When I hear Asha Bhosle, I see Sangeet ki Maharani in my mind. I remember when I was a six year old, in my village, only two-three people had transistor radios. So, I would listen to music from a distance. Her voice had so much power that it used to pull me towards it. It remains etched in my heart and mind. At the age of 22, I came to Mumbai. I can still recall my first recording with her. It was Chawl Mein Maal Leke Aaya Hai from Gehra Zakhm (1981). The song had Ashaji, Mohammad Rafi, Anand Kumar C, and me. RD Burman had composed the music. Aamir Khan and Gracy Singh in a still from ‘Lagaan’. Pic/Youtube Then I recorded many regional songs with Ashaji. I would never believe that the Asha Bhosle was singing with me. And later, my son, Aditya, sang his first song with her, the title track of Rangeela (1995)! Ashaji wasn’t only gifted, but also did a lot of tapasya. She worked hard. She worked like a lioness, tirelessly. She was also such a jovial person. She would laugh, play and joke around. She was very spirited, in her work as well as in her personal life. She could sing any kind of song, be it classical, ghazal, devotional, comedic or romantic. I have such fond memories of recording with her. But Radha Kaise Na Jale from Lagaan (2001) is the most special. That song will never fade. She was history of Indian cinema and music fraternity. Aisa lagta hai aaj ek itihaas chala gaya. (L-R) Lata Mangeshkar and Asha Bhosle. Pic/Instagram Did you know? Lata Mangeshkar and Asha Bhosle sang over 80 songs throughout their career, including ‘Main Chali Main Chali’ from ‘Padosan’ (1968), ‘Chaap Tilak Sab Chhini’ from ‘Main Tulsi Tere Aangan Ki’ (1978), and many more As told to Priyanka Sharma
13 April,2026 08:23 AM IST | Mumbai | Udit NarayanWhen I think of Asha Bhosle, my mind goes straight to the four or five stalwart singers ever to be born besides her — Mohammed Rafi saab, Lata Mangeshkarji, Mukeshji, Manna Dey, and of course Kishore Kumar. These singers could put life into songs and make them immortal. They were the epitome of love. My fondest memory of Asha didi is from before she would even step up to the microphone. She would often sit by herself, quietly, and practise classical paltas at length. Nobody would really notice, as everyone would be busy with their own work. I used to quietly watch her doing that and wonder — if this was just the way she was warming up, what could be the depth of her real riyaaz. We recorded quite a few songs together, and needless to say, there are many stories to go by. But this is something I will always remember about her. As told to Priyanka Sharma
13 April,2026 08:16 AM IST | Mumbai | Rajesh RoshanFor me, Asha Bhosle was never just a voice behind the screen. She was an integral part of my performance, almost like a co-actor I could rely on completely. One memory that always stays with me is how easy it felt to step into a scene after hearing her sing. She would bring out every nuance, the expressions, the playfulness, and the emotion. It made my job so much easier. In fact, I would often feel that my performance became better because she had sung the song in such a perfect, expressive manner. I just had to follow that feeling, and it would naturally reflect on screen. I remember this song from Satte Pe Satta (1982), I couldn’t crack it until I heard her song and then I knew how to go with it. She would even call us to the studio when she was recording so we worked on the songs in tandem. Thus, the songs were so synced up. Whether it was something lively like in Seeta Aur Geeta (1972) or a more character-driven song like in Khushboo (1975), she could adapt to every mood effortlessly. That versatility is something very rare. She could sing for a young girl, for a village character, for something classical, everything with the same ease and conviction. Offstage, too, she was just as wonderful. I truly feel that artistes like her are irreplaceable. Many singers have come and will come, but there was something about Ashaji, her range, her spirit, and her energy, that cannot be compared. As told to Mohar Basu
13 April,2026 08:11 AM IST | Mumbai | Hema MaliniOne of my earliest memories of Asha Bhosle is deeply personal. I’ve always called her aatya [paternal aunt], as she shared a close bond with my Guruji, Pandit Jitendra Abhisheki, even tying him rakhi. That warmth and familial connection is how I first came to know her — not just as a legend, but as someone who felt like family. I recently experienced the person behind the icon on the sets of a reality show I was judging, where she came as the special guest. She was incredibly warm, full of life, and instantly made me feel at ease. She kept asking if I had eaten and whether I enjoyed food. When I said I did, she smiled and said, “Come, I’ll cook for you. Come to Dubai, I have a restaurant there.” There’s also something many people often overlook — is how foundational her work in Marathi music has been. Long before the scale of Hindi film music took over conversations, she, along with stalwarts like Lata Mangeshkar, built a rich and enduring legacy in Marathi. Working with composers such as Sudhir Phadke and Dasharath Pujari, she brought to life compositions that were intricate, emotive, and technically demanding. A significant part of this journey was also independent music. Many of these songs were not tied to films but were released as albums, at a time when non-film music thrived on pure musicality. In many ways, that phase laid the groundwork for what we now recognise as independent music in India. The freedom composers had, and the way Asha Tai rendered even the most complex pieces with effortless grace, made that era truly special. Pic/Rane Ashish Did you know? In 2002, Asha Bhosle opened her maiden restaurant, Asha’s, in Dubai. Later, she launched more outlets across the world, including in Bahrain and Qatar. The singer enjoyed North Indian cuisine As told to Komal RJ Panchal
13 April,2026 08:06 AM IST | Mumbai | Mahesh KaleToday, on the passing of my all-time favourite singer, Asha Bhosleji, I find myself reflecting deeply. While in Rangeela (1995), AR Rahman composed the music, it was Ashaji’s voice that infused it with an immortal soul and raw, youthful fire. Rangeela Re wasn’t just a song, it was a thunderclap that shook Bollywood. Urmila’s [Matondkar] electrifying moves on the streets of Mumbai, fused seamlessly with Ashaji’s playful sensuality and mischievous energy, redefined the music’s rebellious spirit. Ram Gopal Varma. Pic/Yogen Shah I remember the legendary singer walking into the studio with the poise of a queen, yet carrying the childlike curiosity of a newcomer, hungry to experiment with a new-age music director like AR Rahman. One take, a small adjustment in phrasing or emotion, and the magic flowed like a torrential storm. Coincidentally, today [April 12] marks the 24th anniversary of her track, Khallas, from my film Company [2002], shot on Isha Koppikar. Ashaji wasn’t just a singer, she was the heartbeat of an entire era. Her voice flowed like a river through generations, bridging classical roots with modern beats across multiple languages and diverse emotions. From sensuality to soul-stirring depth, she captured the full spectrum of human feeling like no one else ever did. Rest in power, Ashaji. You might have moved on to another place, but your music will remain here forever. As told to Upala KBR
13 April,2026 07:58 AM IST | Mumbai | Ram Gopal VarmaAshaji [Bhosle] has been my most favourite singer of all times. Unki aawaz mein jo rass aur shararat hai, it’s unmatched. Ab ke aiyo barkha bidesi from Namkeen (1982) — I listen to it every single day, and each day I discover something new. Paens will continue to be written about her. Her voice will remain immortal, but what I will cherish is the memories she has left behind for us. What I admire most is her gumption, fearlessness, and desire to take risks and push her own parameters. My favourite song of Ashaji is Ab ke aiyo barkha bidesi from Gulzar saab’s movie that was picturised on me. I was relieved I didn’t have to lip-sync to it because I would never have been able to emote the nuances of her singing even if I had tried 200 times! We spent a lot of time together during Covid-19 in Khandala, and she would never make a fuss when we asked her to sing. Such a sport with a strong zest for life! As told to Upala KBR
13 April,2026 07:52 AM IST | Mumbai | Shabana AzmiDil Padosi Hai (1987). It’s difficult to say how many odes to Asha Bhosle will pause to acknowledge this remarkable non-film album, but for me, it remains the work that sealed my conviction of her singularity. By then, of course, I was familiar with the well-circulated highlights of her film career. But Dil Padosi Hai revealed something deeper. Across its 14 tracks, penned by Gulzar and composed by RD Burman, she stretched effortlessly across moods and idioms: from the classically inflected serenity of Bheeni Bheeni Bhor, to the sensuous playfulness of Raat Christmas Ki Thi. It is in albums like this that one encounters Bhosle not just as a voice of songs, but as an artiste of boundless imagination: restless, refined, and entirely inimitable. Bhosle leaves behind a musical legacy so vast and varied that it resists easy summation. She was not merely one of the defining voices of Indian cinema; she continuously reshaped what that voice could be. Born in 1933 in Sangli, Maharashtra, into the illustrious Mangeshkar family, she grew up in an environment steeped in music. While her elder sister Lata Mangeshkar quickly rose to become the pre-eminent playback singer of her time, Bhosle carved her own path, often navigating the film industry’s margins before stepping into its centre. In her early years, she was frequently assigned songs that others declined — cabaret numbers, dance tracks, or compositions for secondary characters. But what might have been a limitation became, in time, her greatest strength. Songs like Ab Ke Baras from Bandini (1963) and Raat Akeli Hai from Jewel Thief (1967) offer evidence of the depth, nuance, and vivacity she could bring to a composition even when these were not shot on the ‘heroine’. (L-R) Anuradha Patel and Naseeruddin Shah in ‘Ijaazat’ Pics/Youtube Her breakthrough came in the 1950s, particularly through her collaboration with composer OP Nayyar. Songs like Aaiye Meherban (Howrah Bridge, 1950) and Yeh Hai Reshmi Zulfon (Mere Sanam, 1965) carried a modern, rhythmic vitality that set them apart. Bhosle’s voice introduced a new sensibility to Hindi film music, one that allowed for flirtation, mischief, and urban sophistication. If Nayyar helped establish her identity, it was her partnership with Burman that expanded it exponentially. Their creative synergy produced some of the most memorable songs in Indian cinema. From the infectious energy of Aaja Aaja (Teesri Manzil, 1966) to the haunting introspection of Mera Kuch Saamaan (Ijaazat, 1987), Bhosle demonstrated a remarkable ability to inhabit vastly different emotional landscapes. Her voice could be sensuous, rebellious, tender, or melancholic, often within the span of a single film. She did not just adapt to genres; she redefined them. She brought a distinctive flair to cabaret songs, lent depth to ghazals, embraced pop and Indipop with equal ease, and even ventured into international collaborations. Her foray beyond film music found a fresh audience in the late 1990s with Jaanam Samjha Karo (1997), a non-film album composed by Leslee Lewis. Its standout track, the lilting Raat Shabnami, became an immediate favourite, connecting her with a younger generation. She continued to explore diverse collaborations, teaming up with Adnan Sami on Kabhi To Nazar Milao, and even Australian cricketer Brett Lee on You’re The One for Me. In 2006, she received her second Grammy nomination for You’ve Stolen My Heart: Songs from RD Burman’s Bollywood, a project recorded with the Kronos Quartet that reinterpreted her late husband’s music for a global audience. And balancing these crowd-pleasers were albums like Legacy, recorded with Ustad Ali Akbar Khan, which fetched her first Grammy nomination in 1997. With her passing, an era of Indian music draws to a close. She helped shape not just an industry, but the emotional vocabulary of a nation. And yet, her legacy is not confined to nostalgia. It lives on in the countless songs that continue to resonate across time, in the artistes she inspired, and in the very idea of what a playback singer can be. In the end, Bhosle did more than sing. She transformed music into an expression of life in all its complexity, playful and profound, ephemeral and eternal. With her departure, the silence she leaves behind is immense, but so too is the echo of her voice, which will continue to be heard for generations to come. (An editor by profession, Shantanu Ray Chaudhuri has edited The Swinging Seventies: Stars, Style and Substance in Hindi Films, the anthology on ’70s Bollywood)
13 April,2026 07:51 AM IST | Mumbai | Shantanu Ray ChaudhuriThey say that a small tree can never grow under the shade of a big one, but if anyone proved it wrong, it was Ashaji. Lataji [Mangeshkar] was a goddess [in Hindi playback singing]; no singer could hold their own in front of her. Many singers tried to sing like her. But Ashaji developed her own style of singing and created her own identity. The Mangeshkar sisters ruled the Indian film music industry for over 55 years. Life experiences create depth, and that was present in both of them. She sang her first song when she was only 10 years old. That means an 83-year career and what an impact she has left! I will always remember what Ashaji told me once. She said, ‘When you look for happiness in life and relationships, you may be hurt. True happiness lies only in your work. If you think you have done your work well, that will give you true satisfaction.’ Among my favourite songs that I had written for her is Radha Kaise Na Jale from Lagaan [2000]. There is also Kanha Jo Aaye Palat Ke from Sardari Begum [1996]. When I would write the lyrics, I would know that only Ashaji could sing it. In Rahul Rawail’s film [Aur Pyaar Ho Gaya, 1997], she was to sing a song with Nusrat Fateh Ali Khan. It was a challenging tune, and Ashaji realised it was her agni pariksha. She heard it twice with rapt attention before going behind the mic. When she sang it, Nusrat Fateh Ali couldn’t stop saying, ‘Waah, waah!’ My sister, a star Pic/Ashish Raje Javed Akhtar recalled how he interviewed Lata Mangeshkar for a TV channel, where she reflected on her sister Asha Bhosle’s versatility. He said, “Lataji told me, ‘Asha can sing the songs that I have. Lekin Asha ne jo saare gaane gaye hai, woh saare gaane main nahin gaa sakti’.” Did you know? Asha Bhosle launched a virtual singing talent hunt, ‘Asha Ki Asha’, during the pandemic-induced lockdown, in 2020 As told to Upala KBR
13 April,2026 07:39 AM IST | Mumbai | Javed AkhtarI lip-synced for the first time with her song in Kashmir Ki Kali (1964), Deewana Hua Badal. Plus, Ashaji was there when I gave my first shot. After the shot, she gave me a big hug. For a newcomer, it makes such a difference when somebody of Asha Bhosle’s stature says kind words to you. She need not have, but she did. I have always been grateful to her for that. All the songs she sang for me were beautiful. There was Zubi Zubi, Raat Ke Humsafar, Le Jaa Le Jaa in An Evening in Paris (1967) — all different songs. Lataji [Mangeshkar] and Ashaji were the only voices for a long time in Indian films. Ashaji kept in touch throughout. We would meet at award functions, and sometimes she would call me just to say, ‘I saw an old film and I liked you again’.” As told to Priyanka Sharma
13 April,2026 07:31 AM IST | Mumbai | Sharmila TagoreSome voices are heard, and some, felt. Asha Bhosle was always felt. She had that rare gift of turning every song into a lived emotion. For all of us in music, she was a benchmark we measured ourselves against. Not just for her range or versatility, but for her courage. She never allowed herself to be defined by one sound or era. She kept pushing boundaries. She and Pancham da [RD Burman] were close to my father, PL Raj. I still remember the first time I met her — this was at Duke’s Retreat in Khandala. When my father told her I liked playing the guitar, she didn’t indulge me with polite praise. She simply said, ‘Music is not for everyone. Focus on your studies.’ Asha Bhosle with RD Burman. Pic/Instagram Years later, I was approached to work on a project with Ashaji. Initially, I was hesitant, but I was told that RD Burman had wanted to recreate his old songs in a new style with me. That’s how the remix project, Rahul & I, began. The brief was simple: introduce Ashaji to a new generation. Working with her wasn’t easy at first. She was used to a different recording style, where the voice dominated and the arrangement followed. I was [using] tighter grooves, modern production, and a new sonic space. Initially, she resisted. She even walked out at one point, saying, ‘This is not how I sing.’ Asha Bhosle. Pic/Rane Ashish To her credit, she came back. She gave it a chance. Slowly, she began to understand that the sound was fresh and exciting. When the album released, suddenly, Ashaji was ‘young’ again in the eyes of a new audience. Working with Asha tai was like going to school every day. Legends like her understand the composer’s thought, and then gently elevate it without ever overpowering it. Today, there is a sense of loss. But her music will never pause. It will keep inspiring generations. Because artistes like Ashaji don’t belong to a time — they become time itself. As told to Mohar Basu
13 April,2026 07:26 AM IST | Mumbai | Leslee LewisLegendary playback singer Asha Bhosle passed away in Mumbai on Sunday at the age of 92, marking the end of an era in Indian music. She died at Breach Candy Hospital, where she had been admitted on Saturday evening following extreme exhaustion and a chest infection. The entire film fraternity is in a state of shock after learning about her demise. From Akshay Kumar to Raveena Tandon, actors paid tribute to her. Bollywood celebs mourn Asha Bhosle’s demise Actor Akshay Kumar took to his official social media handle to offer his tribute to the late singer. He wrote, “No words can convey the loss I feel at Asha Bhosle ji’s demise. Unki surili awaaz hamesha ke liye amar rahegi. Om Shanti (sic).” No words can convey the loss I feel at Asha Bhosle ji’s demise. Unki surily awaaz hamesha hamesha ke liye amar rahegi. Om Shanti 🙏 pic.twitter.com/GNEl7QFt8M — Akshay Kumar (@akshaykumar) April 12, 2026 Actress Raveena Tandon also mourned the loss, saying, “Today marks an irreplaceable loss — the deepest loss to the industry and to me personally, from childhood to now. Her biggest fan ever. Nobody, nobody like her. Ashaji, you leave behind a legacy of music and sound that no one in the world could compare to. The greatest era of music ends here.” Filmmaker Karan Johar revealed that he has always been a fan of Asha Bhosle’s voice in an emotional post that read, “To say we have lost a legend today would be an understatement. Asha ji was unlike any other — a voice that defined not only one generation but spanned the entire cinematic universe. I have always been a massive fan of her voice, her art, her personality… Asha ji, your music will live on forever, and we are blessed to experience the magic you have left behind. Rest in peace and power.” View this post on Instagram A post shared by Karan Johar (@karanjohar) Veteran actress Neetu Kapoor also shared a photo of Asha Bhosle on her Instagram Stories, along with the text, “End of an era — RIP,” followed by broken heart and folded hands emoticons. Hema Malini also remembered her beloved Asha Tai and wrote, "I just can’t believe how some one so full of life, she who lent so much vivacity and character to her songs has left us grieving." Jr NTR also expressed sorrow. Deeply saddened by the news of Asha Bhosle ji’s passing. Her magical voice was the heartbeat of Indian cinema for decades and touched millions of hearts. She leaves behind a legacy that will live on for generations and will always be remembered with respect and love. My deepest… pic.twitter.com/U81F2NBBeD — Jr NTR (@tarak9999) April 12, 2026 Anupamaa fame Sudhanshu Pandey shared a glimpse of his last meeting with Asha ji and penned a heartfelt note. Musicians like Shankar Mahadevan and Harshdeep Kaur also remembered her. Taking to their Instagram stories, Virat Kohli paid his tribute and wrote, “Rest in peace, Asha Bhosle ji. Your voice touched millions and will live on forever in our hearts. Om Shanti." Meanwhile, Anushka Sharma wrote, “A voice that defined generations, Asha ji’s legacy will always stay with us. Om Shanti." Shah Rukh Khan also remembered the singer, sharing a sweet moment, lovingly kissing her cheek while she posed with a radiant smile. He wrote on X, "It’s truly sad to learn about Asha Tai’s passing… her voice has been one of the pillars of Indian cinema and will continue to resonate world over for centuries to come. A talent that will outlive many, she always showered me with blessings and love and i will miss her. Rest in Peace Asha Tai… love you." Priyanka shared a photo with Asha on Instagram and wrote, "For my generation and so many before and after, she wasn’t simply a legend we admired, she was a constant. A voice so eternal it felt like it would always be there. It is hard to put into words what it means to lose someone whose art helped shape the emotional landscape of an entire nation." Salman Khan also took to X to pen a tribute saying, "A huge loss for Indian music.... Heartbroken to hear about Asha ji. An irreplaceable voice, Your songs will continue to inspire generations." More about Asha Bhosle Confirming the cause of death, Dr Pratit Samdani said, “Asha Bhosle breathed her last today at Breach Candy Hospital. She passed away due to multi-organ failure.” Her son, Anand Bhosle, confirmed the news and shared details of the final rites, saying, “My mother passed away today. People can pay their last respects to her at 11 am tomorrow at Casa Grande, Lower Parel, where she lived. Her last rites will be performed at 4 pm tomorrow at Shivaji Park.”
12 April,2026 10:01 PM IST | Mumbai | mid-day online correspondentADVERTISEMENT
