Each Lata number was a gem from ‘Adalat’, vying for the attention of the listener. ‘Jaana Tha Hamse Door Bahaane Bana Liye, Ab Tumne Kitni Door’/ ‘Yoon Hasaraton Ke Daagh Mohabbat Mein Dho Liye’/ ‘Unko Yeh Shikayat Hai Ki Hum Kuchh Nahin Kahte’/ ‘Jaa Jaa Re Jaa Saajanaa, Jaa Jaa Re Jaa Saajanaa Kaahe Sapnon Mein Aaye’ are the arresting compositions. ‘Adalat’ marked a turn around in composing style of Madan Mohan which manifested prominently in his compositions of 60’s. ‘Zameen Se Hamein Aasmaan Par Bithaa Ke Giraa To Na Doge’ is the duet where the voice of Asha has been used in perfect harmony with that of Mohd.Rafi.
Shorab Modi’s Jailor released in 1958 was another noteworthy composition in the career of Madan Mohan. Lata’s ‘Hum Pyaar Mein Jalane Waalon Ko Chain Kahaan Haay Aaraam Kahaan’ and ‘Bundaniyaa Barasan Laagee Re, Bundaniyaa Barasan’ are the classics. Kishore Kumar-Anita Guha starrer ‘Chacha Zindabad’ released in 1959 was the shinning piece among his other compositions for the year. Lata-Manna Dey duet in Raag Lalit ‘Preetam Daras Dikhaao’ is a difficult composition sung effortlessly by the duo. Lata’s ‘Bairan Neend Na Aaye’ and Kishore-Lata duet ‘Ae Bach Gaye, Haan Bach Gaye, Ham Donon Phansate Phansate’ is a testimony to the ability of Madan in composing myriad varieties of song.Kishore Kumar solo ‘Ae Haseenon Naazaneenon, Main Dil Hathelee Pe Leke Aa Rahaa Hoon’ from the movie suffices this.
The 50’s saw Madan Mohan emerging as a master of his art having a penchant for compositions that related more with the classes which demanded the finer perception and sensitivity of the listener .This aspect was further honed in 60’s, but the sheer variety, range of compositions and use of a wide gamut of singers during his struggling phase of 50’s was lost .But then that represented the personae of the Legend subscribing to the finer tastes.
