Bollywood Queen

In the disposable pop world of overnight stars and questionable divas, it’s commonplace to declare an artist with one or two CDs “queen” of this or “king” of that. But Bollywood singers truly have to earn such a title. With more than 20,000 documented songs in no fewer than a dozen languages, Asha Bhosle is one of the most recorded singers in history and undisputed Bollywood royalty. Although the 72-year-old singer is recognized as a Bollywood “playback” (or dubbing artist) queen, her older sister, Lata Mangeshkar, technically holds the ruling monarch title with 30,000 recorded songs and a place in the Guinness Book Of World Records as the planet’s most recorded artist. However, Ashaji, as she is called by fans (the ji suffix denoting respect) surpasses her sister and everyone else with the sheer versatility of her vocal talent.

“You have to be a good singer, have good language skills, know Hindi and Urdu and every language to make it in Bollywood,” she says. “You can’t give the feelings of the lyrics if you don’t understand the language. Without feeling, music is nothing. If it’s a sad song, inside you must cry. If it’s a dance song, inside you have to feel that you’re dancing in the temple. I am always acting as I sing.”

As the world’s largest and most prolific film industry, Bollywood churns out thousands of films each year. India’s popular music comes from these movies and the handful of playback singers that perform them. The ability to sing convincingly as the hero, the vamp, or the betrayed lover defines success and Bhosle has worked for more than five decades perfecting this skill.

“If the role is a young girl or middle-aged, I take on the role,” she says. “I do a lot of young-girl roles so my voice sounds young. There are a lot of very young-girl roles for 16 or 17-year-olds. I always think about the age before I sing.” With a lilting voice that suggests the energy of youth, Bhosle sounds and looks young. Usually covered in glittering white or pastel saris and wearing a dimpled smile, the glamorous grandmother barely looks older than 45. Yet, it was way back in 1948, when she was 10-years-old, that she sang her first movie role.

Born into an Indian musical dynasty at a time when the cinema was the main form of entertainment, Bhosle seemed destined to be a great musician. Her father was Dinanath Mangeshkar, a renowned singer, actor, and major proponent of Sangeet Natak, a regional musical theater tradition. There is no division between dance, music, and theater in Indian culture, and thanks to her father’s profession, Bhosle and her four siblings benefited from a strong foundation in all. When her father unexpectedly died in 1942, 14-year-old Lata was the first to earn a living in the cinema. All five Mangeshkar siblings became either noted singers or composers, sparking gripes among competitors that the family, especially Lata and Asha, have monopolized the Bollywood music industry.

Bhosle denies this, frankly explaining “there has just not been anyone as good as the Mangeshkars.” Starting in the industry shortly after her sister, who is four years older, Bhosle concentrated on creating a style markedly different from her sibling. “My father was a classical singer and a drama artist. He taught both of us but we use what he taught in different ways,” she says.

While Lata is known for her refined, straightahead vocals, Bhosle is famous for her versatility and penchant for musical challenges. For almost 10 years, Bhosle was relegated to B and C-grade films while her sister and Bollywood’s other leading singer, Geeta Dutt, won all the prominent roles. She worked relentlessly, grooming her gift for rhythm, mimicry, and a flawless ear. Taking on risky roles and challenging songs, she built a career on her ability to sing difficult tunes that tripped up other singers. Her breakthrough arrived in 1957, when a series of hit films propelled her into the rarified position of Bollywood royalty. She has remained there ever since.

Although she didn’t start her concert career until she had been performing in films for three decades, Bhosle always manages to remain current, as evidenced from remixes by the Black Eyed Peas and Nellie Furtado. Her new double CD, Love Supreme (Times Square), also reveals her mercurial skill at sounding fresh and innovative after so many years of performing.

A strong collection of newly recorded ghazals – love songs based in Persian and Urdu poetry – as well as duets from her most popular movies, the album clearly reveals her genius for interpretation. Opening with the catchy pop undertones of “Sarakati Jaye Hai” and gliding to the hot Cuban funk rhythms of “Aawargi,” the first disc showcases Bhosle’s voice couched in everything from Indian classical to jazz and rock, mirroring the essence of each.

The real treat on Love Supreme is the second disc of Bollywood classics hand-picked by Bhosle and offered only on the North American edition. The fun, kitsch, and sheer drama of Bollywood pours out of every tune. There’s “Duniya Mein” from the film Apna Desh, which features Asha and her former husband R.D. Burman countering her high delivery with a gruff, manic vocal. There’s also “Mere Mehboob Mein Kya Nahin” from Mere Mehboob, which she performs with Lata. A classical Indian folk song, listeners can hear the friendly rivalry as each sister aims to outdo the other. With two videos also offered on the disc, Love Supreme brings Bhosle and all her multi-layered Bollywood brilliance to Western ears.

— Rosalind Cummings-Yeates

Category: Monthly