The music of SANJOG, MANMAUJI and ANPADH in early 60s followed by a blockbuster year in 1964 with JAHANARA, GAZAL, HAQEEQAT, WOH KAUN THI and in 1966 with MERA SAAYA, Madanji had set high expectations for himself. At the same time, he had to adapt to the different styles of films being made in mid 60s... some with more light situations in romantic, youthful films with requirement of modern and western arrangements that were being used by others, especially the younger new composers who were emerging and attaining success. And yet he retained his signature style based on the situational demands of a film.

In the same year as his very modern score in PARWANA in 1972, Madanji was called upon by Hrishikesh Mukherjee to score the classical based score for BAWARCHI.

The contrasting scores amplified his versatility. While he worked with Kishore Kumar in PARWANA, he knew he needed the nuanced vocals of Manna Dey for the classical songs even though by then Kishoreda was the accepted voice for the superstar Rajesh Khanna who was playing the title role. With a stellar supporting cast of Jaya Bhaduri, Harindranath Chattopadhyaya, A.K. Hangal, Durga Khote, Usha Kiran and some younger talent, BAWARCHI was a different film which found appeal with a select group of audiences. Hrishikesh Mukherjee said in an interview that he could only think of Madanji for this film despite never having worked with him earlier and despite having achieved great success with other composers, largely from Bengal.

The Mannada solo ‘Tum Bin Jeevan’ is a great classical composition. The ensemble song, ‘Bhor Aa Hi Gaya Aandhiyara’ is a major achievement with so many singers, each with a differently composed part... a complicated song, recorded in one go! In this song while Mannada did the Rajesh Khanna classical part, Kishoreda sang the western part for Asrani.

Lataji had a classical solo, ‘More Naina’, very well composed and sung, while the lighter song ‘Mast Pawan’ was edited out of the film and is not much heard.