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

Mera Tamak Tamak Tam Bole Mera Tamku

Posted on: March 3, 2016


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.

This song is from Master Bhagwan’s film ‘Damaad’ (1951). In the decade of 1940’s, Bhagwan had specialised in low budget C grade action and stunt films. Usually his films would be completed in Rs. 60 to 70 thousand rupees only. He used to churn out films after films with the same set of actors with almost the same story in all his films. The audience of Master Bhagwan’s films came to the theatre to see his antics and comedy, coupled with action scenes of fighting and incredible stunts.

Usually Bhagwan never played the hero’s role in his own films. The hero in his films would necessarily be Baburao Pehelwan and he used to be his side kick. Both had their love interests – usually the heroine for Baburao and her friend or maid for Bhagwan. Like Baburao and Bhagwan, even the lady actors were fixed. He had a set of such actresses like Shanta Patel, Chanchal, Leela Gupte, Vitha Lokare, Usha Shukla etc. They used to be in his films by turns. Actor Azim Bhai (who later became the famous Fight Master in Hindi films) was usually the good natured but timid employer of these two. Their job was to protect the Seth ji from goons, fight with them and finally win the girls in the end. Film after film the same story was used with slight changes here and there. The audience was least bothered about the story or the histrionics etc. They came for the dialogues, the fights and stunts.

Very few people know that both Raj Kapoor and Dilip Kumar were his great fans. When Bhagwan fell on bad times and shifted to a 2-room tenement in a chawl in Dadar, Dilip Kumar, while going for his daily shootings, used to stop at the chawl, honk till Bhagwan appeared in the gallery and waved to him, and then he proceeded to his work.

It was Raj Kapoor, who used to see his shootings in Jagriti studio, very near to RK studio, who once suggested to him to try making a social film. Incidentally, his good friend C Ramchandra (Anna for Bhagwan) also pressed him to dare making a social film. CR even promised him to give music to his social film in his popular name C Ramchandra (he gave music to Bhagwan’s films in the name of ‘Annasaheb ‘ till then). Bhagwan started thinking seriously on this issue. At that very time he got an offer to work in a social comedy film, to be produced by Beema Films of MT Mudnani and directed by Brij Rani. The real name was Brijmohan Kevalramani, but he shortened it to Brij Rani. Since this was a social film Bhagwan wanted to give it a try. He wanted to assess the feasibility of making his own social film.

The film was ‘Damaad’ (1951). The story was simple. A simpleton is made a ‘ghar jamai’ (resident son-in-law) and has a miserable life. Incidentally, he becomes a successful singer. The film was absolutely an ordinary one. Being a director himself, Bhagwan understood the potential of the story to become a hit film. In addition the offer of C Ramchandra’s music was also inviting him. The film ‘Damaad’ came and went without making any ripples. Neither the producer made any more films, nor the director got any other film. The cast and the 3 MDs employed were also C grade anyway.

Taking inspiration from film ‘Damaad’, Bhagwan started writing the story of ‘Albela’ . For this film, he needed a cast other than his usual C grade film cast. Other actors were booked but no reputed heroine was ready to work in his film. Those days, Bhagwan’s name was only associated with C grade action stunt films. Then one day he approached Geeta Bali. She agreed – a bit reluctantly – to listen to his story. After listening the story, Geeta Bali realized the potential of a hit film and said yes.

The shooting of ‘Albela’ started but Bhagwan kept it a secret. After few weeks of shooting, he invited Anna (CR) to come to see the shooting, without telling him anything. Anna went to Jagriti studios to see the shooting. After some shots were taken, he asked, ‘Bhagwan, this is your film, but where are the fights?”. Bhagwan smiled and said,”Anna, there are no fights. This is a social film I am making which you wanted me to do. Now it is your turn to stand by what you had promised be to give your best music”. Sure enough C Ramachandra gave immortal music to film ‘Albela’ and the rest is history as they say.

Bhagwan’s planning for ‘Albela’ was so perfect that he got the Censor Certificate on 13-12-1951 and the film was released on next day i.e. on 14-12-1951 at Imperial Talkies in Bombay. Within 3-4 days, the film became houseful in every show. It was so successful that it overshot the combined collection of first week opening of BR Chopra’s ‘Afsaana’, Raj Kapoor’s ‘Awaara’, Dev Anand’s ‘Baazi’, AVM’s  ‘Bahaar’ and Nitin Bose’s ‘Deedaar’, all released in 1951 only!

The tremendous success of ‘Albela’ made the financiers, producers and directors to line up Bhagwan’s doorstep with project proposals. The success of ‘Albela’ had also gone to the head of Bhagwan dada.  He did not realize or acknowledge the contribution of Geeta Bali and C Ramchandra’s music to its success. He thought that it was due to him and he went on signing film after films in that period. As his new films started failing, the incomplete films were abandoned and ‘Albela’ became his swan song. The downward slide of his career and popularity started right after this film, although some more films like ‘Bhagam Bhag’ (1956) etc were hits-again due to music and Kishore Kumar.

Anyway the producer NT Madnaney never ever tried to produce any more films after ‘Daamad’, which was not at all successful at the box office.
The screenplay and direction was by Brij Rani. There were 3 composers, Shamoo who had given music to ‘Begunah’ (1949) with Haribhai, Ram Panjwani – who was a novice, and Indravadan Bhatt who had given music to 10 films in the late 40s.

The story was more or less same as ‘Albela’ – a good for nothing fellow sings well and makes a fortune – that is the one line story of this film.

Chamak (Bhagwan) is too simple a person, who is a teacher in a school, where even his students make fun of him. He gets married to a rich man’s daughter-Geeta (Krishna Kumari). Chamak loses his job and his father-in-law takes him to his house in a bigger town. Chamak is impressed with all the wealthy living and eats like a hog and sleeps like a dog every day. Honored initially as the son-in-law of the house, slowly he is despised, insulted and treated shabbily by in laws for doing nothing.

One day when Chamak is singing alone, the manager of the local theatre hears him, gets impressed and offers him job of a singer. Chamak accepts it and in no time becomes a famous singer and tours all over India. Seeing that he is famous, his in laws start pampering him. Now Chamak has become clever. He teaches a lesson to his in laws and finally they realize their folly and all is well that ends well.

There were 8 songs in this film and only one song has been posted here four years ago. This is surprising, considering that all songs of this film are available on YouTube with video clips. Here is a funny song featuring Master Bhagwan and others. It appears to be a stage song that is being presented for the viewing benefit of the theater manager. It is a multi-lingual song in which one can clearly distinguish Gujarati, Punjabi, Sindhi, and Hindustani. Bhagwan plays the role of a ‘doodh waala’ (milk man). The times were when the milk men would actually bring the cow to the customer’s doorstep and milk the cow right there. Even with that, we see that the milkman is surreptitiously mixing water with milk. And all the ladies of that area are complaining to him about water in his milk and are cursing him.

(Note: Information used in this write up is based on the books of Isak Mujawar and Subhash Sawarkar.)

(Note: Some lines of this song need to be corrected / confirmed by other readers and friends who may be more familiar with the specific language. Also, need help from knowledgeable readers and friends to help identify other artists in this video clip.)

 


Song – Mera Tamak Tamak Tam Bole Mera Tamku (Daamad)(1951) Singer – Ram Panjwani, Sulochana Kadam, Lyrics – Bahaar Ajmeri, MD – Indravadan Bhatt

Lyrics

mera tamak tamak tam bole
mera tamku
mera tamak tamak tam
tamak tamak tam bole
mera tamku
o o kaaki ji
o o maami ji
bartan leke aao
sudha bai bartan leke aao
arre bhai bartan leke aao

aaya doodh waala chamku
aaya doodh waala chamku
chamku
mera tamak tamak tam
bole
mera tamku
mera tamak tamak tam
tamak tamak tam bole
mera tamku

chaal chaal ja munh kaalo layi
chaal chaal ja munh kaalo layi
thaaro dodh ma pani
bhaando thaaro phoot gayo chhe
bhaando thaaro phoot gayo chhe
saari bat mai jaani
o maa
saari baat mai jaani
kya paani
haan paani
jo kuchh tam bole o bai ji
jo kuchh tam bole o bai ji
ka wo bole hum ku
haan haan tamku
mera tamak tamak tam
bole
mera tamku
aaya doodh wala chamku..oo..oo

mai ta agg tai
mai ta agg tai
jadon dudh rakhni aan
oye tera dudh fit jaanda
phite munh
tera dudh fit jaanda..aa..aa
mai ta agg tai
mai ta agg tai
jadon dudh rakhni aan
oye tera dudh fit jaanda
tak wey
tera dudh fit jaanda
peeke tera dudh
peeke tera dudh
bachche bimaar hoye
peeke tera dudh
peeke tera dudh
bachche bimaar hoye
khise tera saanda rakh
wey nikal aithon
khise tera saanda rakh
phite munh chamku

o sudha bai
doodh mere mein badi malayiya
doodh mere mein badi malayiya
aaya doodh wala chamku..oo..oo
chatak chandani raat giri nahi
chatak chandani raat giri nahi
tu gau behan aala
hoye tu gau behan aala
paani ka kul dooodh madhe tu
paani ka kul doodh madhe tu
tu karto roj ghotala
jaa milayi kudan maasa
maang le bhaav dulaare
jaa milayi kudan maasa
maang le bhaav dulaare

muaa ko kheer sutho de
muaa ko kheer sutho de
muaa ko kheer sutho de
muaa ko kheer sutho de
kheer mein paani gadhe to deekhe
deep rupaye jo ser naasti
deep rupaye jo ser
(?) paa ranjo ko keet pawaishal (?)
(?) paa ranjo ko keet pawaishal (?)
(?) pawai naangte ter (?)
(?) pawai naangte ter (?)
muaa ko kheer sutho de
muaa ko kheer sutho de
muaa ko kheer sutho de
des chhade pardes rulaati
ghee makhan sab
utey chaa jaaki
kismet jo tyon pher naasti
teejo kairo ver naasti
teejo kairo ver
(?) paa ranjo ko keet pawaishal (?)
(?) pawai naangte ter (?)
(?) pawai naangte ter (?)
muaa ko kheer sutho de
muaa ko kheer sutho de

bol bataa gaiyaa maata..aa..aa..aa..aa
bol bataa gaiyaa maata
kya doodh hai is ke paani
kya doodh hai is ke paani
loot’ta hai tu hum logon ko
loot’ta hai tu hum logon ko
pakdi gai shaitaani
shaitaani
baap dada ka dhandha doodh ka
kaise karoon shaitaani
kaaki jhoothi maami jhoothi
jhoothi gaiyaa rani
ram kasam kha kar kehta hoon
nahin doodh me paani
nahin doodh me paani

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4 Responses to "Mera Tamak Tamak Tam Bole Mera Tamku"

What an absolutely wonderful read this is! Had me hooked from first word to last, especially reading about the background of the making of Albela (1951). It is sad that Bhagwan let success get to his head. You are only as good as your last success, especially if you have burnt bridges since then.

Thank you, Arunji, for this most engaging and informative write-up.

Raja ji,

Thanks for your kind words.
Like Bhagwan , another case was that of Roop K.Shorey.
After the runaway success of his film Ek thi Ladki-1949, he kept on using the same set of actors and repeated the story ,with some changes here and there, in the hope of getting the same success. But alas ! Not only,even after several movies, he drew blanks, even his wife-Meena Shorey left him and shifted to Pakistan.
Some people never learn !
-AD

Shri Arunkumar Deshmukh Saheb,
I read your interesting article about Master Bhagwan,(one of my favourite
actor in stunt films of late 40’s & 50’s).
I would like to add one point that Master Bhagwan has also produced
after success of Albela, two more similar kind of entertaining films in 1953
Rangeela and Zamela.
Thanks for such details about Master Bhagwan of Hindi Films.
Prabhulal Bharadia

Bahaar Ajmeri
Dolti Naiya (1950)
Jasoos (1955)
Black Mailer (1959)

Indravadan Bhatt
Pratigya (1943)
Jadui Putli (1946)
Lal Batti (1947)
Tiger Man (1947)
Dilwale (1948)
Dhanwale (1948)
Satyawan Savitri (1948)
Roop Sundari (1949)
Shree Ram Avtar (1950)

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