Hamari Shaadi Mein
Babul Supriyo · Vivah
Lyricist: Ravindra Jain
Singers: Babul Supriyo, Shreya Ghoshal
Hamaari shaadi mein --- (2)
Abhi baaki hai hafte chaar
Char sau baras lage ye, hafte kaise honge paar
Nahi kar sakta main, aur ek din bhi intezaar
Aaj hi pehna de
(Pehnaa de) --- (2)
Ho aaj hi pehnaa de
Teri gori bahon kaa haar
Ho poonam ho jaanam ho --- (2)
Niche ho dekhu to oshan hi oshan hai
Upar jo dekhu to tu aakaash mein roshan hai
Milan ki jaldi hai --- (2)
Plain ki dhimi hai raftaar
Mera bas chale to main doon uski chhat pe plain utaar
Maze sasural ke loon, mahinaa puraa wahaa guzaar
Use lekar lautu sang lekar lautu
Use lekar lautu main jiska iklauta hakdaar
Ho poonam ho jaanam ho --- (2)
Har pardes mein jaane waale ko meri hai raay
Jahan bhi jaaye apna dilbar sang mein hi le jaaye
Doori ek pal ki --- (2)
Mujhse ab to sahi na jaaye
Kaash kismat meri thodaasa saath nibhaaye
Mujhse milne ko woh dilhi airport pe aaye
Usko dekhte hi achaanak dekhte hi
Usko dekhte hi mera dil zoron se chillaaye
Ho poonam ho jaanam ho --- (2)
Hamaari shaadi mein ---- (2)
Abhi baaki hai hafte chaar
Mahine beet gaye ye din bhi ho jaayenge paar
Naa phir tarsaaungi aur karvaake intezaar
Main yu pehna dungi aise pehna dungi
Haq se pehna dungi tumhe apne baahon kaa haar
Ho saajan ho baalam ho --- (2)
Hamaari shaadi mein abhi baaki hai hafte chaar....
Hamari Shaadi Mein
Babul Supriyo's 'Hamari Shaadi Mein' from the 2006 film 'Vivah' stands as a defining track in his discography, blending traditional Bengali folk elements with contemporary pop sensibilities. The song exemplifies his signature style, characterized by emotive vocals and a melodic structure that resonates deeply with audiences celebrating love and commitment. Released during a period where Supriyo was establishing himself as a leading figure in the Bengali film music industry, the recording captures the cultural nuances of the era while maintaining universal appeal. Its enduring popularity highlights Supriyo's ability to craft compositions that transcend specific narratives, focusing instead on the raw emotion of the occasion. The track remains a staple in his catalogue, frequently referenced in discussions regarding the evolution of romantic ballads in Indian cinema.