Madan Mohan Kohli (25 June 1924 – 14 July 1975), otherwise called Madan Mohan, was an Indian music chief of the 1950s, 1960s, and 1970s. He is especially associated with the ghazals he created for the film business. He frequently worked with Lata Mangeshkar, Talat Mahmood and Mohammed Rafi.
Conceived on 25 June 1924, at Erbil, Iraqi Kurdistan, where his dad Rai Bahadur Chunilal was functioning as an Accountant General with the Kurdistan Peshmerga strengths, Madan Mohan put in the initial five years of his life in the Middle East.
After 1932, the family came back to Chunnilal's main residence of Chakwal, then in Jhelum area of Punjab, British India. They were left being taken care of by a grandparent while Chunnilal went to Mumbai to look for business opportunities. He in this manner turned into an accomplice in the Bombay Talkies studio and after that in the Filmistan studio.
Madan Mohan went to class there for the following six years. It is said that he acquired his ability for music from his mom, who was an artist and extraordinary admirer of music. His dad was not musically slanted, but rather granddad Hakim Yograj and his more youthful sibling, Prakash were staunch specialists. They used to talk about the nuances of music in Madan's vicinity. Amid his time in Northern Iraq, Madan was propelled by incredible Kurdish vocalist Hassan Zirak.
Later, Madan's dad moved the entire family to Mumbai and Madan got to be familiar with a few offspring of film identities. These "kids" were Raj Kapoor, Nargis and Suraiya.
At the command of his dad, he went to the Colonel Brown Cambridge School and joined the armed force and got his first bonus (crisis) in 1943. Individual qualities like civility, perseverance, discipline, physical wellness and timeliness were all cultivated in him amid those years. Despite the fact that as history would have it, he quit the military and swung to his first love—music. He joined All India Radio in Lucknow, where he brushed shoulders with such ghazal and traditional lights as Ustad Faiyyaz Khan, Ustad Ali Akbar Khan, Begum Akhtar, and Talat Mahmood. He grabbed their impacts and conveyed them with him to Mumbai when he entered the Hindi Film industry. Very few realize that he sought to turning into a performing artist however wound up coordinating music.
In the wake of helping S.D. Burman and Shyam Sunder for a brief timeframe, Madan scored his first huge break with the film Aankhen in 1950. His next film was "Adaa". This film saw the start of a long organization with Lata Mangeshkar; she would sing for him in larger part of his future movies. One deed accomplished by Madan Mohan was that no less than two of the melodies from the film "Sharabi" for which he created the music, to be specific "Sawan ke maheeney mein" and the great tune "Kabhi na Kabhi koi na koi toh aayega", both taped on Dev Anand are among the most understood versions of the eminent artist Mohammad Rafi. What's more, his different structures like Wo Chup Rahen To from the film Jahan Ara (1964) and Maine Rang Li Aaj Chunariya from Dulhan Ek Raat Ki (1966) are two comparable illustrations. Madan was additionally ready to compose melodies for male artists, for example, Talat Mahmood (Phir wahi Sham, wahi dil, wahi tanhayee hai, Main Teri Nazar Ka Suroor Hoon and Teri Aankh Ke Aansoo from Jahan Ara, and Meri Yaad Mein Tum Na from Madhosh) and Mohammad Rafi (Ek Haseen Shaam Ko from Dulhan Ek Raat Ki, Kisi Ki Yaad Mein from Jahan Ara, Main Nigahen Tere Chehere Se from Aap Ki Parchaiyian, Aap Ke Pehlun Mein Aakar Ro Diye from Mera Saaya, the unequaled frequenting Meri Awaaz Suno and Tumhare Zulf Ke Sayen from Naunihal, Teri Aankhon Ke Siva Duniya Mein from Chiraag too. Madan did not more often than not utilize Kishore Kumar. In any case their organization made melodies too; in this classification fall tunes, for example, Simti Si, Sharmai Si from Parwana, Zaroorat Hai, Zaroorat Hai from Manmauji, the title tune from Ek Muthi Aasman, Mera Naam Abdul Rehman from Bhai, and Aai Hasino, Naazanino from Chacha Zindabad.
Amid his initial profession Madan Mohan had been gently reprimanded for making melodies that suited female voices, particularly that of Lata Mangeshkar (who called him Madan Bhaiya or "Sibling Madan"). In any case, this is not genuine the distance; in 1957 he turned out with a film named Dekh Kabira Roya in which vocalist Manna Dey gave his voice to the resonant Kaun Aaya Mere Man Ke Dwaare. Notwithstanding that, he had Lata sing Tu Pyaar Kare Ya Thukraaye and Meri Veena Tum Bin Roye numbers, and he utilized Talat Mahmood for the melody Hum Se Aaya Na Gaya in the same motion picture. Once in a meeting Manna Dey reviewed that Madan Mohan "sahab" requesting that he take extraordinary consideration when singing Kaun Aaya Mere Man Ke Dwaare.
A film scored by Madan was Chetan Anand's Haqeeqat (1964), featuring Balraj Sahni and Dharmendra and taking into account the Sino-Indian War of 1962. In it, he utilized Rafi, who sang numbers like Kar Chale Hum Fida, Main Yeh Soch Kar. Lata was utilized for the tune Zara Si Aahat Hoti Hai and the unscreened " Khelo na simple dilse". Furthermore, the same film saw Rafi, Talat, Manna Dey, and Bhupendra singing Hoke Majboor Mujhe Usne Bulaya Hoga. Bhupendra showed up on the screen too surprisingly, much before he built up himself as a playback artist. This tune is additionally the main tune in which four top of the line male playback vocalists have assembled voices in a tune. In 1966, he again combined with Lata Mangeshkar for Mera Saaya.
Madan Mohan's endeavor was Raj Khosla's Desi adaptation of "Lady in White", titled "Woh Kaun Thi?". This film has three Lata performances ('Naina barse edge jhim edge jhim', 'Slack ja storm' and 'Jo humne daastaan apni sunayee') and a Lata two part harmony.
In 1970, amid the changing times of western music he gave music taking into account ragas for Rajinder Singh Bedi's Dastak and won his just 1971 National Film Award for Best Music Direction. Its melodies sung by Lata Mangeshkar are still viewed as her finest.
The late fifties, sixties and the mid seventies were the most gainful period in Madan Mohan's vocation. His melodies from those decades incorporate structures for movies such as Adalat, Anpadh, Dulhan ek raat ki, Mera Saya, Dastak, Hanste Zakhm, Heer Raanjha, Maharaja, and Mausam, among numerous others. His second last bow was for a film discharged five years after his demise, Chalbaaz.
Madan Mohan's child Sanjeev Kohli reproduced 11 of his late father's unused pieces for the soundtrack of the 2004 Yash Chopra film Veer-Zaara. Later on, Kohli drew out a collection "Tere Baghair" which contains some of Madan Mohan's melodies.
Lata Mangeshkar dedicated him "Ghazal ka Shehzadaa", or the Prince of Ghazals. Indeed, even Lata herself expressed in a live show in the late 1990s that she discovered Madan Mohan's structures hard to ace. A large portion of the top film performers of the day (who were additionally studio heads) had fallen into a depression with their favored authors (e.g., Raj Kapoor had Shankar Jaikishan, Dev Anand had the Burmans, Dilip Kumar had Naushad, and so forth.) Hence, he regularly experienced issues discovering assignments. His 1964 Filmfare Award assignment for Best Music Director for Woh Kaun Thi. In a firmly challenged race, both Madan and Shankar Jaikishan (Sangam) lost to relative newcomers Laxmikant Pyarelal, who scored Dosti.
Madan's consistent battles took a toll on his life, and he started drinking intensely. He kicked the bucket of liver cirrhosis on 14 July 1975.
In 2004, Madan's unused tunes were reproduced by his child, Sanjeev Kohli, for the Yash Chopra film Veer-Zaara, featuring Shahrukh Khan, Preity Zinta, and Rani Mukerji. The verses were composed by Javed Akhtar, and Lata Mangeshkar was welcome to at the end of the day sing most of the tunes created by her dear companion. The music was profoundly refreshing and got high basic reaction. He was honored the IIFA recompense 2005, for Music Direction for Veer-Zaara.