Tum pyaar karo to aise
Posted on: August 24, 2025
This article is written by Sadanand Kamath, 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, August 24, 2025, is the 25th Remembrance Day of Kalyanji of the music director duo, Kalyanji-Anandji. Surprisingly, none of the two brothers had any inkling of becoming music director when Anandji started his amateure orchestra group doing live variety stage shows in around Girgaum area. Kalyanji, his elder brother joined this group after completion of his boarding school where he had learn to play various musical instruments.
Kalyanji (30/06/1928 0 24/08/2000) was born to Virji Shah, a Jain businessman from Kutch who migrated to Mumbai in early 20th century to set up the grocery and dry-fruit shops in Mangalwadi, Girgaum area of South Mumbai, a predominately Marathi and Gujarati speaking region. While Kalyanji was sent to a boarding school, Anandji, his 5 year junior younger brother joined the local school. In those days, there were many film personalities like V Shantaram, Durga Khote, Shanta Apte, Kikubhai Desai (father of Subhash and Manmohan Desai), some crew members and the film musicians staying in Girgaum. Anandji learnt percussions from a music teacher in lieu of his outstanding grocery bills of his father’s shop. However, his Jain mother did not allow him to bring the Dholak at home because it had animal skin. So, he had to keep his Dholak at his music teacher’s house. Similarly, he gained some working knowledge of Hindustani classical music when he started giving tanpura accomplishment to a Hindustani classical vocalist of his locality during her practice session for which she would give him a chocolate as reward.
Anandji had wished to become an actor for which he used to often visit the nearby studios. Some time he would get small roles as a child artist. In this way, he had developed some contact with studio staff. However, when he saw that he was not gaining height to become an actor, he decided to concentrate on the music. With like-minded friends, he created an orchestra group staging live variety shows which included film music, singing, mimicry etc. After completing his boarding school, Kalyanji also joined the orchestra group as a musician playing violin, clarinet etc. Their father, Virji Shah was a broad-minded person who allowed them to pursue the vocation they liked when none of the brothers showed interest in grocery business. On Kalyanji’s demand, he even imported a costly (Rs.3000/-) new electronic keyboard musical instrument called Clavioline which produced five different musical sounds on a single device (like Synthetiser). It was Clavioline which connected Kalyanji to Hindi films as a musician.
Kalyanji learnt to play Clavioline during their stage shows which drew attention from the film musicians. Kalyanji used to bring out the sound of Bin (Pungi) which attracted the attention of music director, Chitragupt who was composing songs for ‘Naag Panchami’ (1953). For the first time, Kalyanji played Clavioline in Hindi film song, bringing out the sound of Bin for the interludes of the song, o naag kaheen jaa basiyo re. The film became a box office hit and the song became very popular. Hemant Kumar, who was the music director for Filmistan’s ‘Naagin’ (1954) used the services of Kalyanji from his Clavioline in conjunction with harmonium played by Ravi to produce Been sound in the song, mann doley meraa tann doley.
Kalyanji worked as a musician with some music directors while with Anandji, their stage shows gained popularity. Subhash Desai, the elder brother of Manmohan Desai, a fellow Girgaum neighbour of Kalyanji and Anandji had already turned producer. He had watched their stage shows which gave him the confidence that Kalyanji can compose songs for his film. At that time, Subhash Desai had planned to produce ‘Samrat Chandragupta’ (1958). He approached Kalyanji to compose songs for the film. However, Kalyanji was in two mind whether to accept it or not as he had not done any song compositions till then. However, when Subhash Desai offered him not one but six films together to sign him as the music director with added temptation of working with Raj Kapoor and Shammi Kapoor for one film each, Kalyanji got tempted to accept the offer. He consulted his father who advised him to accept the offer since it has come from the producer himself and not the other way round. He also gave one more advice to Kalyanji that in their business, the customer is always right. He should, therefore, follow the same dictum after accepting the assignments of music direction.
‘Samrat Chandragupta’ (1958) became the box office hit with all its songs becoming popular. This was the first film for which Laxmikant-Pyarelal served Kalyanji as his music assistant. As promised, Subhash Desai offered him the second film, ‘Bedard Zamaana Kyaa Jaane’ (1959) which also fared well at the box office. By this time, Kalyanji had also got films like ‘Post Box No.999 (1958), ‘Ghar Ghar Ki Baat’ (1959), ‘O Tera Kyaa Kehna’ (1959), and ‘Delhi Junction’ (1959) from other producers. In all these pictures, Kalyanji used the name, ‘Kalyanji Virji Shah’ as the music director with Laxmikant- Pyarelal and Anandji being his music assistants.
Subhash Desai announced his next film, ‘Chhalia’ (1960) with Manmohan Desai as the debutant director. Raj Kapoor and Nutan were in the lead roles. With Raj Kapoor in the film, Kalyanji thought that he would prefer Shankar-Jaikishan as the music director. However, Subhash Desai kept his promise and selected Kalyanji as the music director with a suggestion that both the brothers present themselves as ‘Kalyanji-Anandji’ similar to Shankar-Jaikishan. So, ‘Chhalia’ (1960) became their first film as a musical duo though films like ‘Madaari’ (1959), ‘Chandrasena’ (1959), ‘Satta Baazar’ (1959) got released earlier with ‘Kalyanji-Anandji’ as the music director. The musical success of ‘Chhalia’ (1960) with Raj Kapoor factor branded their music as a close replica of Shankar-Jaikishan style of compositions. However, four successful scores in one year namely, ‘Himalay Ki God Mein’ (1965), ‘Jab Jab Phool Khile’ (1965), ‘Purnima’ (1965) and ‘Saheli’ (1965) established them as the music director with their own style of compositions.
Subhash Desai also fulfilled his promise when he offered Kalyanji the film, ‘Bluff Master’ (1963) with Shammi Kapoor in the lead role. Incidentally, Kalyanji-Anandji chose four playback singers for Shammi Kapoor in this film – Hemant Kumar, Mukesh, Mohammed Rafi and Shamshad Begum and each of these songs became popular. In three years’ time (1958-60), Kalyanji has already done 11 films almost all of which were box office hits.
Kalyanji- Anandji had started their career as the music director at the time when some of the top rated music directors like Naushad, S D Burman, Shankar-Jaikishan, O P Nayyar were dominating the Hindi film music. Then, there were other music directors like Madan Mohan, Ravi and Roshan. In the 1970s, they successfully faced the tough competitions from the new emerging music directors like R D Burman and Laxmikant-Pyarelal followed by Bappi Lahiri and Rajesh Roshan in the 1980s.
During their 35 years of Hindi film music career (1958-1994), Kalyanji-Anandji scored music for as many as 250 Hindi films with nearly 1500 songs. They have worked with some of the top banners of the Hindi films like that of Vijay Bhatt, Manmohan Desai, Manoj Kumar, Prakash Mehra, Arjun Hingorani, G P Sippy, Subhash Ghai, Feroz Khan and Gulshan Rai. Going through the filmography, one can note that Kalyanji-Anandji had a rising musical career path clocking on an average 5 films per year in 1961-70 to the average of 10 films per year in 1971-80 falling to on an average 6 films per year in 1981-90. During early 1990s, when the musical duo realised that they will not gel well with the trends in Hindi film music, they called it a day some time in 1994 by taking ‘voluntary retirement’ from the film industry. After retirement, they were connected with the music by way of training and promoting new talents as singers and musicians.
Kalyanji -Anandji had a very successful career in Hindi film music not only because of their talents but also due to the five guiding principles which their father had given them when they decided to pursue film music as their career. The first guidance was that they should keep aloof from vices the film industry has been known for. The second, to treat film music direction as a business where the customer (Producer) is always right. Third, Rang (colour), Raag (music), Rasoi (food) and Pagdi (turban) will not have a common liking. Music will have a strong ‘likes’ and ‘dislikes’ depending upon the taste of the listeners. Fourth, whatever one learns during their vocation must be shared with the new generations. Fifth and last, a part of the earnings from the vocation must be used for charities. Kalyanji-Anandji have followed these principles in their career as the music director as well as in their orchestra group. [Note: Much of the early life of Kalyanji and Anandji is based on many interviews Anandji had given which are available on video sharing platforms].
Probably, Kalyanji-Anandji were the first music director duo to perform stage shows in India and abroad. Even after they became successful as the music director, they continued their live shows whenever time permitted them. Later, they named their music show as ‘Kalyanji-Anandji Musical Shows’ and ‘Kalyanji-Anandji Nite’. Some of the prominent film stars like Dilip Kumar, Amitabh Bachchan, Vinod Khanna, Anil Kapoor, Sridevi, Rekha etc and well-known playback singers were associated with their shows abroad. Their stages shows also gave Philip to then upcoming playback singers like Manhar Udhas, Kumar Shanu, Alka Yagnik, Sadhana Sargam. Sapna Mukherjee and more. Their live stage shows served as a grooming ground for the upcoming singers and musicians.
Kalyanji-Anandji were the first Hindi film music director to have won the National Film Award as the best music director for ‘Saraswatichandra’ (1968). They won their first Filmfare award for the best music director for the film, ‘Kora Kaagaz’ (1974).
Kalyanji passed away on August 24, 2000, due to acute asthma after two weeks of hospitalisation.
As a tribute to Kalyanji on his 25th Remembrance Day, I have selected the song, ‘tum pyaar karo to aise jaise ham kehte hain’ from the film, ‘Tamanna’ (1969) which is set to music by Kalyanji-Anandji. The song is rendered by Manna Dey and is picturised on Deven Verma and Nazima. This is the 4th song (out of five songs) to appear on the Blog which is written by Anand Bakshi.
The context of the song is that Deven Verma has got married to Nazima who is the sister of Biswajeet. Deven Verma is highly influenced by the western culture. On the marriage night, Deven Verma wants Nazima to change her attire from saaree to causal western dress. He also wants to indulge in romance with Nazima in the same way the western couples do. Shashikala, Nazima’s step sister, secretly watches the romance of newly married Deven Verma and Nazima and wants to replicate the same with her husband, Agha who shows his reluctance.
With this song, the Blog has covered 700 songs under the music direction of Kalyanji-Anandji.
Video Clip:
Audio Clip:
Song-Tum pyaar karo to aise (Tamanna)(1969) Singer-Manna Dey,Lyrics-Anand Bakshi, MD-Kalyanji Anandji
Nazima
Lyrics (Based on Video Clip):
tum pyaar karo to aise
kaise
jaise ham kahte hain
zaalim pyaar karo to aise
kaise
jaise ham kahte hain
ikraar karo to aise
kaise
jaise ham kahte hain
kitne bhee haseen tum ho magar
tum mein hai abhee thhodee kasar
ye chhupaate hain gore gaalon ko
kaat doon laao lambe baalon ko
naa naa kaho
haan haan kaho
naa naa kaho
haan haan kaho
sharmeele dildaa….aar
tum pyaar karo to aise
kaise
jaise ham kahte hain
ikraar karo to aise
kaise
jaise ham kahte hain
zulfon ko zaraa lahraane do
nazron ko zaraa takraane do
pahlaa pyaar kaa lesson hai ye
baahen thhaam lo fashion hai ye
romance karen
aao dance karen
romance karen
aao dance karen
ho jaao taiyaa…..r
aur
laa raa laa raa laa raa la laa
laaraa laaraa laaraa laaraa laaraa laa
aah
laa raa laa raa laa raa la laa
laaraa laaraa laaraa laaraa laaraa laa
yaa
yaa yaa yaa
yaa yaa yaa
yaa yaa yaa
pahle to zaraa sharmaate hain
uske baad youn muskuraate hain
phir koi uthhaate hain kasam
aur kahte hain I love you sanam
dil dete hain
dil lete hain
dil lete hain
dil dete hain
kar ke aankhen chaa…aar
ho
6 Responses to "Tum pyaar karo to aise"
August 26, 2025 at 4:24 pm
Nice to have a song featuring the recently (Late) Nazima. I remember she was the love-angle for Rajesh Khanna in a film called “Aurat” which had Padmini as main lead
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August 26, 2025 at 5:32 pm
While I was writing this article, I was curious to know whether Nazima has ever done a role of ‘other woman’ for the lead actor. But left my curiosity to the sideline to be explored later. Now I will have to watch ‘Aurat’ (1967).
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August 27, 2025 at 12:42 pm
Sadanandji
In “Aurat” she was not the “other woman” in the exact sense of the term.
Rajesh Khanna was Padmini’s brother who is shown to be in love with Nazima (I think she played Pransaab’s sister there too)
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
August 24, 2025 at 10:36 am
Sadanand Ji
Thanks for the post. This is first time I am reading in detail about the musical journey of Kalyan Ji -Anand Ji.
I did not know Lakshmikant Pyare were one time asisstants of K-A. I knew L-P played in orchestra of other music directors like S-J
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August 24, 2025 at 11:23 am
Thanks, Satish ji.
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