Life of Lata Mangeshkar in 1960s

The 1960s thrust Lata Mangeshkar to being known as the undisputed leading female playback singer in Hindi cinema. She recorded songs for nearly every major composer of the period, and many of these songs continue to be popular.
In 1960, her song Pyar Kiya To Darna Kya from Mughal-E-Azam (1960), composed by Naushad and picturized on Madhubala, was particularly popular. The Hawaiian-themed number Ajeeb Dastaan Hai Yeh from Dil Apna Aur Preet Parai (1960), composed by Shankar-Jaikishan and picturized on Meena Kumari, also became a hit.
In 1961, Mangeshkar took the first step on the road to reconciliation with S. D. Burman, as she recorded a bhajan, Allah Tero Naam, for Burman's assistant, Jaidev. In 1962, she bagged her second Filmfare Award for the song Kahin Deep Jale Kahin Dil from Bees Saal Baad, composed by Hemant Kumar.
On June 27, 1963, against the backdrop of the Sino-Indian War, Lata sang the patriotic song Ae Mere Watan Ke Logon (literally, "Oh, the People of My Country") in the presence of Jawaharlal Nehru, then the Prime Minister of India. The song, composed by C. Ramchandra and written by Pradeep, is said to have brought the Prime Minister to tears.
In 1963, Mangeshkar returned to collaboration with S. D. Burman, mainly as a result of a truce brokered by Burman's son and assistant (and her future brother-in-law) R. D. Burman. She recorded several popular songs for S. D. Burman, including Aaj Phir Jeene Ki Tamanna Hai, Gata Rahe Mera Dil (duet with Kishore Kumar) and Piya Tose from Guide (1965), and Hothon Pe Aisi Baat from Jewel Thief (1967).
During the 1960s, Lata Mangeshkar also sang several for one of her favorite composers, Madan Mohan. Some of their notable songs include Aap Ki Nazron Ne Samjha from Anpadh (1962), Lag Ja Gale and Naina Barse Rim Jhim from Woh Kaun Thi? (1964), Woh Chup Rahen To from Jahan Ara (1964), and Tu Jahan Jahan Chalega from Mera Saaya (1966).
The 1960s also witnessed the beginning of Mangeshkar's association with Laxmikant-Pyarelal, the music directors for whom she sang the most songs in her career. She is considered largely responsible for advancing their music career, including a recording for their first film, Parasmani (1963).
She also sang several playback songs for Marathi films, composed by notable Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself (under the name Anandghan). During the 1960s and 1970s, she also sang several popular Bengali songs, composed by music directors like Salil Chowdhury and Hemant Kumar.
Lata Mangeshkar has recorded duets with all the leading male singers of her era, including Mukesh, Manna Dey, Mohammed Rafi, and Kishore Kumar. From the 1960s, she was not on good terms with Mohammed Rafi, the leading male playback singer of that time, over the issue of royalty payments to singers. Lata wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers. But Rafi took a diametrically opposite view, and believed that a playback singer's claim on the filmmaker ended with the payment of the agreed fee for the song. During the recording of the song Tasveer Teri Dil Mein (Maya, 1961), Lata lost her cool with Rafi in a certain passage of the song. Rafi felt belittled, as the music director Salil Chowdhury chose to back Lata. The situation worsened as Lata Mangeshkar declared that she would no longer sing with Rafi. Rafi stated that he was only as keen to sing with Lata as she was with him. Later, at the insistence of S.D.Burman, the two decided to make up and sing duets, but on a personal level, they were not on good terms.

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About Lata Mangeshkar
Life of LAta Mangeshkar
Life in 1940s
Life in 1950s
Life in 1970s
Life in 1980 and On
Awards And Recognitions
Alphabetically List of Songs