Very few music directors from film music's golden era (fifties and sixties) survived the maniac seventies. Names that ruled the charts and hearts began falling by, and their music fading away into nostalgic memories. Tastes were changing. Instrumentation was evolving. Tunes were altering. A whole new generation, snapped away from their parents'sensibilities, made their choice vociferously felt - both in music, and in film subjects. As a writer once said, if in the US, the sixties denoted a new order, for us, it were the seventies. Perhaps, that's the reason, even today's generation identifies more with music from this decade (ironically, considered musically deranged by most purists).
Adapting to the changing surroundings is a hallmark of a great artiste- one, who proactively understands his audience's needs, and provides them with their requirement, though not necessarily diluting any of his core strengths.
In this, the most unlikely, and perhaps never mentioned name, is definitely of Madan Mohan, who not only adapted and evolved (without the dubious or alleged aid of any progeny), but also delivered two massive superhits (Mausam & Laila Majnu) amongst several other hits, an unsurpassable feat by any composer from the preceding decades. In fact, his music grew, the sounds improved and he gave some superlative songs during the first five years of the decade (before destiny cruelly snatched him away), and he did all this without compromising even a wee bit on his strong base of melody or abandoning quality.
Of course, Lata Mangeshkar continued to be the main singer in his recording room.
Considering that he could compose for only some twenty two odd (released) movies in those short five years (some having just two songs like Asliyat or Koshish), and also fighting health issues in the final months, the number of better songs is definitely a sign of his undying creativity and urge to excel at all times.
Below, I pick ten favorites from this multi-layered ouvre (not in any order):
1. Tum jo mil gaye ho toh yeh lagta hai - Hanste Zakhm - Lata Mangeshkar & Mohd. Rafi - I begin my list with this monumental track, which is still a hot favorite at any modern radio station's 'oldie' program (and as an extension, of the new generation). The song is an epic in itself, with lush interludes, and rich music, and so many layers to it, that one can only appreciatively imagine the immense coordination that would have gone into its recording, especially in those days when live recordings were still a norm. The tune carries an easy feel, rich in romance, and a swaying rhythm, that is punctuated with thunder and rain sounds, and it picks up pace from the second stanza onwards. The congo-bongo beats thereon are awesome. Mohd. Rafi sings with passion, and Lata Mangeshkar enters for just one power-packed line. In all, it's the composer's triumph.
Other favorites from same film - Betaab dil ki tamanna yehi hai (Lata Mangeshkar) and Aaj socha toh aansoo bhar aaye (Lata Mangeshkar).
2. Dil dhoondta hai phir wahi fursat ke raat din - Mausam - Lata Mangeshkar & Bhupinder Singh (duet) and Bhupinder Singh (solo) - Reportedly, Madan Mohan created some ten odd tunes for this lyric, two of which were finally used in the film (and a third much later in Veer-Zaara's'Tere Liye'). Personally, I prefer the 'faster' duet. The music transports the listener to hills and summernight and winter noons, as the evocative lyrics (Gulzar) mentions each season. The solo version is best suited for a quiet evening, relaxed and nostalgic. If only fate hadn't dealt such a savage blow, perhaps we could have heard some more such vibrant melodies in more latter-day Gulzar films.
Other favorites from same film - Chhadi re chhadi kaise gali mein padi (Lata Mangeshkar & Mohd. Rafi) and Ruke ruke se qadam (Lata Mangeshkar).
3. Milo na tum toh hum ghabraaye milo toh aankh churaaye - Heer Ranjha - Lata Mangeshkar - A peppy tune blended with just a dash of Punjabi touch, signifying a lady's paradoxically both inhibition & exhibition of romance's first flush.
Other favorites from same film - Meri duniya mein tum aayi (Lata Mangeshkar & Mohd Rafi), Yeh duniya yeh mehfil (Mohd Rafi) and Do dil toote do dil haare (Lata Mangeshkar).
4. Mai ri main kaase kahun peer apne jiya ki - Dastak - Lata Mangeshkar (solo) and Madan Mohan (solo) - Admittedly, I am in a tight fix - I can't decide which number to really choose as all songs are huge personal favorites, and also big hits. There was a time when a reality music show wouldn't be complete if the contestant didn't select Baiyan na dharo! But am selecting Maai ri, since it has the composer's fully recorded version in his own voice as well. Plus, it has a more 'universal' & 'easy'tune, with some sumptuous interludes (Strange, most writers ignore Madan Mohan's contribution in the interludes).
5. Husn haazir hai mohabbat ki sazaa paane ko - Laila Majnu - Lata Mangeshkar - Ok, I admit the blazing violins sound bit disorganized, and certainly a far cry from the neatness displayed in earlier numbers. But despite all that, I find this song very noteworthy, especially in the context of the film. Here is a girl protecting her lover from ruthless killers, what & how do you expect her to sing? Perhaps, that's the reason the audience loved it, and it got a top ranking in that year's countdown.
Other favorites from same film - Tere dar pe aaya hun (Mohd Rafi), Barbaad mohabbat ki dua saath liye jaa (Mohd Rafi) and Iss reshmi paazeb ki jhankaar ke sadqe (Lata Mangeshkar & Mohd Rafi)
6. Har taraf ab yehi afsaane hum teri aankhon ke deewane hain - Hindustan Ki Kasam - Manna Dey - Aah! What a handsome and romantic number, so 'macho' (I mean, it has a very 'male' fragrance to it) yet so 'mellow'- almost like a superior quality perfume, or an intoxicatingly luxurious wine. Just that violin sewn to springing santoor (I have to mention the interludes again!), makes the song worthy.
Other favorites from same film - Duniya banaane waale (Lata Mangeshkar) and Hai tere saath meri wafaa (Lata Mangeshkar).
7. Tum se bichhad ke chain kahan hum paayenge - Maharaja - Lata Mangeshkar - This is what I feel a massive shift in 'tuning' - it blends into the seventies melieu, almost LP-ish (a hot favorite then) in hue, but extremely individualistic in character, especially the antaras have this intriguing complexity, which makes me always decide on liking a Madan Mohan song after hearing it in its fullness. Again, pay attention to the interludes!
Other favorite from same film - Kitni haseen hai meri pyaar ki nazar(Tally ho) (Asha Bhonsle).
8. Rasm-e- ulfat ko nibhaayen kaise - Dil Ki Raahein - Lata Mangeshkar - This one is more quintessential Madan Mohan - depicting pain and despair, and hopelessness that refuses to go. I like the way Madan Mohan has placed the word 'kaise' in the tune, almost giving it a separate life, providing the lyric that thrust - a question which has no answers, but one desperately & continuosly keeps asking the destiny!
Other favorites from same film - Aapki baatein karein ya apna fasana kahein (Lata Mangeshkar) Apne suron mein mere suron ko basa lo (Usha Mangeshkar & Manna Dey) and Mast mayura naache - Raagmala (Manna Dey).
9. Simti si sharmai si kis duniya se tum aayi ho - Kishore Kumar - Parwana - Another song which I pull out whenever I have to prove a point - notice the changing rhythms and patterns, which so beautifully merge with the seventies scenario. Also notice that quirky flute set to interesting beats in the interludes. This is another very hit song, and I have heard it often played. But if you really ask my 'hot' favorite, I have to admit, I manifold prefer the duet Jis din se maine tumko dekha hai!
Other favorites from same film - Yun na sharma phaila de (Kishore Kumar) and Jis din se main tumko dekha hai (Asha Bhonsle, Mohd. Rafi).
10. Aaj mujhe jal jaane bhi do aag se aag bujhaane bhi do - Kishore Kumar - Unreleased - Now available on Tere Bagair - Once more, I am in a dilemma. From the seventies lot in this unique album, should I select Aaj mujhe jal jaane bhi do, or Lata Mangeshkar's Mere ashqon ka gham. Since I have already selected one Madan Mohan-Naqsh Lyallpuri-Lata Mangeshkar combo above (Dil Ki Raahein), I am going ahead with Aaj mujhe jal jaane bhi do. And additionally so, since it rubs in the fact, change in sound had made its presence felt without diluting melody. Hear those trumpets (almost RD Burmanish in the late seventies), and you will know what I am trying to say. Very sensuous. Very seductive. Very scintillating. One of those 'not to be missed ever' songs!
Other favorites from same album (though not all from seventies stock)- Mere ashqon ka gham (Lata Mangeshkar), Khile kamal si kaaya (Lata Mangeshkar), Tum juda hoke mujhe (Talat Mahmood), Yeh duniya ek maikhana (Asha Bhonsle), Mehbooba meri mehbooba (Mohd Rafi) Tere bagair (Mohd Rafi), Jahan mile dharti akash (Mohd Rafi) and Aye dil aye nadan (Asha Bhonsle).
Other notable songs (from films) not mentioned above, and that just about missed the list:
Bhanwar mein meri naiya (Asha Bhonsle), a serene bhajan; and Jaane kya haal ho kal, a soft ghazal-mujra - Maa Ka Aanchal
More naina neer bahaye (Lata Mangeshkar); Mast pawan dole (Lata Mangeshkar); and Tum bin jeevan kaisa jeevan (Manna Dey) - Bawarchi
Mushqil hai jeena bedardon ki duniya mein (Lata Mangeshkar) - Sahib Bahadur - a towering solo, especially when Lata Mangeshkar goes 'Aaaja' in between, it takes your breath away! The line 'dard mile toh chup rahna apne hi aansoo peena' is quite heart-wrenching, and Madan Mohan has tuned it in such a way it seems he is plucking your heart away into some unknown abyss.
Saaqia qareeb aa nazar mila (Lata Mangeshkar) - Prabhat
Raat ujiyaari din andhera hai (Lata Mangeshkar) - a haunting and soft number, the film was released in 1980, though so technically not seventies!
