Asha Bhosle nee Mangeshkar, like her slightly more famous sister Lata Mangeshkar, has been a standard in Bollywood’s music history. From the early 1950s to 2025, Asha sang till her last, constantly re-inventing and re-invigorating, finding new styles with new music directors. Her voice has been a mainstay in the lives of all Bollywood fans.
Her passing on the 12th of April 2026 at the age of 92 gives all those fans one last chance to go down memory lane and even discover things they may have missed. In the following list, the writer specifically marks the end of an important chapter for the voice in all Indian music.
The Early Years (1950)
‘Chanda Mama Door Ke’ (Vachan)
This is the original “lodi” (lullaby). A timeless song that generations have grown up hearing, passing down to their children, and today found in various animated forms. In whatever version, Asha Ji’s voice is so clear and distinct from start to end of this 3-minute song. A simple rhythm played on a drum and a flute to bridge verse and chorus is all else that is needed.
‘Aaiye Meherbaan’ (Howra Bridge)
Ashok Kumar walks into a bar, where Madhubala sings a haunting tune to wine the night away. “Shokh se li jiye ji, ishq ki imtihan” is a line that will be forever etched in the minds of all listeners; its gentle crescendo and in Asha Ji’s voice, the song seems to be taking a bow. OP Nayyar knew exactly what he wanted, and Asha Ji delivered perfectly. Lively, joyful, yet with a touch of sinister plans, the audience is not yet familiar with.
’Uden Jab Jab Zulfen Teri’ (Naya Daur)
Who could pass up the chance to duet with Mohammad Rafi? Not Asha Ji. While this song is picturised as an early version of another Asha hit ‘Radha Kaise Na Jale’ from Lagaan, it is truly more friendly and more playful in its intent. Asha Ji can show the dance in her voice, even without watching Vyjayantimala on screen! Like so many of the songs listed here, it’s a very early version of the form, telling a tale of love, without losing an eye on the plot.
’China Town’ (China Town)
“Thandi baharo se hai, gulzar China Town” sings Asha Ji backing up for a young Helen. As with all her songs, this one shows off the brightness and lively emotions that she just seemed to infuse into a song. This is the first time she is singing the title song for a film, but takes it on with ease and grace. Ravi, as music director, has so much confidence in her that he uses the minimum of instrumentation: hand drum and acoustic guitar.
’Aao Huzur Tumko’ (Kismat)
Babita Kapoor’s famous song, showing that even a lady of class can be an alcoholic, was sung by none other than Asha Bhosle. Once again, OP Nayyar finds exactly the right instrumentation to bring forward the atmosphere of a party in a bar, without losing her voice in it all. Asha Ji is allowed to play the drunkard as if she were on screen, bringing a rolling wave but never losing the mood of slight melancholy.
R.D. Burman Years (1970)
’Piya Tu Ab To Aaja’ (Caravan)
“Monica!!! Oh my Darling!” exclaims RD Burman as the hero of the song arrives to save Helen from some horrible fate to do with a cage. Asha Bhosle having already worked with Pancham Da, plays along perfectly. In a great coincidence, it is RD Burman that is remembered most for this song, even today with its use in Dhurandhar. This only shows how Asha Ji’s energy made everyone around her better too.
’Dum Maro Dum’ (Apna Desh)
Western media would have it that the 60s were a time of liberation, freedom and experimentation. Thus, the drug culture was born. For India, this sub-culture only arrived in the 70s and this song… well this song is its theme tune. RD Burman was by this point a household star, bringing elements of the Beatles and Bob Dylan for Asha Bhosle to play with. The result is epic: both a cool vibe and a religious allegory, not giving either power over the other.
’Jaane Jaan Dhoondtha’ (Jawani Deewani)
While Lata was being tested to her vocal limits by Madan Mohan, it was known Asha Ji didn’t have the same vocal range and dropped off on higher notes. She and Pancham Da had no problems with this here though, making full use of her lower register to make a ‘cool’ love song and Kishore Kumar partnering on the high notes as if he was looking for Asha in a forest himself!
’Chura Liya Hai Tumne’ (Yaadon Ki Baarat)
The late 70s, moving into the early 80s were a time for gentler parties… a return to decorum and a halt on the Dum Maro Dum attitudes. Once again, a duet between Rafi and Asha was needed and of course this song delivered. While the spotlight is almost stolen by Zeenat Aman ‘playing’ a glass to start the song, a light acoustic guitar and unmistakable love lyrics allows Asha’s elegance to slide into audience hearts.
’In Aakhon ki Masti’ (Umrao Jaan)
While ghazals are not new to Hindi cinema and weren’t even when Asha Ji sang this song, this song has become in time the epitome of Bollywood ghazal. Rekha sits as courtesans over the centuries would have done and Asha gives her the guile of the temptress, while delivering a perfect ghazal form. The lyrics give the game away here “Ek tum hi Nahin tanha, ulfat me meri rusawa”, but Asha Ji adds contempt to the next line to skilfully hide it away again.
A.R. Rehman Years (1995)
’Rangeela Re’ (Rangeela)
If someone says the name Urmila Mantodkar, the first association is with this song. It also often comes up in top lists of AR Rehman songs. Effectively a children’s song put to a very 90s hip-hop beat, Rehman did something here no one was expecting: used Asha Bhosle to bring youth to a song. This is of course the first of many times he uses her in this form, but this was such a transformative lifeline for the ever-vibrant Asha Ji.
’O Bhanvare’ (Daud)
If Rafi was an irresistible duet partner, then KJ Yesudas is sheer magic to sing with. AR Rehman brought along the maestro for the first time in many years to sing in Bollywood and Asha Bhosle was the only sensible choice to partner him. A rebellion song, with a Jamaican vibe… ‘Rebel with time to spare’. Once again Asha Ji makes this into one of KJ Yesudas’ best songs of all time, with her energy providing full support for his Carnatic melody.
’Meherbaan’ (Tehzeeb)
Asha Ji has already shown she knows her way around a ghazal, but ARR has a special trick up his sleeve for this song: a rock ghazal! Asha Bhosle takes the powerful love lyrics “Maine samjha tha tum jaane loge mujhe” and ARR makes it something for Urmila Mantodkar to dance to. This whole film seems to be about putting a new twist on an old story and Asha ji goes along exactly with this vibe to bring a new genre of music to life.
’Kahin Aag Lage’ (Taal)
Rehman begins this song with nature sounds, but Asha Bhosle makes this into a song. There is pain, there is dread, there is a power ballad and yet it never breaks down into full sadness thanks to Asha ji. In this there is an inner strength which is then picturised by Aishwarya Rai. While Rehman doesn’t shy away from instrumentation in this song, he ensures Asha’s voice always dominates, bringing its message of hope for all.
’Dhuan Dhuan’ (Meenaxi)
In Bollywood today, it’s common to find sexually expressive songs both for leading ladies as well as for the cabaret numbers. While this song isn’t a pioneer in that space, it brings together AR Rehman, Tabu, Gulzar and MF Hussain; so, it needed a superstar to sing it. Thus came a sultry tone from Asha Bhosle, with all the necessary heavy breathing elements to make for a very charged atmosphere indeed.
Non-Bollywood Hits
’September Madham’ (Alaipayuthey)
Better known to Bollywood in its remake form ‘Chori Pe Chori’ from Saathiya, this is all the anger that was missing from Kahin Aag Lage. Set on a beach, the whole gang is out for the day along with the hero and heroine. The drinks (coconuts) are flowing, the clothes are light, the swimsuits are in full display. Asha ji shows her ability to sing beautifully even in Tamil and Rehman gives her an exciting beat to keep up with.
‘Kabhi to Nazar Milao’ (Private – Adnan Sami)
Adnan Sami may have been making his first album for the Indian market, but along with Asha Bhosle they made a timeless love song to counterpoint the super smash hit song ‘Lift Kara De’. Nothing more than piano, saxophone and a tabla playing a very basic beat structure is needed to weave an intriguing tale told in lyrics and the accompanying video.
‘Mone Pore Ruby Roy’ (Private – Self)
As a personal project, Asha Bhosle combined her love for her Bengali roots as well as her love for RD Burman, to release an album of his favourite Bengali songs: as sung by her for what would have been his 75th birthday. ‘I remember you Ruby Roy’, is a personal favourite of the writer, but any song could have been taken from this album to celebrate the voice that sang it and provide tribute to a 20-year partnership in music.
‘Konja Neeram’ (Chandramukhi)
Before Bhool Bhuliya was head-lined by Akshay Kumar, it was called Chandramukhi in Tamil and head-lined by Rajnikanth. This simple love song acknowledges all the signs that came up to this point in the story and so doesn’t need to be flashy in its acknowledgement. Even here, singing with Madhu Balakrishnan, Asha ji keeps it cool, keeps it smooth; but unmistakably her.
‘The Shadowy Light’ (Private – Gorillaz)
Gorillaz are an incredibly well-known band of fictional characters who are always innovating in styles, themes and lyrics for every album they make. In their most recent venture, they decided to bring their sound to Indian music and released 15 songs which represented everything they saw as they travelled North India. While they stand on a representation of Mount Kailash staring out at clouds, Asha ji delivers a religious hope for peace and harmony even at the ripe young age of 90!
While many songs have been highlighted above, so many more have been missed. ‘In Aakhon Ki Masti’ was an amazing hit song, but Asha Bhosle sang most of the songs for that film. Many of those are hits too. Similarly, it would be impossible to try to condense the 20 -year partnership between her, Pancham Da and Kishore Kumar into 1 article.
Asha Bhosle was nominated 18 times for “Filmfare Best Female Playback” and she won 8 of those. In 2001, she was awarded a Lifetime Achievement award. To think that she continued her career for effectively another 25 years after that is astounding. Nevertheless, whatever the style, the atmosphere or who she sang with and/or for, she always found a way to shine and made those around her brighter. The writer hopes she will be remembered for this above all else.
