One after the other, in stunning abundance and with amazing regulaity, did Madan Mohan reel off gems of sheer feminine innocence and pain. One could go on and on counting the immortal classic that Madan Mohan and Lata Mangeshkar gave us in what still remains a largely under-celebrated association. Woh bhooli dastan, jaana tha hum se door, main to tum sung nain mila ke, yoon hasraton ke daag,jo hum ne dastaan apni sunai, naina barse, ruke ruke qadam, aaj socha to ansoon bhar, do dil toote (Heer Ranjha) hum hain mata-e-koochao-bazaar ki trah, baran neend na aaye mohe --- no one presented virgin feminine anguish with greater poignancy than did Madan Mohan. And in a different vein, he captured a mix of feminine innocence and vivacity in Milo na tum to... In the magic of the sixties, Madan Moahn was the uncrowned king of virgin pain which he captured through countless ghazals too. Nor did he miss out on other delicate feminine sensitivities... , aap ki nazron ne samjha, piar ke kaabil mujhe( Naushad sahib said he was willing to exchange his entire work for just this one gem) zara si aahat hoti hai, bahiyaan na dharo, Here is one in which feminine anguish is so palpable you can almost touch it: https://youtube/watch?v=4yUf2dLYv78
Posted on: Sun, 16 Nov 2014 15:01:09 +0000
Trending Topics
Recently Viewed Topics
© 2015