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

Posts Tagged ‘Ravindra Sathe


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day :

4802 Post No. : 16569 Movie Count :

4513

Hullo Atuldom

10th September 2021 is actually 19th day of the Bhadrapada month in the Vikrama Nama Samvat of the Hindu Calendar. It is the 4th day after the Amavasya or the New Moon. This day is very special as it is the day when the devout Hindus pray to the elephant-headed God Ganesha.

This is one festival that is celebrated through the country calling it Vinayaka Chaturthi in South India and Ganesh Chaturthi in the rest of the country. But the Lord worshipped and adored is the same and the offerings and prasad are basically the same. The flowers that are usual are the Hibiscus and the Marigold. Leaves of tender Banana plant are used to decorate the puja stands and mango leaf garlands adorn the doorways to homes. The most relevant flower or plant used to worship Lord Ganesha is said to be the Durva Grass. It is said that once while fighting a demon, Ganesha ended up swallowing him. This gave him a burning sensation in the stomach. When all else failed a group of sages placed a bunch of 21 Durva grass on him and he felt better. Another story says that Lord Ganesha suffered from a burning sensation after being cursed by a celestial woman. He became a recipient of the bane after rejecting her marriage proposal. Therefore, to rid himself of the discomfort and agony, Lord Ganesha placed a few strands of the Durva on his head. But Durva Grass is one of the offerings
Another common factor in the worship of Ganesha is the Modak – a sweet preparation made variously with Rice flour exterior and a filling made of coconut which is sweetened mostly with jaggery as in some parts of the country. Modak made from thickened milk (khova) and flavoured with saffron and cardamom are also offered specially in the Sarvajanik Ganesh Mandals. We in South India also have a savoury variation of the Modak. There is a story associated with Ganesha’s love for the Modak. Devi Parvati- the mother of Shri Ganesh and Shri Kartikeya- gave a modak to the two brothers. But both didn’t feel like sharing it with the other. So, as a way to decide who will get it, the mother asked her sons to take three rounds of the world and the winner would get the modak. Kartikeya promptly set off on his Peacook to abide with what his mother had said. Ganesha won the modak by taking three rounds of his parents as they meant the world for him. Such is the love that the lord has for the humble Modak.

As a child I used to visit my neighbour’s home when they brought beautiful clay idols of the god. That aunty taught me and other kids of the apartment all the associated aartis and bhajans which have been handed down from generations. Personally, I have no idea of who the original writers were but I keep seeing them used in films too, down the years. And each film credits a different writer as being the lyricist. Like for example, I found a movie called “Jai Ganesh” (1977) which credited “Sukhakarta dukharta varta vighnanchi” to Bharat Vyas and Visweswar Sharma. And I always thought it was a traditional aarthi; of course closer inspection brought out Hindi words and the original was possibly in Marathi. (I could be wrong about all of this though) I have myself shared two Ganesh aarathis on the blog which were credited to Mayur Puri (Riddhi siddhi vridhhi hoti) and Amitabh Bhattacharya (Deva shree Ganesha). These two displayed the feelings of the on-screen characters and relied of the original aarathi towards their end.

Today’s song is a Ganesh aarati with all the words as I have learnt it but Sameer is credited as lyricist. Music is by the duo Jatin-Lalit and is from the 1999 release “Vaastav”.

The movie had a cast headed by Sanjay Dutt, with Namrata Shirodkar, ,Mohnish Behl, Aarti Behl (also known as Ekta Behl), Reema Lagoo, Shivaji Satam, Sanjay Narvekar, Deepak Tijori, Paresh Rawal, Mohan Joshi, Ashish Vidyarthi, Himani Shivpuri etc. It was directed by Mahesh Manjrekar, produced by Sanjay Nikalje, had music by Jatin Lalit, Atul Ranade and Rahul Ranade. The movie won Sanjay Dutt a filmfare award for best actor for playing ‘an easy-going guy to a broken man’. ‘Vaastav’ had a tagline ‘The Reality’ and tried to depict the harsh realities of life in he Mumbai underworld. It also had a few good songs.

Today’s song happens just when the boys of the chawl have found that they have been used for personal gains by the underworld don, home minister etc. Raghu (Sanjay Dutt) finds out from the friendly inspector Kishore Kadam (Deepak Tijori) orders have been issued to eliminate them as they have become a thorn in the flesh of those who used them. The movie ends with Reema Lagoo shooting her (like Nargis in ‘Mother India’).

Let us welcome our ‘Pyara Ganpati/ Ganesh/ Vinayak… Ganpati Bappa…. Morya!!!!!!

Video

Audio

Song-Shendur laal chadhaayo achcha gajmukh ko (Vaastav)(1999) Singer-Ravindra Sathe, Lyrics-Sameer, MD-Jatin Lalit

Lyrics

shendur laal chadhaayo achcha gajmukha ko
dondil laal biraaje sut gauri haar ko
haath liye guda laddu sai survar ko
mahima kahe naa jaaye lagat hu pad ko
jaidev jaidev
jaidev jaidev/em>

jai jai ji ganraaj vidyasukhdata
dhanya tumhaaro darshan mera
mann ramta
jaidev jaidev
jaidev jaidev

bhava bhagat se koi sharanagat aave
santati sampatti sabahi bharpoor paave
aise tum maharaaj moko ati bhaave
gosavinandan nishi din gun gaave
jaidev jaidev
jaidev jaidev
jai jai ji ganraaj vidyasukhadata
dhanya tumhaaro darshan mera
mann ramta
jaidev jaidev
jaidev jaidev

ghaalin lotaangan
vandin charan
dolyaani paahin roop tujhe
preme aalingin
aanande pujin
bhaave ovaalin mhane naama
twamev maata pita twamev
twamev bandhushch sakha twamev
twamev vidya dravinm twamev
twamev sarvam mam dev deva
kayen vach manasendriyairva
buddhyatmana va prakritiswabhava
karomi yadhyat sakalam parasmai
narayanayeti samarpayami
achyutam keshavm ramanarayanam
krishnadamodaram vasudevam hari
shridharam madhavam gopikavallabham
janakinayakam ramachandram bhaje
hare raam hare raam raam raam hare hare
hare krishna hare krishna krishna krishna hare hare
hare raam hare raam raam raam hare hare (aaaaaaaa )
hare krishna hare krishna krishna krishna hare hare (aaaaaaaa )
hare raam hare raam raam raam hare hare (aaaaaaaa )
hare krishna hare krishna krishna krishna hare hare (aaaaaaaa )
hare raam hare raam raam raam hare hare (aaaaaaaa )
hare krishna hare krishna krishna krishna hare hare (aaaaaaaa )
hare raam hare raam raam raam hare hare (aaaaaaaa )
hare krishna hare krishna krishna krishna hare hare (aaaaaaaa )


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day :

4800 Post No. : 16566 Movie Count :

4512

Hullo Atuldom

Last year in May, I had posted a Hindi song from a Malayalam film which starred Mohanlal, on the occasion of his 60th birthday. At that time I had mentally made note to write a post for the birthday of the other super actor of Malayalam.

Mammootty, birth name Muhammad Kutty Panaparambil Ismail, turned 70 on 7th September. I recalled that I missed the date only now.
Mammootty is a versatile actor who made his debut as a Junior artist in 1971. His next film came in 1973 which had a dialogue too. He was also active on stage and landed his first lead film role in 1979, but that movie never got completed. His first released movie, which had him playing a credited role came in 1980 followed by a supporting role of a circus stunt bike rider in the 1980 release ‘Mela’. His career ran the course of small roles or supporting roles till 1987 when he had a major success with “New Delhi”, one of the first Mammootty films that I got to see.

Here I would like to add that I became aware of this actor only post 1988 when I shifted down-south and began seeing, enjoying and understanding these movies. Prior to that I was aware of only Kamal Hassan and Rajnikanth because they had made appearances in Bollywood.

I would also like to add that the Mammooty starrer “New Delhi” was remade in Hindi, in 1988. where Jeetendra replaced Mammootty and rest of the cast was retained. The other Mammootty films of that period which I have seen on repeat, almost like an ‘Amar Akbar Anthony’ or ‘Sholay’, are ‘Oru CBI Dairy Kurippu’ (A CBI Dairy Entry), ‘Nair Saab’ and ‘Iyer The Great’. I would also recommend these movies to the followers of this blog, even if they don’t follow the language, for the sheer quality of the acting, story and overall look of the movies. Of course, ‘Oru CBI Dairy Kurippu” was made in Hindi as ‘Police Public’ (1990) where Raaj Kumar played the CBI officer character that Mammotty had played in the Malayalam film. His “Katha Parayumpol” (as the story is told) was remade in Hindi as “Billu” where Shahrukh Khan played the character which Mammooty enacted in the original. Even Rajesh Khanna has acted in a remake of the Mammootty film “Kanamarayathu” (Hidden in plain sight-1984); the Hindi film was called ‘Anokha Rishta’ (1986).

I can go on listing movies of his which has him play comic hero, action hero or serious hero; he played characters which are all of these at the same time. He has acted in over 400 films and in 1986 alone he was seen in 35 films.

This actor has done a few films in Tamil, Telugu, Hindi, Kannada and also the role of Dr. Babasaheb Ambedkar in a Jabbar Patel directed biographical film on the architect of Indian constitution, in English. For this role he won the National award for best actor in 1999. He is the recipient of three National awards, seven state awards and thirteen Filmfare awards. He is also a Padma Shri recipient.

Before we proceed to the song I would like to mention that he is a qualified lawyer and also involved in a lot of philanthropic work specially towards improving the life of cancer patients, eradication of child labour and child begging etc. His son Dulquer Salman has been an actor too, for the last 10 years or so.

We are having s song from the Jabbar Patel directed “Dr. Babasaheb Ambedkar” which had a theatrical release in 2000 although it was certified in 1998. It was produced by NFDC and was jointly funded by the Ministry of Social Justice and Empowerment and the Government of Maharashtra. It was simultaneously shot in Hindi and English. Jabbar Patel has said that Mammootty was considered for the role after Patel saw Mammooty’s picture on a magazine cover and felt there was a resemblance. The actor himself was hesitant to take on the role as it meant shaving his moustache and also playing the character out of his own imagination as there were no known footage of Babasaheb available to study the body language and way of speaking etc. The movie had 6 or 7 songs of which one has been credited to Sant Kabir. The music was by Amar Haldipur. Ravindra Sathe, Roop kumar Rathod, Vinod Sehgal, and Jayashree Shivaram were the playback singers used. The cast included Sonali Kulkarni (Ramabai Ambedkar), Mohan Gokhale (Mohandas Karamchand Gandhi) etc. Today’s song is in the voices of Ravindra Sathe and Vinod Sehgal. Wishing Mammukka (as his fans address him affectionately) on reaching 70, albeit belatedly.


Song-Kabira kahe ye jag andha (Dr Babasaheb Ambedkar)(2000) Singers-Ravindra Sathe, Vinod Sahgal, Lyrics-Kabir, MD-Amar Haldipur

Lyrics

kabira kahe ye jag andha
kabira kahe ae ye jag andha
kabira kahe ye jag andha
kabira kahe ae ye jag andha

andhi jaisi gaai
bachhda tha so mar gaaya
andhi jaisi gaai
bachhda tha so mar gaaya
jhoothi shaan chataaye
kabira kahe ye jag andha
kabira kahe ae ye jag andha

gagan ghata gahraani sadho oo oo
gagan ghata gahraani sadho
gagan ghata gahrani
purab disha se uthhi hai badariya
ho o o purab disha se uthhi hai badariya
rimjhim barsat paani ee
rimjhim barsat paani
purab disha se uthhi hai badariya
rimjhim barsat paani
ho rimjhim barsat paani
andhi jaisi gaai
bachhda tha so mar gaya
jhoothi shaam chataaye
kabira kahe ye jag andha
kabira kahe ae ye jag andha
kabira kahe ae ye jag andha
kabira kahe ae ye jag andha

arda parda chhod de
ho oo ardha pardha chhod de
bin parde ke baad
ardha parda chhod de ae ae
bin pardhe ki baad
dulhan se dulha mila toh
dulhan se dulha mila toh
pheekhi ee eee
pheekhi padhi baaraat
kabira kahe ye jag andha
kabira kahe ae ye jag andha



This article is written by Sadanand Kamath, a fellow enthusaist 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.

Blog Day :

4346 Post No. : 15656 Movie Count :

4311

So far I have discussed three of the six feature films which Sai Paranjpye has directed in her filmy career – ‘Sparsh’ (1980) in “Geeton Ki Duniya Mein Sargam Hain Hum“,  ‘Chashm-e-Baddoor’ (1981) in “Is Nadi Ko Mera Aaina Maan Lo” and ‘Saaz’ (1997) in “Baa. . .dal Ghumadh Badh Aaye“. In this article, I take up one more film by her – ‘Disha’ (1990) which, is not well known to the public at large. Sai Paranjpye accords this film as her best feature film in terms of excellence in all the main departments of the film making – story, screen-play, dialogues, direction, and the acting contributions from all the actors associated with this film.

According to Sai Paranjpye, the story of the film was in the making process for about 17 years before it got fructified in 1990. The unique feature of the film is that the story is based on three different experiences she got over these 17 years which have no connection with each other. Yet, she weaved a story around three events linking them with a common theme of the problems of migrants and casual workers. She believed that the life around us offers so much material for the films that there is no need to get inspired from Hollywood movies. In other words, Sai Paranjpye’s sources of ‘plagiarisation’ are life around her.

Sometime in early 1970s, Sai Paranjpye made a visit to a village in Pune district along with her two friends who had adopted that village for water harvesting. During that time, she met a villager, an agricultural labourer who owned a small parcel of barren land. He was convinced that under his barren land was the source of water. So, for about 12 years, he had been digging the well, all alone in his free time, sometime even the whole night. But there was no trace of water. The villagers had branded him as a mad man. Fed up with his obsession for digging well, his wife has left him many times but would eventually return. And then one day, he struck water in the well. Villagers who were earlier calling him as mad man made him the hero of the village. The well was named after him. The story of that villager was cinematic but it was not enough to make a full-length film.

After few years, Sai Paranjpye met her friend, Sabhashini Ali (ex-wife of producer-director, Muzaffar Ali) in Mumbai. She was doing some social work among the mill workers who were mostly migrants and staying in what is known in Mumbai Chawls as Gala (a type of dormitory). This was at a time when old mills in Mumbai were in the verge of closure as they could not compete with mills with technologically advanced power looms.  She accompanied Sabhashini Ali to one of the Galas in mill area and was shocked to observe their staying conditions. In a single Gala, there were nearly 40 persons staying together in the shifts of 8 hours. They seem to enjoy their life. All were doing different activities – playing musical instruments, playing cards, shaving, some going out for practising lezim (folk dance). Sai Paranjpye talked to most of the mill workers after which she felt that it was a good theme for a cinema.

After some days, Sai Paranjpye once again met her two friends who had returned from Niphani after leading a protest against the tobacco growers and bidi makers for exploitation of tobacco workers. Those days, the middleman will recruit women from the nearby villages for making bidis at the end of which they would get daily wages based on the number of bidis they rolled in a day. But the middleman will exploit them by rejecting some rolled bidis on some false pretext. Also, some of the middlemen would make attempts for sexual favours as rewards for not rejecting some of the bidis rolled by them. Her two friends had taken up the issues with bidi factories and on behalf of the bidi workers.

With these three real stories, Sai Paranjpye wrote the script linking them with a common theme of the problems of migratory mill workers of Mumbai. This time, she decided to produce the film herself besides directing, writing the script, dialogues and songs. She roped in her favourite actors and also took Nana Patekar for the first time under her direction. The first part of the film was shot in a village near Pune. The second part of the film was shot in Mumbai in Sitaram and Indu Mills and the scenes of the migrant workers were shot in a real Gala of a Chawl. Some mill workers also acted in the films.

The main cast of ‘Disha’ (1990) consisted of Shabana Azmi, Om Puri, Nana Patekar, Raghuvir Yadav, Rajshri Sawant, Neelu Phule, Shayaji Shinde, Achyut Potdar etc. The gist of the story of the film is as under:

Bakuri is a non-descript village about one hour from Pune by road. In this village, the family of Parshuram (Om Puri) consisting of his wife, Hansa (Shabana Azmi), his five children and his younger brother, Soma (Raghuvir Yadav) stays in a hut. Parshuram is an agricultural labourer and has a small barren land in which nothing grows on it except the wild-flowers. However, he is convinced that under his barren land is the source of water. Hence for the last 12 years, he has been digging well, all alone whenever he is free. Hansa resents Parshuram’s obsession with digging well and often threatens to leave him. Soma plans to go to Mumbai for getting a job as most of the time, he is unemployed.

Soma is very friendly with Basanta (Nana Patekar) who stays with his old and sickly father (Neelu Phoole) in a hut close to Parshuram’s hut. Basanta is also an agricultural labourer whose marriage has been fixed with Phoolwanti (Rajshri Sawant) from an adjoining village. Basanta’s father wants his marriage to be performed with fun fare for which he takes a loan of Rs.10000/- against the hypothecation of a cow and a buffalo. The marriage of Basant and Phoolwanti is solemnised.

Soma comes to Mumbai for job and stays in a Gala where 40 other mill workers are staying, a few from his village. He gets a job in the mill. He sends money to his brother, Parshuram every month and sometime also sends readymade garments for his nephews and niece. Basanta, after his marriage feels uncomfortable as he is unemployed and the loan instalments are to be repaid which his father has taken for his marriage. So, he also departs for Mumbai in search of employment and lands in mill workers’ gala where his friend, Soma is also staying. Basanta also gets the job in the same mill where Soma is working.

After getting to know the realities in working condition in Mumbai, Basanta is determined to return to his village after working in the mill for 2-3 years and also advises Soma to return to the village  with him so that with the money they earned, they can start a cooperative farming in the village. But Soma is determined to work in Mumbai for a long time as he is now addicted to the life of Mumbai.

After few months of stay in Mumbai, Basanta calls his wife, Phoolwanti to Mumbai to show her the city. One of his roommates in the gala arranges a independent room in a chawl for 7 days. After seeing the staying conditions of Basanta in Mumbai, his wife tells him to return to the village as early as possible when she leaves Mumbai for her village.

In the meanwhile, to run the household, both Hansa and Phoolwanti works in a bidi making unit to roll bidis for which they get daily wages in terms of the number of bidis rolled. But the munshi (Achyut Potdar) of the bidi making unit tries to exploit them by finding their faults while rolling the bidis for which no amount is paid. His intention is to force them to give him some sexual favours.

At one time, Basanta’s father writes a letter to him to come to the village for some urgent work. He returns and finds that his father has got a transistor radio and supplies of bidis from Munshi. He also comes to know that his wife is working for a bidi making unit. He is unhappy that his wife has to work for running the household.

The next day, Parshuram strikes water in the well which he has been digging for 12 years. The whole village rejoices and the mad Parshuram becomes a hero in the village. There is a felicitation by the entire village during which he declares that the water in the well is for the entire village.

Basanta returns to Mumbai earlier than schedule and his friend, Soma is surprised. Basanta tells him that he got bored in the village within two days. Then there is a twist in the story. Basanta who has been pressurising Soma to return to the village along with him after 2-3 years, decides that he is going to work in Mumbai on a long-term basis to earn good amount of money as Soma has been advising him. However, this time, Soma surprises him by revealing that his brother has struck water in the well and he is going back to the village to do farming. The film ends with Soma boarding a state transport bus which is driving to his village away from Mumbai with Basanta struck in Mumbai.

From the above narration, the story of the film looks simple. I found the film interesting to watch because Sai Paranjpye in her usual way has relied on visuals to speak for the story along with some punch-line dialogues. For example, Shabana Azmi regards the well as her ‘soutan’ as Om Puri spends more time in the well than in the house. Sometime, he takes his afternoon siesta in the well itself. To this, Om Puri’s repartee to Shabana Azmi is that she should be thankful that her ‘soutan’ is ‘baanjh’ (infertile); otherwise one more platoon of children would have joined the family. Here ‘baanjh’ has another meaning in that despite digging for many years, water has not struck in the well.

The film was released in Mumbai in November 1991 and thereafter in Pune by Sai Paranjpye as no one was willing to distribute the film. It generated interest in the initial few days with house-full board. After watching the film, Manmohan Desai offered to release the film in the Delhi circuit. With the releases in limited theatres. the box office collection could barely cover the budget of the film.

The film did not get any award in India. However, when the film was shown in Chennai International Film Festival in 1991 as a private entry (it could not be shown in Indian Panorama as it had not won any award), it was highly appreciated because of which over a period of time, the film got invitations  in as many as 23 international film festivals all over the world where it has won 5 awards with cash prizes including one at Cannes international film festival.

Sai Paranjpye has mentioned in her book that the film had three songs. However, I found only two songs in the film – one is a lavani song and the other a fun song. Songs were not released on audio format. I am presenting the fun song, “Bambai Bambai Bambai Bambai Bam’ sung by Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar and Chorus. The song is written by Sai Paranjpye which is set to music by Anand Modak. I am not able to segregate the lyrics according to playback singers as I am not familiar with their voices except that of Ravindra Sathe. I have also observed that playback singers seem to lip sync for multiple actors  According to Sai Paranjpye, the ‘anokhe bol’ in the song have been rendered by Vinay Mandke in addition to his part of the song.

The song is picturised in a gala where about 40 mill workers stay. Except for about  10 actors, rest of the participants in the song are real mill workers staying in the gala. If one goes through the lyrics of the song, it would be observed that the sad realities of mill workers (or for that matter, migrant workers in general) have been presented in the mask of a fun song. In the last two stanzas, there are ‘locals verses migrants’ theme presented in ‘lavani’ style. The prelude music of the songs with “Dhak Dhak Dhak. . .” is akin to the sound generated by the power looms of a mill when they are operational.

This song is the essence of the film’s main theme. With this song, ‘Disha’ (1990) make a debut in the Blog.

Acknowledgements:

Some of the information about the background for making the film ‘Disha’ (1990) is based on

  1. An interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
  2. The Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Song – Bambai Bambai Bambai Bambai Bam (Disha) (1990) Singer -Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar, Lyrics – Sai Paranjpye, MD – Anand Modak
Chorus

Lyrics

dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak
dhak dhak
dhak daa dham
dhak dhak
dhak dhak
dhak daa dham

arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
gaon mein behti doodh ki ganga aa
haay
gaon mein behti doodh ki ganga aa
kaanha murli bajaawat hai bhai 
kaanha murli bajaawat hai
aisa gokul chhoda… haay
aisa gokul chhoda bhai
kya narakpuri ye bhaawat hai
makdi ke jaal mein keeden ham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
 
dhuaan gootan aur bimaari
dhuaan gootan aur bimaari
yahaan jawaan mard ke baal pakey
har kuchh bikta hai is nagri mein
bol tumhaara chaar takey
arre chaar take bhi naahin kam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
bachche jo peechhe chhode wo
shaql baap ki dbhool gaye
bachche jo peechhe chhode wo
shaql baap ki bhool gaye
arre bhool gaye to kya hai gham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam bam bam bam
arre bambai bambai bambai bambai bam
bam bam bam bam
 
haaaaaaaaaaa
arre kameenon
beimaanon
badh badh taane dete ho
phir bharti kyunkar hote ho
tum phir bharti kyunkar hote ho
dham chik chik dham chik dham
arre bina bhulaaye tum mehmaan
upar se ho namak haram
waapas jaao
hari gun gaao,,o
waapas jaao
hari gun gaao
yahaan tumhaara kya hai kaam
yahaan timhaara kya hai kaam
kissa abhi karo ye khatam
khatam khatam bhai karo khatam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
 
aiyya
paapi pet yahaan le aaya…aa….aa
arre paapi pet yahaan le aaya
nagar nahi ye bhul bhulaiyya
khoon paseena yahaan bahaaya
arre khoon paseena yahaan bahaaya
iss nagri ka namak chukaaya..aa aa aa aaa
yahin basera ho ab hardam
yahin basera ho ab hardam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
b-bam bam bambai
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam


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 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.

Mahesh Manjrekar, the film and stage actor, producer, director and writer made a successful foray into Hindi film with his directorial venture ‘Vaastav’ (1999). The film was a box office hit and became a turning point in the acting carreer of the lead actor Sanjay Dutt.
Read more on this topic…


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16500 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16587

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered=4520

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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