented a new era in Bollywood music, overshadowing earlier composers. They were frequently chosen by major film producers and consistently delivered exceptional music.

Their significant collaboration with lyricist Anand Bakshi led to some of Bollywood’s most iconic songs, appearing in over 250 films. Anand Bakshi wrote the lyrics for all the films that earned Laxmikant–Pyarelal Filmfare Awards, except for their first. #RajeshKhanna also had a long-standing professional relationship with the duo, choosing them as the music directors for 26 of his films.

Another fruitful partnership was with singer Asha Bhonsle, who voiced numerous hits composed by Laxmikant–Pyarelal, including chart-toppers like "Dhal Gaya Din" and "Hungama Ho Gaya." The latter song was re-recorded for the 2014 film Queen and became a massive hit again. Between 1980 and 1986, Asha Bhonsle was often the lead vocalist for their compositions. Laxmikant–Pyarelal also scored music for the Telugu film Majnu in 1987, which was well-received for its musical numbers.