Asha Bhosle

Breakthrough

Bhosle’s breakthrough in Bollywood came in 1957 with the song “Ude Jab Jab Zulfein Teri,” a duet with Mohammad Rafi composed by O.P. Nayyar for the film Naya Daur (“New Era”). The success of the track marked the start of a long-standing collaboration with Nayyar, who featured Bhosle as his lead female vocalist in films such as Johnny Walker (1957), Duniya Rang Rangeeli (1957), and Qaidi (1957). In the 1960s she also formed a popular singing partnership with Rafi, and they recorded many hits such as “Abhi Na Jaao Chhod Kar” (1961; Hum Dono) and “Deewana Hua Badal” (1964; Kashmir Ki Kali). This was a period of a royalty-related dispute between Rafi and Asha’s sister, Lata Mangeshkar, which led to a break in the dominant Rafi-Lata duet pairing. This hiatus helped to create space for other female voices to flourish in mainstream Hindi film music, resulting in several collaborations between Bhosle and Rafi. In this phase of her career Bhosle began to demonstrate her vocal inventiveness with songs that were both technical and emotive, such as the playful “Aaja Aaja Main Hoon Pyar Tera” (1966; Teesri Manzil) and the seductive “Raat Akeli Hai Bujh Gaye Die” (1967; Jewel Thief).

In the 1970s, Bhosle’s singing style was influenced by western music. Central to this style was her collaboration with the music director R.D. Burman, which resulted in many disco and pop hits. Her range of playback singing included voicing characters that were flirtatious, introspective, or rebellious. Burman’s compositions incorporated Latin rhythms, Afro-Caribbean music, jazz, rock, and experimental orchestration, demanding vocal flexibility. Songs such as “Chura Liya Hai Tumne Jo Dil Ko” and “Lekar Hum Deewana Dil” (1973; Yaadon Ki Baaraat) and “Yeh Ladka Haye Allah” (1977; Hum Kisise Kum Naheen) became some of her best known songs. Some other memorable hits of hers include playful duets like “Dhal Gaya Din” (1970; Humjoli) and “Kehdoon Tumhen Ya Chup Rahun” (1975; Deewaar). Bhosle’s “Yeh Mera Dil Yaar Ka Diwana” served as a glamorous addition to the film (Don; 1978) and was a notable instance of her work in a Bollywood genre of suggestive songs unrelated to the plot. While the genre has attracted criticism for objectifying women, the songs themselves remain immensely popular.

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In the 1980s, Bhosle retained her prominence in the ever-evolving music scene by continually reinventing herself. In this decade she proved that her talent went far beyond the westernized pop songs she was often associated with. She showcased her range for the film Umrao Jaan (1981), partnering with composer Khayyam to sing classical Urdu ghazals. Her soulful renditions of “Dil Cheez Kya Hai” and “In Ankhon Ki Masti” in the movie amazed critics and audiences alike, dispelling any notion that she was limited to cabaret or disco. These ghazals earned Bhosle her first National Film Award for best female playback singer. By this time, she had displayed mastery over all genres: from bhajans (devotional songs) such as “Chalo Bulava Aaya Hai” and qawwalis such as “Raaz Ki Baat Keh Doon Toh” to folk songs such as “Bugadi Mazi Sandli Ga” and romantic ballads such as “Abhi Na Jaao Chhod Kar,” there was no style that she had not conquered. Throughout the 1980s, Bhosle continued recording extensively, including regional film songs (such as Bengali and Marathi cinema) and chart-topping duets with rising singers of the time. Her notable hits included the flirtatious “Jawani Janeman” (1982; Namak Halaal), and “Raat Baki” (1982; Namak Halaal), under Bappi Lahiri’s music direction.

In the 1990s and 2000s, Bhosle repositioned herself to compete with fresh and younger singers by updating her style to match contemporary music trends. Her 1995 songs “Tanha Tanha” and “Rangeela Re” from the film Rangeela (“Colorful”) revitalized her career. These songs also marked the beginning of a partnership with the Indian singer and composer A.R. Rahman, who featured her vocals in films such as Taal (1999; “Rhythm”) and Lagaan (2001; “Land Tax”). A notable hit of hers in Lagaan was “Radha Kaise Na Jale” (“How Can Radha Not Feel Jealous?”) which is known for its blending of classical themes with contemporary cinematic storytelling. Some other hits of hers in the 2000s include “Kambakth Ishq” (2001; Pyaar Tune Kya Kiya), “Khallas” (2002; Company), and “Sharara” (2002; Mere Yaar Ki Shaadi Hai).

Bhosle’s musical journey extended far beyond Bollywood. She also experimented with Indipop, a genre of Indian pop music that emerged in the 1990s, and collaborated with international artists. In 1997 she released a pop album titled Janam Samjha Karo alongside Leslee Lewis (an Indian singer and composer). She also contributed to the hit “Bow Down Mister” (1991), a track by Boy George’s band Jesus Loves You, which features Bhosle’s vocals over a fusion of house rhythms and Hare Krishna chants. Bhosle was the first Indian singer to be nominated for a Grammy Award for her contribution to Ustad Ali Akbar Khan’s music album Legacy. She collaborated with international artists across genres, contributing vocals to Michael Stipe’s “The Way You Dream” and working with ensembles like the Kronos Quartet on You’ve Stolen My Heart, a reimagining of R.D. Burman’s classics, which was nominated for a Grammy Award in the best contemporary world music album category.

Honors and awards

In recognition of her achievements, she was honored with the Dadasaheb Phalke Award, an award presented by the government for achievement in cinema, in 2000. In 2008 she received the Padma Vibhushan, India’s second-highest civilian honor.

Bhosle was also widely recognized for her performances in Bollywood. She won the National Film Award for best female playback singer in 1982 for her songs in the film Umrao Jaan and again in 1988 for “Mera Kuchh Saamaan” (Ijaazat; 1987). She won the Filmfare Award for best female playback singer seven times. She received a Filmfare special award in 1996 and a Filmfare Lifetime Achievement Award in 2001. She also won the International Viewer’s Choice at the 1997 MTV Video Music Awards for her updated rendition of “O Mere Sona Re.”