Kolkata’s Record Royalty

Digging for records in India

by Arjuna Sayyed

Bappi Lahiri Do Ustad (Polydor, 1981) “Pyar Main Jeena Pyar Mein Marna”
[audio:http://waxpoetics.com/content/audio/india/doustad.mp3]
As far as Indian funk roller-coaster riders are concerned, this disc offers only one track. Nonetheless, “Pyar Main Jeena Pyar Mein Marna,” which plays close to nine minutes, contains just about all you can ask for in a four-on-the-floor disco marathon, including relentless bass lines (stopping only for routine laser zaps), sporadic hand claps, fuzzed-out wah-wah guitar, foot stomping chants, sexy sax solos, Indian violins, and a slew of percussion from both East and West. To add to the list, Bappi includes two short, but perfectly placed electric piano flourishes that sound like they’ve been pulled straight out of Willie Dynamite’s chase scene. For me, the icing on the cake is the hypnotic vocal presence of Usha Uthup, who starts and ends the song proclaiming in both Hindi and English, “Love is God, God is Love.”
Babla Bablas Disco Sensation (Polydor, 1980) “Aye Mere Dil Kahin Aur Chal”
[audio:http://waxpoetics.com/content/audio/india/babla.mp3]
With assistance from older brother Vijay Kalyanji, Babla embarks on an electro space travel mission for his second album, producing India’s closest thing to dark Italo disco in the process. The B-side’s opener, “Kabhi Hota Nahin,” starts with a twice as sinister Super Mario Bros. level two rip-off, while the horns on “Aye Mere Dil Kahin Aur Chal” cry bloody murder, suiting the song for any dramatic b-boy battle or promo video. Babla’s use of electronic soundscapes are thematic on this piece, but never become old. As he puts it himself—”old film hits with a new disco touch,” demonstrating that classic Indian melody “may be reoriented with a disco touch and still be as appealing as ever.” No need to convince me.
Kalyanji Anandji Haadsaa (Music India, 1982)”YOGA”
[audio:http://waxpoetics.com/content/audio/india/anandji.mp3]
This one can’t be mentioned without some attention to the song “YOGA,” Bollywood’s response to the Villages Peolple’s “YMCA.” In ’82, the Village People were played, but brothers Kalyanji Anandji were in full disco stride. For this LP they use some clever arrangements, employing classical Indian call-and-response harmonies between the sitar and flute. The remainder of the album is a healthy balance of more-traditional motion picture love songs, disco numbers with wild sound effects, and a couple of spontaneous breaks. Check “Disco Camatta,” complied on Sitar Beat EP Vol. 5 and the lesser-played “Bombay Sheher Haadason Ka Sheher Hai,” both minor masterpieces in their own right.
R. D. Burman Rocky (Nalanda/Polydor, 1980) “Aa Dekhen Jara”
[audio:http://waxpoetics.com/content/audio/india/rocky.mp3]
Though I picked up a number of outstanding Burman-produced scores, to me the song “Aa Dekhen Jara” on this one most epitomizes b-boy breaks gone Bollywood. All the right elements are there; punchy drums, bouncing bass lines, dramatic breakdowns, and an abundance of screeching horns, making it choice to compliment any breakin’ cipher. On top of this, the legendary composer flavors the track with quirky Moog moments and a variety of traditional Indian instruments, clearly distinguishing it from your average Ultimate Breaks and Beats song. The popular title is also included in Sitar Beat Vol. 2 alongside a bonus beats instrumental version featuring only drums and bass.