March 10, 2014
bas likh dia, confession, mood kar raha tha
Bas mann kiya, likh dia…mera blog, meri marzi
1. I liked shahid kapoor’s dance in tu mere agal bagal hai
2. I didn’t like the song ‘tu mere agal bagal hai’
3. I loved saree ke fall sa, kabhi match kia re. I love it too much
4. I love the ‘people on the floor, come and get some more’ part from that akshay kumar starrer film. Not sure what the name is.
5. I took interest in films only because i liked gulaal.
6. I dont like black friday
7. I loved listening to babydoll main sonay di
8. Dont read too much into the ‘listening’ part of the point above.
9. I want to be that person who is able to identify the
ragas raags in which a song is composed.
10. I love my hometown Lucknow
11. I wish I grew up in bombay. Why? Because then i would have learnt a thing or two which were not considered good in lucknow. (Music or perhaps film making or what the heck, acting?)
12. I have taken on fights because of anurag kashyap. Some people hate me because they know of my obvious loooouv for him.
13. I know that point number 12 doesnt matter but I just had to get it out.
14. I joined twitter because of Rajeev Masand.
15. I started faking it on twtr soon after I joined.
16. I started dissing karan johar because I wanted to sound and be all cool.
17. I started dissing anurag kashyap more or less for the reason mentioned in point 16.
18. I secretly (ok not so secretly anymore) hate point number 16 because the reality is, I really like karan johar. WYSIWYG ka best example and man what an eye for presentation! I know this doesnt matter but *salute*!
19. I met Onir after I joined twitter and a certain discussion around ‘my brother nikhil’ made me like karan johar so so so much!
20. Even after coming to Bombay, i dont have guts to pursue what i want to.
21. I crib a lot about the point number 20
22. I am always looking for music. If you have any recommendation, any genre, any language, anything, be kind and share!
23. I cannot get enough of senraan ra bairiya
24. I want to meet Rohail Hyatt at least once for a full day and want to talk talk talk talk!
25. I have this secret list of some people who are a part of my family now. I always try and impose myself on them. Yes. I want to talk to them a lot and regularly. Yes, you know who you guys are. No the list doesnt stop at 25.
26. I get jealous as hell if others talk to the people mentioned in point above.
27. I love the way Atif Aslam sounds in Charkha nolakha and Channa
28. This is not the only conफession post I will write.
Sorry, but I HAD to say all this.
February 5, 2014
amit trivedi, Anvita dutt, Arijit singh, Badra bahar, daaaath ho gayee, Harajaiyaan, hindi film music, Hindi music, Jai Ho, Jai Ho PR Ki, jugni, Kangna Ranaut, Kinare, Labh janjua, London Thumakda, lyrics, Mohan kannan, music, Nikhil D’Souza, O Gujaria, Queen, raj kumar rao, raj kumar yadav, Rupesh Kumar Ram, shahid wala actor, shefali alvares, Sitaar, Taake Jhaanke Taake Jhaanke, trippy, Udaan
An abridged version of the review first appeared here http://www.timeoutmumbai.net/music/cd-review/album-review-queen
Amit Trivedi teams up with the lyricst Anvita Dutt to give us the music of Phantom films’ Kangna Ranaut – Raj Kumar Rao starrer Queen.
True to the film’s theme, London Thumakda starts in Punajbi celebration mood and Labh janjua doesn’t miss a single beat in giving us a foot tapping song. Neha and Sonu Kakkar sing along as well. Even in this done to death genre of punjabi wedding/celebration songs, Amit Trivedi experiments. The excellent use of back up vocals and punjabi words in between are refreshing. Badra bahar features Amit Trivedi behind the microphone amidst a cluttered music setting. Somehow the song and the music comes across as ‘heard before’ and even though it might sound ‘trippy’ thanks to a clever use of Sitar in between, the song is at best average. O Gujaria starts with a club setting and techno sound. Shefali Alvares and Nikhil D’Souza try their best with whatever they are given, tune and lyrics wise. Frankly, the ‘Show me how to party’ bit sounds irritating in a song marred by it’s predictable overalls. Taake Jhaanke gets the romantic Arijit Singh to croon on a (we repeat) Amit trivedi template. The song has an easy feel but ends up sounding like a very recent outing of Amit Trivedi (Remember English Vinglish?). Jugni starts very nicely and Amit Trivedi sings a peppy number which (again!) sounds like a song straight out of the folder titled ‘Udaan’. We have heard so much of Amit trivedi that you can almost second guess the turns in the tune and treatment. Harajaiyaan has a mysterious sound right from the beginning and even though you feel you have heard this song before, it’s the voice quality of Nandini Srikar that elevates the song. Creativity within the walls of Amit trivedi’s now standardized garden has worked in this case. Kinare has the brilliant Mohan Kannan on the mic and while we cannot get enough of Mohan Kannan, we would have liked to hear a song that doesn’t sound like one out of the album Udaan again! The song is good no doubt, just not something new. Ranjha that features a near silent music arrangement with solid vocals of Rupesh Kumar Ram is a song that will make you long for more, just like Heer longed for Ranjha. How we wished this was more than a 2 minute piece! There is a distinct smell of melody in this song that we cannot get enough of!
The makers are clearly depending on the new found oomph of Kangna Ranaut for this film. We would have liked them to stretch the limits of the Amit Trivedi who still remains Bollywood’s most promising music director.
So which song reminds us of what? Read On…
Badra bahar – Dev D as a whole. More So the O Pardesi treatment
Harjayeyaa – Dil dhuduk dhuduk beats From English Vinglish + Main Pareshaan Pareshaan Feel overall
O Gujaria – Ek main aur ek tu title song, O templates!
Taake jhaanke – English vinglish title song and the album
Jugni – Udaan
Kinare – Udaan Udaan Udaan!
Our Picks – Ranjha, London Thumakda and Harjaiyan
(If 2 out of 3 songs are traditional template song and the third one is a mash up of something we have already heard, you can imagine the album’s score on ‘innovative’ index. Come On Amit Trivedi, Jazz it up with Bombay Velvet soon!)
2.00/5.00 (If you are looking for rating)
January 31, 2014
Alia Bhatt, ar rahman, arr, heera, implosive silence, Imtiaz ali, jonita gandhi, maahi ve, nooran, nooran sisters, patakha gu, sooha saha, sunidhhi chauhan, tu kuja, zeb, zeb and haniya
This review appeared first here – http://www.timeoutmumbai.net/music/cd-review/album-review-highway
Unabridged version of the review is here – http://moifightclub.wordpress.com/2014/01/27/highway-music-nashe-mein-ud-jaaye-re-haaye-re/
After Rockstar Imtiaz Ali is back with his latest romance-drama Highway starring Randeep Hooda and Alia Bhatt. With the genius of AR Rahman, Ali presents the film’s nine-track soundtrack.
The first and probably most popular song of the album is “Patakha Guddi”, an electronic track with the electric duo of Sultana and Jyoti Nooran who have given us one of the best sufi-sque film songs in a long time. It’s a typical Rahman song, one that is devoid of any hook and flows boldly and confidently throughout. Watch out, party people, DJs have a new song to ensure everyone attacks the dance floor. There is incidentally a male version of “Patakha Guddi” too and even though Rahman has rendered the Punjabi language with zest, his version has more layers than the Nooran could evoke. The excellent near shred guitar play along with lyrical twist makes his rendition a blast! Next up is “Maahi Ve” that perfect tune for a long drive. Its excellent back-up vocals, however subtle, truly uplift the track. Jonita Gandhi makes “Kahaan Hoon Main” sound irresistibly exotic despite its serious lyrics. Thanks to a generous dose of keyboards and violins, the song has a lot of character and depth which might not suit the film’s premise of a truck driver and rural Indian roads. The next one will surely surprise everyone. Don’t be surprised if you see “Wanna Mash Up?” borrowed by a Hollywood producer for a Fast and the Furious-esque film. Kash, Krissy and Suvi Suresh (with the former two penning lyrics) literally bring the house down with this top class composition. This is Rahman at his experimental best with no inhibitions. We can understand why Irshad kamil who has worked on most of rest of the album, didn’t provide the words for “Wanna…”
An adorable hum by Alia Bhatt herself kickstarts “Sooha Saha” which has Zeb croon about the folk music of the hills. Zeb lends the solidity to the song whereas the young actress provides cute innocence, making it a perfect balance. The second track of the album by wordsmiths Kash and Krissy is “Implosive Silence” performed by Gandhi. With a hauntingly simple arrangement, the track’s lyrics are extremely difficult to decipher. However, you actually don’t need to find the meaning of the words here. It is all about the feeling and the atmosphere that the song creates. After this is “Tu Kuja” a traditional song sung by Sunidhi Chauhan that envelops you in its trance. It’s actually an old composition in which Kamil has added Hindi words for a contemporary effect. We honestly felt the track was a bit cluttered and would have been better off with Rahman’s voice. Finally, “Heera” ends the album. Rahman ceremoniously presents saint and poet Kabir’s writing in his trademark fashion with enough Violins to make anyone cry with pleasure.
The lyrics are top class and the music is superlative. After long, we’ve come across an album where we’re not reaching for the fast forward button.
January 5, 2014
2013, Aamay Bhashaili Rey, Abrar ul haq, accordion, alamgir, ali azmat, Allah hu, asad abbas, Ayesha omar, Üsküdar'a Gider Iken, Baloch, Balochi, balochistan, braj, claps, Cokestudio, cokestudio asliwala, Cokestudio pakistan, fareha parvez, Fariha Pervez, ishq kinara, Kande, Laila O laila, mahi gal, Malhar, Master Sheeraz Ali Sabzal Mohammad Ali Osman Baloch, meditative, Miloš Punišić, Miya ki malhar, Moray naina, Muazzam ali khan, muazzam ali qawwal, Not CokestudioatMTV, Pop, rock, rohail hyatt, Rostam Mirlashari, saiyyan bina ghar soona, Sawaal, Turkey, turkish, violin, Zara Madani and Rustam Fateh Ali Khan, zoe viccaji
Aamay Bhashaili Rey – Alamgir sahab started this in what is called Dhaka bangla, I am told. A heart breaking and tear inducing request made to the ‘majhi’. Alamgir sahab isn’t new to singing so it was hardly a surprise to see him taking this traditional composition and hugging it out melodiously. Fariha Pervez adds the ‘ful’ to this ‘beauty’ of a song and makes it all so beautiful! Braj bhasha has a certain sweetness to it and Rohail Hyatt has cleverly and mildly arranged Fariha’s parts so that the listener gets engrossed. It’s an absolute delight to watch Fariha call out ‘Saiyyan bina…Saiyyan bina ghar suna’ and Alamgir sahab make a request at the same time to his ‘Majhi’ to lead him safely through to his home. Sheer delight!
Laila o laia – There are some songs which you just know would be awe-F-some right from the first second of the song. This, ladies and gentleman is the same kind of song. Say hello to the ever smiling Rostam Mirlashari as he mesmerizes you with his requests to ‘Laila’ to go with him for sight seeing. Be it the violin, the constant ‘neat’ set of beats or the adorable lyrics, the song is a hoot! The complimenting balochi backups by Master Sheeraz Ali Sabzal Mohammad Ali Osman Baloch and Shaukat Ali are understated yet add to the elasticity of the calls of ‘Laila’ in the song. Just about everything is right about the song. A special word for Mr. Miloš Punišić in the song. Sir, you are just amazing!
Ishq Kinara* – Üsküdar’a Gider Iken – Performed by Sumru Ağıryürüyen and Zoe Viccaji is a peppy example of mixing the ‘inspiring and inspired’ in one total package. The song has a very ‘nomadic’ beat to it and the use of Kanun in the beginning sets everything just right! Will I listen to it again? No. Is the song bad? Hell No! Hear it and make your own opinion.
Mahi Gal*- Asad Abbas croons this traditional composition with consummate ease and catches your attention with the long taan he takes at the start of the song. The arrangement is lucid, the singing flawless. To me, the entire part of Fariha Pervez didn’t make much sense and even though (as per the website) the idea of her part was to raise the mood and tempo of the song, I felt it slowed down the song. Barring that, there is absolutely nothing wrong with the song.
A satisfying episode overall. The song that stand out is the kora part and Asad’s singing from Mahi gal Aamay Bhashaili Rey and Laila o laila and delightfully so!
Miya ki Malhar* – Ayesha Omar, Fariha Pervez, Zara Madani and Rustam Fateh Ali Khan put us on a journey that starts with a drizzle and leads us to a massive downpour of music, stitched in the raga Miya ki Malhar (the rain raga) and performed with Braj ki boli. Ayesha Omar goes a scale up and sounds pleasantly different from her previous offering in the season. This one is no bad either. Zara is pleasant and Rustam sahab gets very little mic-time. In my opinion though, the song belongs to Fariha Pervez who shows ease in the way she sings and delivers one of the happiest song CokeStudio Pakistan has ever presented to us. The arrangement is top class with the welcome flute in between and a lot of artificial thunder. The heavy shredding towards the end might put off some people but then not many people like heavy rains either isn’t it? 2 Thumbs up for this!
Moray Naina* – A song that is composed and sung by Zara herself with a cokestudio twist. This would be the most innovative song of this season arrangement wise. Imaginative beats that are constantly building up the momentum and may lead you to think the song is just about to get started. You can sense the stillness of the song by the superb arrangement and the overall atmosphere is just top class. I am waiting for the people to call this song as ‘indulgent’ thanks to a prolonged spell of fusion towards the last few minutes of the song. Since it’s a completely new sound that Rohail presents us with here, am sure not many would take to the song at the first instant.
Sawaal – Kande – The original rockstar who used to set the stage on fire is back in the song and here Ali Azmat teams up with Muazzam ali khan and his qawwal group to give what can be described as a ‘powerful’ song. In his previous appearance this season, Ali Azmat took a lighter look at the ‘mechanics’ of going up the ‘success ladder’. In this song though, he tackles the serious question about life and he does it with the intensity that can melt stone. Those long taans he takes are haunting and would surely make you think. The qawwalisque participation by Muazzam ali khan and his qawwals is linked to the part that Ali Azmat sings. Two different songs, both interconnected. That’s fusion, Baby! The level to which Muazzam ali khan takes this song towards the end would have made Ustad Nusrat Fateh Ali khan proud, very proud.
Allah Hu* – It would be a criminal waste to have Saieen Zahoori leave the studio without we getting to hear the oldest and the purest call to the almighty in his pious voice. Here, the treatment is very pop like which is not distressing to the ears at all. Abrar ul haq stretches himself to leave a solid imprint on the senses. (Spoiler alert) – Tell me if you don’t get goosebumps at 5:19 when Zahoor sahab swoops in with a call to Bulleh shah. An ordinary version of ‘allah hu’ this is not! Get up, dance because the world is senseless and says anything! A loud cheer to this song!
All and all a delicious episode that gave us the raw power and intensity of thought from Muazzam Ali and Ali Azmat, the call to the almighty by Saieen Zahoor, the meditative state via Zara madani’s Moray naina and torrential rains via Miya ki Malhar.
All the songs with *mark have the back up girls Zoe and Rachel Viccaji in them and quite honestly I have run out of praises for the duo. The character they lend to a song, any song is just unparalleled and they are without a doubt a big strength for the Studio.
As the inevitable Season ending is upon us, the offerings are getting more and more delicious. A typical Rohail Hyatt’s tease strategy but we are not complaining!
January 4, 2014
2013, abhogi kangra, Abrar ul haq, Asli maal, Atif aslam, Ayesha omar, babu bhai, bhopali, brass bands, brass bands rock, Channa, Cokestudio, Cokestudio pakistan, Fariha Pervez, fusion, haniya, India, ishq di booti, jogi, kabir, khayal, kora, lage re nain, laili jaan, Muazzam ali khan, music, neer bharan kaise jau, Not CokestudioatMTV, oud, pakistan, pashto, rabba ho, rachel and zoe, rachel viccaji, raga, rohail hyatt, Rustam fateh ali khan, saieen zahoor, Sain zahoor, sanam marvi, Sumru Ağıryürüyen, Tori chab, Umair Jaswal, upright bass, uth sangiya, west afican music, Yaar vekho, Zara madani, zeb, zeb and hainya, Zebhaniya, Zoe vic, zoe viccaji
The yearly ritual of waiting for the new season of CokeStudio ‘Original wala’ was rewarded by the entire team of CokeStudio Pakistan. While most musicians are still struggling with ‘fusion’, Rohail has upped the ante and has moved the entire CokeStudio Pakistan to the next level of fusion this time round. You can read more about it on their official website – cokestudio.com.pk
Will everyone like it? No! Good food isn’t easily acceptable to many if they are mostly fed sub-par food.
The two ‘singles’ so far
Jogi* – starts with Fariha Pervez crooning out the all too familiar traditional lyrics that Pakistan has over used in almost every album that has ever come out. Still, this version has a lyrical twist in between for a bit which is refreshing. Add to that the taraana by Muazzam ali khan. Along with the supremely talented dholis in the studio and International musicians, the song becomes hummable for sure but lacks an overall playlist punch.
Laili jaan* – Zeb-Haniya bring the house down with this simply worded old song. A lot of people went down to Youtube to discredit the cokestudio team for any effort (because you know, for them it’s ‘copied’). Still, hear it once and tell me if you don’t smile everytime the insane drummer is shown having fun! The arrangement is top class, the overall extended house band tears the screen apart with this fantastic song!
Without a doubt, the last year belonged to Charkha Nolakha amongst other songs and the chief reason was Umair Jaswal with this husky calls and energetic singing. So it wasn’t a surprise to see him start the season with ‘Khayaal’. It’s an out an out ‘long drive’ song with some good variations by Umair. Clearly, those who hate Atif (because he is ‘besura’ in their own head), have another name to hate now! Superb song!
Babu bhai* – Ali Azmat is back! And this time, expectedly, he is back with songs that ooze out messages. Good or bad? You decide. In this episode Ali Azmat takes a direct aim at those suck ups who would do anything to reach the top by any means (Koun yahan sochay hai, haram hai ya halaal hai). The pace is peppy and the arrangement just right. A song that is just over 4 minute, it packs a lot of punch. Don’t be fooled by the light tune of the song, it might just unsettle you!
Rabba ho* Oud starts the next song with Hazrat Saieen Zahoor for company. Now it’s no surprise that Zahoor snores more melodiously than many wannabe singers of India and Pakistan sing. So it comes as no surprise when we hear Zahoor sitting on a chair and just going about it. What we disliked slightly was the reverb his voice was subjected to at some places in the song. Let Zahoor be! Reverb doesn’t need him. Sanam Marvi on the other hand can very quickly confuse you whether it is really her or Mahotarma Abida Parveen who is singing the song. Clearly, the best song of the episode.
Laage re nain* – Sarangi by Anil starts this song and remains a character of it’s own throughout this breathtaking song. Ayesha Omar hits it and boy does it stay hit! Zoe and Rachel add sweetness to the song and the Serbian house band keeps it mellow. The song also introduces us to a west African instrument called Kora. The arrangement sounds exotic and neat. What a delight to hear the girls sing in poorbi language. Top class!
Tori chab – Kalenin Burcu Muyam – Rustam fateh ali khan takes up the hitherto less tried Indian (credit on the website as such, by theway) raga Abhogi Kangra and presents us with an earthy composition. The singing is free flowing and the overall structure of the song sounds surreal. Turkish Singer Sumru Ağıryürüyen weaves her song (Kalenin Burcu Muyam) within this. Although it’s a good enough collaboration, at times I felt Sumru went slightly off key and that stalled the flow of the song.
Abrar ul haq did his bit with Ishq di booti and has a terrific house-band to fall back to. Special mention of the brass section that lifted the song. The song has a message of love and peaceful coexistence and it’s delivered alright! Towards the end of the song, we are introduced to ‘Tar’. The bass section is in fact so good that by the end of the song, I won’t blame you if you forget that it is infact keyboards that start the song!
Neer bharan* – (Zara Madani, featuring Muazzam Ali Khan) We are all human. So I blame my ‘preset’ notion that led me into believing this song will sound exactly like Rohail Hyatt’s presentation of the same in ‘Khuda ke liye’. Still, Zara madani does an able job to sing the entire song on a difficult and near whispering scale. Accompanied ably by Muazzam Ali khan, the song doesn’t ruffle any feathers and quietly ends.
Channa* – And in comes Atif! This time not taking long ‘taans’ but whispering Channa. Brass elevates the song higher. At times playful, at times yodeling, Atif mixes it up very well. The Punjabi lyrics are penned very well and inspite of being an out and out love song with what the ‘youth’ calls ‘mush’, you can totally workout with this song in the background. I would pay a million bucks to hear something similar by this collaboration just for the way the song builds up and ends. Top class Top class top class!
Yaar Vekho – Sanam Marvi brings a good amount of ‘stillness’ with this insightful composition (in raga bhopali). The setting is lifted by the excellent use of Violins. The song is pretty much flat with no flamboyance, beat wise. The interim calls and recitations by Sanam Marvi are bound to make even Mahotarma Abida Parveen Smile. If you cannot understand Punjabi, switch on the subtitles and watch the video and get addicted. Special mention of Asad Ahmed on guitar and the atmosphere he creates. Mashallah!
Raat gaey* – Zoe viccaji delivers an urdu song with a total jazzed up treatment. The song lightens you up and gives out that foot tapping vibe. Brass (Expectedly) play a superb role along with drums and don’t be surprised if you are transported to an old club with a good singer lighting it up with her singing. A clever song that is delightful to watch (thanks to the violin gang) *toothy smile*
Notice the *mark? These are all the songs in which backup girls (mostly Zoe and Rachel Viccaji) appear and it won’t be wrong to say that they lend a finishing touch to the overall song.
It could have been very easy to continue the same fusion template that Rohail has followed with the present houseband over the years. Still, to disrupt it all and involve musicians from across the world (using technology in a way that logistics don’t hinder the creative process), Rohail Hyatt and the Team CokeStudio Pakistan have raised the bar very high.
Who is willing to catch up?
Episode 5 premieres tonight, do not miss it!
December 27, 2013
amit trivedi, ar rahman, arr, balam pichkaari, chennai express, Go goa gone, Kai po che, Matru ki bijli ka mandola music, mere dad ki maruti, nautanki saala, One more year end post, prem dehati, Third class title of the blogpost, vishal bharadwaj, ye farji blog hai, Yeh Jawaani hai deewani
This year amidst the barrage of pre tuned item numbers, there was a lot of good music that made it’s way to our ears cutting out all the noise. The year started on a good note with films like Matru ki bijlee ka mandola and Kai po che that had a good mix of folk and contemporary songs and while we cannot term it as purely ‘folk’, films like Mere dad ki maruti oozed with regional flavor peppered with familiar folk undertones. Not all good music was folk though. Films like Chennai express, Aashiqui 2, Go Goa Gone, Ghanchakkar, Nautanki saala etc. had a strict urban sound as a whole and they were good enough albums alright! Staying on the urban sound of an album, even a film like Ye jawaani hai deewani, which was set in urban landscape had a holi song that was a mix and mash of a lot of folk/traditional songs. Indeed, we are talking about balam pickari.
Nobody gave the entire music album a regional/traditional flavor the way in which Vishal Bharadwaj did (for Matru ki bijli ka mandola). An album that was dipped completely in folk, Vishal didnt even shy away from putting a folksy ode to Haryana in the dreamy ‘Khamakha’. This album also introduced masses to Prem Dehati, a voice that we will love to hear in the times to come.
Amit trivedi was in top form too in demonstrating that he can offer us a folksy Shubharambh (from Kai po che) just as easily as he can play with bengali folk and come out with Monta Re (from Lootera). A.R. Rahman for his part did more experimentation with folk genre in Raanjhanaa with splendid offerings like Tum Tak, Aye sakhi and Banarasiya cocnentrating more on the sound and arrangement. Even bits and pieces in the very sticky ‘Tum tak’ from the same film smells folk and refreshingly so. Shankar ehsaan loy also flirted from a distance in ‘Mera Yaar’ (from Bhaag Milkha Bhaag). Music director Krsna stayed true to the template and made Malini Awasthi and Raghubir yadav sing bhagan ke rekhan (for issaq), a heart breaking song that could have done much more had the film been success.
As the year drew to it’s close, we were served a colorful mix of folk meets contemporary by music duo of Sachin Jigar in Shudh desi romance which was refreshing. Sanjay Leela Bhansali, while famous for larger than life frames served us a delicious bit of Gujrati folk in the form of ‘Mor bani thandhat kare’.
Of course the year was full of 100 crore film soundtracks who did nothing except add to the noise pollution levels but we choose to focus on the good music and we cannot wait to see how 2014 unfolds and tries to retain and build upon this trend. A dying trend that keeps us rooted to the sounds of our country which are as diverse as all ragas.
Do you think we are being served right amounts of folk/traditional songs? Or do you think we are just keeping the sound alive by a one off composition in an otherwise cluttered environment?
Since film music is promoted better than the pop music in India (a trend that would be broken soon thanks to growing online access for the masses), it is only wise to expect film music to be the flag bearer of keeping this tradition alive. I won’t mind being bombarded with a good kajri/thumri a million times on Television/other platforms. It would certainly be better than seeing a flop hero advising her screen girlfriend to keep her doggie away from biting him!
We are sure to have missed few things here anyway, so please feel free to add your picks.
P.S. – We have got a flavor of some via the music of dedh ishqiya where traditional compositions are topped with additional words and treated differently to sound ‘new’. Not complaining. At all!