Madan Mohan had no formal training in music!!!! What made him an all time great and how he survived in the times when Shankar Jaikishen, Laxmi Pyre, Kalayn Ji Anand Ji, and R D Burman were grossing most of the films.
The person
In the cut throat world of Hindi film music he was a content person. Chetan Anand who had lot of faith in him was making two films simultaneously. He offered the music for both his films - Haqeeqt and Aakhi Khat to Madan Mohan. MM asked Chetan to give the music of Akari Khat to his friend Khayyam who was out of work but was a music director of class. No wonder Khayyam did well with Aakhri Khat. Khayyam who was once again brought out of oblivion by Yash Raj films to compose music for Kabhi Kabhie.
He had a lot of good friends. Even after his death and his wife’s death none other than Lata Mangeshkar supported his kids.
He was very sentimental. He cried easily. His own favourite composition was Sawan ke mahine main from Sharabi. He would sing the song for his friends at private gatherings. To express one's feelings for others is also an art. Madan Mohan lacked that ability. He couldn't express his love for others. This is the same man who made such great music!!!
Madan Mohan at the behest of his father joined the army. He quit the armed forces and joined All India Radio in Lucknow, where he brushed shoulders with Ustad Faiyyaz Khan, Ustad Akbar Ali Khan, Begum Akhtar, and Talat Mahmood. Effect of those ustaads is evident in many of his songs.
His anger, his perfection, and his class
People thought of him as hot-headed. But he was a softie. The song, Nainon mein badra chhaye almost never got recorded. Lata was sick. He would not record in any other voice. Shooting got held up !!!
He was one of those men who had to make a thorough study of whatever he took up. Madan Mohan had a finely honed mind that was not only limited to music. He was a man of taste in every sense of the word.
His calibre
He did not get satisfied with his work easily. For example, there were literally ten tunes for Dil dhoondta hai in Mausam. Raj Kapoor wanted him to do Satyam Shivam Sundrum. He died before the deal could be finalised.
Lata remembers that his work came first even when he was physically unfit at times. Some time before his death he came to a recording with his head and arm in bandages. He said he'd been in a road accident at Khandala.
Every composer had a favorite raga, Madan had none. Madan was never obsessed with the raga. The beauty of his composition lay in the fact that the raga just flowed from his tune. His mentor C. Ramachandra loved him for that.
Mohan Kumar, director of Anpadh, remembers that a song, the most important song of the film, had been rehearsed for almost a month. Madan Mohan heard a chance remark from Mohan Kumar that ``woh baat nahin ban rahi hai''. He asked to give him 10 minutes, went to a quiet corner and along with Raja Mehdi Ali Khan, came up with completely new lyrics, new tune and new music arrangements. It was recorded within two hours from scratch... no wonder Aapki nazron ne samjha had to become a big hit!
Madan Mohan had the knack of getting the right singer for his songs. Rafi's rendition of Aap ke Peheloon mein akar ro diye is heartbreaking. Rafi, was hurt at Madan's stubborn choice of Talat for some of the the best songs of Jahan Ara, but MM would not change. He knew what he was doing.
Special relationship with lata
Lata always called him Madan Bhaiya. It started when he was an assistant music director at the time. MM and Lata sang a song about love between a sister and brother for Shaheed. The song was neither featured in the disc nor the film. Perhaps it was meant to bring Madan bhaiyya and his sister Lata, together. The year was 1948.
Soon MM got his first break. He went to Lata to sing for him. She refused and not only that - she turned him down without even listening to his compositions. Lata was too busy in consolidating her career. It seems she did not have confidence in the new composer. He was very hurt. How such an egoist still worked with her – no one knows – but once they started working with each other – they never stopped.
Lata used to be so busy and she used to be exhausted. In addition, there was the sinus problem. Those days even Madan bhaiyya's recordings would get cancelled. Believe it or not, all those melodies that make you wonder were recorded after very few rehearsals.
What was created first - music or lyrics?
It is often mentioned that he would not compose tunes to fill in the words. He had a number of tunes that he had prepared and kept in his reserve. It seems some of his songs that we think have been written first could be fillers as the tune was ready!!!
He left behind various compositions, which could not be recorded by him, for lack of suitable situations. Most of these were hummed by him, or sung to 'dummy' lyrics, while some were composed on the harmonium or the piano, played by him.
His songs for Veer Zaara come from the vault that may continue to produce more songs in future – who knows?
His music
MM had to feel comfortable with the film-makers he worked with. He worked a lot with Chetan Anand and Om Prakash, the character actor who produced Sanjog, Jahan Ara, Gateway of India and Chacha Zindabad... none were hits.
During his career of 25 years, he composed for over 100 films.
The song Chhayee barkha bahaar in Chirag was recorded in 15 takes. Pronunciation of the first word was not coming correctly!!!
The song Aapki nazron ne samjha (Anpadh) was composed by MM in two minutes during the lift journey from the ground floor to the fifth floor of the building where he lived.
There was an arranger called Sonik who later with his nephew omi became, Sonik-Omi. Sonik would arrange the songs for MM. Omi, who was the spokesperson of their team, said in an interview after MM died, that most of Madan Mohan's tunes were composed by Sonik. How come Sonik-Omi did not come up with one memorable tune when they were on their own?
Those songs that I feel are his best;
Kadar jaane na (Bhai Bhai)
Hum pyar mein jalne walo ko (Jailor)
Yun hasraton ke daag (Adalat)
Woh bhooli daastaan (Sanjog)
Aapki nazron ne samjha (Anpadh)
Naina barse rim jhim (Woh Kaun Thi)
Rasm-e-ulfat ko nibhaye (Dil Ki Raahein)
Aye dil mujhe bata de (Bhai Bhai)
Phir wohi shaam (Jahan Ara)
Rang aur noor ki baraat (Ghazal)
Jhumka gira re (Mera Saaya)
Tum jo mil gaye ho toh (Hanste Zakham)
Dil dhoondta hai phir wohi (Mausam)
Tujhe kya sunoon ai dilruba (Aakhri Daao)
Ab Tumhare Hawale Watan (Haqueeqat)
Chirag Dil Ka Jalavo (Chirag)
Hai Isi Mein Pyar Ki (Anpadh)
Agar Mujhse Mohabbat Hai (Aapki Parchhaiyan)
Lag Ja Gale Ke Phir Ye Hasin (Woh Kaun thi)
