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I remember Aji rooth kar ab kahan jayiyega in Arzoo. What a high pitch that was! My ears reddened when I sang it. But I stubbornly sang at that impossible scale, refusing to admit defeat to any range. I would get very angry, and sing at any range, without complaining. Composers would take full advantage of my silence, and keep raising the scale.

I used to have arguments with Jaikishan. I would ask him, 'Kya baat hai, aap meri pareeksha le rahe hain? Maine aap ka kya bigada hai jo aap mera kaan laal kar rahe hain? (What's the matter? Why are you testing me? What have i done that you should trouble me so?)'

Actually, Ehsaan tera hoga was only meant to be sung by Rafi. But the film's hero, Shammi Kapoor, suddenly decided that the heroine should sing it as well. It was picturised with Rafi's voice on Saira Banu and later dubbed by me.

So I had to sing it in the same sur as Rafi. The same was done with Jiya ho jiya kuch bol do (Jab Pyar Kissi Se Hota Hai).

I shared a great friendship with Shankar-Jaikishan. But I worked with equal sincerity for all composers. If I began to discriminate for personal reasons, work would suffer. I never compromised on quality. With [composer] Chitragupta, who was a family friend, I did lovely songs like Dil ka diya jala ke gaya in Akash Deep and Sona na sitaron ka hai kehna in Opera House.

I did more work with Vasant Desai, most of it for V Shantaram's films. I gave playback to Shantaramji's first wife Jayshree [also a singer] and his second wife Sandhya.

Vasant Desai was a Maharashtrian like me, and a very quiet man. My work with him in a Marathi film Amar Bhopali was outstanding, and the bhajan Ae maalik tere bande hum in Do Aankhen Barah Haath is a classic.

But you cannot overlook Pandit Ravi Shankar with whom I did just a handful of songs, including Haye re woh din in Anuradha.

B Saroja Devi and Ajit in Opera House

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