RMIM Archive Article "199".


From the RMIM Article Archive maintained by Satish Subramanian

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# RMIM Archives..
# Subject: Madan Mohan Kohli
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# Posted by: Hemant Parikh (parikh@ibm.net)
# Author: Hemant Parikh
# Source: various
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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 Jaidev. 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 rejaa re. 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, this sensitivity. 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 Cassettes. 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 Aakash" (1965). 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? Lalit 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? Des 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? Kedar 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 honge. * 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 Majnu's Music. * 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- zar. * 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 parikh@ibm.net P.O.Box - 5956, Wellesley St, Auckland. New Zealand. Ph: 0064 9 629 3598 Mobile: 0064 21 629 359 --
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