Love English music all you want, but NOTHING, I repeat NOTHING, hits harder than desi music. Like every single singer has their own trademark genre which they can execute PERFECTLY??
Can we talk about Arijit’s Mai gehra tamas tu sunehra sawera main tera in Kalank?
or his Tum sath ho ya na ho kya fark hai, bedard thi zindagi bedard hai in Agar tum sath ho?
or Tujh sang sukhi roti bhaye in Mast Magan? Ok leave that.
Lets talk about Atif’s Khayalon me lakho baaten yun toh keh gaya, bola kuch na tere saamne in Tu jaane na?
or Rafta rafta tera hua, tere bin mai hu benishan in Tera hua?
or Tenu lakhan ton chhupa ke rakhaan akkhaan te sajaa ke tu ae meri wafaa, rakh apna bana ke main tere layi aan yaara in Dil Diyan Gallan? Ok leave that
Let's talk about KK's Chaand Teri roshni ka halka sa ek saaya hai in Ajab Si?
Or dil kyun yeh mera shor kare, idhar nahi udhar nahi teri orr chale in Dil Kyu Yeh Mera?
Or lut Gaye hum teri mohabbat me in Tadap Tadap? Ok leave that.
Let's talk about Jubin Nautiyal's tum se jo mil gaye, Mausam khil gaye, khudse ladne Lage hum sawarne lage in sawarne lage?
Or Mausam mohabbaton ke, lamhe ye chahaton ke apne liya bane hai maan le in Gazab ka hai din?
Or tere bina main na rahu mere bina tu in raatan lambiyan? Fine, leave that as well.
Lets talk about Shreya Ghoshal's kaise huzurji ye lab dikhlaaye, chuppi lagake bhi gazab hai yeh dhaye in saibo.
Or Ye ishq haaye baithe bithaaye jannat dikhaye hain in ye ishq?
Or Dil bharta nahi, aankhen rajjti nahi, chaahe kitna bhi dekhti jaaun, waqt jaaye main rok na paaun in Thodi Der?
And DO NOT get me started on Mohammad Rafi, Kishore Kumar, Lata Ji, Asha ji and Sonu Nigam. Desi songs are peak lyrics, romance, emotion and vocals. You're straight up wrong if you think ANYTHING can beat that. I love Taylor, 1D and all, but Hindi songs? Absolutely unmatched!
there's just something about "aap" pronoun when talking to your loved one. like "aapki aankhon mein kuch mehke hue se raaz hain" or "aapke anurodh par main yeh geet sunata hu". the kindness, the love, the 'nazakat' in that mannerism is unmatched.
"Babuji Dheere Chalna, Pyaar Mein Zara Sambhalna Haan Bade Dhokhe Hain, Bade Dhokhe Hain Iss Raah Mein" 28th January marks the 17th death anniversary of music maestro #OPNayyar (28/01/2007).
Composing partners Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma worked together for 35 years and, per Hindustan Times,composed about 2,900 songs for 750 different films during that span—a level of productivity basically unfathomable outside of the specific context of the insanely prolific Bollywood studio system. 1966’s Dosti soundtrack was their artistic and commercial breakthrough, and as such it occupies a significant place in Indian music history. I’ve never seen the film, though its cover features two crying boys hugging so it may be up my alley. The Wikipedia synopsis makes it sound like a melodrama without parallel (aside from several hundred others made by Bollywood that same year). The movie opens with a boy’s father dying in an industrial catastrophe, his mother fainting and falling down the stairs (to her death), and then the boy getting disabled in an accident of his own. He then makes friends with a homeless blind boy, and the two chums are then rigorously wedgied by life itself for the next three hours until a happy ending imposes itself.
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Working with lyricist Majrooh Sultanpuri (a notable leftist poet), Laxmikant-Pyarelal’s songs are strongly credited with Dosti’s enduring success, and while I’m neither an expert in their oeuvre nor Bollywood music as a whole, I can tell you this is beautiful music any fan of adventurous vintage pop should adore. The songs all strike my ear as happy, but with a tear welling in their eyes. It’s more subtle stuff than I associate with contemporary Bollywood: “Gudiya Kab Tak Na Hasogy” twinkles and minces to a gentle dance rhythm, leaving room for soulful flute and harmonium (or accordion?) solos and the melancholy lilt of a mandolin. Both members of the duo had a strong education in Western and Indian classical music, and these sentimental songs find the sweet spot between the traditions, with vigorous tabla rhythms and droning strings meeting melodies that evoke spaghetti western scores (“Janewalo Zara”) or practically quote “Ode to Joy” (“Rahi Manwa”).
It was the convention at the time for a reliable cadre of vocalists to dub over the singing voices of the lead actors, and Laxmikant-Pyarelal established long-standing relationships with their favourites. Dosti features two of their standbys, with Mohammed Rafi handling five of the six songs on the 10” soundtrack I own, and Lata Mangeshkar taking the other. Both absolute legends on the subcontinent, while Rafi and Mangeshkar were each well into adulthood by the time they recorded these songs they give such naively haloed performances that if you can squint (your ears?) just a little it’s easy to imagine they might have originated from the lips of children.
The scope of my expertise in this area is extremely limited, but if it’s not clear, Dosti gets my highest recommendation. If you should come across a ‘60s record with the Laxmikant-Pyarelal imprimatur at your local used shop, give it a shot.
Went to see the dev anand re-releases and my god.... Guide. waheeda rehman. Dev anand. Lata mangeshkar. Mohammed Rafi. Kishore kumar. S.D.Burman. Vijay Anand. I love all of you.
When Kishore Kumar said "Tujhe kya biti hui raaton se/Mujhe kya khoi hui baaton se/Sej nahin, chita sahi jo bhi mile sona hoga" and when Rafi said " Gham aur khushi mein fark na mehsoos ho jahan/Main dil ko us makaam pe lata chala gaya" and when Hemant kumar said " Isko hi jeena kehte hain toh/Yoon hi jee lenge/Uff na karenge lab see lenge/Aansu pee lenge/Gham se ab ghabrana kaisa/Gham sau baar mila"