Golden Moments

Madan Mohan sings...
Madan Mohan sometimes composed a tune in a minute, while sometimes he spent many hours finding alternative tunes for a lyric, or perfecting a tune, with variations... some of his composing sessions in his music room, he did manage to record as reference. These were however done with a small mike and thus were not clear, or even recorded on double tracks, where sound leakage is heard... in some cases he would over record on a previous recording due to shortage of tapes... in some cases his children were playing nearby, doorbells were ringing, but the master composer kept doing what he did best... conjuring a magical melody! Most often he was alone, sometimes he had a tabla player for company and sometimes a larger team at a rehearsal. Some such sessions have been salvaged from his tapes, some are longer sessions, some just a line or two as the rest has been erased.

Various such sessions are available here... some more are available and will be added later.

1. Duniya Mujhe Kehti Hai (Non Film Ghazal)

This ghazal written by Deewan Sharar, and sung and composed by Madanji, was one of his earliest recordings in 1948, before he turned film composer. It was released as a 78 rpm record at the time.
2. Tum Kyon Meri Mehfil Mein (Non Film Ghazal)

Also written by Deewan Sharar, this ghazal featured on the other side of the same 78 rpm record as the one above, in 1948.
3. Preet Lagake Maine Yeh Phal Paaya
Madanji's debut song from AANKHEN 1950, recorded in the voice of Mukesh

Here we can hear Madanji singing the mukhda, as he sang it on a radio programme in late 60s
4. Qadar Jaane Na
Finally appeared in the film BHAI BHAI (1956) in the voice of LATA MANGESHKAR.

Only the mukhda in Madanji's voice can be heard here.
5. Yeh Nayi Nayi Preet Hai
Finally appeared in the film POCKETMAAR (1956) in the voices of LATA MANGESHKAR and TALAT MAHMOOD.

Here Madanji plays the tune on the harmonium... the antra here is a little different from what he finally recorded.
6. Humsafar Saath Apna Chhod Chale
Finally appeared in the film AAKHRI DAO (1958) in the voices of MOHD. RAFI and ASHA BHOSLE.

Here Madanji is composing the antra as well, but the recording is not very clear.
7. Dil Unko Uthake De Diya
Finally appeared in the film BAAP BETE (1959) in the voice of LATA MANGESHKAR.

Only the mukhda in Madanji's voice can be heard here.
8. Un Aankhon Mein Neend Kahaan
Finally appeared in the film MINISTER (1959), in the voice of LATA MANGESHKAR.

The mukhda and 2 antras are heard being composed here.
9. Bairan Neend Na Aaye
Finally appeared in CHACHA ZINDABAD (1959), in the voice of LATA MANGESHKAR.

Only the mukhda can be partially heard here.
10. Bereham Aasmaan
Finally appeared in BAHANA (1960), in the voice of TALAT MAHMOOD.

Here Madanji composes the antra as well, a little different from what he finally recorded. This film was released in 1960, but songs were recorded a few years earlier.
11. Hai Isi Mein Pyar Ki Aabroo
Finally appeared in ANPADH (1962), in the voice of LATA MANGESHKAR.

Here the composer sings it in a slightly different tune from what he finally recorded.
12. Chanda Jaa Re Jaa
Finally appeared in MANMAUJI (1962) in the voice of LATA MANGESHKAR.

Only the mukhda is heard here.
13. Zaroorat Hai
Finally appeared in MANMAUJI (1962), in the voice of KISHORE KUMAR.

Only a variation of the antra can be head here leading to the mukhda.
14. Aaya Hai Kahaan Se Peeke Deewane
Finally appeared in MANMAUJI (1962), in the voice of LATA MANGESHKAR.

Here he is composing the mukhda and antra of this situational song.
15. Naina Barse
Finally appeared in WOH KAUN THI (1964) in the voice of LATA MANGESHKAR.

This excerpt of the super hit song is the dummy recording done by Madanji on the music track when Lataji was unwell. The song was then dubbed later by Lataji. Only this portion of the song is available on Madanji's master tapes.
16. Aapko Pyar Chhupane Ki
Finally appeared in NEELA AKASH (1965) in the voices of MOHD. RAFI and ASHA BHOSLE.

The antra to mukhda tune is heard here.
17. Aakhri Geet Mohabbat Ka
Finally appeared in the film NEELA AAKASH (1965) in the voice of MOHD. RAFI.

Here only the mukhda being composed can be heard, but the recording is not clear.
18. Aapke Pehlu Mein
Finally appeared in MERA SAAYA (1966) in the voice of MOHD. RAFI.

This rendition by Madanji, featuring 2 of the antras was done for Rafi saheb's rehearsals.
19. Sapnon Mein Agar Mere
Finally appeared in DULHAN EK RAAT KI (1966), in the voice of LATA MANGESHKAR.

The mukhda and one antra can be heard here, though the quality is not good. This song finally had 2 antras each in a different tune.
20. Maine Rangli Aaj Chunariya
Finally appeared in the film DULHAN EK RAAT KI (1966) in the voice of LATA MANGESHKAR.

Here Madanji composes the mukhda of this classical based song which won him the "Sur Singar" award for the year.
21. Jab Yaad Kisi Ki Aati Hai
Finally appeared as the title song in the film JAB YAAD KISI KI AATI HAI (1967) in the voice of LATA MANGESHKAR.

The mukhda and antra is heard being composed.
22. Kyon Mere Dilko Qaraar Aata Nahin
Finally appeared in the film JAB YAAD KISI KI AATI HAI (1967) in the voices of LATA MANGESHKAR and MAHENDRA KAPOOR.

Only the mukhda is heard here.
23. Meri Awaz Suno
Finally appeared in NAUNIHAL (1967), in the voice of MOHD. RAFI.

Only the mukhda can be heard here.
24. Patthar Ke Bhagwaan
Finally appeared in the film NAUNIHAL(1967) in the voice of LATA MANGESHKAR.

The mukhda and antra are being composed here.
25. Aao Aao Tumhen Bataaoon
Finally appeared in the film GHAR KA CHIRAG (1967) in the voice of LATA MANGESHKAR.

The mukhda and interlude humming is being composed here.
26. Na Tum Bewafa Ho
Finally appeared in EK KALI MUSKAYI (1968), in the voice of LATA MANGESHKAR.

Only the mukhda can be heard here.
27. Kaun Rokega Ab Pyaar Ka Raasta
Finally appeared in EK KALI MUSKAYI (1968) in the voice of LATA MANGESHKAR.

The mukhda and antra is heard being composed.
28. Chhai Barkha Bahaar
Finally appeared in CHIRAG (1969), in the voice of LATA MANGESHKAR.

Only the mukhda can be heard here with slightly different variations than he finally recorded.
29. Bhor Hote Kaaga
Finally appeared in the film CHIRAG (1969) in the voice of LATA MANGESHKAR.

The mukhda and antra is being composed here, as well as a small part of a different tune for the antra.
30. Mai Ri Main Kase Kahoon
Finally appeared in DASTAK (1970) in the voice of LATA MANGESHKAR.

This rendition is the dummy recording done by Madanji on the music track when Lataji was unwell. The song was then dubbed later by Lataji. Madanji's rendition did not appear in the film, but this song in its entirety was given by his family from the master tapes when HMV wanted to release the album "A Tribute - Madan Mohan" and the entire original recording by Madanji can now be heard here.
31. Hum Hain Mataaye Koochao
Finally appeared in DASTAK (1970), in the voice of LATA MANGESHKAR.

This film score won him the National Award. This song was composed on a ghazal written previously by Majrooh Sultanpuri. Madanji, lost in his composition, sings 'deewar' in place of 'bazaar' in a line or two, so rapt was he in his composing mood! Only the mukhda can be heard here, though the quality is not good.
32. Yeh Duniya Yeh Mehfil
Finally appeared in HEER RANJHA (1970), in the voice of MOHD. RAFI.

The song "Yeh Duniya Yeh Mehfil" was composed by Madanji in the 50s but recorded only many years later. Hear we can hear Madanji composing the mukhda and antra with slightly different notes from what was finally recorded. This song is remembered till today for its variations and orchestral moods.
33. Jis Dinse Maine Tumko Dekhaa Hai
Finally appeared in PARWANA (1971), in the voices of MOHD. RAFI and ASHA BHOSLE.

The mukhda and antra can be heard here... this is a modern composition as Madanji had a situation of a young romance, and an opportunity to create a tune, different from his 'style'.
34. Piya Ki Gali
Finally appeared in PARWANA (1971) in the voices of ASHA BHOSLE and PARVEEN SULTANA.

This situation was a dance competition based on classical and folk music... he composed different antras for this song, some of which are heard here.
35. Saqiya Qareeb Aa
Finally appeared in PRABHAT (1973), in the voice of LATA MANGESHKAR.

This was a mujra situation, but the composer wanted a classical based composition as the film already had a light mujra. The seemingly easy melody had exquisite antras and sitar interludes... only the mukhda can be heard here.
36. Tum Jo Mil Gaye Ho
Finally appeared in HANSTE ZAKHM (1973), in the voice of MOHD. RAFI, with a small adlib by LATA MANGESHKAR.

This song, much popular today, had various tempos and antras, each in a different tune... some can be heard here, as he is composing this modern, difficult song, with director Chetan Anand in the sitting, and the composer asks his director, 'theek hai?'
37. Aaj Socha To Aansoo Bhar Aaye
Finally appeared in HANSTE ZAKHM (1973), in the voice of LATA MANGESHKAR.

This song had memorable sitar interludes played by Ustad Rais Khan... the entire rehearsal of the sitar bits is heard here, with Madanji composing the intro and explaining the pieces to the sitar virtuoso, in the director's presence... this is a rare golden moment of how this memorable song was rehearsed while being created.
38. Gali Gali Mein Kiya Re Badnam
Finally appeared in HANSTE ZAKHM (1973) in the voice of ASHA BHOSLE.

The mukhda of this song is being composed with Madanji expressing the 'teasing' variations that the song finally had.
39. Dil Dhoondta Hai
Finally appeared in MAUSAM (1975), in the voices of LATA MANGESHKAR and BHUPINDER SINGH.

This song had 2 versions... the happy and sad. Madanji composed various options for both. Here he sings the mukhda of the happy version.
40. Dil Dhoondta Hai (Sad)
Finally appeared in MAUSAM (1975) in the voice of BHUPINDER SINGH.

Here Madanji sings the mukhda of the sad version.

The alternative tunes made by him, will also feature in this section, shortly.

41. Tere Dar Pe Aaya Hoon
Finally appeared in LAILA MAJNU (1976) in the voice of MOHD. RAFI.

Madanji composed and recorded the 6 key songs of this film before his death. The mukhda of this popular song is heard here.
42. Husn Haazir Hai
Finally appeared in LAILA MAJNU (1976) in the voice of LATA MANGESHKAR.

This song became the biggest hit of the year, and topped Binaca Geetmala for over 11 weeks. Madanji did not live to see the success. Here he composes a large portion of the song including antras, some in different tunes. He was already keeping indifferent health during the recordings of this film.
43. Mushqil Hai Jeena
Finally appeared in SAHIB BAHADUR (1977) in the voice of LATA MANGESHKAR.

This film released 2 years later, though Madanji had recorded 6 songs in his lifetime. This film was a light hearted comedy, but Chetan Anand, wanted one typical Lata / Madan melody. Here Madanji is composing the third antra, which was different from the first two, and had some difficult, high portions, which he is trying to create and finalize in this rehearsal.
44. Rahi Tha Main Awara
Finally appeared in SAHIB BAHADUR (1977), in the voice of KISHORE KUMAR.

This song was composed by Madanji but recorded only after he passed away. The mukhda in his voice can be heard.
45. Mere Ashqon Ka Gham Na Kar Aye Dil
Originally recorded in 1972 for an unreleased film in the voice of LATA MANGESHKAR, but finally appeared on a commemorative album in 1980, and now on the latest release TERE BAGAIR.

Here Madanji composes the mukhda with different variations, some of which he did not finally use.
46. Ladkiyon Ko Chahiye Woh College Mein Seekhlein
This unreleased song was recorded in the voice of KISHORE KUMAR in the early 70's, for the same film as 'Aaj Mujhe Jal Jaane Bhi Do', tentatively titled REHNUMA. The recorded version has also been released online (from the "Unreleased Songs" sub-section) on the 23rd death anniversary of Kishoreda on 13 October 2010.

This snippet features Madanji singing as he composed the song.
47. Aaj Ki Shaam Pahloo Mein Tu Aaj Ki Shaam
This unreleased song was recorded in the voice of ASHA BHOSLE in the early 70's, for the shelved film, tentatively titled REHNUMA. The recorded version has also been released online (from the "Unreleased Songs" sub-section) in December 2010.

This snippet features Madanji composing the antras of the song.
48. Dil Dhoondta Hai
A different tune, finally used in VEER-ZAARA

Among the many tunes Madanji composed for Dil Dhoondta Hai from Mausam, was this haunting one, which remained unused till it was recreated to become the theme song of VEER-ZAARA as Tere Liye, 35 years later, and was finally recorded in the voices of Lata Mangeshkar and Roopkumar Rathod. Here, Madanji composes the mukhda and antra of his alternate tune for the sad version of Dil Dhoondta Hai.
49. Baharon Ka Sama Hai
An unused tune, finally used in VEER-ZAARA

Madanji composes the mukhda and antra of this light romantic duet in the 50's, which remained unused. He sings to dummy words he spontaneously creates himself. This tune was finally used, almost 50 years later, as the tune for a romantic duet in VEER-ZAARA. The song, Yeh Hum Aa Gaye Hain Kahaan was recorded in the voices of Lata Mangeshkar and Udit Narayan. For reasons of the length of the film, it was edited out of the film.
50. Ab Kisko Kahoon Humdum
An unused tune, finally used in VEER-ZAARA

Madanji composes the mukhda and antra to dummy words for this very sad and slow tune, which remained unused. It was finally used over 50 years later and adapted as a haunting romantic song in VEER-ZAARA. The song, Main Yahaan Hoon, Yahaan Hoon, was recorded in the voice of Udit Narayan, and became a very big hit.
51. Guzar Jo Gaya Main Kahin Se
An unused tune, finally used in VEER-ZAARA

Madanji composes the mukhda and antra of this sad tune, set to dummy words by himself. This tune remained unused and was finally recreated, 40 years later in VEER-ZAARA as a romantic song, Kyon Hawa Aaj Yun Gaa Rahi Hai, sung by Sonu Nigam (with alaaps by Lata Mangeshkar). The song was shot in Switzerland and was used in the titles of VEER-ZAARA.
52. Waqt Ka Pahiya Chalta Jaaye
An unused tune, finally used in VEER-ZAARA

Madanji composes the mukhda and antra to dummy words for a philosophical song situation in the 60's. This tune remained unused till it was recreated, 40 years later, as a song in praise of the motherland in VEER-ZAARA. The song Aisa Des Hai Mera, was finally sung by Lata Mangeshkar and Udit Narayan, and became an ode to Punjab.
53. Piano Tune
An unused tune finally used in VEER-ZAARA

Madanji composes on the piano the mukhda and antra of this haunting tune which remained unsued. It was recreated over 40 years later a s the emotional song, Do Pal in VEER-ZAARA. It was sung by Lata Mangeshkar and Sonu Nigam and was used in the film in two parts.
54. Jaa Re Pardesiya
An unused tune, finally used in VEER-ZAARA

Madanji composes the mukhda and antra of this folksy song in the late 50's, when such situations were so popular in films. It remained unused till, five decades later, it was used in VEER-ZAARA, as the basis of the female mukhda of the LODI song. Lodi is a folk festival of Punjab. The female portion, Tainu Main Jaandiyaan was sung by Lata Mangeshkar.
55. Chhadi Re Chhadi
A different tune, finally used in VEER-ZAARA

For Chhadi Re Chhadi, the light song in Mausam, Madanji composed various tunes. This was one of the unused ones. It was finally used, three decades later, as the tune for the male portion of the LODI song in VEER-ZAARA. The male and female portions were required to be slightly different from each other, so this tune complemented the tune of Jaa Re Pardesiya (no. 52). The male portion, Tere Qurbaan Jawaan, was sung by Gurdas Mann.
56. Ek Ulfat Ka Paighaam
An unused tune, finally used in VEER - ZAARA

In early 1975, for a situation in Laila Majnu (released in 1976), Madanji composed many tunes. This was one of them and remained unused. It was finally used as the mukhda tune for the song Hum To Bhai Jaise Hain in VEER-ZAARA, sung by Lata Mangeshkar.
57. Haye Tera Gaon Haye Teri Gali
An unused tune, finally used in VEER-ZAARA

Madanji composes this optional tune for Laila Majnu in early 1975. This too remained unused. Since it was in the same mood as Ek Ulfat Ka Paighaam, (no. 54), and probably for the same situation, it was used as the cross for the song Hum To Bhai Jaise Hain in VEER-ZAARA. Madanji's two original tunes were combined for this song, sung by Lata Mangeshkar, 30 years later.
58. Aaja Aa Bhi Jaa
An unused tune, finally used as a bonus track in VEER-ZAARA

Madanji composes the mukhda and antra of this haunting tune in the mid 50's. It remained unused till, five decades later, it was added to the VEER-ZAARA CD as a bonus track, Tum Paas Aa Rahe Ho. This song, finally recorded in voices of Lata Mangeshkar and Jagjit Singh, was not featured in the film, but only on the CD
59. Aaka Meri Jholi Bhar Dena
An unused tune, finally used as a bonus track in VEER-ZAARA

For the qawalli in Laila Majnu (released in 1976), Madanji composed many optional tunes. Finally he recorded, Tere Dar Pe Aaya Hoon / Hoke Mayoos Tere Dar Se as a two part song. This tune was one of the options he had composed. It was finally used three decades later in a similar situation as part one of the VEER-ZAARA qawalli, Aaya Tere Daar Par Deewana, sung by Ahmed and Mohd. Hussain.
60. Daata Tere Darse Koi Sawaali Khali Na Gaya
An unused tune finally used in VEER-ZAARA

This was yet another optional tune Madanji composed for the Laila Majnu qawalli. It was combined with no. 57, to form part two of the VEER-ZAARA qawalli, Deewana Tera, Deewana Tera.
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