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Shravan Rathod, Nadeem Saifi were the sound of '90s Bollywood and pioneers of the 'filmi ghazal'

Shravan Rathod, Nadeem Saifi were the sound of '90s Bollywood and pioneers of the 'filmi ghazal'
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Shravan Rathod, Nadeem Saifi were the sound of '90s Bollywood and pioneers of the 'filmi ghazal'

In the ’90s, you could possibly spot a Nadeem-Shravan hit from a mile: The jhankaar 4/4 beats, the unmistakable melody, lyrics by Sameer, and at the very least one singer from their favorite troika of Kumar Sanu, Udit Narayan, and Alka Yagnik. 

With Shravan Rathod’s demise on Thursday evening after COVID-19 issues, a significant contributor to a golden period of Bollywood music involves a decisive finish. 

At the same time as a long time rolled on and various musical influences have come into the Bollywood soundscape, likelihood is that in case you are a ’90s child in India, the tunes which have been indelibly imprinted in your head would inadvertently be that of Nadeem-Shravan. You may begin singing from ‘Sochenge Tumhe Pyaar’ (Deewana), transfer on to ‘Aaye Ho Meri Zindagi Mein’ (Raja Hindustani), and end with ‘Tum Dil Ki Dhadkan Mein’ (Dhadkan), and you’ve your self a succinct Nadeem-Shravan medley that’s not solely related in scale but additionally traverses their prime.

Previous to their breakthrough with Aashiqui in 1990, Nadeem and Shravan had little success regardless of their first task being in 1973. The songs of Aashiqui were in truth meant to be a T-Collection album known as Chaahat. It was when late head honcho Gulshan Kumar made director Mahesh Bhatt hearken to the songs that the latter insisted {that a} movie be made round it. To assume that Bhatt’s conviction over the music made him create a complete movie to accommodate it, speaks volumes of Nadeem-Shravan’s genius. 

At the threshold of the late ’80s and 1990, the viewers for pure ghazals in cinema was dwindling. Jagjit Singh’s sonorous vocals could have immortalised many songs of the ’80s however the creation of Aashiqui repackaged the ghazal with an easy-listening melody, set to easy repetitive beats but poetic lyrics. It labored brilliantly with the youthful audiences with out being derided by the older ones, as is the norm with each new technology of musicians.

Nadeem-Shravan contemporised the ghazal, stripped it off its perennial state of pathos, and made it a style for all events.

At the similar time, they ensured that the essence of the style remained and hardly ever compromised on the melodic richness of their songs. 

Some of their finest hits, ranging from Aashiqui and Saajan to Dil Hai Ki Manta Nahin had “trendy” ghazals that mixed romance, pathos, and nostalgia, to create timeless melodies. Who can neglect the visible of Sanjay Dutt from Saajan singing ‘Mera Dil Bhi Kitna Paagal Hai’ or Rahul Roy and Anu Agarwal mouthing ‘Dheere Dheere Se’ lovingly from Aashiqui?

Shravan has ceaselessly spoken of how essential it’s for the melody to guide the sonic expertise on a movie. Usually music composers have wealthy collaborative relationships with their movie administrators and lyricists; Bollywood too has seen a couple of administrators with a robust ear for music. Mahesh Bhatt being one of them. His collaboration with the musical duo has given hit movies with blockbuster music: Aashiqui, Saajan, Sadak, Dil Hai Ke Maanta Nahin, Hum Hain Rahi Pyaar Ke… the checklist is gigantic.

Whereas they will largely be credited for the creation of the filmi ghazal, there may be a lot extra to their music than simply that. Their collaborations with particular administrators have altered the course of their very own musical trajectory. If Bhatt nudged them into the ghazal area, then Subhash Ghai pushed them to place out one of their most unusual soundtracks of the ’90s: Pardes. In a way, it’s a most un-Nadeem-Shravan setlist. Ghai, who was seeking to rope in AR Rahman as a substitute, joined palms with them to create an award-winning soundtrack.  Their clever use of Kumar Sanu’s voice in ‘Do Dil Mil Rahe Hain’ and ‘Meri Mehbooba,’ stays our prompt recall with the movie, as does Sonu Nigam’s unbridled tune of love and freedom, ‘Yeh Dil Deewana.’

That they had tirelessly championed the deeply Indian sound — shehnai, flute and, sitar — in a extremely modern type. If you happen to simply hearken to the pulse of the tabla of their songs, you’d virtually instantaneously know that this can be a Nadeem-Shravan tune. Drawing inspiration from classical music and ghazals, they created songs that usually outlived the success of the movies they were related to.

Nonetheless, it was not as if the ’90s were just for their music; Nadeem-Shravan’s biggest rivals at the time were Jatin-Lalit, whose profession graph started with the obscure movie Yaara Dildara, whose tune ‘Bin Tere Sanam’ stays a success even at present. Collectively, the Pandit brothers composed hit songs for Khamoshi: The Musical, Jo Jeeta Wohi Sikandar, Dilwale Dulhaniya Le Jayenge, Sarfarosh and extra in the similar decade.  

In a way, Nadeem-Shravan had a primary mover benefit. That they had so many hit songs over 1990 and 1991, that by the time Jatin-Lalit’s Yaara Dildara launched, Nadeem-Shravan were already a mighty musical pressure to reckon with. Over time, as newer composers made their foray into Bollywood in the 2000s, the uniqueness of the Nadeem-Shravan although sound began to wane. Regardless of their numerous makes an attempt to reunite submit the Gulshan Kumar assassination and Nadeem’s exile in London, they by no means fairly achieved the success of their wonderful previous. 

Even at present, as we mourn Shravan Rathod’s demise, we discover ourselves going again to the ’90s playlists on YouTube and Spotify. They set the tone for what filmi music ought to entail, a template that has solely advanced as extra composers and influences be part of the fray. For that, and for the nice musical recollections, we will likely be eternally grateful.

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