Posts Tagged ‘V Balsara’
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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Blog Day : |
5136 | Post No. : | 17093 |
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
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Hindi script lyrics (Provided by Sudhir Kapur)
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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
Akad Ke Kahaan Chale Meri Jaan
Posted on: March 13, 2019
This article is written by Sudhir, 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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Blog Day : |
3890 | Post No. : | 14924 | Movie Count : |
4075 |
Missing Films of 1960s – 94
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With every episode, we are closing in on clearing all the pending and available films for representation here on our blog. Today, we bring on the 1969 film ‘Pyaar’.
The word ‘Pyaar’ is likely to be one of those which are probably the most used in film titles. I have not done the search, but yes, it would be very interesting to take out a statistics on how many films have this word in their title. That being an interesting exercise in itself, I would take this to the next level – to check how many films are titled simply ‘Pyaar’. In the first five volumes of Geet Kosh, i.e. 1931 to 1980, there have been three films which are so titled. The years are 1940, 1950 and 1969.
The 1969 ‘Pyaar’ is produced under the banner of Film Makers, Calcutta, and is directed by Prahlad Sharma. The cast of actors includes Soma Salkar, Suraj, Sangeeta, Prem, Kavita, Biren, Shekhar, Alka, Jahar Rai, Baby Samli Rai, and Pandit Natwar etc. Geet Kosh lists 6 songs for this film, all of them from the pen of Prahlad Sharma (the director himself). Music is from the mind of V Balsara.
This particular song is a solo sung by Rafi Sb. The hero is trying impress upon his heart throb, not to walk away alone, but to be together. In the process, he tells her about the difficulties trying the negotiate the life’s passages alone.
With this post, we have now introduced 94 films that were earlier not represented on the blog. A few more films are yet waiting to be posted. 🙂
Song – Akad Ke Kahaan Chale Meri Jaan (Pyaar) (1969) Singer – Mohammed Rafi, Lyrics – Prahlad Sharma, MD – V Balsara
Lyrics
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
bada lamba jeevan ka safar
nahin manzil ki tumhen khabar
ghiregi toofaan mein kashti
milegi tumko nahin dagar
samjhi
hamen tum le lo apne saath
kinaare se lag jaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
zara aane do mast bahaar
aah haa
khiloge kaliyon se dildaar
aah haa
gulabi hothon ka pee zehar
marenge bhanwre roz hazaar
oh ho ho ho
hiran si aankhon mein le nasha
hamen madhosh banaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna . . . . gumaan
aji sun lo mere hamdam
nahin ye nakhron ka mausam
zamaane se hum do pyaase
badi hai donon or jalan
haaye
hamaare pehlu mein aao
yakeen hai pyaas bujhaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
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Hindi script lyrics (Provided by Sudhir)
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अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
बड़ा लंबा जीवन का सफर
नहीं मंज़िल की तुम्हें खबर
घिरेगी तूफाँ में कश्ती
मिलेगी तुमको नहीं डगर
समझी
हमें तुम ले लो अपने साथ
किनारे से लग जाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
ज़रा आने दो मस्त बहार
आ हा
खिलोगे कलियों से दिलदार
आह हा
गुलाबी होठों का पी ज़हर
मरेंगे भँवरे रोज़ हज़ार
ओ हो हो हो
हिरण सी आँखों में ले नशा
हमें मदहोश बनाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना ॰ ॰ ॰ ॰ गुमान
अजी सुन लो मेरे हमदम
नहीं ये नखरों का मौसम
जमाने से हम दो प्यासे
बड़ी हैं दोनों ओर जलन
हाए
हमारे पहलू में आओ
यकीं है प्यास बुझाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
This article is written by Mahesh Mamadapur, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
zamaanaa bade shauq se sun raha tha
hameen so gaye daastaan kehte kehte
hameen so gaye
Today is the remembrance day of legendary singer Mukesh. (23 July 1922 to 27 August 1976).
“Each word from his lips was a pearl. No one could sing the way Mukesh did, with the right diction, inflexion and intonation. His vocal timbre was out of this world.”
These are the words of composer Salil Choudhary in praise of the voice of Mukesh.
Read more on this topic…
Rahoge Kab Tak Hum Se Door
Posted on: February 9, 2017
- In: Calling the beloved | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Happy song | joie de vivre | Lyrics contributed by readers | Post by Sudhir | Rafi solo | Rafi songs | Songs of 1960s (1961 to 1970) | Songs of 1967 | Yearwise breakup of songs
- 6 Comments
This article is written by Sudhir, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Mohammed Rafi – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 32
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‘र’
“रहोगे कब तक हमसे दूर”
ishq pukaarega tumko aana hi hoga re
aana hi hoga re
aana hi hoga re
Goodness, more than four months now that the previous episode in this series was posted (29th Sep, 2016). Not a record, I must say. There are some other series (by me) (sic) in progress that have been waiting much much longer to be completed. But then, this scenario makes me marvel more and more on how Atul ji is able to pull the progression of this bandwagon, single handedly, day after day after day. I have been excusing myself on account of too much time pressure on my personal side of life. And then I think, well, my situation is not very unique, and I am sure that there are similar constraints that are present in the lives of everyone else. And thus, I tip my hat to Atul ji, for his tenacity and perseverance. On his shoulders, the bandwagon rolls on and on. . .
Read more on this topic…
O o o yaad teri aayee
Posted on: November 2, 2015
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today’s song is a Manna Dey NFS.
We have just completed 2 years without the Ace Singer, Manna Dey. He left us on 24-10-2013. He was probably the last of the Golden Age male singers, who started singing in the 40s. I called him an Ace singer and most readers would agree with it too, but Manna Dey never got rated as the No 1, or 2 or 3 or even 4th singer. Every A grade composer agreed that he was a great singer, but no one would call him to sing a song, on a regular basis. Though Manna Dey sang for almost every composer of his times, he was neither a favourite of any Music Director, nor did any top actor insist for him as a playback singer of his choice. So, strangely, while recognition was there, results were not matching !
Read more on this topic…
Kab beet gayi jeewan ki subah
Posted on: March 10, 2014
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Madmast” (1953) was directed by Jagdish Pant for Sweet Pictures. The movie had Ansari, Nirupa Roy, Shashikala, Shakeela, Sapru, Mukri etc in it.
Read more on this topic…
Ye hawa ye fiza ye bahaaren
Posted on: June 14, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Geeta Dutt was one of the few singers who got a godsend opportunity as a playback singer in Hindi films. The devdoot or farishta (angel) in her case was none other than Pandit Hanuman Prasad, one of the music director of the 40s. While walking on a Mumbai street, he heard a singing voice coming from the balcony of the building above him which attracted his attention. He straightway walked into the room and found a teenage girl singing. She was Geeta Roy as she was known then. He liked her singing so much that he offered her the chance to sing a predominantly chorus song in the film ‘Bhakt Prahlad (1946) in which she had two lines to sing. These two lines from the song attracted the attention of S D Burman who persuaded her parents to let her sing in ‘Do Bhai’ (1947). The iconic song “mera sundar sapna beet gaya” and the box office success of the film signalled the arrival of Geeta Roy as a playback singer. By the end of 40s, she had already attained the status of one of the prominent female playback singers of Hindi films.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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