Sulag rahi hai husn ki sigdi
Posted on: August 10, 2022
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is a comedy song from the film ‘Madmast’ (1953).
The film was made by Sweet Pictures. Produced and directed by Jagdish Pant, the film had music by V Balsara. Jagdish Pant seems to be a director by hobby, because he directed only one more film i.e. ‘Padosi’ (1971), which was also produced by himself. The cast of the film ‘Madmast’ (1953) was Nirupa Roy, Shashikala, Sapru, Nazir, Ansari, Shakeela and others. 7 songs were written by Madhuraj aka Madhukar Rajasthani, 2 by Manav, 1 by the director Jagdish Pant himself and one chorus song is left without name credit.
Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).
Initially it was the Marathi Stage/Natya Sangeet and Parsi theater which influenced HFM. In the East, it was Rabindra Sangeet and Nazrul Geete made the basis of film songs. In the Lahore center it was the Punjabi style after ‘Khazanchi’ (1941).
After partition and polarisation of film production language wise, it was Bombay, which became the center for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”
Can you tell me who is behind every successful Music Director ?
I am sure many of us do not have the answer.
The answer is the ARRANGER.
Now, who is this arranger? Some have a vague idea, some may even think he is the person who arranges song recording and the musicians.
An Arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the Arranger, who immediately makes its notations (writing music or Swaralipi), which only a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the Arrangers in the Hindi film industry were from Goa, where traditionally Jazz music was very popular.
A typical Goan likes to live life ‘sushegaat‘ – which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.
Goa has given many musicians to India. Lata/Asha are from Mangeshi – Goa, though the family had shifted to Kolhapur; MDs Dattaram (Wadkar) and N Datta (Datta Naik); singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandes, Lorna are from Goa. (The list is only indicative,not exhaustive).
Most Arrangers were from Goa——
Anthony Gonzalves from Majorda – Goa. He worked for Naushad, OP Nayyar and Lakhsmikant Pyaarelal The song “My Name Is Anthony Gonzalves” from ‘Amar, Akbar, Anthony’ (1977) is a tribute by Lakhsmikant Pyaarelal to him, as he taught Pyarelal so many things including notations.
Chic Chocolate aka Anthony Vaz from Aldona – Goa. He worked for C Ramchandra mainly.
Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji and Lakhsmikant Pyaarelal.
Frank Fernando worked for Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.
Sebastian D’Souza from Bicholim – Goa. He worked for Shanker Jaikishen from 1952 to 1975 and OP Nayyar.
Most of the players of western instruments in the orchestras were from Goa, like renowned musicians such as Robert Correa and Mike Machado (the pianists), Albuquerque, Verga, Simplicio D’Souza and John Gonsalves (the cellists), V Balsara and Goody Seervai (the accordionists), Duorado, Narvekar and Karnad (the solo violinists) and David (the mandolin player) etc.
The names given above are only indicative and not exhaustive. In addition to these arrangers, there were countless known and unknown arrangers in the film industry. Many arrangers, after working for a long time, desired to become music directors themselves. Some of them became MDs also, however history says that most such arrangers failed as MDs. Of course, there are few cases where they have succeeded too, but such cases are very few.
Datta Davjekar, Timir Baran Bhattacharya, Master Eric, Chic Chocolate, Shridhar Parsekar, Anil Mohile, Hemant Kedar (Ramkrishna Shinde), Bal Parte, Bhushan and many other names can be quoted as arrangers who failed as MDs in Hindi films. Few people know that the original arranger in the Hindi film industry was Mohd Shafi – who too became a music director later in his career. According to DO Bhansali, a leading sound recordist of the 60s and the 70s, a group of arrangers, namely Dattaram, Enoch Daniels and Sebastian D’souza together gave music to film ‘Street Singer’ (1966), under the name of ‘Suraj’. After this one film, the group disintegrated. There are however some cases where the one time assistants or arrangers became famous and successful independent music directors. In fact, most MDs were assistants in the beginning of their careers to gain knowledge and experience. There is an interesting case where a well known MD worked as an arranger/assistant to another famous MD, because he respected the senior MD. I am talking about C Ramchandra who became the assistant and arranger to Anil Biswas for the film ‘Girls School’ (1949). By 1949, CR himself was a much in demand and popular MD, but because of his respect for Anil Biswas he agreed to be his assistant on request from Anil Biswas ! This was the respect given to seniors in early days of Hindi films in Bombay !
Now let us talk about V Balsara, who was an assistant and arranger in Hindi films who became music director for today’s film ‘Madmast’. His piano, univox and melodica, the instruments he loved, be it for composing music for films or otherwise, have come to personify the legend of Vistas Ardeshir Balsara, the music director, who died in Kolkata’ on 24-3-2005.
The ‘gentleman musician’, as the affable Parsi was known among friends, had only his music to give him company in the twilight years as he grappled alone with ill health in the absence of his wife and two sons had predeceased him. The striking feature of Balsara was his never-say-die spirit. At 83, Balsara was still going strong on the music front with his Bengali film production ‘Til Theke Taal’ (2005) running in theaters in West Bengal.
He settled in Kolkata in 1954 after he was invited by legendary musician Jnan Prakash Ghosh, to the city. Earlier, he had been in Mumbai, then Bombay.
Born on 22nd June 1922, Balsara learnt music from his mother Nazamaye, and gave his first solo performance at the age of six with the pedal harmonium, in use in those times, at a packed CJ Hall in Mumbai. Barely ten years later, the young lad was assisting famous music director Ustad Mushtaque Hussain, in a Bombay film production ‘Baadal’ (1942) and had made a place for himself as a permanent assistant music director at the Filmistan studio under popular directors Madan Mohan, Khemchand Prakash and Ghulam Haider.
Balsara had his brush with the Who’s Who of the music world after he became the orchestra director of music company HMV in 1947 and then switched over to the RK Films banner three years later to work with the likes of Shankar Jaikishan and Naushad.
As the Founder Secretary of peer bodies like Bombay Cine Musicians’ Association and Bombay Cine Music Directors’ Association, Balsara earned the love and respect of his associates and young musicians.
Basking in the audience appreciation during a musical soiree in Kolkata’s Hindustan Park in 1953, the young musician decided to make this cultural capital his home a year later with a prized film assignment ‘Agni Pariksha’ (1954). At the coveted New Empire Theatres, he charmed audiences again in 1962 arranging music for Rabindranath Tagore’s celebrated play ‘Debatar Grash’ while debuting his own group the Indian Symphony Orchestra.
He gave Kolkata another first — the city’s maiden stereo recording in 1970 — when he put together ‘The Sound of Music’ recording strains of four Indian instruments in one album.
He had to his credit numerous popular film albums, both in Hindi and Bengali, a language he chose to speak more frequently in and with much more ease than his native Gujarati.
From the obscure ‘Circus Girl’ in 1943 to ‘O Panchi’ (1944), ‘Rangmahal’ (1948), ‘Madmast’ (1953), ‘Talash’ (1952), ‘Char Dost’ (1956), ‘Vidyapati'(1964), ‘Qurbani’ (1952), ‘Wohi Ladki’ (1967), ‘Jogi Aur Jawani’ (1975), ‘Pyaar’ (1969), ‘Jai Baba Vaidyanath’ (1979) in Hindi to ‘Madhu Shraboni’, ‘Joy Baba Baidyanath’, ‘Maa’, ‘Chalachal’, ‘Panchatapa’, ‘Subho Bibaha’, ‘Manik’, ‘Kanchan Kanya’, ‘Panna’ and ‘Pathey Holo Dekha’ in Bengali, he had an enviable repertoire.
Balsara who was greatly influenced by western music learnt to play the piano from Hildafield, a German musician. His knowledge of the piano made him use it to play Indian classical music also with ease. He mastered the technique of using the instrument for playing Indian classical music from Muneswar Dayal of Gaya. He was equally at ease with string and wind instruments.
Today’s song is sung by Mohd. Rafi and it is a comedy song. In this film’s songs 2 songs are sung by Dhan Indorewala, who was V Balsara’s wife. Today’s song is 4th song of this film to be featured on this Blog.
Song- Sulag rahi hai husn ki sigdi (Madmast)(1953) Singer- Rafi, Lyricist-Madhuraj, MD-V Balsara
Lyrics
sulag rahi hai husn ki sigdi
aaja pakaayen prem ki khichdi
khaayenge baith ke raja rani
phir nainon ki jhagda jhagdi
de pachhaad dham dham dham
de pachhaad dham dham dham
de pachhaad de pachhad de pachhaad
de pachhaad dham dham dham dham
de pachhaad dham dham dham
de pachhaad dham dham dham
khuli hai khidki
kahaan hai maina aa aa aa
taak jhaank ker mar gaye naina aa
khuli hai khidki
kahaan hai maina
taak jhaank ker mar gaye naina
kab tak sabr kare ye majnu
aaja chham chham chham chham
kab tak sabr kare ye majnu
aaja chham chham chham chham
de pachhad de pachhad
de pachhad dham dham dham dham
aaja chham chham chham chham
aaja chham chham chham chham
pyaar mein tere ulta asar hai ae ae ae ae
main baahar hoon tu bheetar hai ae
pyaar mein tere ulta asar hai
main baahar hoon tu bheetar hai
tere baap ke joote khaa kar
ghut gaya mera dam
haaye
tere baap ke joote khaa kar
ghut gaya mera dam
haaye
de pachhaad de pachhaad
de pachhaad
dham dham dham dham dham
aaja chham chham chham chham
ghut gaya mera dam
haaye
aaja chham chham chham chham
ghut gaya mera dam dam dam
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
सुलग रही है हुस्न की सिगड़ी
आजा पकाएं प्यार की खिचड़ी
खाएँगे बैठ के राजा रानी
फिर नैनों की झगड़ा झगड़ी
दे पछाड़ धम धम धम
दे पछाड़ धम धम धम
दे पछाड़ दे पछाड़ दे पछाड़
दे पछाड़ धम धम धम धम
दे पछाड़ धम धम धम
दे पछाड़ धम धम धम
खुली है खिड़की
कहाँ है मैना आ आ
ताक झांक कर मिस्टर गए नैना
खुली है खिड़की
कहाँ है मैना
ताक झांक कर मिस्टर गए नैना
कब तक सब्र करे ये मजनू
आजा छम छम छम छम
कब तक सब्र करे ये मजनू
आजा छम छम छम छम
दे पछाड़ दे पछाड़
दे पछाड़ धम धम धम धम
आजा छम छम छम छम
आजा छम छम छम छम
प्यार में तेरे उल्टा असर है
मैं बाहर हूँ तू भीतर है
प्यार में तेरे उल्टा असर है
मैं बाहर हूँ तू भीतर है
तेरे बाप के जूते खा कर
घुट गया मेरा दम
हाय
तेरे बाप के जूते खा कर
घुट गया मेरा दम
हाय
दे पछाड़ दे पछाड़
दे पछाड़
धम धम धम धम धम
आजा छम छम छम छम
घुट गया मेरा दम
हाय
आजा छम छम छम छम
घुट गया मेरा दम दम दम
9 Responses to "Sulag rahi hai husn ki sigdi"
August 10, 2022 at 5:19 pm
Arun ji,
Thanks for the post on importance of arrangers.
I liked the song too.
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August 11, 2022 at 11:12 am
Bulsara indeed was very talented but lesser known MD in Bollywood. You have also mentioned Madhukar Rajasthani as one of the song writers. He too was very talented. May be some day you will write about Madhukar Rajasthani too
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August 11, 2022 at 3:58 pm
Jitendra Desai ji,
Thanks for your comments.
We all genuinely want to write in details about Madhukar Rajasthani, but we are unable to get the right source of information about him. In case you know about such reference source, please do tell us.
Thanks.
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September 30, 2022 at 11:11 am
Vistar is regarded as the soul of Indian classical music. It is considered as having enormous importance in rendering music in all tradition of Indian music, especially Hindustani vocal music. The word ‘Manadharma’ meaning law of mind is a Sanskrit word that stands for the art of Vistar. Manadharma refers to the stage where musician raises himself to the level of imagination that remains quite distinct from logical thinking.
https://www.indianetzone.com/56/vistar.htm
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 10, 2022 at 4:58 pm
Thanks Sir ji You know what I am going to write……..
Anyways….Thanks a lot for the whole lot of things of information,That means a lot to us………
Regards
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August 10, 2022 at 5:03 pm
Thanks, Prakash ji. I am glad that you like the posts and you do take trouble to let me know by commenting on them. Many people read the posts and nowadays somehow I feel readers do not express their reactions. May be they feel it not necessary. I leave it to them.
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August 10, 2022 at 5:34 pm
aisi koyee bhi baat nahin hai Sir ji,
aap apne valuable waqt ko use karke, itna kuchch gyaan de rahe hain, we owe much much more to you and other blog members……..Sir ji……
Regards & Love
prakash
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