Lata could keep the softness, but with Usha in such songs, it went out of the window. Her voice developed an edge and became piercing and shrill and naturally loud. A full-throated song was where she and Lata were as different as chalk and cheese. In this song, one can discern a change taking place in her voice quality. O Meri Maina from Pyar Kiye Ja (1966) with Manna Dey was a comic song that she sang for the third female lead. Both the sister-singers got equal parts in the song.
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Tum Ko Piya Dil Diya from Shikari (1963)was another duet with Lata Mangeshkar that was the most celebrated song from the movie and still maintains its popularity.
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Her other well-known duet is O Albele Panchhi from Devdas (1955) with Asha. The song triggered more offers for such dance numbers. Her most famous Hindi film duet is Aplam Chaplam Chaplai Re from the movie Azad (1955) with Lata. She even had trios and quadruples with other singers. For big banners, her contribution was always a duet or two for the side heroine, and not the main lead. With other singers, she occasionally got an opportunity to sing duets for the main lead, but for low-budget films. But, if occasionally the heroine was a part of the song, her sister would sing for the heroine. Her repertoire consists of many duets, most of which are with her sisters. But given her superficial similarity to Lata, any self-assurance would not have mattered. The constant comparison that inevitably takes place when siblings are involved would have been absent and perhaps given her more self-confidence. There is a school of thought of the opinion that had she not been a Mangeshkar, she may have fared much better.
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When you have the best, why go to the second-best, even if she is the sister. If Lata had not stopped singing with Rafi over the royalty dispute, Suman Kalyanpur would have been nowhere, so similar she was to Lata. Till the film came along, the similarity with Lata made her career unremarkable. Then how does she sound different from Lata in the Jai Santoshi Maa bhajan? Listen to Ankhon Mein Surma Daal from Rani Roopmati (1957). But in the virtuosity department, she remained behind Lata and Asha. Not that she was not trained - she had formal training under Ustad Amanat Ali Khan and Ustad Aman Ali Khan. With Lata and Asha as sisters, how does anyone succeed? How does one break through the clutter? When even Asha remained overshadowed for so many years and finally came into her own with OP Nayyar, what chance did Usha have? Very tough. Usha is the youngest sister among the sisters - Lata Mangeshkar, Meera Khadikar and Asha Bhosle, and elder to her music-director brother Hridaynath Mangeshkar. Her voice is what works in large religious gatherings - demanding attention from all devotees, right up to the back row. In retrospect, getting Usha to sing was a masterstroke. In the film’s remake in 2006, she was retained for the same songs. She will always remain Goddess Santoshi Maa’s voice. Usha was roped in instead (that would be her misfortune – a poor filmmaker’s Lata). A small-budget film, its filmmaker could not afford the reigning singers' fees to sing the famous bhajans penned by Kavi Pradeep.
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The film made history when it was released.
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The song was Main to Aarti Utarun Re from the film Jai Santoshi Maa (1975). It was being played all over the nation since 1975. It was played in temples, pandals, satsangs, bhajan mandlis and bhandaras. Of course, what I was hearing was nothing unknown. In the midst of all this surreal drama, my attention veered towards the loud song blaring from a huge speaker. I wondered how this was even possible medically. The motion picked up momentum and soon became frenzied. The lady of the house, our neighbour, always in a cervical collar for spondylitis, was collar-free and was moving her head in a circular motion, with hair flying all over the map, eyes closed. What I saw in the drawing-room held me in thrall, as it did the others sitting with folded hands (which I found odd but whose mystery would shortly get resolved). There was a stampede which I had to negotiate to eventually get inside. This required a closer examination and I too went down. A throng had collected outside the house below and people were jostling to get inside through the door. Curious, I stepped out to the first-floor balcony to see what the fuss was all about. In no time, I could hear people assembling outside and my own aunt rushed out. I was preparing for my UPSC exams one evening in early 1981 in my room (I was staying with my uncle those days), when I heard a man shout excitedly from the square below (these were government quarters) – “ Mata chadh gayi, Mata chadh gayi”.