Archive for the ‘Songs of 1940s (1941 to 1950)’ Category
Aag dil mein lagaaye baithhe hain
Posted March 5, 2021
on: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.
Blog Day : |
4613 | Post No. : | 16246 | Movie Count : |
4417 |
Today’s song is a rare song, from an unknown film Suhagi-48. Yes, the title is Suhagi and NOT Suhag. It is rather an unusual and misleading title. There is a cluster of titles around the word Suhag. There were 4 films as Suhag and also 4 films as Suhagan. There was a film Suhag raat ke Pehle and then there were 3 films as Suhag Raat. 2 films as Suhag Sindoor. There were two films with funny titles like Suhag ka Daan and Suhag ka Balidan. And among all this cluster poor film Suhagi was hidden in a corner !
Made by Blue art pictures, the film was directed by A.Shakoor, who directed only one more film in his career- Paayal-48, also made by the same banner. Film Suhagi was produced by Ismaile Devjee and the MD was Shaukat Dehlavi.
1948 was an year in which all the industries-including film industry- were trying to come back to normalising their businesses. The new government had not yet changed any laws and rules, so there was peace on all fronts. The Black money which was being poured into making films was now used by Politicians and thus the film industry was almost back to genuine producers and filmmakers. Most of the famous studios were on the verge of ending the studio system and studio culture. Some big names like New Theatres, Prabhat, Sagar, Ranjit were now mere shadows of their earlier powerful existence.
While film makers lost an important topic of Patriotism( in a garb), they now concentrated on Indian culture, Mythology, History, Family values, Joint family importance, literacy and such development themes. This changed the face of films. However, stories based on Folk tales, Religion and Kings-Queens and evil Wazirs still continued with public patronage. Raj Kapoor emerged as a Director, Ashok Kumar became a middle aged Hero, Dilip and Dev prospered with love stories and young themes. Older Heroes, Heroines, Directors and character artistes started vanishing and a new crop of actors etc took over their mantle. Music was changing its tunes. Melody ruled over Lyrics now and Naushad, C Ramchandra, H-B, S – J, Madan Mohan and the likes of them started making names and films.
One major event that happened in 1948, was the entry of Southern producers into Hindi heartland, with a Bang, when S S Vasan brought his Magnum-Opus- ” Chandralekha”, with more than 600 prints for All Indfia release. The extraordinary success of this film paved the way of other big production houses of South, like AVM, L V Prasad etc. to push their Hindi remakes of successful Southern films into the Hindi markets all over India.
For the MD Shoukat Dehlavi of film Suhagi, it was only his second film as an MD. Do you know who this MD was ? He used 5 different names to compose music to 29 films in his career spanning from 1947 to 1965 in India. He composed 203 songs and also sang 3 songs in 3 films namely, Dildar-47, Aiye-49 and Baradari-55. His 5 names were 1. Shoukat Dehlavi, 2. Shoukat Hussain Dehlavi 3. Shoukat Ali 4. Shoukat Haidari and finally he took a permanent new name 5. NASHAAD.
I can remember only one more artiste who had 5 names in her life. She was known as Qamar Sultana, Indira, Indu, Jaijaywanti and AMEETA !
After Partition, there was a rush to migrate to Pakistan and artists continued to shift there from 47 to almost 1950. Some artistes like Noorjehan left immediately. There were few cases where some people borrowed money from friends and then left the country quietly, leaving the money lender high and dry. By about 49-50, almost everything was settled on both sides. The conditions in Lahore and Karachi had stabilised considerably for film making and lots of opportunities existed for film artistes there by mid 50s. That led to a second wave of migration to Pakistan at that time. Those who had continued in India completed their assignments here and went to Pakistan.
This type of Migration continued till almost mid 60s, when actor Kumar, MD Naashaad, producer actor Shaikh Mukhtar etc migrated to Pakistan. For the lucky ones, the talented ones and those who had preexisting ties in Pakistan sustained, prospered and were happy, but a few artistes suffered heavily. Once a popular Heroine, Meena Shorey, one of the most handsome actors of his times-Najmul Hasan and the hopeful Shaikh Mukhtar spent their last days in utter neglect, penury, disillusionment and sorrow. Actors like Noor Mohammed Charlie regretted their decision to migrate, but it was too late.
One of the later migrants was NASHAD, music director,who shifted in 1963 or so.
NASHAD was born as Shaukat Haidari,in Delhi,on 11-7-1923. He completed his schooling in Delhi, where he learnt playing the flute. He came to Bombay and worked as assistant/helper to many composers, learning to play different instruments. He even worked as assistant to Ghulam Haider and Naushad.
He was one composer who used several names to give music. His first film was Dildar in 1947. He used the name Shaukat Dehlavi for Dildar-47, Paayal-48, Suhagi-48, Dada-49, Ghazab-51 and Ram Bharose-51. He was Shaukat Hussain Dehlavi for Jeene do-48, Shaukat Ali for Toote Tarey-48 and Shaukat Haidari for Aiye-49.
He was considered a mediocre composer in India. Then one day he was called by producer Nakshab Jarchvi,who offered him a film,with a condition that he changed his name to Nashad. He accepted the offer and used the name Nashad throughout his life. After him his 15 children too used Nashad as their surname.
Nakshab Jarachavi wanted to make a film. Those days Naushad was the Top composer. Films were sold on his name. Naushad worked only for Top banners. Nakshab approached him and offered his film. Naushad scornfully said,” Hum kisi aire gaire ki film ko music nahi detey”. This infuriated Nakshab no end and he challenged Naushad that he will make another Naushad in the industry. He called the comparatively less known but talented Shaukat Haidari,changed his name to NASHAD (to resemble Naushad’s name) and gave him the film.
Nashad, on his part, tried very hard and gave the music to film Naghma. It was,though not like Nashad’s standard, but excellent songs were there and the film became a hit due to its music. Unfortunately, Nashad could not repeat his success again ever in India. As Nashad he gave music to 21 films (total 30 films),like Bara Dari, Bada Bhai, Naghma, Char chaand, Kaatil Jawab, Sabse bada Rupiah, Rooplekha, Darwaza etc
Nashad gave their first hindi movie singing breaks to Mubarak begum, Suman Kalyanpur and Sabita Banerjee.
His friend Nakshab Jarachavi had migrated to Pakistan after 1947 and was making films there. He called Nashad to Pakistan as a composer for his film Maikhana-64 (after his film Fanoos also crashed at the Box office in Pakistan). Nashad accepted his offer. Before leaving , Nashad married singer Premlata and both went to Pakistan. His first film became a major hit and Nashad was on top. He gave music to 64 films in Pakistan.
Nashad died in Lahore on 3-1-1981.
While in India, Nashad was always accused of plagiarism, to which he answered through an interview to Filmfare, dated 5th August 1955, ( Thanks to Cineplot) thus….
” Although no one says it to my face, I know that there is a section in the film industry who decry my music as “a rehash of familiar tunes.”
This amounts to a charge of plagiarism.I have no defense, no apology, to offer, except to say that, if I am a plagiarist, I am one unconsciously.
With only seven main notes, six ragas, thirty-six raginis and seventy-two sub-raginis, every “new” musical composition is bound to sound familiar in places.
Try to hum any popular film composition of today and then cast back your mind. Make a careful search for a parallel and you will easily find one in some celebrated songs of yesterday.I believe in popular music, music which people will like, humming and singing it in their homes—in moments of joy or sorrow. I try my-best to keep my compositions free from complicated “alaps,” “tans” and those notational cascades which the man-in-the-street (who has no musical training) cannot easily remember and hum.
Film music, to be good and popular, must always be the result of team-work. The ego of the music-director as well as that of the lyric-writer needs to be suppressed completely, even to the extent of accepting suggestions from everyone in the unit.
In the music of one of my forthcoming films, the appeal of the songs owes much to suggestions made by the producer and members of his staff. One of the tunes owes its origin to an air I heard the office-boy humming!
The producer was no professional musician, but I discarded two of my best tunes to fit in a completely different third one based on his suggestions.
I am glad that I do not live in an ivory tower and am not deaf to the music of ordinary people, I say to myself : “If this is the kind of music they love, it is absurd to give them a high-brow composition. Both in rhythm and structure, I stick rigorously to what is popular, even at the sacrifice of my own preferences.Such film music can be planned scientifically and with precision. My first job usually is to sit with the director and determine the musical “situations”. Once these are agreed upon, I start composing the melodies, in harmony with the “mood” of those situations. Then the lyricist writes the words of the approved tune.
After the song has been recorded, our work is ended and it now depends on the director to make or mar it in his picturisation of it. This, indeed, is a hurdle all film music must take.
Everyone has listened to film songs which sound good on the radio, yet have been “murdered” by poor picturisation. Everyone, too, has heard songs which on the air have sounded mediocre and of no particular merit, yet have been things of beauty in the film—thanks to clever directorial work. A really good song, given to a good director to picturise, seldom fails to go over in a big way with the public.
It is thus necessary for a music director to be careful in signing his contracts. It is important to him to make sure that the film for which he is employed to provide music will be directed by a competent man, so that not only are his songs not “murdered” in transcription to the screen but any possible shortcomings in them are glossed over by good picturisation.
Consequently I have always studied the directors of the films for which I am to provide music. One knows that one’s songs are safe with them and gain in appeal from attractive picturisation.
To these men, too, my tunes often sound “vaguely familiar”! But, then, what tune doesn’t ?
With only seven notes, six ragas, thirty-six raginis—but we’ve just gone over that! ”
Film Suhagi-48 had a starcast of Begum Para, Manorama, Sadiq Ali, Badri prashad, Jilloobai, Abu Bakar etc. The word Suhagi means ‘ Lucky ‘. However the name benefit does not seem to be got by the film, as it was not a famous or popular film.
I have no idea about the story of this film. From its ad.s in Film India, I guess the story was about a family’s bahu who is Lucky after marriage. Today’s song is sung by Rajkumari. With this song, film Suhagi-48 makes its Debut on our Blog.
Song-Aag dil mein lagaaye baithe hain (Suhagi)(1948) Singer- Raj Kumari Dubey, Lyricist- Not known, MD- Shaukat Dehalvi
Lyrics
Aag dil mein lagaye baithe hain
Aag dil mein lagaye baithe hain
apni duniya aa aa aa
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain
haaye majbooriyaan
haaye majbooriyaan muhabbat ki
haaye majbooriyaan muhabbat ki
unko apna banaaye baithhe hain
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain
toone kya kya aa aa
kya kya
toone kya kya sitam kiye hum par r
toone kya kya sitam kiye hum par r
yaad hai par bhulaaye baithhe hain
apni duniya lutaayye baithhe hain
haaye
Aag dil mein lagaye baithe hain
ashq aankhon mein hai
haaye ae
ashq aankhon mein hai
labon pe se haan
labon pe se haan
aan aan
dard dil mein dabaaye baithhe hain
dard dil mein dabaaye baithhe hain
haaye
aag dil mein lagaaye baithhe hain
aag dil mein lagaaye baithhe hain aen aen
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.
Blog Day : |
4604 | Post No. : | 16233 | Movie Count : |
4416 |
Today’s song is from a film which hardly anyone knows. The name was unknown, the director was unknown and the 3 Music Directors who composed 8 songs by two lyricists, did not become famous. The film is Bedard-1949. It was directed by B.N.Chouhan, who is credited with two more films for direction, namely Ret mahal-49 and Jungle ki Duniya-59.
There were 3 Music Directorss – Ramprasad Sharma, B.N.Bali and Mohd. Shafi. In the HFGK, out of 8 songs of the film only 2 are credited to Ramprasad. Other songs are uncredited. Luckily, today’s song is credited to Ramprasad Sharma.
Film Industry is one industry which grew very fast. Firstly, there was no competition (except from AIR for entertainment) and secondly, joining this industry needed no special qualifications. Moreover, from the beginning, the ROI (Returns On the Investment) ratio was quite high, once you took care of few parameters like, good actors, good songs and a mix of Romance and Comedy !
Thousands of aspirants, the Good looking, the Bad looking and the Ugly looking rushed to Bombay, Lahore and Calcutta to try their luck. Tawaifs and stage artists had an easy entry, so was for the Handsome and Muscular bodied males.
The studio system took care of grooming its employees. Most people were hired without any specific job description. When needed, the script writer or the Lyricist had to act in the film, and Choreographer-Dance Master in those days-had to take up Direction- if needed. Artists graduated from menial jobs to important positions. That is how Choreographer Guru Dutt became a Director and a Hero, Lyricist and writer J.S.Casshyap became actor/singer, or Amiya Chakrawarty became famous Director from being the Canteen Manager in Bombay Talkies, Ashok kumar became Hero from being a Technician in Camera Department and an Extra working as one of the 40 thieves in ” Alibaba and 40 Thieves”-1929, became the Movie Mughal, Director Mehboob Khan.
Those times were different. Industry needed people in all departments. Heads of Studios were like expert jewellers. They knew how to nurture talents. Successful strugglers had empathy towards existing strugglers and gave them an opportunity to showcase their skills. Studios got the right people for the right jobs. Real Talents survived, rest disappeared.
There were many One timers, who acted in only 1-2 films, directed just 1 film, produced 1 movie, sung only a few songs or gave music to only 1 or 2 films. Luck also played an important role. Artistes seeking opportunities in Music Departments like singing and composing were many. Most got chances, few prospered.
But it is important to note that every ‘One timer’ was contributing towards Industry’s growth. Like every drop makes an ocean, these one timers or short distance runners also gave their might to the industry. Those who disappeared after a short performance remained alive through their contribution on record. Hundreds of aspirants came to become Music Directors, only few made the grade, survived and the rest simply vanished. These short time passengers or composers had their time of glory too. Their songs were cherished but their names were forgotten.
Before I proceed further, can you tell me what is the common link in the following names ?
Pyarelal-Ganesh-Naresh-Mahesh-Anand-Gorakh.
They are all brothers and sons of Pandit RAMPRASAD SHARMA. He was a Music Director.
.
Pt. Ramprasad Sharma, born in 1900, belonged to Gorakhpur in the United provinces (today’s U.P.). Seeing his love for music, he was brought to Bharatpur State by the king’s bandmaster. He played Trumpet here, then played in Agra Military Band and ended up joining a Circus as a Band Master himself. He toured Delhi, Lahore and Calcutta ,where he settled for some time. He married a local Post Master’s daughter and also worked for Columbia and New Theatres. By now he was an expert in 10 instruments and knew all Ragas.
He came to Bombay in 1938 and played in many studios. His first film as MD was Nayi Baat-1947, then Taqdeerwale-48, Shakti-48, Bedard-49, Banu- 49, Anyay-49, Dolti Naiyya-50 and finally Magic Carpet-64.
His knowledge of Music was so deep that many Composers like Kalyan ji, Roshan, Uttamsingh, Hridaynath Mangeshkar etc came to him to learn notations in which he was a Master. Probably, having played as a Band Master helped him. Those days, very few musicians knew how to write music in Notations. This art was carried further by his another son Ganesh.
Despite his knowledge of music, he failed as a composer himself and worked/played for other Music Directors like Naushad, K. Dutta, C. Ramchandra etc. His trumpet playing in the famous song of Rafi ” Suhani raat dhal chuki” (film Dulari-1949) is unforgettable.
Pt. Ramprasad will be remembered by many composers as their teacher. Though his music was melodious and good, his Luck was not so good.
His 2 sons Pyarelal and Ganesh became famous composers.
Pt.Ramprasad died on 22-8-1995 at Mumbai.
The cast of the film was Majnu, Sudha Rao, Shanta kunwar, Ameenabai, Abu Bakar etc.etc. Majnu (real name Harold Lewis) came to Bombay after Partition. Bedard-49 was among the few films in which he was the Hero. A Punjabi Christian, he was born on 2-11-1913. He was the childhood friend of Roop K.Shorey. When Shorey wanted to make his second film, he chose Harold as a Hero. Majnu was introduced as a leading man opposite Shyama Zutshi by producer/director Roop K. Shorey in film Majnu (1935) — a musical comedy satirizing the old story of Laila Majnu, produced, directed and shot in Lahore with Ghulam Haider as music director. With daring motorbike stunts and special effects, audiences were thrilled at the sight of Majnu trapped on the railway tracks by the villain.
The film was a success and R. K. Shorey repeated Majnu as the leading man in his next film, Tarzan ki Beti (1938). Tarzan Ki Beti was hailed as the best jungle picture ever produced in India at the time. Filmed in the snowy Himalayas, the film topped its predecessor in its action sequences and placed Punjab on the entertainment map of India and the world.
He appeared in almost all of Shorey’s films. He was also doing films with other producers. In 1942 he did a double role in Nishani and in 1943 he directed his first film Paapi. Shorey also gave him a film Badnami-1946 for direction and it was here that Majnu met I.S.Johar who wrote the story and Dialogues of Badnami.
Majnu paired with I.S.Johar in EK THI LADKI-1949,the debut film of Johar, as an actor. Later they made a comedy pair in 10 films, including the hit HUM SAB CHOR HAIN-1956. His last film with Johar was Akalmand-66.
Majnu acted in 77 films. His first film was Majnu-35 and his much delayed and released last film was Shri Krishna Bhakti-73.
Majnu directed 8 films including,Paapi-43, Badnami-46, Son of Alibaba-55, Tatar ka chor-55, Malika-56, Basre ki Hoor-56, Baghi sardar-56, and his last film – Chandu-58.
Harold Lewis aka Majnu died on 26-3-1974.
The year 1949 was the beginning of the “Golden Era” of HFM. Let us take a quick look at some nteresting movies this year.
In the film Aiye, Mubarak Begum debuted as a singer.
Pushpa Hans debuted as an actress and a singer in the film Apna Desh.
Barsat introduced Shankar-Jaikishen and Shailendra.
Bhedi Bungla was the first Horror film by Master Bhagwan.
Chandni Raat- Lata sang her first song for Naushad.
Ek Teri Nishani was the last released film of Pt.Amarnath.
Ek thi ladki saw the debut of I.S.Johar as an actor. The song ‘ Lara Lappa’ made Meena Shorey immortal as the ‘Lara Lappa’ girl.
Darogaji had all 12 songs sung by Geeta Roy.
Dillagi- evergreen song ‘ Main tera chand tu meri chandni’.
Dulari- ‘Suhani Raat dhal chuki’ Rafi’s famous song.
Girls school- Debut of actress krishna Kumari
Kaneez – last film of Ghulam Haider in India.
Lahore – Shyamsundar excels in music.
Last message – Debut of Sudha Malhotra and Johnny Walker(uncredited)
Mahal – Film that made Lata famous. Khemchand Prakash died before the film released.
Main Abla Nahin Hoon – Shanta Apte tries at Music Direction.
Namoona – First solo song of Lata for C.Ramchandra.
Neki aur Badi – Debut of Roshan as MD.
Patanga – All songs Hits. ‘Mere piya gaye Rangoon’ becomes an iconic song.
Rangila Rajasthan – Poet Bharat Vyas tries to become MD.
Rimjhim – Mohana Cabral sings her only Hindi song.
Samapti – Talat Mehmood’s last film in Calcutta.
Some more noteworthy films were Shair, Manzoor, Naach, Parda, Jeet, Kinara, Laadli,Andaz, Badi Bahen,Duniya, etc etc. Compettition of Naushad (3 Hits out of 4 films) and C.Ramchandra (1 Hit out of 9 films) was won this year hands down by Naushad ! Geeta Bali worked in 9 films and Suraiya in 11 films. All in all, the biggest beneficiary was the Indian HFM lovers. The next few years provided enough good music to last a lifetime !
Today’s song, sung by Lalita Deulkar is an excellent one, composed by Ram Prasad Sharma. Enjoy…
With this song, film Bedard-49 makes its Debut on the Blog.
Song –Kya sach hai qasam woh bhulaane lage hain (Bedard)(1949) Singer- Lalita Deolkar, Lyricist – Abdul Gaffar Badar, MD – Ram Prasad
Lyrics
kya sach hai kasam wo bhulaane lage hain
bhulaane lage hain
mitaane lage hain
kya sach hai kasam wo bhulaane lage hain
bhulaane lage hain
mitaane lage hain
kasam wo jo haathhon ko haathhon mein lekar
mujhe waasta apni ulfat ka de kar
nibhaane ka waada bhulaane lage hain
bhulaane lage hain
mitaane lage hain
kya sach hai kasam wo bhulaane lage hain
bhulaane lage hain
mitaane lage hain
kasam wo jo aankhon ko aankhon mein daale
kasam wo jo aankhon ko aankhon mein daale
ye kahte thhe rah rah ke apna bana le
ye kahte thhe rah rah ke apna bana le
mujhe mere saathhi mitaane lage hain
bhulaane lage hain
mitaane lage hain
kya sach hai kasam wo bhulaane lage hain
bhulaane lage hain
mitaane lage hain
- In: "Aankh" song | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lyrics contributed by readers | Melancholic song | Pathos | Post by Avinash Scrapwala | Songs of 1940s (1941 to 1950) | Songs of 1947 | Yearwise breakup of songs | Zohrabai Ambalewaali solo | Zohrabai Ambalewaali song
- Leave a Comment
This article is written by Avinash Scrapwala, 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.
Blog Day : |
4601 | Post No. : | 16227 |
S.No. | Song Title | Singer | Posted On |
---|---|---|---|
01 | Aayi milan ki bahaar re, aa jaa saanwariya | Zohrabai Ambalewali | 02.04.2013 |
02 | Saawan bhaadon nain hamaare baras rahe din raat | Zohrabai Ambalewali | |
03 | Naiyya jeewan ki doley, haule, haule, haule | Master Ramesh | |
04 | Jhoome jiya aaye piya ho, jhoole hiya naache jiya | Shamshad Begam | |
05 | Siyaram Ram Siyaram, tan ka pinjara soona soona | Ashraf Khan | 25.06.2019 |
06 | Raam naam kya japna … | Ashraf Khan |
HFGK Vol-II does not mention the name of the lyricist for this movie however our respected Sadanand ji in his comments here on the post ‘Siyaram Ram Siyaram, tan ka pinjara soona soona’ has mentioned that lyricist for this movie was Dr. Safdar Aah Sitapuri.
Music for this movie was composed by Anil Biswas. Editor’s note:-According to Girdharilal Vishwakarma (a well known record collector), A R Qureshy is the music director for this song.
Today 21st February’2021 is the thirty-first ‘remembrance anniversary’ (1918 -21.02.1990) of singer Zohrabai Ambalewali.
As a tribute to her here is song from ‘Naiyya-1947’ sung by Zohrabai Ambalewali. Music is composed by Anil Biswas.
I had come across this song in August’2014 and since then it is lying to be posted. However, in between its link that I had shared initially also become obsolete but luckily, I got the audio of this song which is uploaded for listening.
Let us now enjoy this wonderful song remembering Zohrabai Ambalewali who had given us many many memorable and unforgettable songs in HFM history.
Song-Saawan bhaadon nain hamaare (Naiyya)(1947) Singer-Zohrabai Ambalewali,Lyrics-Safdar Aah Sitapuri, MD-A R Qureshi (according to Girdharilal Vishwakarma (a well known record collector)
Lyrics
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon
saansen gin gin din kaaten
aur taare gin gin raat
saansen gin gin din kaaten
aur taare gin gin raat
baras rahe din raat
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon
ho o o
ankhiyaan khud darshan ko tarsen aen
rimjhim rimjhim barsen aen
ho o o
ankhiyaan khud darshan ko tarsen aen
rimjhim rimjhim barsen aen
nis din hoti hai nainon se
aankhon ki barsaat
nis din hoti hai nainon se
aankhon ki barsaat
baras rahe din raat
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon
chhoot gaya hai
saath sahaaraa aa aa
chhoot gaya hai
saath sahaaraa aa aa
naao bhanwar mein door kinaara
ghor andhiyaari raat
naao bhanwar mein door kinaara
ghor andhiyaari raat
baras rahe din raat
saawan bhaadon
saawan bhaadon nain hamaare
baras rahe din raat
baras rahe din raat
saawan bhaadon
————————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
————————————–
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों
साँसे गिन गिन दिन काटे
और तारे गिन गिन रात
साँसे गिन गिन दिन काटे
और तारे गिन गिन रात
बरस रहे दिन रात
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों
ओ ओ अँखियाँ तुझ दर्शन को तरसे ए ए
रिम झिम रिम झिम बरसे ए
ओ ओ अँखियाँ तुझ दर्शन को तरसे ए ए
रिम झिम रिम झिम बरसे ए
निस दिन होती है
नैनों से आंसुओं की बरसात
निस दिन होती है
नैनों से आंसुओं की बरसात
बरस रहे दिन रात
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों
छूट गया है ए
साथ सहारा आ आ
छूट गया है ए
साथ सहारा आ आ
नाव भँवर में दूर किनारा
घोर अंधियारी रात
नाव भँवर में दूर किनारा
घोर अंधियारी रात
बरस रहे दिन रात
सावन भादों
सावन भादों नैन हमारे
बरस रहे दिन रात
बरस रहे दिन रात
सावन भादों
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