Aap Ki Nazron Ne Samjha Male Voice Mp3 Song Download

[Elsa Hoelscher]

TheLata / Madan Mohan combination is one of the most appreciated in film music. However, Lataji did not sing for Madan Mohan in his debut film Aankhen. But therafter she was the muse for the composer an d their hits are legendary. In all Lataji concerts the loudest applause was invariably for Madan Mohan songs.

When Lataji was to perform at the Royal Albert Hall in London with the prestigious Wren orchestra, she selected various songs and sent them for the scores to be written. Two songs of Madan Mohan became the favourites of the foreign orchestra... Lagja gale se and Khelo na mere dilse. The conductor, Ed Welch, said he was fascinated by the compositions and the modern treatment of these two songs.

During Madan Mohan's short stint as assistant to S. D. Burman the latter used a tune originally composed by Madan Mohan. This was the song 'Mera sundar sapna beet gaya' (Do Bhai). It is also suggested that the song 'Jeevan ke safar mein rahi' (Munimji) was a Madan Mohan composition as he was assistant for Munimji as well (Munimji was delayed in release and the music was recorded well before 1955). However this has not been substantiated.

In the year 1956, film "Bhai Bhai" turned out to be Madan Mohan's first box office hit (after his debut in 1950). During its run for the 24th consecutive weeks, a dispute arose between the producer and distributor, as a result of which the film was immediately withdrawn from screening. Result: No silver jubilee hit for Madan Mohan inspite of excellent music and a highly successful movie. His first silver jubilee hit came 8 years later with "Woh Kaun Thi" in 1964.

Famous ghazal singer Begum Akhtar was a great admirer of Madan Mohan's tunes.After hearing the song "Qadar Jaane Na" from "Bhai Bhai" on Radio Ceylonshe immediately rang up Madan Mohan from Lucknow and urged him to sing this song for her and he did it repeatedly for eighteen minutes on telephone.

In the film "Bhai Bhai", three actresses have played key roles but of quite different characters. Each actress has got a very popular song to sing in the film.

1.'Qadar Jaane na, O Mora Baalam Bedardi' is picurised on Nimmi.

2.'Mera Chhotasa Dekho Ye Sansar Hai' on Nirupa Roy and

3.'Ai Dil Mujhe Bataa De Tu Kispe Aa Gaya Hai' on Shyama

As a composer, Madan Mohan did full justice to each actress.

In the film "Dekh Kabira Roya", three very popular songs come in a back to back sequence

1.'Meri Veena Tum bin Roye' (Lata Mangeshkar)

2.'Ashkonse Teri Hamne Tasveer Banayi Hai' (Asha Bhosle) and

3.'Tu Pyar Kare Ya Thukaraye' (Lata Mangeshkar)

All three songs are raga based, composed in Ahir Bhairav, Pahadi and Bhairavi respectively. On the screen, these songs have been picturised on Ameeta, Anita Guha and Shubha Khote respectively.

Often Madanji composed different tunes for antras in the same song, which was a testimony of his creativity. Some examples of this are 'Ek haseem shaam ko', 'Sapnon mein agar mere', 'Aapne apna banaya', and 'Kai dinse jee hai bekal' (Dulhan Ek Raat Ki), 'Tum jo mil gaye ho' and 'Betaab dil ki tamanna' (Hanste Zakhm), 'Har koi chahta hai ek mutthi aasmaan', 'Chand madham hai' (Railway Platform), 'Hamare baad ab mehfil mein' (Baaghi), 'Beraham aasman' (Bahaana), 'Tumse kahoon ek baat' and 'Mai ri main kaase kahoon'(Dastak). 'Koi pathar se na maare' and 'Barbaad mohabbat ki dua' (Laila Majnu), Mushkil hai jeena (Sahib Bahadur) and almost all songs from Heer Ranjha... 'Do dil toote', 'Tere kooche mein', 'Doli chadhte hi', 'Milo na tum to' and 'Yeh duniya yeh mehfil'. This indeed proved that he was able to conjure so many melodies within the same song!

In the film "Chandan", the song "Ye Khule Khule Se Gesoo, Ye Udee Udee Si Rangat... Log Kahe Mere Nain Baaware", has all the three stanzas composed in different tunes. There are three heroines in this film viz. Nutan, Shyama and Mala Sinha. Possibly, each stanza is picturised on a different actress.

In the film Ghazal, three ghazals have the same behar and radeef.

1.'Nagma-o- Sher Ki Saugaat Kise Pesh Karoon' (Lata Mangeshkar)

2.'Rang Aur Noor Ki Baarat Kise Pesh Karoon' (Mohammed Rafi) and

3.'Ishq Ki Garmiye Jazbaat Kise Pesh Karoon' (Mohammed Rafi)

However, the tunes of these three songs are entirely different and are based on different ragas.

In the late 50's, Madanji formed a part of the judges panel, for a live singing competition... the Metro Murphy contest. Naushad, C. Ramchandra, Vasant Desai and Madan Mohan were the judges for the nationwide contest. Each of the composers was to give a film song to one of the winners. Aarti Mukherjee and Mahendra Kapoor were the winners. Madanji gave a song in to Mahendra Kapoor in Jailor, followed by Anpadh, Woh Kaun thi and other later films.

Young and budding singers prefer to sing Madan Mohan's song in singing competition programmes like "Meri Awaz Suno", "Sa Re Ga Ma" and others. Madan Mohan's compositions, known to be complex and difficult to sing are always a challenge for singers.

The period 1950-1970 for Hindi films was dominated by three leading male actors viz. Dilip Kumar, Raj Kapoor and Dev Anand. Madan Mohan composed music for two movies of Raj Kapoor viz. Aashiaana and Dhun and three for Dev Anand viz. Pocketmaar, Sharaabi and Saahib Bahadur. However, none of these films succeeded and he did not compose any song for Dilip Kumar, despite being his close family friend.

Madan Mohan was a composer who was highly original and rarely copied tunes from the West or otherwise. However on the rare occasion, he did get influenced. A glaring example of this was one of his early songs 'Dil dilse milakar dekho' (Memsahib) which was inspired by the English song 'Isle of Capri'.

Composer Sajjad Hussain was upset that Madanji's song 'Tujhe kya sunaaoon main dilruba' (Aakhri Dao) sounded so similar to his own 'Yeh hawa yeh raat yeh chandni'. It is not clear how or why this happened.

For the film "Pooja Ke Phool" a song was recorded by Lataji for Nimmi who played a blind girl. The song was 'Mujhe apni ankhiyaan dede o pyare panchi'. However on the directors insistence , Madanji rerecoreded the song basing it on the original tune of the same situation as in the Tamil version of the film, of which Pooja ke Phool was a remake. This original tune was not Madanjis and the song is 'Miaoon miaoon meri sakhi'. Of course he imparted his own style to the antras and the music. The originally recorded Madan Mohan song will be made available on the website for reference.

Various Madan Mohan inspired songs have also been heard in films. The song 'Saagar Kinare' (Saagar) was inspired by 'Yehi hai tammanna' (Aap ki Parchaiyan), and R. D. Burman called up Madanji to inform him of this. The meter of the song was similar to 'Thandi Hawayen' (Naujawan) and 'Rahen na rahen hum' (Mamta).

One of Madanji's first successful films was "Bhai Bhai", starring Kishore Kumar. Among other popular songs it had the Lata-Kishore unusual hit, 'Mera naam Abdul Rahman'. When Madan Mohan and Kishore Kumar worked together again in ManMauji , 6 years later, they decided to recreate a similar song, once again by Kishoreda and Lataji.. the song was ' Ek tha Abdul Rahman', but the film did not do well and the song went unnoticed.

Madanji's popular Kishoreda hit 'Zaroorat hai zaroorat hai' from "Manmauji" was one of the first remix songs in the market... which became 'kya soorat hai', a big hit with the youngsters, but there was no credit to the original composer.

In the film "Chacha Zindabad", there was a situation of a girl learning classical music from a Guru. Madan Mohan composed 'Preetam daras dikhao' in raag Lalit and intended to record it with Ustad AmirKhan and Lataji. When Lataji heard this she requested Madanji and producer Om Prakash to excuse her as she would not be able to sing with the Ustad whom she revered and was too nervous to sing with. The song was later recorded by Manna Dey and Lataji.

"Chacha Zindabad" was an unusual music score, with classical songs on the one hand (including Bairan neend na aaye', and some rock and roll fun numbers by Kishoreda and Lataji as well which were potential hits. The film however flopped, and some songs went unnoticed!

Two additional songs have been heard in his voice, but these were never intended for commercial release. These 2 songs were sung by him as dummy tracks for Lataji to sing later as she was not well at the time of recording. These songs were later given to HMV by his family for release on albums after Madanji's demise. These songs were 'Mai ri main kaase kahoon' (Dastak) and 'Naina barse rim jhim rim jhim' (Woh Kaun Thi).

'Naina barse rimjhim rimjhim' was a tune Madan Mohan had composed in 1952. For want of an appropriate situation as well as being rejected by filmmakers, it remained unused. When Raj Khosla, a close friend of Madanji, needed a haunting melody for "Woh Kaun Thi", the composer remembered his forgotten melody, and Raj Khosla jumped at it. 'Naina barse' became a major hit.

The unforgettable song Lag Ja Gale Se also from Woh Kaun Thi, as told by Manoj Kumar, was almost never recorded. Madanji had composed the song with great care for a haunting romantic situation in the film. Director Raj Khosla cursorily rejected it. Madanji was very upset as he was confident that this could be a memorable song. He called Manoj Kumar and requested him to hear the song and convince the director. Manojji was bowled over by the composition. He requested Raj Khosla if he could join in the next sitting. At that sitting, the very same tune was sung again for the director, who immediately approved it. When told later that it was the same tune he rejected a few days ago, he was very embarrassed and said, "either I was just not concentrating or I have gone mad if I could ever reject this wonderful tune". Lag Ja Gale was thus recorded and till today remains one of Madanji's most loved songs.

When the Shimla shooting schedule of "Woh Kaun Thi" was on, the haunting theme song, 'Naina barse' was still to be recorded as Lataji was unwell. Finally, it had to be sung by Madanji for the shoot purposes, and people in Shimla were astounded to see Sadhana lipsynching to a male voice for the song, and wondered what kind of ghost story was in the making! Later it was resung by Lataji. An excerpt of the version by Madanji was included in the Legends, 5 CD set.

3a8082e126