Badee door se laayee hoon ik bade maze kee baat
Posted on: February 1, 2025
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 a so-called ” Stunt film” – Garma garam-1957. produced by N.C.Shah for G.M.Pictures, Bombay, it was directed by P.L.Santoshi, who was also one of the 3 Lyricists of this film. The other two were D.N.Madhok and Raja Mehdi Ali Khan. Music was given by “Lara Lappa” fame Vinod aka Eric Roberts.
Vinod was called “One film wonder”, obviously referring this all time famous film ‘ Ek Thi Ladki’-1949. Unfortunately after this one film, his Luck turned its back on him and Vinod, in spite of his sincere efforts could never ever achieve success in his later films. In my opinion, bad company, rather wrong company spoiled his career. After the stupendous success of film Ek thi ladki-1949, the producer director Roop K.Shorey kept on using the same story, MD and the Cast in his subsequent many films. All such films were flops and the biggest sufferer was Vinod, its Music Director who went with Shorey in all such films. If he had had courage to be a freelancer, probably, he would have been more successful.
The music of Garma Garam-1957 was just ordinary.
In 1957, such mediocre music was impossible to win. 1957 – what a year it was! The best year in the Golden Era! The best year in the 50s! The best year for melody and music! Such wonderful films came this year!!! The lineup of 1957 films looks like the selection of the creamy layer in everlasting music – ‘Mother India’, ‘Pyasa’, ‘Tumsa Nahin Dekha’, ‘Bhabhi’, ‘Asha’, ‘Miss Mary’, ‘Naya Daur’, ‘Do Aankhen Barah Haath’, ‘Paying Guest’, ‘Nau Do Gyarah’, ‘Dekh Kabira Roya’. ‘Nausherwaan e Adil ‘, ‘Gateway Of India’, ‘Hum Panchhi Ek Daal Ke ‘, ‘Kathputali’, ‘Sharada’ . . . Films like Baarish, Ab Dilli door nahin, Abhiman, Bada Bhai, Begunah, Beti, Chhote Babu, Coffee House, Dushman, Johnny Walker, Miss Bombay, Miss India, Mr. X, Narsi Bhagat, Paak Daman, Pawanputra Hanuman, Ustad, Zamana.
Films produced in Madras were quite popular. AVM’s ‘Bhabhi’, ‘Miss Mary’ and ‘Hum Panchhi Ek Daal Ke’, Prasad Production’s first Hindi film ‘Sharda’, and MV Raman’s film ‘Asha’ played havoc with their captive audiences. Films from south somehow have always concocted a success formula, mixing comedy, tragedy, social message, excellent production values and above all superb music, which made their films very popular everywhere.
Satyen Bose’s ‘Bandi’ brought together all the three Ganguly brothers in one film for the first time. Later he would repeat this feat in ‘Chalti Ka Naam Gaadi’ in 1958. ‘Musaafir’, Hrishikesh Mukherjee’s first Hindi film as a director, was an experimental film depicting the phases of life – birth, life, death and rejuvenation, symbolically through a succession of tenants in a house on rent. Director Amiya Chakravarty’s competition with Gyan Mukherjee came to an end with his unexpected demise while the making of ‘Kathputali’ was in progress. The film was completed by Nitin Bose. (Later, Gyan Mukherjee also passed away while making ‘Sitaron Se Aagey’ (1958) which was later completed by Satyen Bose. Both films had the same story and same heroine).
With the musical blockbuster ‘Tumsa Nahin Dekha’ from Filmistan, Nasir Hussain introduced his own success formula of entertaining films and minted crores by repeating it several times, in a new garb. This film changed Shammi Kapoor’s luck, and made him an A grade actor. However, it did not much benefit the heroine Ameeta. She remained where she was – a second grade actress. Filmistan also released ‘Paying Guest’, with chocolate hero Dev Anand, with superb music and songs composed by SD Burman. Dev also featured in ‘Nau Do Gyarah’, another musical entertainer from Navketan, his home production company.
A surprise hit that year was the socio-religious film ‘Janam Janam Ke Phere’. The song “Zara Saamne To AaO Chhaliye” became the unexpected top song of the year and an iconic one at that! ‘Apradhi Kaun’ was genuinely an excellent detective story. Amiya Chakravarty’s ‘Dekh Kabira Roya’ was a hit due to its superb music, though its cast was quite ordinary. ‘Do Aankhen Barah Haath’ got the National Award. Amiya Chakravarty and Gope passed away this year. Nimmi got married. Vividh Bharati started its broadcast on 3rd October 1957.
The cast of the film Garma Garam-1957 was Agha, Nadira, Gope, Omprakash, Bhagwan, Maruti, Anwar, krishna Kumari, Indira Bansal, Krishna Kumari, Leela Gupte, Miss Kamal (wife of actor Maruti), Rajani, Mumtaz (sister of singer Mubarak Begum) and 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 simultaneously 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 Garibdas has no issues, but only 2 Nephews- Banke, a simpleton and Banwari, a chaalbaaz, who spends money on dancing girl-Chandni. Knowing this Garibdas makes his will in the name of Banke. While recording his will on camera, he dies without telling the location of his wealth halfway.
Banke contacts the photographer-Asha for enquiry. They fall in love. While searching they find that a map and 6 keys hidden in 6 Golden Chairs had 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 Banke contact all those buyers and get the 6 keys. Meanwhile, Banke comes to know all this and catches up with the pair. There is a fight in Banke 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.
Sebastian D’Souza was the assistant of Music Director Vinod for this film. Arrangers and assistants of the composers go unnoticed, though they are very important in the film’s music composition and managing the musicians. Most arrangers came from Goa in those days. 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 included Music. Goa has given many musicians to India. Lata/Asha are from Mangeshi-Goa, though the family had shifted to Kolhapur, Music Directors 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).
Anthony Gonsalves was from Majorda-Goa. He worked for Naushad, O P Nayyar and Laxmikant Pyarelal (‘My name is Anthony Gonsalves’ song is a tribute by Laxmikant Pyarelal to him, as he taught Pyarelal so many things including Notations.)
Chick Chocolate aka Anthony Vaz from Aldona-Goa—he worked for C.Ramchandra mainly.
Chris Perry worked for Khayyam,R D Burman,Kalyanji Anandji, and Laxmikant Pyarelal.
Frank Fernando- worked with Anil Biswas, Kishore Kumar, Roshan and C.Ramchandra.
Sebastian D’Souza from Bicholim-Goa—worked for Shanker Jaikishen from 1952 to 1975 and also with O P Nayyar. Incidentally, he is the one Arranger who worked with a maximum number of different Music Directors,irrespective whether they were small, medium or big ones, new or old ones.
Most of the players of western instruments in the Orchestras were from Goa. Only some are mentioned.
Sebastian D’Souza was one of the most reputed arrangers in Bollywood, who did his best-known work with the duo of Shankar-Jaikishan between 1952 and 1975. His first break was with O. P. Nayyar. The first tune he arranged was “Pritam aan milo”, which was sung by C. H. Atma in 1955. He devised a system of notation that incorporated the microtones that characterised Indian melodies.
Sebastian was born on 29 January 1906 in Reis-Magos, Goa. He learnt to play the violin and piano in a local church school. While learning these instruments, he also learnt to write music notation. It was during this time that he listened to the famous symphonies of well-known composers of the western world, namely, Beethoven, Mozart, Schubert, Tchaikovsky, Haydon and Richard Wagner. Deeply interested in violin and piano, Sebastian continued his learning and went to places like Allahabad, Mussorie and Delhi. At Delhi, in Hotel Astoria, he started his own band and people appreciated it. In 1942, he went to Lahore, and in Hotel Stiffels, he started his own band. This continued until 1947. After partition, he went to Bombay and started his career as a violinist in the film industry. He played for well-known music directors like Anil Biswas, Naushad, Vinod, Ghulam Haider, Husnlal-Bhagatram, S. D. Burman, Sajjad Hussain and Shanker-Jaikishan.
He started his career as a Music Arranger in 1948-49 with O. P. Nayyar when Nayyar recorded his first song “Preetam aan milo…..” sung by C. H. Atma and written by Mrs. Saroj Mohini Nayyar (O. P. Nayyar’s wife) . After three years, Nayyar signed his first film, Dalsukh Pancholi’s “Aasmaan”, as an independent music director. At that time he called Sebastian to work as his Arranger. Sebastian, thus, started his career as an arranger with O. P. Nayyar in 1952 which he continued till 1973. The last film for which he worked with O. P. Nayyar was ‘Pran Jaye Par Vachan Na Jaye’. Incidentally this was also the last film of singer Asha Bhosale with Nayyar.
In 1952, Sebastian’s friend Sunny Castellino, who worked as an arranger for Shanker-Jaikishan, introduced Sebastian to the duo. So Sebastian started as Shanker-Jaikishan’s arranger from 1952 with Amiya Chakravarty’s Daag, and continued until 1975. Film Sanyasi was Sebastian’s last film with them.
In film Daag as an arranger, Sebastian’s most successful innovative work was the creation of a memorable counter-melody for a song sung by both Talat Mehmood and Lata Mangeshker –‘Ai mere dil kahin aur chal…..’. According to Sebastian, in this song he used the accordion for creating counter-melody along with violin and mandolin. And the result was excellent. Sebastian used accordion for interlude music in a number of songs but its use as the main instrument for counter-melody was rare.
Shankar-Jaikishan being lovers of Indian Classical Music, composed a LP record titled Raga Jazz Style in which they presented 11 Raga in Jazz style. Sebastian arranged the music and wrote the notations. Sebastian also worked for great music directors like Salil Chowdhury, Vasant Desai, S. D. Burman, Madan Mohan, Roshan, Dattaram and N. Dutta. Sebastian occasionally worked for Vinod, Sardar Malik, S.Mohinder, Kalyanji Veerji Shah, Kanu Ghosh, Iqbal Qureshi, Prem Dhawan, Shyamji Ghanashyamji and Nitin Mangesh as well. And he never forgot to express his gratitude towards 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). He would also fondly recall his contemporary music arrangers such as Johny Gomes, Castellino, Chic Chocolate, Ram Singh, Rizbert and Franky.
When he died, on 9-3-1998, in his own Bungalow- “Seb-Maria “, he instructed that no money be spent on his funeral and all that was saved should go to charity; such is the modesty of greats. Sebastian left behind a rich musical legacy which will live into generations after his time.
Did Sebastian ever give music to any film as MD ? Yes. There is a reference available, which says that Sound Recordist D.O.Bhansali confirmed that the MD SOORAJ for film Street singer-1966 was none other than a team of Dattaram, Sebastian and Enoch Daniels. ( from RMIM archive). This was their only film.
Sebastian’s remarkable contribution was his ability to combine Western orchestra with the Indian. His are the songs which we remember even today due to the richness of his musical arrangements and the variations in his melodies. Sebastian was a complete musician. His music lovers will remember his music for years to come. (Thanks to an article by Dr. Padmanabh Joshi. Parts of his article on Sebastian have been used here with adaptations,along with an article from the book ‘Rahe na rahe hum’ by Shantaram Mankikar and my notes.)
Today’s song is sung by Asha Bhosale. Let us enjoy this 68 year old song….
Song-Badee door se laayee hoon ik bade maze kee baat (Garma Garam)(1957) Singer-Asha Bhonsle, Lyrics-P L Santoshi, MD-Vinod
Lyrics
baaboo
badee door se laayee hoon
ae jee laayee hoon
ik bade maze kee baat
baat ke badle baat hai
aur laat ke badle laat
jo koi aankh dikhaaye tujhko
tu bhee aankh dikhaaye
jo bhee baat banaaye tujh se
tu bhee baat banaaye
jisko sun kar dil dhhak dhhak
dhhak se reh jaaye
raat ko kar de din tu baaboo
din ko kar de raat
hatt saamne se
badee door se laayee hoon
ae jee laayee hoon
ik bade maze kee baat
arre baat ke badle baat hai
aur laat ke badle laat
tu chaahe to bhainsaa gaaye
tu chaahe to bhainsaa gaaye
bachhda been bajaaye
bachhda been bajaaye
tu chaahe to gadha naache
tu chaahe to gadha naache
oont gulaatee khhaaye
tu chaahe to gadha naache
oont gulaatee khhaaye
koyaliya kee bolee boley
koyaliya kee bolee boley
ye murge kee zaat
ye murge kee zaat
baat ke badle baat hai
aur laat ke badle laat
hatt saamne se
badee door se laayee hoon
aejee laayee hoon
ik bade maze kee baat
baat ke badle baat hai
aur laat ke badle laat
baaba jee ka mantar hai
ye bhool na jaana baaboo
baaboo baaboo
ae baaboo
ek phhoonk se jisko chaahoo
kar lo apne kaaboo
kaaboo kaaboo ae baaboo
teree marjee aaye ye to teree marjee jaaye
uthhe baithhe piye khaaye roye gaaye aaye jaaye
saath saath phir naache
ye to haath mein le ke haath
o baaboo
badee door se laayee hoon
aejee laayee hoon
ik bade maje ki baat
baat ke badle baat hai
aur laat ke badle laat
ho ho haa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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