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Aye Dil Mujhe Bataa De – The Mast Nagmein of Madan Mohan

June 25, 2016 | By and

Silhouette pays tribute to the legendary music composer Madan Mohan, with a delightful recall of the mast nagmein of the King of Ghazals – songs that thrive with fun and masti.

Sangeeta Gupta, the daughter of Madan Mohan adds her enriching observations (in red text) to join Peeyush Sharma as they build up the tempo of masti and great music. Enjoy the mast geet and hum along, remembering one of the greatest music composers ever to have graced the world of Hindi film music.

All pictures used in this article are courtesy

mast songs of madan mohan

Madan Mohan in a mast mood (25 June 1924 - 14 July 1975)

Madan Mohan in a mast mood (25 June 1924 – 14 July 1975)

Music director Madan Mohan is credited with some of the best filmi ghazals in the musical history of Hindi cinema. Who can forget Aapki nazaron ne samjha pyar ke kabil mujhe (Anpadh, 1962/ Lata/ Raja Mehndi Ali Khan)  or Humse aaya na gaya yumse bulaya na gaya (Dekh Kabira Roya, 1957/ Talat/ Rajinder Krishan) or Jo humne daastan apni sunayi aap kyon roye (Woh Kaun Thi, 1964/ Lata/ Raja Mehdi Ali Khan), or Main yeh soch kar uske dar se utha tha (Haqeeqat, 1964 / Rafi/ Kaifi Azmi) – a huge list of truly endearing, sophisticated, unparalleled and immortal creations known as light filmi ghazals.

But today, we take you through  a rocking journey of some of Madan Mohan’s music exploring his totally mast songs that are certainly not ghazals, but are some of our all time favourite happy songs. So, here we go:

Mohd Rafi and Madan Mohan – a perfect blend

Picturised on the young and handsome Vijay Anand, our first pick is a mast romantic song, zesty tune, full of excitement, superb Rafi delivery, a mood creator and an essential sing along, replete with humming and whistling, tingling and mouth organ.

Masti mein chhed ke tarana koi dil ka
aaj lutayega khazana koi dil ka

( Haqeeqat , 1965) – Madan Mohan / Kaifi Azmi / Mohd Rafi

Watch the third verse to get the literal feel of imagination so beautifully executed by producer-director Chetan Anand on younger brother Vijay, all in anticipation. If it reminds you of the third brother, Dev, well, one cannot forget that these are the styles of execution that Vijay as a director had given to Dev to enact too, in his films.

Madan Mohan with Chetan Anand

(L to R) Chetan Anand, Priya Rajvansh, Lata Mangeshkar, Madan Mohan and Kaifi Azmi

Mukhde se zulf zara sarkaunga, Suljhega pyar ulajh main jaaunga,
Paake rihai bahut pachhtaunga, aisa sukon kahan phir paaunga,
Aur nahin hai thikana koi dil ka, aaj lutayega khaana koi dil ka.

This song could have been picturised on Madanji as Chetan Anand had roped him into acting for the film. Unfortunately, due to weather conditions the flight he was to take to Ladakh where the shooting was being held could not land for 10 days and he returned home disappointed, especially since he had been an army man and would have loved to star in this film which was very close to his heart.

Yeh maana meri jaan mohabbat sazaa hai,
mazaa isme itna magar kis liye hai.

(Hanste Zakhm, 1973) – Madan Mohan / Kaifi Azmi / Mohd Rafi, Balbir and Chorus

I would immediate jump a decade to the total mast mood enhancer by Rafi and Balbir and chorus executed in a qawalli style with a modern touch from Chetan Anand’s Hanste Zakhm (1973). With the same Kaifi Azmi-Madan Mohan-Rafi team again, the scene has Chetan Anand’s nephew-in-law, Navin Nishchal leading a bunch of enthusiastic actors of all sizes. It is one of the last best qawallis of the Hindi Film world, before qawalli totally vanished from the scene.

The madness of masti starts with a bhangra beat to set the mood. There is a sudden quiet pause in the party as Priya Rajvansh enters and then Rafi’s introductory lines flow as a exultant welcome, Dil ne is tarah pukara tumhen aana hi pada…

Singer Mohd. Rafi and music director Madan Mohan

Mohd. Rafi and Madan Mohan

Each of the mast songs the duo created became a pure delight for music lovers. For sheer energy and uniqueness and a favourite of many including Madan Mohan himself is the Sharabi (1964) number Sawan ke maheene mein, ik aag si seene mein. Written by Rajinder Krishan, picturised in three parts on Dev Anand, it was a massive hit in its days and even in a re-run, coins were thrown at the screen when this song started.

Saawan ke maheene mein

(Sharabi , 1964) – Madan Mohan / Rajinder Krishan / Mohd Rafi

Dev Anand Moti Lal, Shankar and Madan Mohan

(L to R) Moti Lal, Dev Anand, Dev Anand’s sister, music director Shankar (of Shankar-Jaikishan duo) and Madan Mohan

Rafi excelled in romantic renderings under Madan Mohan’s baton. Sample a few of those pearls:

  • Yahi hai tamanna, tere dar ke saamne (Aap Ki Parchhaiyan)
  • Ik haseen shaam ko dil mera kho gaya (Dulhan Ek Raat Ki)
  • Kisi ki yaad mein duniya ko hain bhulaye huye (Jahan Ara)
  • Tumhari zulf ke saaye mein shaam kar loonga (Naunihaal)
  • Jab dekh liya to chhupoge kahan unhen dhoondh hi lenge kahin na kahin (Chirag)
  • Shamma mein taqat kahan jo ek parwaane mein hai (Naya Kanoon)
  • Kuchh aisi pyari shakla mere dilruba ki hai, jo dekhta hai kehta hai (Naya Kanoon)
  • Tu mere saamne hai, teri zulfen hain khuli, tera anchal hai dhala (Suhagan)
  • Yun rootho na haseena meri jaan pe ban jayegi (Neend Hamari Khwab Tumhare)
  • Tumse kahoon ik baat paron se halki halki (Dastak)
  • Meri duniya mein tum aayi kya kya apne saath liye (Heer Ranjha)
  • Tere dar pe aaya hoon kuchh kar ke jaunga (Laila Majnu)

Enjoy this Madan Mohan-Rafi immortal melody:

Ik haseen shaam ko, dil mera kho gaya
Pehle apna hua karta tha, ab kisika ho gaya

(Dulhan Ek Raat Ki, 1966) – Madan Mohan / Raja Mehdi Ali Khan / Mohd Rafi

Kishore Kumar’s masti in Madan Mohan’s music

Actor, producer and director, Om Prakash collaborated with close friend Madan Mohan in Gateway of India (1957), Chacha Zindabad (1959), Sanjog (1961) and Jahan Ara (1964). None could be a hit at box office, so to say. But all had memorable music that has ever since been selling.

Ae haseenon naazneenon
main dil hatheli pe leke aa raha hoon

(Chacha Zindabad, 1959) – Madan Mohan / Rajinder Krishan / Kishore Kumar

From actor, producer and director Om Prakash’s 1959 comedy with Kishore Kumar and Anita Guha, Cha Cha Zindabad, this Kishore song is a lyrical beauty, melodious and naughty, written by Rajinder Krishan.

Raahi hoon main apni dhun ka,
ik roz chala jaunga,
dhundhoge mujhe ro ro ke,
main haath nahin aaunga.

Zaroorat hai, zaroorat hai, zaroorat hai
Ik Shirimati ki, kalavati ki, seva kare jo pati ki

(Man Mauji, 1962) – Madan Mohan / Rajinder Krishan / Kishore Kumar

Curiously with Kishore Kumar as an actor-hero, Madan Mohan scored music for seven films, namely, Ilzam (1954), Bhai Bhai (1956), Mem Saheb (1956), Chandan (1958), Cha Cha Zindabad (1959), Man Mauji (1962) and Ladka Ladki (1966).

Madan Mohan, Kishore Kumar and Chetan Anand

Madan Mohan with Kishore Kumar and Chetan Anand

For singer Kishore Kumar, Madan Mohan composed 38 songs in 17 films. Yet while recollecting Madan Mohan’s music creations we tend to overlook this duo. Among the songs that they did together, some favourites are;

  • Mera naam Abdul Rehman, pista wala main hoon Pathan (Bhai Bhai)
  • Dil dil se mila kar dekho, nazron mein samaa kar dekho (Mem Saheb)
  • Des chhudaye, bhes chhudaye, kya kya kare na preet Rama (Cha Cha Zindabad)
  • Zaroorat hai zaroorat hai zaroorat, ik shrimati ki, kalavati ki (Man Mauji)
  • Suniye suniye aaj kal ki ladkiyon ka program (Ladka Ladki)
  • Simti si sharmai si kis duniya se tum aai ho (Parwana)
  • Yun na sharma phaila de apni gori gori bahen (Parwana)
  • Har koi chahata hai ik mutthi aasman har koi dhoondhta hai (Ek Mutthi Aasman)
  • Raahi tha main awaara phirta tha maara maara tere sheher mein (Sahib Bahadur)

Not many know that Kishore Kumar and Madanji shared a friendly bond from the time that they joined the industry as youngsters. Kishore Kumar’s brother legendary actor Ashok Kumar was an integral part of Bombay Talkies and Madanji’s father Rai Bahadur Chunnilal was the administrative partner. The two youngsters used to spend masti times in the canteen and all over the studio.

Zaroorat hai
or Simti si sharmayi si are very popular songs from this duo.

When Geeta Dutt sang for Madan Mohan

Ae dil mujhe bataa de tu kis pe aa gaya hai,
Woh kaun hai jo aa kar khwaabon pe chha gaya hai.

(Bhai Bhai, 1956) – Madan Mohan / Rajinder Krishan  / Geeta Dutt

ae dil mujhe bata de

This quintessential bindaas number with the rare combination of Geeta Dutt and Madan Mohan has remained evergreen even after all these sixty years. It is a supreme pleasure to listen to this full throated fabulous rendition anytime and enjoy the uplifting ‘dil-se’ effect that only Geeta could have brought to the song. Needless to say, this one song has has also made Shyama immortal!

Another Geeta Dutt–Madan Mohan gem that was shot on Helen in Night Club (1958) comes to mind:

Kahan phir hum kahan phir tum kahan wo raatein,
dhadakte dil se ho jayen zara do batein.

One is also reminded of Shaam ka anchal dhalka from Fifty Fifty (1956) and Yeh raah badi mushkil hai from Gateway Of India (1957).

Madan Mohan and Geeta Dutt

(L) Madan Mohan and Geeta Dutt at a recording session as Premnath looks on. (R) Posing for the camera at a function.

Gems from the Madan Mohan – Asha Bhosle team

Another delightful number that starts with humming and whistling, Asha Bhosle this time, this song from Aakhri Dao (1958), has been my top favourite from the day I heard it first.  The whistling does remind one of Hum hain rahi pyar ke humse kuchh na boliye from Nau Do Gyarah, released an year earlier.

Sparkling with verve and almost singing through her eyes is Nutan accompanied by ever jubilant Shammi in a taxi cab with Shekhar at the steering wheel. Directed by Mahesh Kaul and co-produced by Shekhar’s wife, Santosh Shekhar  and shot very well by cameraman Ratan Lal Nagar, this song is a sheer delight to ears and eyes.

Haye unki woh nigahein
Dil dekhe jinki rahein

(Aakhri Daao, 1958) – Madan Mohan / Majrooh Sultanpuri  / Asha Bhosle

Two timeless, romantic beauties that are outstanding feathers in the cap of Madan Mohan are from Bank Manager (1959) and Akeli Mat Jaiyo (1963). Both songs were enacted on screen by Minoo Mumtaz and rendered by Asha Bhosle.

Bank Manager, a film from the producers of Aakhri Dao had Shekhar as the hero again. They had brought in real time non-film shayars to write the lyrics. Anwar Farukhabadi and Jalaal Malihabadi shared the honours while Indiwar wrote one song for this film too. Notice these love laden lines written by Jalaal Malihabadi.

Yeh kaun aa gaya dil ko karta ishare,
ke mehki saba muskuraye nazare,
Kadam badh ke tu choom le ae mohabbat,
ke dil ko bahut unpe pyar aa raha hai.

Minoo Mumtaz dances to this song for the hero Shekhar this in a mehfil packed with gangsters.

Saba se yeh keh do ke kaliyan bichhaye
Woh dekho, woh jaan-e-bahaar aa rahaa hai

( Bank Manager , 1959) – Madan Mohan / Jalaal Malihabadi / Asha Bhosle

From the prestigious production house of Ranjit, Akeli Mat Jaiyo had Chandulal J. Shah and Gohar K Mamajiwala share the honours as the producers and renowned Nandlal Jaswantlal handle the direction. Meena Kumari and Rajendra Kumar were both top bracketed stars and Majrooh wrote the lyrics.

Asha Bhosle and Madan Mohan

Asha Bhosle and Madan Mohan

Hits from Akeli Mat Jaiyo include Woh jo milte the kabhi humse diwanon ki tarah (Lata), Yeh hawa yeh mastana mausam (Lata/Rafi) and Yeh to kaho kaun ho tum, meri bahar tumhin to nahin – a duet by Lata and Rafi where Rafi endearingly croon ‘yes my darling, yes my darling’!

Akeli Mat Jaiyo was a watchable film with an interesting story line (written by Chandulal Shah) with charged dialogues by Akhtar Ul Iman. Unfortunately, the director Nandlal Jaswantlal passed away before he could complete the film which affected quality of the film. Watch the sensuous Meena Kumari’s wordless reactions to the evocative song by Minoo Mumtaz in Asha’s voice.

Thodi der ke liye mere ho jaao
Mere dil meri sanso me kho jao

( Akeli Mat Jaiyo , 1963) – Madan Mohan / Majrooh Sultanpuri / Asha Bhosle

Any list of Madan Mohan’s masti songs cannot be complete without Jhumka gira re, the chartbuster hit from Raj Khosla’s blockbuster Mera Saya (1966). Every song of this film was a masterpiece composition but this desi dance number sung by Asha Bhosle and picturised on an electrifying Sadhana caught the fascination of the audience like none other. The song unspooled a story, the words painting a graphic imagery and the intermittent prompt ‘phir kya hua?’ followed by Asha’s ‘Phir daiyya’ added a spicy dash of mischief to the song.

Jhumka gira re
Bareilly ke baazar mein, jhumka gira re

( Mera Saaya , 1966) – Madan Mohan / Raja Mehdi Ali Khan / Asha Bhosle

Asha Bhosle has gone on record to say that she has sung nearly as many songs as Lata Mangesher for composer Madan Mohan, emphasising “Maine lakhon kamaye hain is gaane pe jo hai jhumka gira re”.

Lyricist Raja Mehdi Ali Khan and Madan Mohan

Lyricist Raja Mehdi Ali Khan and Madan Mohan

Well, beautiful and elegant Sadhana, the suave Sunil Dutt, an intriguing storyline and efficient direction and of course the trio of Lata Mangeshkar, Asha Bhosle and Rafi teaming up with lyricist Raja Mehdi Ali Khan and Madan Mohan – Mera Saya had everything in perfect synchronisation. All songs are etched in the memory of music lovers even today.

  • Naino mein badra chhaye, bijli si chamke haaye (Lata)
  • Nainon wali ne haye mera dil loota (Lata), re-done from his earlier Asha number in Khajanchi (1958)
  • Anhkon ankhon mein kar gaye mast ishare.
  • Aapke pehlu mein aa kar ro diye (Rafi)
  • Tu jahan jahan chalega mera saaya saath hoga (Lata)

I would like to add one of my favorites of this combination – Shokh nazar ki bijliyan from the film Woh Kaun Thi which was picturised on Parveen Chaudhry.

I love the song Mere piya chede jiya…dheere se aake thandi hawa from the film Chacha Chowdhry (1958), written by the legendary lyricist Rajinder Krishenji.

Another beauty is Mere ishq mein lakhon latke from the film Mausam (1975) which was picturised on the natkhat version of Sharmila Tagore. The film released a few months after Madan Mohanji passed away and was dedicated to his memory.

Masti with Asha Bhosle-Mohd. Rafi

Madan Mohan’s masti in mast duets by Asha and Rafi is our next focus. Quite a few of them, mostly unsung but, each a gem and real mast romantics.  Among my favourite masti duets are Dekh Kabira Roya duet, Hum bulate hi rahe tum jalate hi rahe, o sanam ye kahan ki mohabbat hai.

Asha Bhosle and Mohd Rafi with Madan Mohan

Asha Bhosle and Mohd Rafi with Madan Mohan

From Adalat, Zameen se humen aasman pe bitha ke gira to na doge.

Another one was from Ek Shola, the melodious beauty, Kahin chal na de raat ka kya thikana idhar aao zulfon mein tumko chhupa lein.

And the treasure chest is studded with gems:

  • Tum saamne aa kar jis dum jalwa sa dikha jaate ho (Khajanchi)
  • Ab do dilon ki mushkil aasan ho gayi hai (Pooja Ke Phool)
  • Aapko pyar chhupane ki buri aadat hai (Neela Akash)
  • Tere paas aake mera waqt guzar jaata hai (Neela Akash)
  • Jaao ji jaao dekhen hain bade tum jaise chor lutere (Sharabi)

Oozing with romance and masti and dillagi, each of these songs is a gem, a sing along in lighter mood but full of melody. There are movies or song picturisations that may not appeal to us now and they did not appeal to the audience when they were released. But Madan Mohan never let his listeners down. His quality never suffered and his creative genius was very much alive till his last composing day.

The Madan Mohan-Lata Mangeshkar Qawwali

Another qawaali that remains a classic in Hindi films is the one rare delivery by Lata from 1966 film Dulhan Ek Raat Ki. Again a highly reputed director, D D Kashyap based this film on Thomas Hardy classic, Tess of the D’Urbervilles with excellent acting by Nutan, supported by Dharmendra and Rehman. Hit songs include, Sapnon mein agar mere tum aao to so jaaun (Lata), Ik haseen sham ko dil mera kho gaya (Rafi), Aane apna banaya, meherbani aapki (Lata/Mahendra), Maine rang lee aaj chunariya sajna tere rang mein (Lata), all lyrics by Raja Mehdi Ali Khan.

Lata Mangeshkar and Madan Mohan

Lata Mangeshkar and Madan Mohan

Not for nothing is huge credit attached to the creative genius of Dr. Iqbal (remember Sare jahan se achha Hindustan hamara?) It was his nazm that was tuned as a qawaali here, elegantly and masterfully by Madan Mohan.

Na bacha bacha ke tu rakh ise, tera aaina hai wo aaina
Ke shikasta ho to azeeztar hai nigahe aaina saaz mein,
Kabhi ae haqeeqat-e-muntazir nazar aa libaas-e-majaaz mein,
Ke hazaaron sajde tadap rahe hain meri jabeen-e-niyaaz mein.

Super poetry, shaayari and great thoughts by Dr. Iqbal.

Kabhi ae haqeeqate muntazir

(Dulhan Ek Raat Ki, 1966) – Madan Mohan / Dr. Iqbal / Lata Mangeshkar

Manna Dey and Madan Mohan – Unique numbers

Chetan Anand’s Hindustan Ki Qasam had released in Calcutta on 31st December, 1973. Hai tere saath meri wafa main nahin to kya (Lata) and Har taraf ab yahi afsane hain, hum teri ankhon ke diwane hain (Manna Dey) had already gained popularity. The Bangladesh war of 1971 was still fresh in memory and a war movie touched a chord instantly. The star cast comprising Rajkumar, Balraj Sahani, Vijay Anand and Chetan Anand and Priya in a double role was impressive.

With a few friends I had watched the matinee show on the first day of the film’s release. The song Har taraf ab yahi afsaane hain was initially performed on screen by actor Gautam Sareen. The song became popular and as an afterthought, it was reshot with the hero of the film Rajkumar. The song was replaced when the film was running its third week. We watched the film again just to see how the song looked in its new avatar.

Either way, the beautiful romantic song, excellently delivered by Manna De and written by Kaifi Azmi retained its popularity ratings.

Har taraf ab yahi afsaane hain

(Hindustan Ki Qasam, 1973) – Madan Mohan / Kaifi Azmi / Manna De

Bhor aayee gaya andhiyaara

(Bawarchi, 1972) – Madan Mohan / Kaifi Azmi / Manna De in the lead with Kishore Kumar, Lakshmi Shankar, Nirmala Devi, and Harindranath Chattopadhyay


The peppy good morning song from Bawarchi

One can never have enough of that peppy good morning number from Bawarchi. Madan Mohan worked with Hrishikesh Mukherjee in just one film. The alliance reportedly happened on the recommendation of Gulzar who was working with Madan Mohan in Koshish those days. Whatever be the reason, we have a unique, one-of-a-kind song that is not only a visual treat, but also a delightful masterly composition, with a huge ensemble of singers that included, Manna Dey in the lead with Kishore Kumar, Lakshmi Shankar, Nirmala Devi, and Harindranath Chattopadhyay.

On screen for record, we see Rajesh Khanna, Jaya Bhaduri, Maneesha, Asrani, Harindranath Chattopadhyay,  Durga Khote, Usha Kiran, A K Hangal, Kali Banerjee and Master Raju.

Written by Kaifi Azmi, it is an intriguing and curious song, in a film that lacked traditional hero-heroine plot and had a large variety of central characters.

I remember Harindranath Chattopadhyayji coming a couple of times about 6 a.m. and ringing the doorbell impatiently to find out if the recording for this song had been scheduled…so excited was he to be participating in this different kind of song!

Shamshad Begum and Madan Mohan – masti in every note

Some masti-bhare songs by Madan Mohan featured the legendary Shamshad Begum:

Jo tum karo main kar sakta hoon badhke (Ada, 1951) Prem Dhawan / Shamshad Begum and Kishore Kumar

Pagdi pahanke thurredar akadta kyon hai – (Madhosh, 1951) Raja Mehdi Ali Khan / Shamshad Begum and S.D.Batish 

Dil jale hawa jab chale – (Ilzaam, 1954) Rajinder Krishen / Shamshad Begum and Kishore Kumar 

Tu hai meri chandaniya gori main hoon chanda tera – (Ilzaam, 1954) Rajinder Krishan / Shamshad Begum and Sundar 

O Madam ..O O O Madam – (Ashiana, 1952) Rajinder Krishan / Shamshad Begum, Kishore Kumar

Pagdi pahanke thurredar akadta kyon hai

(Madhosh, 1951) Madan Mohan / Raja Mehdi Ali Khan / Shamshad Begum and S.D.Batish

Sanjeev Kumar and Madan Mohan

Sanjeev Kumar and Madan Mohan

Lots of light romantic songs and semi-classical songs too featured in Madan Mohan’s repertoire but unfortunately he got typed as ghazal specialist as these presumably became more popular. There was so much more on display in his work if one just moved away from the hit songs which one keeps on hearing most of the time.

* Baiyan na dharo – Dastak

* Jiya le gayo ji mora – Anpadh

* Balma anadi mangade ghoda gadi – Pocket Maar

* Naino mein pyar dole – Sheroo

* Mori atariya pe kaga bole – Ankhen

* Yeh nai nai preet hai – Pocket Maar

* Ladi ankh se ankh – Pocket Maar (such a fun song this if you have not heard it yet)

* Hum panchi mastane – Dekh Kabira Roya

* Dil unko utha ke de diya – Baap Bete

* Khanak gayo hay beri – Rishte Naate

* Kai din se jee hai beqal – Dulhan Ek Raat Ki

* Jab dekh liya to chupenge kahan – Chirag

* Chaayi barkha bahar – Chirag

* Milo na tum to hum ghabrayein – Heer Ranjha

* Hey dil gaya dil gaya dekho dekho – Kishore Kumar

* Chhadi re chhadi – Mausam

The list is long. And the masti flows on…!

Chhadi re chhadi kaisi galey mein padi

(Mausam, 1975) – Madan Mohan / Gulzar / Lata Mangeshkar and Mohd Rafi

We will come up with a special on Madan Mohan’s songs for Lata Mangeshkar very soon. Watch this space!

More to read on Madan Mohan

‘Rehearsals were Never Easy, Music Sittings were Always Fun’ – Remembering Madan Mohan

Madan Mohan: The Composer of the Classes

‘Bade Achchhe Din Thhe, Bade Pyare Saathi, Aur Guni Bhi’ – In Conversation with Majrooh Sultanpuri

Journey Through Lata’s Melodies

Hain Sabse Madhur Woh Geet: Melodies of Talat Mahmood

Creative Writing

Whether you are new or veteran, you are important. Please contribute with your articles on cinema, we are looking forward for an association. Send your writings to

Consulting Editor Learning and Creativity and Silhouette Magazine. To talk of a few passions of Peeyush, one must start with music. He is known to be a collector of music and information pertaining to Indian cinema (majorly Hindi) spanning a period from early 1930s to 1980s. He has a large collection of Bengali and Punjabi music and material as well. He also boasts of a huge library of related material. Peeyush has delivered talks and lectures on music appreciation, contributed write ups in numerous news papers and magazines. He has co-authored a tribute publication on Anil Biswas. He has co-hosted radio talk shows on music and met and interviewed a number of personalities. Occasionally, he delivers talks even now. Peeyush has been the founder secretary of the prestigious, Vintage Hindi Music Lovers Association in Bangalore that honored Anil Biswas in 1985. He is known as a storehouse of old Hindi music and information regarding music and movies. Peeyush is well read in Vedic culture and literature and is invited in various centers to deliver enlightening lectures on Vedic values. His range spans from four Vedas to Upanishads and Darshans as well as Bhagvad Gita. He has delivered talks on Yog Darshan in Yoga schools and large gatherings. He currently lives in Oshawa, Ontario in Canada.
All Posts of Peeyush Sharma
The eldest child and only daughter of legendary music composer Madan Mohan, Sangeeta Gupta grew up in a household filled with music and innovation. Although not formally trained in music, Sangeeta learned to appreciate good music created by all the legendary composers and stalwarts right through her childhood. She worked with Davar's College of Commerce in Mumbai, Eve's Weekly Ltd and Stardust and moved to Jaipur after her marriage. Married to a businessman who is also very fond of music, Sangeeta has two daughters who appreciate and love vintage music as well as new music. Sangeeta shares the master composer's rare and popular songs, vintage pictures and anecdotes behind the making of those everlasting songs on her Facebook which commands a huge fan following. The Madan Mohan family also maintains the popular Madan Mohan Facebook Page which is a treasure trove for music lovers. Sangeeta's memoir of her illustrious father has been published in the official Madan Mohan website
All Posts of Sangeeta Gupta

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10 thoughts on “Aye Dil Mujhe Bataa De – The Mast Nagmein of Madan Mohan

  • Silhouette Magazine

    Some comments on this tribute received on Facebook:

    Vishesh Parekh: Bhor aayi gaya andhiyara…what a perfect way to start a day! Lovely article.

    Nutsure Satwik: What a song by MM. I have met Harindranath Chattopadhyaya more than 4-5 times as a child. Of course he knew me as one of the many children who were his fans. He was a linguist and could speak in many languages. He was a poet writer, play writer actor. His small role in Sahib Bibi aur Ghulam stands. In a tribute to MM his role was the best. In the bawarchi song his in my opinion is the best morning contribution….

    Subhas Ghosal: This is indeed a very special song in history of Hindi film music, one of a kind. Using a somewhat lesser known Raag Alhaiwa Bilawal, an environment of dawn is created, the tempo in which a family as a whole bursts into music forgetting all differences between them, where the young generation joins with guitar and western section by Kishore starts seamlessly is incomparable. I have noticed many pundits mentioning the ending bandish as Hansdhwani, but it is actially a Raag Shankara based composition. I have a feeling that the sitar portions was not played by Rais Khan, sounds someone else like Abdul Halim Jafar. Sangeeta R Gupta can provide more information I guess.

    Antara, Must thank you, Peeyushji and Sangeetaji for the wonderful write up. Though some other equally wonderful songs left out but that is unavoidable when you have to select only a few and composer is someone like MM. Nevertheless it is a good collection of songs to reflect the point in the article.

    Technical analysis of the composer’s creation is not done much, there is void in this space which you can take up with Sangeetaji. As an example the Aakhri Dao song used in the article (Hai unki wo nigaahen) is based on a pentatonic scale (close to our Raag Bhoopali), a basis of Japanese music. This was used at least 10 years before SJ used in Love in Tokyo (sayonara sayonara) but went unnoticed. Listen the whistles in prelude and interludes in it, just unthinkable.

    Peeyush Sharma: Thank you so very much Subhas ji. Very knowledgable input. Regarding Rais Khan, I think he had moved to Pakistan by the time Bawarchi was made.

    Subhas Ghosal: Peeyushji thanks for your appreciation.

    Ramdayal’s Parvat was also released in 1973, in which Rais played notably. Bawarchi was released in 1972. Rais Played for MM till 74, his signature bazz can be spotted easily. Rais shifted to Pakistan much later, probably in late 70’s. He used to come to play in Mumbai when invited, LP and Jaidev made ample use of him. Hariharan’s album with Zakir Hussain – Kaash (2000) is probably the last one I can recall, and made the album worth gold with his touch.

    There are a few films MM used other Sitarist (many of course before Rais started playing in film – 1964) when Rais is unavailable (may be away in concert tours), one is Nabab Siraj-ud-daula as an example.

    Peeyush Sharma: Good clarification, thanks

    Kalindi Saraf: What a lovely tribute

    Hari Bhatia: Superb article.
    Mukesh, Madan Mohan combination???…!!!…….

    1. Peeyush Sharma

      My favourite Mukesh number for MM is the duet from Sanjog, Ik manzil rahi do phir pyar na kaise ho. Surely, the solo, Bhuli hui yaadon mujhe itna na sataao, is timeless as well.

  • Bimal Chadha

    Great recall of an Institution who gave his best to Music with all dedication and earnestness

    He was a family acquaintance.

    Om Prakash, a family friend, had tremendous faith in him.
    On the sets of Jahan Ara, while picturising a song sequence I asked him, who the MD was.
    He answered with conviction and confidence:
    ‘Puttar! Apna Maddi’
    Both were instrumental in bringing Talat Sahib back, from the cold storage.

    Some of his sublime Music remains haunting even today.
    His memorable ‘Chand Madham Hai’ from Railway Platform could have been revisted.

    However I would not have ever excluded this recording in his own voice, a testimony to this great artiste and creator that he was.

    Hamare Baad Ab Mehfil Mein Lata Mangeshkar Baghi (1953) Madan Mohan / Ma…

    Nevertheless a great tribute to the Maestro
    Journey of his lifetime

    I still pine for you Sir!

  • Bimal Chadha

    I must add Madan Mohan completed the Music for Film Shabistan 1951; after C Ramchandra had differences with the makers of the Film viz: Filmistan.
    It was during the making of Shabistan that Madan Mohan used to visit our home, with C Ramchandra.
    CR was great friend of my Uncle Shyam.
    Madan Mohan was a young shy person, in awe of all the Senior Stars.

  • Chellamani

    When it comes to duets of MM, the Asha Rafi combo tops it all and nice to see you giving special emphasis to it. Thank U.

    Also, with due respect, while Lata MM is so much talked about, if one has to decipher and analyse the variety in MM ‘s music, it gets best reflected only through Rafi’s masterpieces under MM! See soft romantic, hard, soulful, pathos-filled, Johnny Walker nos, patriotic, bhajans – U name the genre and there will be an excellent Rafi no under MM.

    Versatility personified = Rafi !!

  • Bimal Chadha

    Now that I have re read the article two glaring songs, as per my personal liking are:

    1. Woh bhuli dastaan – Sanjog
    2. Tum jo mil gaye ho – Hanste Zakhm

    I would like to invite my friend Anand Desai to deconstruct them.
    His repertoire was is endless

  • Taiyeb Shaikh

    Beautiful Tribute with mast naghme. I was surprised to see Dr Iqbal ghazal as Qawwali in Dulhan Ek Raat ki. This ghazal was my favourite since I read Iqbal poetry. Its a very difficult ghazal as Iqbal like Ghalib use Persian words in most of his poetry. Anyways its a beautiful write up.

    1. Antara

      The write up was an eye opener for me when Sangeeta Di and Peeyush ji put it together. There were several songs that were first-time-hear and I loved all of them, stunning compositions. Even the one you mentioned Taiyeb Shaikh ji, and it has several words which were unfamiliar. Its an amazing expression of creative genius.

  • Taiyeb Shaikh

    I heard almost all songs. Iqbal and Ghalib poetry are even difficult for most Urdu knowing people. There poetry is full of philosophy which readers have to concentrate.

    Like here Iqbal is using word “Haqeeqat e Muntazar” for God. Haqeeqat means reality & muntazar is waiting, then he says “nazar aa libas e majaz mein”nazar aa means appear & libas literally means clothing & Majaz means Virtually.

    This is the genius of Dr. Iqbal who was from a royal family & was highly learned man & was a Barrister at law.

    Iqbal & Ghalib are most popular Urdu Poets. Their poetry has been translated in almost all languages. Its amazing Iqbal was highly learned man with degrees in law etc & belonged to a rich & highly learned family. Ghalib never went to school & was from poor family. Both started writing poetry at a very young age. Amazing talents & as you said creative genius. Excellent comments.

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