Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Ghoda nachaave mera laadla

Posted on: February 19, 2013


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

LUCK plays an important role in our film industry. It is this Luck which has built bright careers and it this Luck that has brought down people’s careers.

It was a matter of Luck that Devika Rani chose the hesitant, shy and simple Ashok kumar as her hero in films, otherwise he would have, at the most become a Cinematographer or a senior Lab Technician in the Photography department of Bombay Talkies !

It was a matter of sheer luck that Khan Mastana was the Main singer in Rafiq Ghazanavi’s Laila Majnu, and a shy aspirant Mohd Rafi was a part of Chorus and later in K Asif’s Laila Majnu, Mohd.Rafi was the Main singer and the poor Khan Mastana was in the chorus !

It was luck that the immensely popular master Nissar made the Governor of Bombay to stop and give way to the sea of Nissar’s admirers and fans and it was the same luck that a tattered, poor master Nissar died in Penury and anonymity in the bylanes of Kamathipura when his last rites were done through charities.

The unprecedented record breaking popularity of ‘Jai Santoshi Maa’ was nothing short of a miracle and good luck to the hapless producer who was totally broke.

Was it not Luck that made Pt. Hanuman Prasad listen to Geeta Dutt, without her knowledge and then bring her to the Films ?

Hindi film industry is full of stories of luck. Thousands of people work in the industry, in different departments, but only a few get mentioned say like say Cinematographer. What about his assistants who contribute equally, if not more to film shooting ?

Music Directors’ names are famous. At times their assistants too get a mention in the credits, but what about the soul of every song-the Arranger ? Many people do not even know that there is someone called an Arranger. An Arranger not only exists, but without him the song orchestration is not possible.

What does an Arranger do ?

A tune and music is decided by the Composer, but the harmonization of the orchestra is done by the Arranger. He decides which instrument should be used more, like one decides about a flower in a bouquet of flowers. Arranger is like an ‘ interior decorator ‘ of music. Composer decides what effect he needs and what should be the interlude music. Arranger decides which instrument should be played.

Melody is the main ingredient in a song. Orchestra has to supplement and complement the Melody. In this case orchestration is like a Jewellery. A beautiful woman must use jewellery to enhance her beauty, but no overuse or underuse will do. Similarly Arranger does optimization of instruments.

Arranger must know the Notations, so that it can be written and given to the players.

How many Arrangers are known to the public in India ? A composer is Zero without an Arranger. So they try to employ the best of them in their service. Some of the Arrangers become successful Composers themselves, like Sonik-Omi or Laxmikant Pyarelal. Most arrangers fail as composers because they do not knoe the commecial aspect of composition, like getting films, knowing and mixing with film personalities in Parties, having friends and God fathers in the right place etc etc.

The other day I was readng a book “Voh Bhooli Dastaan” by Subhash chandra Jadhav,on Indian Film Music. In this book he has described information about one such successful but totally unknown Arranger SHYAMRAO KAMBLE.

Kamble was born in Karad, near Kolhapur in Maharashtra. His elder brother taught him Tabla and Pakhwaz. Kamble joined a musical drama company where he learnt writing notations. When he came to Bombay he accompanied great singers like Saraswati Rane, Suresh Haldankar, Manik Verma etc. He used to make rounds of film studios and learnt playing Piano, Saxophone, trumpet, mandoline etc.

His career started as an assitant to music director H N Sharma.

Then he worked for Roshan in Bawre nain, wherein he played harmonium in all songs and Roshan was pleased. In Bheegi Raat-65 he played Guitar in the song ‘Dil jo na kah saka’

While doing Anokhi Raat he he made use of Flute artistically in ‘oh re taal mile’. During this film Roshan died and he helped his wife to complete the recording of ‘Sapnon ka raja’ by Lata.

Chitralekha’s background music was liked by Hemant kumar very much.

After Roshan, Kamble worked for his son Rajesh Roshan also.

Kamble says,” though my work was appreciated, my name never appeared in film credits till Jaidev and Sudhir Phadke insisted for it.”

From ‘Mujhe jeene do’-63 Kamble became Jaidev’s assistant. He says,” Jaidev ji was a composer totally sold to indian classical music.’ For Reshma and Shera Kamble used Sarod effectively.

The producer director of Gharonda,Bheem Sen insisted its music to be like R D Burman. Kamble used the interludes in every song just like RDB and songs of Gharonda became very famous. Jaidev was so happy that he gave a 5 speaker gramophone to him as a Gift.

In the film ‘Tumhaare Liye’ Kamble wanted Hariprasad Chaurasiya to play Flut. He discussed it with Hari ji, but Hari ji did not come for any rehearsals, so Kamble called Sumant Raj and did the rehearsals. As the luck would have it,on the day of recording Hariprasad came to play Flute. Kamble did not hesitate in making his decision. He used both the flutists for different pieces in the song.

Kamble also worked with Sudhir Phadke. when a producer wanted to make a remake of marathi film ‘Vahininchya Bangdya”, he took Sudhir Phadke for Bhabhi ki choodiyan as a composer, but put a condition that his Arranger will work with him. That person was a Goanese and Phadke did not like his arrangement with western instruments for this emotional film. He called Kamble and asked him to write notations for all the songs on the tunes decided already. Kamble did all this and left. Phadke gave the notations to the Goanese arranger and asked him to arrange orchestrization accordingly. That is why all the songs of this film including ‘Jyoti kalash chamke” became popular.

Shyamrao Kamble did nor attempt to become a composer himself, as he knew his limitations. However,for ‘Bibal-My Brother” he shared the music with Prabhakar Jog.

Though he retired and settled in Poona, Laxmikant Pyarelal always called him for work. He has toured several countries with Laxmikant Pyarelal’s orchestra as an Arranger.

The tribe of Arrangers always worked behind the curtain, without any limelight on them and without appearing in film credits.

Truly,they are the brains behind good music in films !

Here is a song from Bhabhi ki Choodiyan-1961, where Kamble touch is present……

(Thanks to Subhashandra Jadhav and mrs.Suhasini Jadhav,copyright holders of ‘Voh bhooli Dastaan)’


Song-Ghoda nachaave mera laadla samdhi ke dwaare (Bhaabhi Ki Choodiyaan)(1961) Singer-Asha Bhonsle, Lyrics-Pt Narendra Sharma, MD-Sudhir Phadke
Chorus
Asha Bhonsle + Chorus

Lyrics

ghoda nachaave mera laadla samdhi ke dwaare
ghoda nachaave mera laadla samdhi ke dwaare
samdhi hamaara bade pyaar se saz moti waare
samdhi hamaara bade pyaar se saz moti waare
ghoda nachaave mera laadla samdhi ke dwaare
ghoda nachaave mera ladla

saat suhaagin sang sang aayin
aayi samdhin boli
ho o o o
ho o o
ho o o o
ho o o

sone ka lota gangajal pani
chandi ki thaali mein roli
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm

teeka lagave
hoo teeka lagaave
mere lal ki koi nazar utaare
ghoda nachaave mera laadla
samdhi ke dwaare
ghoda nachaave mera laadla

chhaje upar mangal gaave
hilmil kokil baini
ho o
ho ho ho
ho o o
ho o o
ho o o o

kar solah singar dulhaniya
chandarmukhi mrig naini
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm

ghoonghat hataa ke
ho o o ghoonghat hataa ke
bani ladli bande ko nihaare
ghoda nachaave mera laadla
samdhi ke dwaare
ghoda nachaave mera laadla

phool bhanwar sun bhaanwar phirte
pandit byaah padhiya
om raam rim rom
rama rim rom raam

haath lalita saunpe lala ko
pyaar Biran bhaiya
hmm hmm hmm hmm
hmm hmm

ho gayi paraayi ho o ho gayi paraayi
ik aan mein chandan ko bisare
ghoda nachaave mera laadla
samdhi ke dwaare
ghoda nachaave mera laadla

man harse aur naina barsen
bela vida ki aayi
ho o o
o o o
ho o o
ho o o

balam ke ghar chali hansini
babul ke ghar jaai
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm

dwaare khadi hai o ho
dwaare khadi hai jodi sohini
chal khol kiwaade
ghoda nachaave mera laadla
samdhi ke dwaare
ghoda nachaave mera laadla

10 Responses to "Ghoda nachaave mera laadla"

Dear Arun,

I am so happy that you took the cause of the music arrangers in this article many of whom spent their lives in anonymity. And music directors got bouquets for the outstanding work done by the music arrangers. They are not only the brains behind the good music as you have said but they are also soul behind all good songs.

Thanks for bringing to the notice of the readers the music arranger Shyamrao Kamble whom I had never heard of until I read this article.

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Kamath ji,
Thanks.I am very happy that the purpose of my above article has been achieved.To draw attention to this class of contributors to the cause of melody in the HFM.
In one of earlier posts also I had written about Arrangers to aquaint the readers about this genre of artists.You may recollect that too.
Thanks once again.
-AD

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I think, I have missed the earlier one. I will find out and read that one too.

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Kamath ji,
Here is that article-

https://atulsongaday.me/2012/12/19/ek-bholi-bhaali-gori-ne/

-AD

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Thanks for the link.which I went through just now.
Somehow I missed this one which led me to believe that Shyamrao Kamble was the first one to be covered under ‘music arranger’ tag.

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There were many music arrangers in our films:
Anthony Prabhu Gonsalves: He found his first job in the city as a violinist in the group of the composer Naushad in 1943. He taught the violin to R.D. Burman and Pyarelal Ramprasad Sharma (of the Laxmikant Pyarelal duo) He worked in Naya Daur, Waqt, Dillagi Haqeeqat The song “My Name Is Anthony Gonsalves” was Pyarelal’s tribute to his violin teacher.
Sebastian(D’souza) arranged for:
Mera Naam Chin Chin Chu
Sun Sun Sun Sun Zalima
Aap Ke Haseen Rukh
Banda Parwar
Raat Ke Humsafar
Yeh Raat Bheegi Bheegi
Aaja Sanam Madhur
Tera Jaana
Ae Maalik Tere Bande Hum
Aaja Re Pardesi
Aajib Daastan hai Yeh
Ae Mere Dil kahi Aur chal
Jeena Yahan Marna Yaha
Yeh Mera Prem Patra
Tujhe Jeevan ki Dor
Chic Chocolate (Antonio Xavier Vaz) known as Chic Chocolate was from Aldona. He assisted C. Ramchandra, who is popularly credited with having introduced swing into Bollwood. Tunes like Ina Mina Dika from Asha and Gore Gore O Banke Chore from Samadhi bear Chic’s unmistakable signature. His stamp is also audible on the Cuban percussion opening of Shola Jo Bhadke, a tune from Albela. Chic and the Music Makers made an appearance in the film in the song’s picturisation, with Chic seen smiling into the camera.
Chris Perry also had a stint in the film studios, assisting Khayyam and working with such names as Laxmikant and Pyarelal, R. D. Burman and Kalyanji Anandji. He served the film industry for twenty-five years as assistant to Hindi film music directors and performed in many Hindi films notably in Kabhi Kabhi and Trishul.
Frank Fernand was among the first Goans in Bollywood and assisted known names like Anil Biswas, Kishore Kumar, Roshan, C. Ramchandra and others. Raj Kapoor’s ‘Barsat’ was his major assignment with Shankar Jaikishan. Fernand was music conductor for many films including Don, Hera Pheri, Zanjeer and Victoria No. 203. He was music assistant for a few films including Johny Mera Naam. His last assignment in the Hindi film industry was as the first assistant of Kalyanji Anandji.
Jai Kumar Parte from 1966 to 77 mostly with KA
There were others like Dattaram, Manohari Singh, GS Kohli, Anil-Mohile, Sattar, Uttam Singh(whose recordings I was present many a times) who pushed the envelope and went on to become famous MDs.

Like

Please also visit the link(copy-paste)

Click to access Behind%20the%20Curtain_Intro%20and%20Chapter%201.pdf


for the excerpts of Book : Behind the Curtains; Making music in Bombay music studio by Gregory D Booth.

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Amazing article.. It gives us even more respect for what goes behind the making of a song. Hats off Arun Ji for such a wonderful article. Thank you.

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