RMIM Archive Article "199".
From the RMIM Article Archive maintained by Satish Subramanian
# RMIM Archives..
# Subject: Madan Mohan Kohli
# Posted by: Hemant Parikh (firstname.lastname@example.org)
# Author: Hemant Parikh
# Source: various
From the RMIM Article Archive maintained by Satish Subramanian
Madan Mohan Kohli
Madan Mohan was only 51 when he passed away, having created
a trove of Lata tunes for us to treasure. And Madan Mohan
was something more than the ghazal. He brought, to a litany
of Lata tunes, a classical touch of his own. Some of these
tunes are capsuled here in this anniversary tribute by Raju
Bharatan.(Screen July 15,1994) Madan Mohan died in the year
1974, when Laila Majnu half complete was left to finish by
Come July 14,1994 and we enter our 20th year without Madan
Mohan, With Lata Mangeshkar. With Woh chup rahen to mere dil
ke daag jalte hain. "Madan bahut hi surile the", Lata is on
`I Remember' record as saying. "Achcha sur lagata tha!" C.
Ramchandra's verdict on Madan Mohan clinches Lata's comment.
Lata is on further record as saying she was coming to grips
with the murkis in that surpassingly lovely "Mera Saaya"
number, Nainon mein badra chhaye to go on Sadhana, when
Madan Mohan heard certain musicians going off key and lost
his cool. "Besuraa bajate ho, sur ke saath beimaani karte
ho, sharam nahin aati!" he shouted at those errant
musicians. This was in tune with what recordist Mangesh
Desai had once told me : "There is no composer more
difficult to please at a recording than Madan Mohan. He
takes the life out of you".
He took the life out of them because he staked his
reputation on a composition like Naino mein badra chaaye.
The unalloyed sweetness Madan achived here in Lata's voice
is something rare in his repertory. Sweetness in Lata's
voice, Madan knew, was something easily achieved. That
sweetness would owe its entire entity to Lata's unique
singing persona. But it was never enough that there was
enoughly of only Lata in a Madan tune. There had also to be
enough of Madan! That is way you did not always find Madan
Mohan settling for you Lata's sweetness alone. The tune had
additionally to have something that Lata could unfold under
the bountiful baton of Madan Mohan and Madan Mohan alone.
Like what was unfolded on "Jahanara" Mala Sinhaas Woh chup
rahen to mere dil ke daag jalte hain.
"Ghazal Ka Shehzadaa' is what Lata called Madan To write on
Madan Mohan's ghazals, there fore, would be the done thing.
C Ramchandra had a baton point when I identified Madan Mohan
as the uncrowned king of the ghazal. C. Ramchandra said:
"What do you mean Madan was only good at composing ghazals?
Madan was good at every single thing he composed. It's a
popular misconception that he was only good at ghazals. He
was once my assistant, so I had a total insight into his
potential. Madan's light com-positions have the same
individualistic quality as his serious songs. What's more, I
don't think any one of us had his knack of picking the right
instruments for the right song".
C. Ramchandra himself was a taskmaster in the choice of the
right instrument, so that this was no ordinary tribute. I
therefore take C. Ramchadra at hisword- that Madan was good
at every thing he composed and turn the focus on his
peerless classicism while tuning a variety of songs. Take
Nainon mein badra chhaye itself. It could be in Dhaani or in
Bhimpalasi, depending upon how you choose to interpret it
while it could be in either raag, the beauty of Madan
classical composition lay in the fact that he never seemed
obsessed with the raag. The raag just flowed from his tune.
Naino mein badra chaye is a Classic which with the film
"Mera Saaya" was a classic for Sadhana-Sunil Dutt starter.
The filming in Udeypur's lake palace had the classical
Rajasthani feeling, and the melody of nature feeling and
lyric of the emotional feeling Sunil suffered after losing
Sadhana. Only Madan's great understanding of situation had
helped him to come up with "Mera Saaya" tunes.
Naushad wore his Bhairavi as a badge when he composed some
thing like Do hanson ka joda bichchad gayo re to go on Vy-
jayanthimala in "Ganga Jamuna". Madan Mohan, by contrast,
had the gift of being able to make the raag sound secondary
as he came over, in the same Bhairavi, on "Anpadh" Mala
Sinha as: Hai isi mein pyaar ki aabroo. This Lataised
Bhairavi was something Naushad personally identified on TV
as a dimension of the raag's exploitation he envied.
Shankar summed up Madan Mohan's specialist talent in this
direction tellingly when he noted: "Jis mosiqaar ko sur ka
gyaan hota hai woh sur mein bajaa hi leta hai". That is why
it is point less to wonder whether Madan Mohan intendended
Nainon mein bad-ra chaaye to go in Bhimpalasi or in Dhaani.
Madan always played in sur and the tune came to him in a
flash. Lata was there to do the rest. After that, he left it
to you to decide whether the raag was Bhimpalasi or Dhaani.
If it is a Madan Bhairavi to match Hai isi mein pyaar ki
aabroo you want, you have it, from the same Lata, In "Dekh
Kabira Roya", as Tu pyaar kare ya thukraaye. The remarkable
thing about Lata's rendition here is you never find Madan
Mohan striving for the Bhairavi effect, it just comes
naturally. Here is where Madan Mohan was totally different
from the Punjab school of composers dominating our film
music in the late l94O's and early 195O's. Even O.P. Nayyar,
for all his sheen of modernity, Came with an overlay of
Pilu. But not once could you scent the dehati Punjabi at
work in a Madan Mohan composition.
I do not say this in a derogatory light. It is my considered
view that the Punjab school produced some of the finest
music in our films. But always you got the impression that
it was music literally rooted in the Punjab soil. Here is
where Madan Mohan was diametrically different. He was the
artistic aristocrat at work. The son of Rai Bahadur Chuni
Lal, the Filmistan chief, at work. Madan Mohan's best music
belonged to the drawing room, That is why Madan had problems
consistently equating with the masses. He was essentially a
composer for the classes.
His classicism sprang spon-taneously from the station in
life to which he belonged. He was one of those men who had
to make a thorough study of whatever he took up. I did not
meet Madan Mohan merely in the music room. I encountered him
ever so often , at a cricket match, a badminton match, a
tennis match. And I was not allowed to discuss music when we
met at such venues. All discus-sion had mandatorily to be on
the game in progress! Madan could discuss the finer points
of cricket. tennis and badminton with the same precision as
the finer points of Lata's vocals in Hum pyaar mein jalne
waalon ko ("Jailor"). Madan Mohan had a finely honed mind.
And that not only on music. He was a man of taste in every
sense of the word.
That is why no female singer existed for him beyond Lata
"the nearest thing to vocal perfection I have known". It is
this vocal perfection you find in play as you hear, in
peerless Pilu, Lata's Maine raang li aaj chunariya, going on
Nutan in "Dulhan Ek Raat Ki". Without straining in any way,
Madan here manages to get his Pilu across. Madan had this
knack of putting the raag across in a vocal language that
even the simpleton could follow. While tuning for the
simpleton, Madan re-tained the purity of the raag more than
did most composers.
Even when employing a raag rarely used in films, Madan could
do so with telling results - as we saw in the way he
exploited, in Lata's voice, Komal Asavari in the "Anpadh"
solo: Woh dekho jala ghar kisi ka. The better - known Madan
classic in Lata's voice from "Anpadh" is, of course, the
Yaman solo on Mala Sinha: Jiya le gayo ji mora sanwariya.
But is this Lata solo by Madan not a clever repeat? Was the
original by Lata not even more captivating? Oh yes, it was,
its Jaltarang effect in Yaman can never be forgotten as it
came over in a "Bahana" strain of Jaa re badra bairi jaa
To one man, and one man alone, goes the credit for
popularising Jaa re badra bairi jaa re jaa re some three
years before the film came. That man is Gopal Sharma. Gopa1
Sharma at Radio Ceylon, fascinated by the Madan tune, missed
no opportunity to play this euphonious Lata solo in Yaman.
As the man who initiated the `Sargam' programme over Radio
Ceylon, I asked Gopal Sharma, years later, whether he knew
Jaa re bairi ja re to be in Yaman Gopal Sharma, with
commendable frankness , admitted that he knew no Yaman or
any raag, for that matter, he just loved the tune, so he
played it! Thank you from a legion of listeners, Gopal
Sharma, your legendary Radio Ceylon reputation derives from
the fact that, to the end, you remained first a listener,
only then an announcer.
Truth is, I knew nothing about raags either those days! Like
in the case of Gopal Sharma, Tu jahaan jahaan chalega mera
saaya saath hoga appealed to me merely as the theme song of
"Mera Saaya" ghosted by Lata. It is only now I can pick it
out as Nand. Here is yet another raag rarely heard in films,
yet note how arrestingly Madan Mohan has explored Nand on a
now a Sadhna looking a dream. now shattering the dream!
On which raag was based the Madan Mohan tune handpicked by
Lata as one of her ten bests on the occasion of her silver
jubilee? My reference is to the Lata solo placed on Anita
Guha in "Chacha Zindabad": Bairan neend na aaye rnohe bairan
neend na aaye. This one is in Kaafi, isn't it, Lataji what
made you prefer it to, say, that "Dekh Kabira Roya" stunner
in Ahir Bhairav. Meri veena tum bin roye. Is it Lata's tone
or Madan's tune you pick out here! I take it there must have
been purely personal reasons for Lata's Kaafi choice of
Bairan neend na aaye mohe less, it is not that I love Meri
veena tum bin roye more!
If after Kaafi and Ahir Bhairav, it is in Khamaj you seek to
savour Lata and Madan, you are welcome to take your choice
from Meri aankhon se koyi neend liye jaata hai ("Pooja Ke
Phool"), Khanak gayo haay bairi kangana ("Rishte Naate") and
Aap ki baaten kahen ya apna afsaana kahen ("Dil Ki Raahen").
The choice here is from Lata, Lata, Lata and Madan, Madan,
Madan! My own pick is Meri aankhon se koyi on Mala Sinha, as
bringing out the mood musician in Madan Mohan.
Every composer had a favourite raag, Madan had none. Look at
the flair and imagination with which he scored for a theme
in mime like Chetan Anand's "Heer Ranjha". Sachin Dev Burman
paid Madan Mohan the ultimate tribute when he told me he
himself could not have scored "Heer Ranjha" with half the
felicity Madan Mohan did. Which tune in the film, I asked
Dada Burman, had he liked best, revealingly Dada Burman
replied that you could judge "Heer Ranjha" only in the
totality of its score, not by a single tune. Not even by Do
dil toote do dil haare, so touchnigly interpreted in Maand
by Lata on Priya Rajvansh?
Do dil toote is distinctly Maand, but Lata's "Jahanara"
heart stopper, Haal-e-dil yun unhen sunaya gaya aankh hi ko
zabaan banaya gaya, is in Sur Malhar or inMian Ki Malhar?
Once again, depends upon how you choose to hear it. It is
this perfection to hear, this sensitivity to discern, that
you needed to develop to attune to the subtleties and
nuances of Madan Mohan's Lata tuning. It has taken me the
best part of 35 years to try and develop this perception,
But, even now, I am still learning from the repertoire of
Lata and Madan. Even now I can only tell that Unko yeh
shikayat hai from "Adalat" is in Maalgunji, Baiyyan na dharo
from "Dastak" is in Charukeshi, I have not yet developed the
perception and the sensitivity to prefer the one
definitively over the other.
And I hope I never develop such sensitivity and perception.
For I feel I was much happier when I could insinctually
appreciate a Lata Madan composition for what it was - a Lata
Madan composi-tion. How I crave for a re-gifting to me of
the elfin innocence with which I took in, during my
impressionable youth, such Lata-Madan gems as Dukhiyare
naina dhoondhe piya ko ("Nirmohi"), Sitaron se poochchon
nazaron se poochchon ("Dhoon"), Chaand madham hai aasmaan
chup hai ("Railway Platform"), Mukh mod na lena saajana
("Ashiana"), Meri aankhon ki neend le gaya ("Madhosh"). Woh
jo milte the kabhi ("Akeli Mat Jaiyo"), Tum ho saath raat
bhi haseen hai ("Mohar"), Preetam meri duniya mein ("Ads"),
Maane na maane na haaye balam pardesiya ("Jagir"), Nainon
mein pyaar dole dil ka qaraar dole ("Sheroo"), Ajab hai yeh
duniya ajab zindagi hai ("Naya Aadmi"), Chal diya mera dil
tod ke ("Fifty Fifty"), Sapne mein sajan se do baaten
("Gateway of India") and Chain nahin aaye ("Samundar").
Madan Mohan was still a struggling composer when he created
these tunes. And it is when you are struggling that you
really create. Later, at least in the l970's, I felt Madan
Mohan became rather stylised. In other words , he was, I
felt, composing to live up to his reputation as the `Ghazal
King'. I feel this cramped his style in the matter of being
a freewheeler composer - a must for films.
But this is a matter of opinion. What is not a matter of
opinion is that Madan Mohan, from early in life, was a
`Baghi' with a compos-ing cause. A `Baghi' whose Lata oeuvre
abides in our minds and hearts as Hamare baad ab mehfil mein
afsaane baiyan honge/ Bahaaren hum ko dhoondhengi magger hum
tum judder hongi....
This article is based on Lata Manatees, so offcourse it was
Lata's shade and it is in this shade Madan became really
popualr. But the fact is that what ever Madan Mohan composed
was Univerasal, some singers which are Big Names did even
sing thier best songs under Madan Mohan. Here I must say
that one has to turn to, HMV Music Cassettes and their
Treasures. I mean Anmol Ratan and Golden Collection
These tapes have been compiled by Sanjeev Kohli, son of
Madan Mohan and Senior Marketing Consultant of HMV. Sanjeev
has put together some of the best songs of each singers,
music directors and not to miss Lata Mangeshkar's
Shradhanjli. In this day and age of 1994 with big
competition from other cassette companies HMV has challenged
with the grate Old Is Gold treasures of Hindi Film Songs and
with it the Memory, History and Love for Indian Music.
Mohammad Rafi Sings for Madan Mohan, Anmol Ratan
Aakhri geet mohabbat ka, Film: Neel Aakash (1965)
Aap ke pehloo mein aakar ro diye, Film: Mera Saaya ( 1966)
Basti basti parbat parbat, Film: Railway Platform (1965)
Ek haseen shaam ko dil, Film: Dulhan Ek Raat Ki ( 1966 )
Ek kali muskarayee, Film: Ek Kali Muskarayee (1968)
Kisi ki yaad mein duniya ko, Film: Jahan Ara (1964)
Main nigahen tere chehre se, Film: Aap Ki Parchaiyan (1964)
Mein yeh sochkar, Film: Haqeeqat ( 1964 )
Mere pyaar mein, Film: Suhagan (1964)
Rang aur noor ki baarat, Film: Ghazal (1964)
Saawan ke mahine mein, Film : Sharaabi (1965)
Tere dar pe aaya hoon, Film: Laila Majnu ( 1976 )
Teri aankho ke siwa, Film : Chiraag (1969)
Tujhe kya sunaoon, Film: Aakhri Dao ( 1958)
Tum jo mil gaye ho, Film: Hanste Jakham (1973)
Tumhari zulfon ke saayen mein, Film : Naunihal(1967)
Yeh duniya yeh mehfil, Film: Heer Ranjha(1970)
Yehi hai tammana, Film: Aap Ki Parchaiyan ( 1964 )
Yoon rootho na haseena, Film : Neend Hamari Kwaab Tumhare (1960 )
All Time Greats Mohammed Rafi sings for Madan Mohan (Vol 1-2)
Among the finest songs of Mohammed Rafi are those tuned by
music director Madan Mohan. Besides rendering with felicity
the favourite "ghazal" oriented songs of the maestro, the
singer has also harnessed his melodious voice, trained in
classical music and versatile to sing with rare appeal the
composer's melody rich numbers of various types.
In a two cassette compilation HMV offered some time ago a
selection of Madan Mohan songs sung by Mohammed Rafi for
various films released in fifties six-ties and the
seventies. The flow of melody that characterise the
composer's offerings is evident in the very first number the
sad reflective Tujhe kya sunaoon main dilruba, tere samne
hai mera hal written by Majrooh Sultanpuri for "Aakhri
Dao"(1958). The next is a ballad like song on life Basti
basti parbat parbat gata jaye banjara written by Sahir
Ludhianvi for "Railway Platform"(1955), Sunil dutt's debut
making film (the song, however, was picturised on co-artiste
Manmohan Krishna). This is followed by a lilting, somewhat
gay number, the Rajendra Krishna - written Zameense hamen
aasman par from "Adalat" (l958) which Rafi sings with Asha
Bhonsle and chorus. Then comes the brisk-paced romantic song
Yehi hai tamanna tere ghar ke samne meri jan jaye written by
Raja Mehdi Ali Khan for "Aap Ki Parchhaiyan" (1964).
This is followed by two moving Kaifi Azmi -written numbers
from the war film, "Haqeeqat" (1964). They are the
plaintive, "ghazal"-oriented Main yeh sochkar which is set
in the plaintive "raag Darbari Kanada" and the heart rending
call to countrymen by dying jawan Kar chale hum fida jano
tan sathiyon, ab tumhare havale watan sathiyon sung with
great feeling by Rafi in an emotion- charged voice. Because
of some technical defect the song gets abruptly cut.
On the flipside, there are capti-vating "ghazal" oriented
romantic numbers like the Rajendra Krish-na - written (he
has one more number) and tenderly rendered Mujhe le chalo
from "Sharabi" (1965), the Sahir Ludhianvi written heart-
warming number Rang aur noor ki baraat kise pesh karoon from
"Ghazal" (1964), Hasrat Jaipuri written (he has twa more
num-bers), the titillating Tu mere saamne hai, teri zhulfen
hai khuli from "Suhagan" (1964) and Raja Mehdi Ali Khan's
Aakhri geet mohabbat ka sunalon to chaloon from "Neela
The second cassette has some striking numbers, which are a
tribute to the creative genius of the composer as well as to
the singing versatility of the play-back star. A real gem
among them is the Majrooh Sultanpuri -written Tumse kahoon
ek baat, halke halke halke from "Dastak" (197O). It is part
humming, part whispering and part crooning, all of which has
rendered with captivating grace and grate feeling through
voice-modulation. As for the composer, he has given audio
perspective to a tender, heart-warming romantic scene. Then
there are such numbers as Kaifi Azmi's Meri awaz suno pyar
ka raaj suno with hauntiag tune and musical embellishment,
and from "Naunihal" (197O) the gay; joyous songs Ek haseen
sham ko dil mera kho gaya written by Raja Mehdi Ali Khan for
"Dulhan Raat Ki" (1966) and Yun rootho na haseena written by
Rajendra Krishna for "Neend Hamari Khwab Tumhare"(196O).
The Majrooh-written "ghazal" oriented number set in swinging
waltz, Teri ankhon ke siwa duniya mein rakha kya hai from
"Chirag"(1969), the Kaifi Azmi written song of intense love,
conveyed both by the composer through his score and by the
singer through his charged voice Tum jo mil gaye ho to yeh
lagta hai ke jahan mil gaya is from "Haste Zakhm" (1973) and
the Sahir written "qawwali" type -number Tere daar pe aaya
hoon, kooch kar ke jawoonga, jholi bhar ke jaaonga ya mar ke
jawoonga from "Laila Majnu"(1976).
Geeta Dutt sings Aye dil mujhe bata de form "Bhai Bhai" only
one hit Geeta number.
Ten Classic Picks
1) ln an article this quizmaster ghosted for O.P.
Nayyar in Film-fare, that composer was insistent that
it should be mentioned that he "borrowed' Rafi-Manna
Dey's. Tu hai mera prem devta in "Kalpana" from Madan
Mohan's Lata-Manna dey duet, Preetam daras dikhaao, in
`Chacha Zindaba'. In which raag are these two duets?
2) A highly popular Asha-Rafi duet on Mala Sinha- Dhar-
mendra in "Neela Akash", as tuned by Madan Mohan, was
Aap ko pyaar chhupane ki buri aadat hai In which raag?
3) Usha Mangeshkar went along with Manna Dey in Madan
Mohan duet from "Dil Ki Raahen" : Apne suron mein mere
suron ko mila lo, Know the raag? Maanj Khamaj
4) How visually over powering was the effect of the
darbar scene in which, in front of Mala Sinha, who is
the picture of melancholy, Minu Mumtaz and Aruna Irani
put over that class Madan Mohan duet : Jab jab tumhen
bhulaya tum aur yaad aaye. Name the raag in Madan
wrapped the tune. Gaara
5) No less creative was Madan Mohan in that fantasised
duet filmed on Mala Sinha and Bharat Bhooshan in the
same "Jahanara"-: Baad muddat ke yeh ghadi aayee aap
aaye to zindagi aayee. Both Suman and Rafi are in ter-
rific voice here. In which raag. Chhayant
6) One of the more diverting sequences in the
Hrishikesh Mukherjee movie starting Rajesh Khanna as
"Bawarchi"- was the Manna Dey -Lakshmi Shankar- -Nir-
mala Devi- Haridranath Chhatopadhyay humdinger: Bhor
aahi gaya andhiyaara. Identify the raag used by Madan
Mohan here. Alaya Bhilawal
7) And now on to the triumvirate of Dilip Kumar, Raj
Kapoor and Dev Anand. If it was in Jaunpuri that S.D.
Burman composed . Jaayen to jaayen kahaan for Dev Anand
in "Taxi Driver", if it was to Bhairavi that Shaker
tuned Ai mere dil kahin aur chal for Dilip Kumar in
"Daag", in which raag did Madan Mohan. in "Ashiana",
set Main paagal mera manva paagal for Raj Kapoor?
8) What a pity "Dekh Kabira Roya" was a sput flop.It
had, in black and white, a music score to match the
one, in colour, by Madan Mohan in "Jahanara". Man-na
Dey's Kaun aaya mere man ke dwaare on Anoop kumar in
"Dekh Kabira Roya" rates as a classic to this day.
There was no end of confusion about whether Madan Mohan
had scored Kaun aaya in Bageshri or in Rajeshri. This
quizmaster took the point to Manna Dey himself. In
which of the two raags did Manna Dey identify Kaun aya
to be ? Rageshri
9) Manna Dey was also asked, in same breath, to figure
out why his Bairan ho gayi raina from the same "Dekh
Kabira Roya" did not at all prove popular compared to
Kaun aaya. " If I knew the reason why", said Manna
Dey. "wouldn't I have sung Bairan ho gayi, too in the
style in which I knew it would be popular!" In which
raag had Madan Mohan cast Bairan ho gayi raina for
Manna dey? Jaijaiwanti
10) We started with duets, so let us end with one. For
a change, it was Asha, not Lata, who excelled in this
Madan Mohan duet with Rafi in "Aakhri Daao" on Nutan
and Shekhar: Humsafar saath apna chhod chale. Excelled
in which raag. Gaara
Here some more addition 20 / 7 / 96 By Hemant Parikh.
*Madan Mohan 14th July, 1974 ( Born - 1923). He was 51, Born
in Punjab, His full Name was Madan Mohan Kohli.
His first 4 films as follows.
1. 1950 - Aankhen - Samshad Begum & Madan Mohan sang *
Hamse Na Dil Lagana Musafir ( Lata Mangeshkar was sup-
posed to sing this for him in this film. Note whenver
Lata did not sing for Madan Mohan or Opee Nayyar they
went to ask Samshad Begum)
2. 1951 - Ada - Saawri soorat man bhaye
3. 1952 - Aashiana - Mera karara leja
4. 1953 - Baaghi - Hamare baad ab mehfil mein afsane baya
honge, Baharen hum ko dhundhegi, na jane hum kahan
* Beghum Akhtar loved Madan Mohan's Qadar Jane Na that
she personally rang him and listened to the song for 27
mins. In the same film there was hit umber Geeta Dutt's
Aye dil Mujhe Bata de.
* It was said that his composition In Anapadh .. Apki
nazron ne samjha pyar ke kabil mujhe was composed by
him in the lift. And Naushad had commented that he
would exchange the entire repotire of his songs for
this one Madan Mohan Tune.
* Naina barse rij him in Wo Kaun Thi was recorded by
Madan Mohan Him Self. When the picturisation was taking
place Sadhana found it difficult to sing this number.
Lata had to dub the song later when the picturisation
was finished as she was sick ealier.
* His last film was Laila Majnu. The song Koi patthar
se na maro was No.1 in Binaca Geetmala. Jaidev assisted
him in this films. And Jaidev also Completed Laila
* His films for Chetan Anand had hit music. Eg
Haqeeqat, Heer Ranjha, Hanste Zakhm & Hindustan Ki
Kasam. NOTE THE LETTER "H" being common.
* And Common letter "A" films, Aankhen, Ada, Aap Ki
Parchaiya, Adalat and Anpadh.
* He was known as Ghazal - King. He had never won an
Best Music Director Filmfare Award. He assisted
S.D.Burman in the film Do Bhai .
* Lata Mangeshkar and Mohammed Rafi remained his
favourite singers. But not to forget Asha Bhonsle,
Samshad Beghum, Geeta Dutt, Kishore Kumar, Talat Mah-
mood, Mukesh and Buhpinder sang Hit songs for him. I
remeber reading that Even Jagjit Singh liked his style.
* He had worked with famous Lyric writers like Raja
Mehndi Ali Khan, Majrooh Sultanpuri, Rajendra Krishan,
Kaifi Aazmi, Sahir Ludhianvi, Hasrat Jaipuri and Gul-
* His son Sanjeev Kohli is the Senior Marketing Consul-
tant of HMV in India. He has compiled together popular
albums like The Golden Collection, Anmol Ratan and Rare
Gems. We should be more than thankful to this Father-
Son music contibutors.
My Father wrote:
Madan Mohan ji ne aise anmol get hindi film jagat ke liye
banaye the jo maushiqui ki duniya ke kayam rahne tak aane
wali nashal ko apne madhur suron se bahlate rahenge. Wo hai
Madan Mohan Ke Geet.
My Father and Mother were always fond of him. Since I was
little I have been hearing his music. I have one tape which
we took to my mums village in India, and heard it every day
every hour for more than a week. Then I did not realise that
it was Madan Mohan's music and Lata mangeshar is singing and
today My Passion and knowledge has ever so increased. I am
more than happy to shre these details with Music Lovers.
I have shared my information on Radio with New Zealand
listeners. My listeners I talk to much and I am not effec-
tive talker ( Born in Gujrat) so I have decided to stop my
Radio announcement and Go to India next year and live there
and learn more. I hope then I still share my information
with you people.
Soon I am posting Tribute details about Geeta Dutt, Mohammed
Rafi and many more. So keep reading and reply if you'd like.
To Sammimudin sorry if there is any copyright rules from
Screen details. But I am very good friend of Raju Bharatan (
I inteviewd him last year on this occasion) and he knows
lots more, lets hope he has a computer and shares his infor-
mation with the rest of the World.
Hamare baad ab mehfil mein afsane baya honge, Baharen hum ko
dhundhegi, na jane hum kahan honge.
Hemant Parikh email@example.com
P.O.Box - 5956, Wellesley St, Auckland. New Zealand.
Ph: 0064 9 629 3598 Mobile: 0064 21 629 359