Archive for the ‘Sunidhi Chauhan Songs’ Category
Beedi jalaile
Posted on: March 20, 2023
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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Blog Day : |
5358 | Post No. : | 17571 | Movie Count : |
4723 |
Vishal Bhardwaj’s Trilogy of Shakespeare Play – 2: ‘Omkara’ (2006)
In this article, I am exploring the second film of Vishal Bhardwaj’s Shakespeare trilogy, ‘Omkara’ (2006) which is based on ‘Othello’ (1603).
There is a trivia which was narrated by Vishal Bhardwaj in a TV interview about a couple of years back. At Goa International Film Festival, he met Naseeruddin Shah who enquired as to what he was currently doing. Vishal Bhardwaj said that he had just completed a script based on Shakespeare’s ‘Othello’. Naseeruddin Shah retorted that ‘Othello’ was the weakest character in Shakespeare’s play and it will not work in Indian context. Vishal Bhardwaj gave him a copy of the script to read. Next day morning, Naseeruddin Shah came to Vishal Bhardwaj and said that he had read the script in the night and he would do the character of Bhaisaheb in the film. This shows the power of screenplay writing which makes a so-called weak Shakespeare play strong.
For ‘Maqbool’ (2004), Vishal Bhardwaj had to wait for nearly two years to get a producer/financier after the script was ready. But it was a smooth sailing for him in ‘Omkara’ (2006). He not only got a producer, he also got all the main actors as per his requirements. In ‘Omkara’ (2006), Vishal Bhardwaj has blended his artistic approach with commercial elements to avoid the repeat of the box office failure of ‘Maqbool’ (2004). His strategy worked and ‘Omkara’ (2006) fared very well on the box office front.
‘Omkara’ (2006) was produced by Kumar Mangat Pathak (Ajay Devgan’s Manager and the executive producer of most of Ajay Devgan Films) and was directed by Vishal Bhardwaj. The cast included Ajay Devgan and Kareena Kapoor in the lead roles supported by Saif Ali Khan, Konkana Sen Sharma, Vivek Oberoi, Bipasha Basu (special appearance), Naseeruddin Shah, Deepak Dobriyal, Pankaj Tripathi, Kamal Tiwari etc. The Censor Board certified the film for Adult viewing (A).
In ‘Omkara’ (2006), Vilash Bhardwaj molded the story of ‘Othello’ (1603) with the rural backdrop of Uttar Pradesh where ‘Bahubalis’ played prominent role in the politics. A comparison of main characters in ‘Othello’ with that in the film, ‘Omkara’ (2006) is presented in a tabular format below:
| In Othello | In Omkara | Remarks |
|---|---|---|
| Othello is a dark-skinned Commander of the Venetian army in Venice. | Omi Shukla or Omkara (Ajay Devgan), the head of a criminal gang is the son of a Brahmin father and low-caste mother. | In both ‘Othello’ and ‘Omkara’, the race/caste is not the main reason for tragedy. It is the jealousy and revenge for which race/caste is discreetly used for instigation against Othello/Omkara. |
| Iago, a soldier, and Othello’s trusted adviser. | Ishwar ‘Langda’ Tyagi (Saif Ali Khan), a henchman of Omkara. | In ‘Othello’ Iago kills his wife, Emilia while in ‘Omkara’ Indu kills her husband, Langda. |
| Desdemona, the white-skinned wife of Othello who abducted her. | Dolly Mishra (Kareena Kapoor), the high caste fair-skin wife of Omkara who was abducted by him from the wedding venue. | – |
| Cassio, Othello’s white-skinned lieutenant in the army. | Keshav ‘Kesu Firangi’ Upadhayay (Vivek Oberoi), the trusted and a fair-skinned handsome aid of Omkara. | The reason for appointing Cassio as lieutenant is because of his courage while Kesu’s promotion as Bahubali is mainly because of his charming nature and vote drawing ability from the younger generation. |
| Emilia, wife of Iago and Attendant to Desdemona. | Indu Tyagi (Konkana Sen Sharma), wife of Langda and so-called sister of Omkara is a close companion of Dolly Mishra. | By making Indu, the so-called sister of Omkara, her character is more powerful in ‘Omkara’ than Emilia in ‘Othello’. |
| Roderigo, the lover of Desdemona. | Rajju (Deepak Dobriyal), the bridegroom who was to marry Dolly. | Rajju thinks that Langda will help him get back Dolly. But Langda is actually using him in his plan to take revenge against both Omkara and Kesu. |
| Brabantio, a senator of Venice and the father of Desdemona. | Raghunath Mishra (Kamal Tiwari), a lawyer and the father of Dolly. | – |
| Duke of Venice, the Administrator of Venice | Bhaisaheb (Naseeruddin Shah), a politician. | – |
| Bianca, a courtesan in Venice. | Billo (Bipasha Basu), a dancer and the mistress of Kesu. | – |
| Language used in the play is poetic. | Language used in the film is local dialect of Western UP. | In keeping with the setting of the story in rural UP. |
The gist of the film’s story is as under:
Omkara (Ajay Devgan) is the head of a criminal gang operating under the patronage of Bhaisahab (Naseeruddin Shah), a local politician. Langda Tyagi (Saif Ali Khan) and Kesu (Vivek Oberoi) are the close confidants of Omkara. The film opens with Langda attacking a marriage procession (baaraat). Dolly (Kareena Kapoor), the bride is kidnapped by Omkara before bridegroom, Rajju (Deepak Dobriyal) reaches the marriage venue.
Raghunath Mishra (Kamal Tiwari), Dolly’s father and a lawyer with his men rushes to Omkara’s house and asks him to handover his daughter. Omkara, however, claims that Dolly chose him rather than Rajju. The matter goes to Bhaisahab where Dolly tell her father that she willingly eloped with Omkara. Raghunath Mishra feels betrayed by his daughter and leaves by telling Omkara that a daughter who betrays her father can betray him also. Dolly stays with Omkara.
In an election, Bhaisahab is a candidate. Omkara’s gang arranges a video of a sex scandal of Bhaisaheb’s political opponent resulting in his reputation getting tarnished. Bhaisaheb wins the election. In token of his appreciation, Bhaisaheb selects Omkara as a candidate for a local election. In order to canvas for his election, Omkara makes Kesu as his Bahubali over the claim of Langda who is senior to him. This sows the seeds of anger and jealousy in Langda who secretly plans to get revenge on both Omkara and Kesu.
The gang celebrates the election victory with a nautanki performance by Billo (Bipasha Basu), the dancer who is the mistress of Kesu. Seeing this opportunity, Langda pressurises Kesu to drink and a drunk Kesu gets instigated by the cigarette smoke emanating from Rajju’s mouth affecting Billo. A brawl between Kesu and Rajju takes place injuring Kesu. The matter goes to Omkara who is enraged by Kesu’s behaviour. Omkara punishes Kesu by sidelining him from important assignments.
To restore his position in the gang, Kesu approaches Langda for a way out. He suggests to Kesu to approach Dolly who can plead with Omkara to pardon him. Dolly agrees to put a word to Omkara provided he teaches her an English song. Kesu starts visiting Dolly and spends time with her for rehearsing an English song. Once, Omkara sees Kesu coming out of Dolly’s room and asks Langda about this. Langda, using this opportunity create suspicion in the mind of Omkara suggesting an affair between Kesu and Dolly. As a proof, a ‘kamarbandh’ jewellery gifted by Omkara to Dolly is found with Billo which was given to her by Kesu. In fact this was clandestinely managed by Langda through Indu. Suspicion overtakes rationale in the minds of Omkara. He assigns Langda to kill Kesu.
On the first night of his marriage, Omkara confronts Dolly of her ‘infidelity.’ In uncontrolled anger, he kills Dolly by suffocating her with a pillow. Indu enters the room and see the dead body of Dolly when she finds kamarbandh jewellery. She admits that she has taken it from Dolly’s room and handed it over to Langda. A realization comes to their minds that Langda has given it to Kesu to create the suspicion in the mind of Omkara. Angered by Langda’s conspiracy, Indu slashes Langda’s throat with a sickle resulting in his death. A seriously injured Kesu returns when he watches Omkara killing himself with his revolver out of guilt.
The film had 5 songs written by Gulzar and set to music by Vishal Bhardwaj. I present the first song ‘beedi jalaile jigar se piya’ to appear on the Blog. The song is picturised on Bipasha Basu, Saif Ali Khan, Vivek Oberoi, and Deepak Dobriyal with a large crowd. It is a nautanki song in celebration of the election win. The song is choreographed by Ganesh Acharya. The song starts with a prelude of scat (wordless vocables) singing by Sunidhi Chauhan and Sukhwinder Singh.
I have watched the video clip of the songs many times since the release of the film. I thought the song to be an item number. When I watched the full film, I realised that this song was an essential part of the film. Gulzar saab’s lyrics are raunchy which is understandable as it is for a nautanki song.
Gulzar Saab, at the launch of the music album of the film, had said that his lyrics of the song reflected the feudal system that prevailed in UP. When I started interpreting the song with Gulzar Saab’s statement, the line, ‘dhuaan na nikaari o lab se piya ye duniya badi jhaag hai’ I felt as if a serf (or a peasant) telling his other colleagues to keep their mouth shut in front of a powerful feudal lord. Similarly, the line in the song ‘na kasoor, na fatoor bina zuram ke hazoor mar gaye’ apart from the raunchiness, also give the impression of a powerful feudal lord sitting in front of a pleading serf. Likewise, the line in the song, ‘aisa kaate ke daant kaa nisaan chhod de’ though sounds erotic, it can also be visualised with a feudal lord sitting with his German Shepherd dog who let loose his dog to bite a serf as a part of the punishment. Such thing used to happen under zamindari system.
I do not know whether Gulzar had considered in his lyrics feelings of Langda after he was overlooked by Omkara for promotion as Bahubali in favour of Kesu. But at some places in the song, lyrics give such an impression. For instance, the line ‘naa kasoor naa fatoor bina zuram ke hazoor mar gaye’ gives an inner feeling of Langda that he has been denied promotion by huzoor (in this case, Omkara) without his fault.
As per the audio album, the song under discussion is rendered by Sukhwinder Singh, Sunidhi Chauhan, Nachiketa Chakraborty and Clinton Carejo. However, I did not find the voice of Clinton Carejo in the song. Probably, he may have rendered some occasional chants in the background of the song and also a line or two in the prelude. The chanting by the crowd in western concerts is mainly by the fans of the performers. Vishal Bhardwaj has added this element in this nautanki song to give such a feel.
The raunchy lyrics with Urdu and local dialects, the bawdy dances, the elements of folk music in orchestration, the chants in the background from the crowd and the lighting effects give a feel of a real nautanki performance in a rural setting in modern India.
This song also represents as to how far the nautanki folk music has progressed from the harmonium, sarangi/clarinet, dholak with sitting crowd under petromax light as in paan khaaye sainyya hamaaro in ‘Teesri Kasam’ (1966) to the digital music with chanting by the standing crowd under electric lights.
Video Clip:
Audio Clip:
Song-Beedi jalaile (Omkara)(2006) Singers-Sukhwinder Singh, Sunidhi Chauhan, Nachiketa Chakraborty, Lyrics-Gulzar, MD-Vishal Bhardwaj
Sunidhi and Sukhwinder, Male Chorus, Unknown voices
Lyrics (Based on Audio Clip):
[scat singing]
[scat singing]
ae ae ae ae ae ae ae
naa gil..aaf
naa lih..aaf
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
o itni sardi hai kisi kaa lihaaf laile..ae..ae..ae
o jaa padosi ke chulhe se aag laile..ae
o jaa padosi ke chulhe se aag laile..ae..ae
haan beedi jalaile….e
jigar se piya..aa
jigar ma badi aag hai
[scat singing]
beedi jalaile jigar se piya
jigar ma badi aag hai
[scat singing]
dhuaan na nikaari o lab se piya aa aaaa
(scat singing)
dhuaan na nikaari o lab se piya
ye duniya badi ghaaghh hai
o beedi jalaile jigar se piya
jigar ma badi aag hai
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
o itni sardi hai kisi ka lihaaf laile
o jaa padosi ke chulhe se aag laile
jaa padosi ke chulhe se aag laile
ae ae ae
(ai ai ai ai
naa kasoo….r
naa fatoo…..r
naa kasoor naa fatoor
bina zuram ke hazoor
mar gaye
o mar gaye
(o aise ik din dupehri bulaayi liyo re
baandh ghoongroo kachehri lagaayi liyo re
bulaayi liyo re
bulaayi liyo re dupehri
(lagaayi liyo re
lagaayai liyo re kachehri
angeethi chadhhaile..ae
(chants)
jigar se piya
(chants)
jigar ma badi aag hai
(ai ai ai ai ai)
beedi jalaile jigar se piya
jigar ma badi aag hai…ai
(ai ai ai ai)
o o o o
naa to chakkuon ki dh..aar
ho naa daraanti naa kat..aar
naa to chakkuon ki dhaar
naa daraanti naa kataar
aisa kaate ke daant kaa nisaan chhod de
ke kataayi to koi bhi kisaan chhod de
o aise
zaalim kaa chhod de
makaan chhod de re billo
zaalim kaa chhod de
makaan chhod de re
aise zaalim kaa
o aise zaalim kaa
aise zaalim kaa chhod de
makaan chhod de
naa bulaaya..aa
naa bataaya..aa
naa bulaaya naa bataaya
maa ne neend se jagaaya haay re…ae
aise chaunkele haath mein naseeb aa gaya..aa aa aa
wo elaaichi khilaai ke kareeb aa gaya..aa aa aaa
(scat singing)
koyla jalaayile
(chants)
jigar se piya..aa
(chants)
jigar ma
aag hai
[chants]
itni sardi hai kisika lihaaf laile..ae..ae..ae
(chants)
o jaa padosi
o jaa padosi
jaa jaa padosi
o jaa padosi ke chulhe se aag laile
——————————-
Meaning of some words used in the lyrics
————————————
Gilaaf=Protective cover, Jacket
Lihaaf=Blanket, Quilt
Fatoor (Fitoor)= Obsession
Daraanti=Sickle
Chaunkele=Startled, Coward, Timid
Bhaage re mann kahin aage re mann
Posted on: August 14, 2020
This article is written by nahm, 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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Blog Day : |
4410 | Post No. : | 15805 | Movie Count : |
4355 |
This is a song for the rainy season. I have the lyrics noted with me since last year’s rainy season, but the post never got written. This is from the film Chameli (2003), which has 6 songs and Sunidhi Chauhan is the singer in all of them. Two are duets and the rest 4 are solo songs. This rain song is one of the solos. Sandesh Shandilya is the composer and lyricist is Irshad Kamil. This must be a record of sorts for the new millennium, one singer singing in all songs. Today is 14th August and it is Sunidhi Chauhan’s birthday. Can’t say for sure that there is no better song for celebrating the event, but the song is quite good. Sunidhi Chauhan is very versatile and has made a name for herself in her field. She has followed the footsteps of Alka Yagnik and a predecessor to Shreya Ghoshal. There was enough scope for many singers to work and make a name.
I was meant to watch the film for writing the post, but that was not to be. So, I have not seen the film, and as far as I know, I have seen only this song. The other details are available (here. This was a hit song and was all over the FM channels when the movie was new. Come to think of it, it sounds as if it is very new song and not 17 year old. Meaning it has fallen on unsuspecting ears all through the 16 years. For the last one year, this has been growing on me. Now it has come of age and time for it to arrive on the blog.
Kareena is singing this song in the rain and it is clear that she is a prostitute, in the movie.
The other day I read this post by Atul Jee . In this post he gave some highlights of Munshi Premchand’s life. Munshi Premchand’s literary contributions I was aware of since school days, through lessons in text books. It is an appreciable quality that he practiced what he preached in terms of women’s rights. A belief has to be translated into deeds, only than it is a belief otherwise it is hypocrisy. I can imagine how difficult it was for Munshi Premchand to go against the society norms and marry a widow in those times. But I dare say, for a large section of the population of undivided india, this was no crime. Widow remarriage, divorcee remarriage all was legally allowed for them. A part of the illiterate population may not have known about those rights, is another matter, being a socio-economic problem.
India’s struggle of independence was a revolutionary period in many aspects with society struggling with changes and newer values.
The struggle for women’s rights is a classic case study, in my opinion. And we have lost the game in our developed sense of rightness.
Over the centuries, women demanded voting rights, got them. They wanted property rights, got them. They want to be treated as an equal; they are getting there all the time. Right to divorce, right to re-marry etc. the list is endless.
But all through this so called cultural revolution and great emancipation of women in the last one century, one indignity, which I consider an ultimate insult to womanhood, has been blatantly allowed to flourish. A woman who is the mother of mankind is made to suffer this atrocity as a ‘profession’. It is a legalized profession in many countries of this modern world. By what law and rule of justice and fraternity, is this explainable or excusable? This is the social development the human race has achieved in 3+ millennia of recorded history.
All great religions of the world, all the prophets, all the emperors and kings, all just and unjust rulers of the civilized world, have taken their bow. And who among them was ever able to ensure a just and dignified life to women?
Where women were not made to suffer such humiliating life,
Where women had property rights and voting rights,
Where women had right to divorce, remarry and conjugal rights,
Where there existed a system for social security equality for all including women and their children, which more than adequately provided for all their needs, legally, without having to compromise on dignity and self-respect.
Everyone knows that ‘prostitution’ is a social evil. But has any one ever taken a step to eradicate it?
Many poets have raised the issue, and received accolades for his efforts. But poets can only show a mirror to the society, society has to make the correction itself. The poets alone cannot do it for the whole society.
Saahir said : Sansaar ki har ek besharmi, gurbat it god mein palti hai….
This is no longer true in our social set up of the modern world.
Some social reformers might have tried to oppose this practice, but there is no end to this, as far as the eye can see. The answer to the questions is available within this universe. One only needs to have eyes and ears and sense to find it. The universal rules of economics apply here, but calling it the oldest profession in the world will not suffice.
The civilization has made no progress in my opinion, as this most degrading of all social-economic condition is allowed to prevail. We the citizens of this world are responsible for this.
May be it is time that the civilization looks at this issue in the morally correct and humane way. It is less a women’s issue and more a social issue.
I have digressed enough now. Coming back to the song, let us enjoy this song as a song for “barsaat ka mausam”.
Audio
Video
Song-Behta hai man kahin (Chameli)(2003) Singer-Sunidhi Chauhan, Lyrics-Irshad Kaamil, MD-Sandesh Shandilya
Lyrics
Behta hai man kahin
Kahaan jaanti nahin
Behta hai man kahin
Kahaan jaanti nahin
Koyi rok le yahin
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa aa aa
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa aa
Behta hai man kahin
Kahaan jaanti nahin
Koyi rok le yahin
Bhaage re man Kahin
Aage re man
chalaa jaane
Kidhar jaanoon naa aa aa
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa
Hannnnnnn
aaan
Chale thhandi hawaa
Hannnnnnn
Sang man bhi gayaa
Dhoondhhoon main kahaan uss ko
Batlaaye koyi mujh ko
Ke haay haay haa re…
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa aa aa
Bhaage re man
Kahin Aage re man
chalaa jaane
Kidhar jaanoon naa aa
Behta hai man kahin
Kahaan jaanti nahin
Koyi rok le
yahin
Haaaaan aan aan
haay aisa samaa aa
hmmmm mmmm
Phir hogaa kahaan
Jee loon main issey khul ke
Saawan mein zaraa ghul ke
Arrey sun sun sunnn ….
Bhaage re man
Kahin Aage re man
kahin Aage
Kidhar jaanoon naa
Chal Hand Utha Ke Nachchen
Posted on: July 8, 2020
- In: Body part song | Daler Mehndi Songs | Dance song | Devnagri script lyrics by Sudhir | Group Dance | Guest posts | Haath song | Lyrics contributed by readers | Mika Singh Songs | Post by Peevesie's mom | Song sung by three or more singers | Songs of 2010s (2011 to 2020) | Songs of 2013 | Sunidhi Chauhan Songs | Yearwise breakup of songs
- Leave a Comment
This article is written by Peevesie’s Mom, 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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Blog Day : |
4373 | Post No. : | 15712 | Movie Count : |
4331 |
Hullo Atuldom
I don’t remember when was the last birthday post that I wrote for the sweet, chulbuli, very bright, charming and ever smiling Neetu Singh who made her debut in Bollywood as Baby Sonia in the double role of twin sisters, in ‘Do Kaliyan’ (1968).
But my thoughts and appreciation about her are there in the post for the song “Phoolon Ki Duniya Se Taaron Ki Duniya Mein“.
In there I had mentioned that she had appeared in 2013 in a movie called ‘Besharam’ which was directed by Abhinav Kashyap. She played a constable of the Delhi Police going by the name ‘Bulbul Chautala’ who is shown assisting Inspector ‘Chulbul Chautala’ (Rishi Kapoor) in tracking down a car thief Babli (Ranbir Kapoor). I saw this movie recently and realized that I still adore this pyari jodi who had been a craze till Neetu Singh got married and settled to look after her family.
Today’s song plays with the end credits of the movie and is sung by Mika Singh, Daler Mehndi and Sunidhi Chauhan where we have the young couple Rishi and Neetu dancing along with Ranbir and Pallavi Sharda. The song is written by Kumaar which is the mononym for Rakesh Kumar- a lyricist who has been active in Bollywood for a few years now. The music director is Lalit Pandit who used to form a team with his brother Jatin Pandit and gave us some chart-buster songs in movies like ‘Yes Boss’ (1997), ‘DDLJ’ (1995) etc.
The song has the evergreen pair shaking a leg to the beats of a very modern song which is neither a bhangra nor a disco. I must admit that it must have taken lots of guts to take to the dance floor after a gap of thirty years. The last movie where she had danced had come in 1983 ‘Ganga Meri Maa’ which if my guess is right would have been one that released long after it was completed.
Wishing this sweet charming and smiling on her 62nd birthday though I feel she may not celebrate this year. But I think we can still wish her health and happiness.
Audio
Video
Song – Chal Hand Utha Ke Nachchen (Besharam) (2013) Singer – Mika Singh, Daler Mehndi, Sunidhi Chauhan, Lyrics – Kumaar, MD – Lalit Pandit
Lyrics
nau baj gaye
hum saj gaye
do peg lagey angrei
ho nau baj gaye
hum saj gaye
do peg lagey angreji
jo chadh gayi
to addh gayi
yeh cheez badi hai creji
aaja thumkon ki.. limit badha le
hain jeb mein jitne.. note udaa de
hum dheet hain jitne
sweet hain utne
to bachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
tu hoga
bada hero
par hum bhi nahi kachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
ab rukne ka time nahin hai
khul ke nachna crime nahin hai
mike pakad ke aaj macha de halla halla
ho o ab rukne ka time nahin hai
khul ke nachna crime nahi hai
mike pakad ke aaj machha de halla halla
dil vil apne phenk huye hain
rahu-ketu theek huye hain
pakad ke finger tu pehna de chhalla chhalla
nainon se zara tu
neat pila de
phir badan soniye
beat hila de
hum desi jitne dude bhi utne hain sachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
tu hoga
bada hero
par hum bhi nahi kachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
chal back hila ke
nachchen
chal taang utha ke
nachchen
chal aag laga ke
nachchen
chal feet badha ke
nachchen
chal pila pila ke
nachchen
chal hila hila ke
nachchen
oye fikr chhod ke sharam faad ke nachchen
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नौ बज गये
हम साज गये
दो पैग लगे अँग्रेजी
हो नौ बज गये
हम साज गये
दो पैग लगे अँग्रेजी
जो चढ़ गई
तो अढ़ गई
ये चीज़ बड़ी है क्रेजी
आजा ठुमकों की॰॰ लिमिट बढ़ा दे
हैं जेब मैं जीतने॰॰ नोट उड़ा दे
हम ढीठ हैं जीतने
स्वीट हैं उतने
तो बच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
तू होगा
बड़ा हीरो
पर हम भी नहीं कच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
अब रुकने का टाइम नहीं है
खुल के नचना क्राइम नहीं है
माइक पकड़ के आज मचा दे हल्ला हल्ला
हो ओ अब रुकने का टाइम नहीं है
खुल के नचना क्राइम नहीं है
माइक पकड़ के आज मचा दे हल्ला हल्ला
दिल विल अपने फेंक हुये हैं
राहू केतू ठीक हुये हैं
पकड़ के फिंगर तू पहना दे छल्ला छल्ला
नैनों से ज़रा तू
नीट पिला दे
फिर बदन सोनिए
बीट हिला दे
हम देसी जीतने ड्यूड भी उतने हैं सच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
तू होगा
बड़ा हीरो
पर हम भी नहीं कच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
चल बैक हिला के
नच्चें
चल टांग उठा के
नच्चें
चल आग लगा के
नच्चें
चल फीट बढ़ा के
नच्चें
चल पिला पिला के
नच्चें
चल हिला हिला के
नच्चें
ओय फिकर छोड़ के शरम फाड़ के नच्चें
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
This article is written by Peevesie, 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.
| Blog Day : | 4045 | Post No. : | 15174 |
What kind of relationship must one have with their country? This is a question I have been pondering lately. There is no doubt one feels a sense of kinship and pride for the perseverance and accomplishments and bravery its people show on a near everyday basis. But then aren’t all these accomplishments a result of someone questioning some kind of status quo that existed in this country.
The world is feeling like a strange place. Ours isn’t the only country in the grips of a wave of nationalism that is based on a sense of othering and homogenizing our culture. But weren’t we taught ‘Unity in Diversity’ as one of our strengths in school? Independence day involved so many symbolic displays of things like ‘One Country, Many Cultures’; “Hindu Muslim Sikh Isaai, sab hai yahan bhai bhai”. One of my favourite lines to do the cringy school dances to was “Koi Punjab Se, Koi Maharashtra Se” one from the song “Ae Watan Ae Watan” (film ‘Shaheed’, 1965) – (though I hated the word Madrasi that was used in such displays, I am not from Madras!). And suddenly we have a country where questioning the status quo is being against the country.
Can’t one love the country and still dislike / disagree with somethings in it? We love our family and friends the same way no? The love is unconditional but there are things like maybe their lateness or forgetfulness that annoys us? Isn’t that what patriotism should be? An unconditional love that pushes us to work hard to improve our country so we are truly the best country in every metric?
Last year I saw a film called ‘Raazi’. It is based on the true story of an Indian spy who married into a Pakistani military family to help the Indian war efforts. Two plot points in the movie left a deep impression on me and on my patriotic sentiments. The first was when the ‘spy’ and her spouse have a conversation about why they both do what they do. And they both realize that they will always choose their birth country over their spouse. It’s just that their birth countries are different. The second point is this song I want to showcase in this post on independence day today. Incidentally this song is also titled “Ae Watan” .
This song in the film is supposed to be an Indian patriotic song being taught to Pakistani school children for a school function. Even though the song contains the opening lines (“Lab Pe Aati Hai Duaa. . .“) which is the national prayer of Pakistan. It was penned in 1902 by the legendary poet, Allama Iqbal. But by its very nature it is country neutral. It is sung in schools in Pakistan, as well as in some states in India. That’s when it hit me. The object of your emotion of patriotism – that is an accident of nature. You have no control over this. But you have control over what you do with it. And how you use the opportunity to leave the place you were born into, better than when you arrived into it.
There is a multitude of amazing things being done by Indians that we can be proud of – from sustainable sanitary solutions, to the moon mission, to Dutee Chand fighting the Olympic committee and her village simultaneously on accepting everything she was born with. Whether it’s is a medical condition or who she loves. This is a beautiful country that gained its independence because people refused to accept the status quo. And I choose to be proud of it without losing sight of how much further we have to go.
There is another reason I love this song, because the video reminds me of the Independence day celebrations we had in school and all the ways we practiced for it. Truly brings a certain nostalgia back
This song is “Ae Watan” from ‘Raazi’ (2018) which is directed by Meghana Gulzar and produced by Junglee Pictures and Dharma Productions. Its based on a book by Harinder Sikka named ‘Calling Sehmat’. The film version of the song has Alia Bhatt, Vicky Kaushal, Amruta Khanvilkar. The song is composed by Shankar Ehsaan and Loy, while its lyrics are written by Gulzar. Its female version, which is the one featured in the film, is sung by Sunidhi Chauhan and the male version which was for promos is by Arijit Singh. Both versions have longer audio versions than video. The lyrics given below are according to the audio versions I have.
Happy Independence day to all readers! Enjoy!
Audio – Female Version
Video – Male Version (Chorus Only)
Audio – Male Version
Song – Ae Watan Watan Mere Aabaad Rahe Tu (Raazi) (2018) Singers – Sunidhi Chauhan, Arijit Singh, Lyrics – Gulzar, MD – Shankar Ehsaan Loy
Chorus
Lyrics
lab pe aati hai dua ban ke tammana meri
zindagi shamma ki surat ho khudaaya meri
lab pe aati hai dua ban ke tammana meri
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
tu hi meri manzil hai pehchaan tujhi se
tu hi meri manzil hai pehchaan tujhi se
pohunchun mein jahaan bhi meri buniyaad rahe tu
pohunchun mein jahaan bhi meri buniyaad rahe tu
ae watan mere watan
ae watan mere watan
tujh pe koi gum ki aanch aane nahi doon
tujh pe koi gum ki aanch aane nahi doon
qurbaan meri jaan tujhpe shaad rahe tu
qurbaan meri jaan tujhpe shaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
labh pe aati hai dua banke tammanah meri
zindagi shamma ki surat ho khudaya meri
zindagi shamma ki surat ho khudaya meri
ae watan mere watan
ae watan mere watan
Male Version
ae watan watan mere
ae watan aabaad rahe tu
aabaad rahe tu
aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
tu hi meri manzil hai pehchaan tujhi se
tu hi meri manzil hai pehchaan tujhi se
pohunchun mein jahaan bhi meri buniyaad rahe tu
pohunchun mein jahaan bhi meri buniyaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
tujh pe koi gum ki aanch aane nahi doon
tujh pe koi gum ki aanch aane nahi doon
qurbaan meri jaan tujhpe shaad rahe tu
qurbaan meri jaan tujhpe shaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan
ae watan
mere watan
mere watan
ae watan
ae watan
mere watan
mere watan
ae watan mere watan
ae watan mere watan
aabaad rahe tu
aabaad rahe tu
ae watan mere watan
aabaad rahe tu
This article is written by Peevesie’s Mom, 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.
| Blog Day : | 3683 | Post No. : | 14584 |
Hullo to all in Atuldom
Recently I read an interview of one of my favorite lyricist in the Bangalore Times which was conducted on the sidelines of Bangalore Poetry festival 2017. Every time I read or hear him I start admiring him all the more. Last year on the occasion of his birthday I heard him on Gaana.com (an app supporting continuous song playback) and I was floored by his thought process. There he had said “I don’t like to say things like ‘Hamaare zamaane mein ye hua karta tha. . .’. One shouldn’t lament about the fact that the current generation isn’t repeating what they did. At least they aren’t repeating your mistakes in the process.” He further went on to say “what do people mean hamaara zamaana, as long as you are living it is your ZAMAANA”. That is a nice way to look at life.
In his recent interview, he has said “Lyrics is commissioned work, it is my profession. But poetry is my statement to life. Something that I feel, I know, something that I have acquired from life, that is my statement, my poetry.” He further added “Film depends on something. It is like a job or work, something that I’ve been asked to do with perfection. For some particular situation, in a particular story, for some character. Here (for poetry) it depends on your (Gulzar’s) hard work on that character.” That was a nice way to explain difference between lyrics and poetry.
What I am doing is wishing the master of words- a poet, lyricist and film maker a very Happy 83rd birthday.
This song is dedicated to all fans of Gulzar who follow our blog. It is for the special attention of our Rajaji. I had just heard it before our first ever Gangout and I had mentioned it there. And he claimed ignorance about its existence. I don’t blame him for that or any of our fellow Atulites who are not forced to listen to the songs from this generation. I will never say that I am forced to listen to songs of the present times.
I heard this song over three/four years back (don’t remember where). I rushed home and searched for it on Google. And made my Peevesie listen to it and she said “haan, I have heard it. It’s a Gulzar song.” So much for my excitement that I had discovered something which she may not yet heard. But the song has stayed with me since then. I stop surfing channels if I hear the song anywhere –TV or Radio. Its a very catchy song. Reminds one of “Mera Kuch Saaman Tumhaare Pass Pada Hai” from the Gulzar – RD Burman combo ‘Ijaazat’ of 1988. Only thing this one is from 2013 and has Gulzar collaborating with Vishal Bharadwaj in ‘Ek Thi Daayan’. It is in the voices of Sunidhi Chauhan and Clinton Cerejo.
Gulzar and his poetry never ceases to amaze me. He is always with the times. For an eighty-year-old his lyrics are always young. His ability to play with words is worth noting. . . ”Badli Hata Ke Chanda Chupke Se Jhaanke Chanda” from “Mora Gora Ang Laile” – ‘Bandhini’ (1963); “Aankhon Mein Neend Na Hoti, Aansoon Hi Tairte Rehte” from “Koi Hota Jisko Apna” – ‘Mere Apne’ (1971); to the modern day ”Ankhen Bhi Kamaal Karte Hai, Personal se Sawaal Karte Hain” from “Kajraare Kajraare” from ‘Bunty Aur Babli (2005); or the lines “Ho Itni Sardi Hai Kisika Lihaaf Laile Ja Padosi Ke Chulhe Se Aag Laile” from “Beedi Jalaile” – ‘Omkaara’ (2006); or the Oscar winning “Aaja Zariwale Neele Aasman Ke Tale” from “Jai Ho” – ‘Slumdog Millionaire’ (2008); – what a range. This young man has been in the industry since the sixties and shows no signs of regret (Bollywood was not part of his plans for life back then).
So here is wishing Sampooran Singh Kalra alias Gulzar Deenvi (after his birthplace Dina which is now in Pakistan) or simply put Gulzar Saab a very Happy Birthday.
With this song I also propose to wish Sunidhi Chauhan a belated Happy Birthday. It was on 14th August. More about her in a later post.
Song – Hum Cheez Hain Bade Kaam Ki Yaaram (Ek Thi Daayan) (2013) Singer – Sunidhi Chauhan, Clinton Cerejo, Lyrics – Gulzar, MD – Vishal Bhardwaj
Chorus
Huma Qureshi
Lyrics
hum cheez hain
bade kaam ki yaaram
hamen kaam pe
rakh lo kabhi yaaram
hum cheez hain
bade kaam ki yaaram
ho oo
suraj se pehle jagaayenge
aur akhbaar ki sab surkhiyan
hum gun gunaayenge
pesh karenge garm chai phir
koi khabar aayi napasand to
end badal denge
ho oo munh khule jamhaai pe
hum bajaayen chutkiyaan
dhoop na tum ko lagey
khol denge chhatariyaan
peechhe peechhe din bhar
ghar daftar mein le ke chalenge hum
tumhari faailen
tumhari diary
gaadi ki chaabiyan
tumhari enaken
tumhara laptop
tumhari cap phone
aur apna dil
kanwaara dil,
pyar me haara bechaara dil
aur apna dil
kanwaara dil,
pyar me haara..aa..aa..aa
bechaara dil..ll..ll
(jawaab do
arey lyrics nahin aate mujhe
Ta..daa!)
pappaa rappaa
pappaa rappaa
ye kehne me kuchh risk hai yaaram
naraaz na ho ishq hai yaaram
ho raat savere shaam ya dopehari
band aankhon me le ke tumhen
ungha karenge hum
takiye chaadar mehake rehte hain
jo tum gaye
tumhari khushboo soongha karenge hum
o zulf me phansi hui
khol denge baaliyan
kaan khinch jaaye agar
kha lenge meethi gaaliyaan
chunte chale pairon ke nishaan
ki un par aur na paanv padey
tumhari dhadkane
tumhara dil suney
tumhari saans mein
lagi kampkapi
na gajre buney
juhi mogra
to kabhi dil
hamaara dil
(hamaara dil hamaara dil)
pyaar mein haara
bechaara dil
(bechaara dil)
hamaara dil
(hamaara dil hamaara dil)
pyaar mein haara
bechaara dil
(bechaara dil)
hamaara dil
(hamaara dil)
kanwaara dil
(kanwaara dil)
pyaar me haara..aa..aa..aa
bechaara dil..ll..ll
hamaara dil
pyaar me haara bechaara dil
kanwaara dil
hamaara dil
pyaar me haara bechaara dil
kanwaara dil
hamaara dil
pyaar me haara bechaara dil
kanwaara dil
hamaara dil
pyaar me haara bechaara dil
kanwaara dil
hamaara dil
pyaar me haara bechaara dil
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम चीज़ हैं
बड़े काम की यारम
हमें काम पे
रख लो कभी यारम
हम चीज़ हैं
बड़े काम की यारम
हो ओ
सूरज से पहले जगाएँगे
और अखबार की सब सुर्खियां
हम गुनगुनाएँगे
पेश करेंगे गरम चाय फिर
कोई खबर आई नापसंद तो
एंड बदल देंगे
हो ओ
मुंह खुले जम्हाई पे
हम बजाएँ चुटकियाँ
धूप ना तुमको लगे
खोल देंगे छतरियाँ
पीछे पीछे दिन भर
घर दफ्तर में ले के चलें हम
तुम्हारी फाइलें
तुम्हारी डायरी
गाड़ी की चाबियाँ
तुम्हारी एनकें
तुम्हारा लैप टॉप
तुम्हारी कैप फोन
और अपना दिल
कंवारा दिल
प्यार में हारा बेचारा दिल
और अपना दिल
कंवारा दिल
प्यार में हारा॰॰आ॰॰आ॰॰आ
बेचारा दिल॰॰ल॰॰ल
(जवाब दो
अरे लीरिक्स नहीं आते मुझे
टा॰॰॰डा)
पप्पा रप्पा
पप्पा रप्पा
ये कहने में कुछ रिस्क है यारम
नाराज़ ना हो इश्क़ है यारम
हो रात सवेरे शाम या दोपहरी
बंद आँखों में लेके तुम्हें
ऊँघा करेंगे हम
तकिये चादर महके रहते हैं
जो तुम गए
तुम्हारी खुशबू सूंघा करेंगे हम
ओ जुल्फ में फांसी हुई
खोल देंगे बालियाँ
कान खिंच जाये अगर
खा लेंगे मीठी गालियां
चुनते चले पैरो के निशान
के उन पे और ना पाँव पड़े
तुम्हारी धड़कने
तुम्हारा दिल सुने
तुम्हारी सांस में
लगी कंपकपी
ना गजरे बुने
जुही मोगरा
तो कभी दिल
हमारा दिल
(हमारा दिल हमारा दिल)
प्यार में हारा
बेचारा दिल
(बेचारा दिल)
हमारा दिल
(हमारा दिल)
कंवारा दिल
(कंवारा दिल)
प्यार में हारा॰॰आ॰॰आ॰॰आ
बेचारा दिल॰॰ल॰॰ल॰॰ल॰॰ल
हमारा दिल
प्यार में हारा बेचारा दिल
कंवारा दिल
हमारा दिल
प्यार में हारा बेचारा दिल
कंवारा दिल
हमारा दिल
प्यार में हारा बेचारा दिल
कंवारा दिल
हमारा दिल
प्यार में हारा बेचारा दिल
कंवारा दिल
हमारा दिल
प्यार में हारा बेचारा दिल
Kaisi Paheli Zindgaani
Posted on: October 10, 2017
- In: Club song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | philosophical song | Post by Peevesie's mom | Songs of 2000s (2001 to 2010) | Songs of 2005 | Sunidhi Chauhan Solo Songs | Sunidhi Chauhan Songs | Yearwise breakup of songs
- 2 Comments
This article is written by Peevesie’s Mom, 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.
Hullo to all in atuldom
The city of Calcutta–1962. A city so vibrant, so alive, so stylish, it was referred to as “The Paris of the East”. This exotic backdrop serves as the perfect locale for the tender, immortal love story about to unfold.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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