Mar 13, 2007 05:43 PM
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Any superlative falls short of capturing even an iota of the genius music maker that he was. His tunes have survived the onslaught of time, in more ways than one. While his recorded songs continue to regale music lovers, even his unused tunes held a life of their own. Perhaps he is the only music composer whose even leftover tunes were re-constructed in a film made thirty years after his demise.
With Lata Mangeshkar he held a special bond, which resulted in those innumerable solos without which the singer’s ouvre would have been woefully empty. And Latadi reciprocated to her ‘Madan Bhaiyaa’ in providing that superior quality of sweetness which is entirely impossible to describe. Each song is complete in itself, away from the films they were embedded in(which were largely box office duds) and not dependant on the artiste’s charisma(which were wooden heroines like Priya Rajvansh in many cases). Madan Mohan’s music truly embodies what Hindi film music should sound like – fit into the story, yet retain its individuality to stand out of it. Perhaps that is why, in his case no one bothers to find out about the film or the heroine!
While Madan Mohan was known more for his ghazals, earning him the sobriquet of ‘King of Ghazals’, yet he has a vast array of other genre numbers as well, some which I highlighted in an earlier post.
Time and again I tried to list out MM-LM combine songs, but every time I failed and the post remained incomplete – that’s because it is very tough for me to select just a handful, and remove the others.
Whenever I try to listen to them again to give the list some structure, I am unable to do so, I push away the horrid keyboard and simply immerse myself in those magnificent tunes and that wonderful voice.
Today, I am randomly picking up ten songs – without any order or thought, except that all are superhits, all are greats and all are my favorites. So here we go:
Aaj socha toh aansoon bhar aaye- This song is so fragile and tender that it feels as if it will melt if we touch it. When Lata sings the lines ‘dil ki naazuk ragein toot-ti hai’ you can feel the pain pulling your heart wretchedly. Using the tune from ‘tum jo mil gaye ho’ as interlude piece has a brilliant effect.
Aapki nazron ne samjha – To me this is a perfect song – in terms of tunes, interlude, singing and https://lyrics. The rhythm is delightful – like swaying in the breeze. It is said that the director was unhappy with the original song. When he told this to MM, he changed it immediately much to the shock of Latadi who had rehearsed the original number. Can anyone imagine that such a perfect tune has been created in a jiffy?
Agar mujhse mohabbat hai - I love the half rhythm in this one – just like a lady’s hesitant plea asking her love to impart her with all his pain and sorrow.
Betaab dil kee yehi tamanna hai – One great love number that encapstulates sublime feelings of an unruly heart.
Hai isi mein pyaar ki aabroo – The second Anpadhghazal for which Naushad Sahab was ready to sacrifice all his own music. Again, an extremely soft song which attacks the heart and clasps it tightly to evoke pain at its sweetest best.
Hum Hai Mata-E-Kucha-O-Bazaar ki tarah – Dastak’s music is exemplary. And it won the National Award as well. I love all its songs, but this one is special in my heart. Once more, MM’s favorite instrument sitar finds a pride place. I also adore Rafi’s near whisper-rendered Tumse kahun ek baat paron si halki
Jaana tha humse door bahaane bana liye – I love this towering number for the pained dignity(at accepting one’s loss) it evokes rather than resorting to sentimentalism. Again, MM’s ability to create a very delicate number.
Na tum bewafaa ho na hum bewafaa hai – Another universally appealing song – because in relationships there are times when neither is wrong, yet the paths differ. The steadily rising violin based interludes are smashing.
Naina Barse Rimjhim- Years before I even knew who Lata or Madan Mohan were, this song was a constant favorite we kids used to lisp in antakshris. Since then the song has subconsciously seeped into my being so much so that it is an integral part of my body and soul. Woh Kaun Thi was musically very rich. Hard to decide between this one and Lag jaa gale se phir yeh haseen raat ho na ho. And then there was Jo humne daastaan apni sunaayi as well. Hmmm, exhilirating score!
Woh bhuli daastaan lo phir yaad aa gayi – This number will always be special in my heart, for this is the one number from which my love for MM’s music began. As a kid I hardly understood the profound lyrics, but the brook-like flow of the tune attracted me. Later of course I understood and felt the song. The santoor riffs are mindblowing. My most favorite and oft quoted or sung stanza is the last one ‘Bade rangeen zamaane the, taraane hi taraane the, magar ab poochhta hai dil woh din tha ya fasaane the’
