Jab jeb ho garma garam
Posted on: June 19, 2024
- In: "Money" song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rafi solo | Rafi songs | Song with incomplete details on HFGK | Songs of 1950s (1951 to 1960) | Songs of 1957 | Songs with missing details in HFGK | Songs with missing details on HFGK | Theme song | Title song | Yearwise breakup of songs
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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 from the stunt film ‘Garma Garam’ (1957).
In Hindi films, many times the titles are given to the films just to attract the audience. Such films have absolutely no relevance to the core-story of the film. Sometimes there is an excess of certain emotions in the films. I had seen one Hindi film in which, by the end of the film all the major characters were shown as dead- including the lead pair. No wonder, the audience must have run away lest they would be the next in line !
Excess of any emotion, be it tragedy or comedy makes no sense. The public comes to the theater to get entertained. When you decide to go to a film, what are your criteria? Story, publicity, cast, director, the banner or simply the posters? There were times when banners i.e. studio names were indicative of the type of movies generally made by them. Like, for example – Minerva Movietone means long dialogues, costumes and historical stories. Wadia Movietone means stunts, fights and action, supported by Wonder Horse, Dog, Cat, Elephant, Monkey or some such animal like even a Viper, Bear or a Lion ! Prabhat means meaningful themes and thought provoking subjects, Prakash Pictures means religious or Mythological films etc etc.
Then came a time when people went to see movies to listen to songs of Naushad, Husnlal-Bhagatram or C Ramchandra etc. Later the stars were the attraction for the crowds like Ashok Kumar, Dilip Kumar, Madhubala or Meena Kumari etc. Whatever the genre of the film, an integral part of the cast was the comedian. Thus there were even times when films were made in the names of Johnny Walker, Om Prakash or Kishore Kumar. But when a film has a crowd of comedians and a music director who once gave music which shook the entire country, what would you expect from the film ?
This is precisely what happened with the film, ‘Garma Garam’. The cast consists of Agha, Gope, Om Prakash, Bhagwan, Maruti Rao, Chhota Gope, Indira Bansal, Nadira, Rajni, Miss Kamal, Maya Das, Krishna Kumari and many others. The film was classified as a ‘stunt’ film. I wonder what stunts this band of comedians performed in the film. I saw this film when it was released on 5th July 1957 at Lamington Cinema, Bombay as well as in Ashok Talkies in Hyderabad. After seeing the film we felt like we had been cheated. The film had no stunts and nothing in the film to make the audience ‘garam‘ either ! In those times while Vinod’s songs of ‘Ek Thi Ladki’ (1949) were still echoing in our ears, music of this film made us completely ‘thanda thanda‘ and made us wonder if he was the same MD Vinod of ‘Ek Thi Ladki’? Here is the film’s story which will prove what I have said,
Wealthy Garib Das has no issues, but only 2 nephews – Baanke, a simpleton and Banwari, a chaalbaaz, who spends money on a dancing girl -Chandni. Knowing this Garib Das makes his will in the name of Baanke. While recording his will on camera, he dies without telling the location of his wealth halfway.
Baanke contacts the photographer Asha for inquiry. They fall in love. While searching they find a map and 6 keys hidden in 6 golden chairs that hold the secret. But the chairs are already sold by Banwari to various people in India. They get addresses from the auctioneer who sold these chairs.
Asha and Baanke contact all those buyers and get the 6 keys. Meanwhile, Baanke comes to know all this and catches up with the pair. There is a fight between Baanke and Banwari. Banke wins the fight, but magnanimously gives the keys to Banwari. Seeing this generosity, Banwari has a change of heart and both embrace each other.
Finally, they find a box. Using the keys, they open the Box, only to find only a piece of white paper written “God helps those who help themselves”. Asha has an idea. She starts pressing the box in different ways and suddenly it opens and the map is found where the wealth is hidden. The two brothers share the wealth.
The End.
Bombay film industry can swing in extremes. At times it can be very generous and at others very cruel. It bows its head before you, if you have a big name tag or a big name godfather solidly behind you and more often it refuses to acknowledge your genius. Bombay film industry certainly did not give what was due to some brilliant music directors like Shyam Sunder, Vinod, Sajjaad Husain, Allah Rakha, Khursheed Anwar, Hans Raj Behl and Sardar Malik to name a few. Bombay film industry deserted Husn Lal and Bhagat Ram, when they were at their creative best. Even the acclaimed greats like Anil Biswas and Madan Mahan did not get their rightful due, compared to some lesser but luckier artists in the field.
Music director Vinod’s real name was Eric Roberts, but for the film industry he chose a more familiar and shorter name – Vinod. This was revealed by one of his sons-in-law Kelly Mistry, who is married to his daughter Veera Roberts. His other daughter’s name is Veena Roberts (Veena Solomon after marriage).
According to Vinod’s son-in-law Kelly Mistry, Vinod was born on May 28, 1922. Vinod hailed from a Christian family of Lahore, who were converted from Hindus. Vinod had his family tree connected to Gurdaspur and Amritsar. As a child Vinod was fascinated by the band music which was prominently played during Lahore’s colorful Hindu weddings. Vinod also listened carefully for hours to the rabaabi musicians performing Shabad Kirtan at Gurdwara Dera Sahib Lahore and other shrines. Vinod became a student of Lahore’s famous music director Pandit Amar Nath and learnt the fundamentals of ragas and tune making with the help of a harmonium from the great maestro.
He started composing tunes while he was still in Lahore prior to 1947. After the death of Pandit Amar Nath, he got the contract of composing the music for a number of films including Punjabi film ‘Chaman’. But the film could not be taken up due to the tense communal atmosphere in Lahore. It was made much later on in India after 1947. Pushpa Hans and Shamshad Begum lent their voices to the songs in this film. Lata Mangeshkar was a new find, looking for work and Vinod gave her three songs to sing. Incidentally Lata’s all three numbers became landmark songs not only for this film, but for other Punjabi films to follow. Those were the days of extreme communal tension on both sides of the Radcliffe line in Punjab , as a consequence after its release the film did not do well in Pakistani Punjab. But the selling of its music even in Pakistan did quite a decent business.
According to some historians Vinod’s mentor Pandit Amar Nath died in 1946. Some other historians say that Pandit Amar Nath died in February of 1947. But by 1944 most of the Lahore based music directors like Khurshid Anwar (in 1941), Shyam Sunder (in 1943), Hans Raj Behl (in 1944), Rashid Atre, Feroze Nizami, Ghulam Haider, Pandit Husn Lal Bhagat Ram shifted their base to Bombay. Pandit Amar Nath and Pandit Gobind Ram were the only ones left in Lahore. After Pandit Amar Nath’s health deteriorated in 1946, Vinod inherited some of his contracts. ‘Khamosh Nigahein’, ‘Paraye Bas Mein’ and ‘Kamini’ were some of the movies which fell into Vinod’s kitty. None of these 1946 movies did well at the box office and Vinod did not get any mileage from them either.
Vinod got the best break in his career in 1949, when he got the contract to compose the music for Hindi film ‘Ek Thi Ladki’. The film became a hit and its Lata song “Lara Lappa Lara Lappa Laai Rakhda, Addi Tappa Addi Tappa Laai Rakhda” became a nation-wide hit. The tune of this song was based on an old Pahadi Punjabi folk tune of Kangra district. While listening to his other songs for this film, a similarity with the tunes of film ‘Mirza Sahiban’ composed by his mentor Pandit Amar Nath can be clearly established. This goes to prove that Vinod, in letter and spirit, learnt the art of tune making from his teacher. This earned him a contract for another Punjabi film ‘Bhaaiya Ji’ made in 1950. Lata sang several memorable songs for this movie. One of its sad songs “Ajj Mera Maahi Naal Tutt Gaya Pyaar Ve Akhiyan Na Maar Ve” was acclaimed to be a landmark song. Even Sardul Kwatra had great admiration for this song. This song later on inspired the tunes of several Hindi songs. In 1949 Vinod composed music for another Hindi film ‘Taara’, which did not create any waves.
Talat Mahmood and Mohammad Rafi were the favorite male singers of Vinod, who always did full justice to his tunes. According to Sardul Kwatra Vinod had no godfather like Shanker and Jaikishan had in producer actor Raj Kapoor and producer Amiya Chakravarty and Naushad had in a very popular producer Mehboob Khan. Roop K Shorey, who gave Vinod music composition contracts for his films, somehow did not belong to the big league of Bombay based film producers like Sohrab Modi, KA Abbas, V Shantaram, Mehboob Khan, Raj Kapoor etc.
Roop K Shorey of course was a very famous film producer in Lahore, who while moving to Bombay , took his entire team with him. Music director Vinod and lyricist Aziz Kashmiri were members of his group. Vinod composed the music for most of Roop K Shorey films. In all Vinod composed music for 27 Hindi films, out of which he shared music with other music directors for at least six films. Some of his films were not completed and some were not released even after completion. Among some of Vinod’s best known creations were the musical compositions of films ‘Anmol Rattan’ (1950), ‘Wafaa’ (1950) ‘Sabz Bagh’ (1951) ‘Aag ka Dariya’ (1953), ‘Laadla’ (1954), ‘Oot Pataang’ (1955) and ‘Makhi Choos’ (1956). For a while Roop K Shorey got Vinod a salaried job as a music director in Filmistan Studios. One characteristic of Vinod was that in Punjabi films he inserted Hindi songs and in Hindi film songs he inserted some Punjabi wording. This trend was discontinued later on, but since the nineties once again Punjabi songs became a part of most Hindi films and these songs are proving big hits.
Vinod was doing one or two successful films on an average per year from 1948 to 1957, but one or two hit films in a year are not enough to ensure a decent standard of living in a city like Bombay. HusnLal Bhagat Ram gave the music for 19 films in 1949 and 1950 and Shanker Jaikishan were composing music in 3 to 4 hit films every year during the fifties and sixties. Such busy schedules made both duos financially quite well off. OP Nayyar was also doing 3 to 4 successful films a year during the fifties, but somehow he did not manage his finances well. On the other hand Naushad was professionally quite creative and he always managed his finances well and lived in comfort. Both Shyam Sunder and Vinod, in spite of being thoroughly professional in their field, were never financially well off. They both died during the fifties. After Vinod’s untimely death at a young age of thirty seven on December 25, 1959, his wife Sheela had great difficulty in bringing up their children. Vinod loved his childhood city of Lahore and did not want to leave that great cultural centre, but the unfortunate partition of Punjab and the resultant bloodshed and its trauma left him with no option of going back to Lahore. Vinod was every inch a Punjabi and he longed to compose music for the Punjabi films, but after 1951 mostly two music directors ended up getting all the music direction contracts. They were Master Hans Raj Behl and Sardul Kwatra. Vinod composed music for only five Punjabi movies. These are ‘Chaman’ (1948), ‘Bhaaiya Ji’ (1950), ‘Mutiyaar’ (1950), ‘Ashtalli’ (1954) and ‘Nikki’ (1958). Vinod died a frustrated man, who’s professional genius was always shortchanged.
Although Vinod composed music for thirty two films, most of these films were under small banners and the music of most of them let down by the film’s poor showing at the box office. Vinod died in Bombay on 25-12-1959. [Adapted from an article by Harjap Singh Aujla, with thanks and my notes].
Film’s story, dialogues and screenplay were by PL Santoshi, who had given us some very entertaining films earlier. He was, by the end of the 50’s decade, on his sliding part of the career and could not make the film entertaining. There were 11 songs in the film written by Santoshi, Raja Mehdi Ali Khan and DN Madhok, but hardly any song one could hum later or remember after 2-3 days.
Today’s song is the fifth song from this film. It is sung by Rafi and chorus. Let us enjoy this song….
Song-Jab jeb ho garam garam (Garma Garam)(1957) Singer – Rafi, Lyricist – PL Santoshi, MD – Vinod (asstt. Sebastian)
Chorus
Lyrics
hoy
kaise dukh aur kaise gham
kyun na karen mauj ham
jab jeb ho garam
garma garam garma garam
garma garam grama garam
jeb ho garam
ishq ho aur pyaar ho
khaansi ho bukhaar ho
kismat ki maar ho
zindagi se haar ho
kismat ki maar ho
zindagi se haar ho
sabka hai ilaaj ek
daulat se dil ko senk
door hon shikaayaten
milen sab nematen
door hon shikaayaten
milen sab nematen
har nagar har dagar
har gali aur har kadam
arre
garma garama garma garam
garma garama garma garam
jeb ho garam
badal gayi ab chaal baabu
jeb mein apni maal baabu
badal gayi ab chaal baabu
jeb mein apni maal baabu
aaj mawaali ke gaane ki
badal gayi surtaal baabu
aaj mawwaali ke gaane ki
badal gayi surtaal baabu
bol badal gaye
taan badal gayi
badal gayi sargam
sa re ni sa ga ma pa ni la
bol badal gayi
taan badal gayi
badal gayi sargam
apni jeb hai garam
apni jeb hai garam
apni jeb hai garam
apni jeb hai garam
arre garma garam garma garam
garma garam garma garam
jeb hai garam
hoy
kaise dukh aur kaise gham
kyun na karen mauj ham
jab jeb ho garam
garma garam garma garam
garma garam garma garam
jeb ho garam
bhai kahe ye bhai mera
behan kahe ye bhaiya mera
bhai kahe ye bhai mera
behan kahe ye bhaiya mera
ho jab jeb garam
lala garam garam
yaar kahe ye yaar mera
dost kahe ye dost mera
yaar kahe ye yaar mera
dost kahe ye dost mera
ho jab jeb garam
o baabu garma garam
lekin
ye kehte hain hum
gar jeb naram
to haal naram
kisi chalte huye murde se kam
nahin hum
arre garma garam garma garam
garma garama garma garam
jeb ho garam
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
होय
कैसे दुख और कैसे ग़म
क्यों ना करें मौज हम
जब जेब हो गरम
गरमा गरम गरमा गरम
गरमा गरम गरमा गरम
जेब हो गरम
इश्क़ हो और प्यार हो
खांसी हो बुखार हो
क़िस्मत की मार हो
ज़िंदगी से हार हो
क़िस्मत की मार हो
ज़िंदगी से हार हो
सबका है इलाज एक
दौलत से दिल को सेंक
दूर हों शिकायतें
मिलें सब नेमतें
दूर हों शिकायतें
मिलें सब नेमतें
हर नगर हर डगर
हर गली और हर कदम
अरे
गरमा गरम गरमा गरम
गरमा गरम गरमा गरम
जेब हो गरम
बदल गई अब चाल बाबू
जेब में है माल बाबू
बदल गई अब चाल बाबू
जेब में है माल बाबू
आज मवाली के गाने की
बदल गई सुर ताल बाबू
आज मवाली के गाने की
बदल गई सुर ताल बाबू
बोल बदल गए
तान बदल गई
बदल गई सरगम
स रे नि स ग म पा नि ला
बोल बदल गए
तान बदल गई
बदल गई सरगम
अपनी जेब है गरम
अपनी जेब है गरम
अपनी जेब है गरम
अपनी जेब है गरम
अरे
गरमा गरम गरमा गरम
गरमा गरम गरमा गरम
जेब है गरम
होय
कैसे दुख और कैसे ग़म
क्यों ना करें मौज हम
जब जेब हो गरम
गरमा गरम गरमा गरम
गरमा गरम गरमा गरम
जेब हो गरम
भाई कहे ये भाई मेरा
बहन कहें ये भैया मेरा
भाई कहे ये भाई मेरा
बहन कहें ये भैया मेरा
हो जब जेब गरम
लाला जेब गरम
यार कहे ये यार मेरा
दोस्त कहे ये दोस्त मेरा
यार कहे ये यार मेरा
दोस्त कहे ये दोस्त मेरा
हो जब जेब गरम
ओ बाबू गरमा गरम
लेकिन
ये कहते हैं हम
जब जेब हो नरम
तो हाल नरम
किसी चलते हुये मुर्दे से
कम नहीं हम
अरे
गरमा गरम गरमा गरम
गरमा गरम गरमा गरम
जेब हो गरम
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
June 19, 2024 at 8:48 am
Arun Ji,
Your write-up beautifully captures the evolution of Hindi cinema and the diverse elements that attract audiences. It was a delightful read!
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June 19, 2024 at 10:25 am
Thanks for your appreciation.
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