![]() ![]() This song also happens to be the only song in which 4 top rated male playback singers have lend their voice together in a song. Bhupendra appeared on the screen as well for the first time, much before he established himself as a popular playback singer. And the same film saw Rafi, Talat, Manna Dey, and Bhupendra singing Hoke Majboor Mujhe Usne Bulaya Hoga. Lata was used evocatively for the famous song Zara Si Aahat Hoti Hai and the unscreened " Khelo na mere dilse". In it, he used Rafi, who sang amazing numbers like Kar Chale Hum Fida, Main Yeh Soch Kar which were very big hits. Once in an interview Manna Dey recalled that Madan Mohan "sahab" asked him to take special care when singing Kaun Aaya Mere Man Ke Dwaare.Ī famous film scored by Madan was Chetan Anand's Haqeeqat (1964), starring Balraj Sahni and Dharmendra and based on the Sino-Indian War of 1962. In addition to that, he had Lata sing the divine Tu Pyaar Kare Ya Thukraaye and Meri Veena Tum Bin Roye numbers, and he used Talat Mahmood for the superhit song Hum Se Aaya Na Gaya in the same movie. But this is not true all the way in 1957 he came out with a huge musical blockbuster named Dekh Kabira Roya in which legendary singer Manna Dey gave his voice to the melodious Kaun Aaya Mere Man Ke Dwaare. Nonetheless their partnership created wonderful songs as well in this category fall hits such as Simti Si, Sharmai Si from Parwana, Zaroorat Hai, Zaroorat Hai from Manmauji, the title song from Ek Muthi Aasman, Mera Naam Abdul Rehman from Bhai Bhai, and Aai Hasino, Naazanino from Chacha Zindabad.ĭuring his early career Madan Mohan had been mildly criticized for creating songs that suited female voices, especially that of Lata Mangeshkar (who called him Madan Bhaiya or "Brother Madan"). Madan did not usually employ Kishore Kumar, as his tunes were complex classical-based compositions and "Kishoreda" had a singing style that was more pop-oriented. Madan was also able to craft beautiful songs for male singers such as Talat Mahmood (Phir Wohi Saam, Main Teri Nazar Ka Suroor Hoon and Teri Aankh Ke Aansoo from Jahan Ara, and Meri Yaad Mein Tum Na from Madhosh) and Mohammad Rafi (Ek Haseen Shaam Ko from Dulhan Ek Raat Ki, Kisi Ki Yaad Mein from Jahan Ara, Main Nigahen Tere Chehere Se from Aap Ki Parchaiyian, Aap Ke Pehlun Mein Aakar Ro Diye from Mera Saaya, the all-time haunting Meri Awaaz Suno and Tumhare Zulf Ke Sayen from Naunihal, Teri Aankhon Ke Siva Duniya Mein from Chiraag as well. ![]() Wo Chup Rahen To from the film Jahan Ara (1964) and Maine Rang Li Aaj Chunariya from Dulhan Ek Raat Ki (1966) are just two such examples. Madan Mohan songs sung by Lata Mangeshkar have a certain magic and sweetness to them that few music directors, if any, have been able to recreate. This film saw the beginning of a long and fruitful partnership with Lata Mangeshkar she would sing for him in majority of his future films. Burman and Shyam Sunder for a short time, Madan scored his first big break with the film Aankhen in 1950. Not many know that he aspired to becoming an actor but ended up directing music.Īfter assisting S.D. He picked up their influences and carried them with him to Mumbai when he entered Bollywood. He joined All India Radio in Lucknow, where he brushed shoulders with such ghazal and classical luminaries as Ustad Faiyyaz Khan, Ustad Ali Akbar Khan, Begum Akhtar, and Talat Mahmood. Though as history would have it, he quit the armed forces and turned to his first love - music. Madan Mohan, born In Baghdad, Iraq, was the son of film mogul Rai Bahadur Chunnilal, who was a partner in the Bombay Talkies studio and then in the Filmistan studio.Īt the behest of his father, he joined the army and received his first commission (emergency) in 1943. He is particularly remembered for the ghazals he composed for the film industry, mainly using the voice of India's Melody Queen, Lata Mangeshkar. ![]() Madan Mohan Kohli ( Hindi: मदन मोहन) ( JJuly 14, 1975), better known as Madan Mohan, was a famed Bollywood film music director of the 1950s, 1960s, and 1970s. ![]()
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