M.P. Dance Hindi dance music encompasses a wide range of songs predominantly featured in the
Bollywood film industry with a growing worldwide attraction. The music became popular among
overseas Indians in countries such as South Africa, the United Kingdom and the United States and eventually developed a global fan base.
Disco In the
Indian subcontinent of South Asia,
disco peaked in popularity in the early 1980s, when a South Asian disco scene arose, popularised by
filmi Bollywood music, at a time when disco's popularity had declined in North America. The South Asian disco scene was sparked by the success of
Pakistani pop singer
Nazia Hassan, working with Indian producer
Biddu, with the hit
Bollywood song "
Aap Jaisa Koi" in 1980. Biddu himself previously had success in the Western world, where he was considered a pioneer, as one of the first successful disco producers in the early 1970s, with hits such as the hugely popular "
Kung Fu Fighting" (1974), before the genre's Western decline at the end of the 1970s led to him shifting his focus to Asia. The success of "Aap Jaisa Koi" in 1980 was followed by Nazia Hassan's
Disco Deewane, a 1981 album produced by Biddu, becoming Asia's best-selling pop album at the time. In parallel to the
Euro disco scene at the time, the continued relevance of disco in South Asia and the increasing reliance on synthesizers led to experiments in
electronic disco, often combined with elements of
Indian music. "Soul Coaxing" (1977),
Eastern Man and
Futuristic Journey (recorded from 1976 to 1977), and "Phantasm" (1979), before using synthesizers for his later work with Nazia Hassan, including "Aap Jaisa Koi" (1980),
Disco Deewane (1981) and "
Boom Boom" (1982). and
Bappi Lahari, on songs such as "Ramba Ho" (
Armaan, 1981). The first track "
Raga Bhairavi" also had a synthesised voice that says "
Om Namah Shivaya" through a
vocoder. Along with experiments in electronic disco, another experimental trend in Indian disco music of the early 1980s was the fusion of disco and
psychedelic music. Due to 1960s
psychedelic rock, popularised by
the Beatles'
raga rock, borrowing heavily from Indian music, it began exerting a reverse influence and had blended with
Bollywood music by the early 1970s. This led to Bollywood producers exploring a middle-ground between disco and psychedelia in the early 1980s. Producers who experimented with disco-psychedelic fusion included
Laxmikant–Pyarelal, on songs such as "Om Shanti Om" (
Karz, 1980), and
R. D. Burman, on songs such as "Pyaar Karne Waale" (
Shaan, 1980), Music directors like
Madan Mohan composed notable film-
ghazals extensively for
Muslim socials in the 1960s and the 1970s. The filmi-ghazal style experienced a revival in the early 1990s, sparked by the success of
Nadeem–Shravan's
Aashiqui (1990). It had a big impact on Bollywood music at the time, ushering in ghazal-type romantic music that dominated the early 1990s, with soundtracks such as
Dil,
Saajan,
Phool Aur Kaante and
Deewana. A popular ghazal song from
Aashiqui was "
Dheere Dheere", a
cover version of which was later recorded by
Yo Yo Honey Singh and released by
T-Series in 2015.
Qawwali It represents a distinct subgenre of
film music, although it is distinct from traditional
qawwali, which is devotional
Sufi music. One example of filmi qawwali is the song "
Pardah Hai Pardah" sung by
Mohammed Rafi, and composed by
Laxmikant–Pyarelal, for the Indian film
Amar Akbar Anthony (1977). Within the subgenre of filmi qawwali, there exists a form of qawwali that is infused with modern and
Western instruments, usually with
techno beats, called
techno-qawwali. An example of techno-qawwali is "
Kajra Re", a filmi song composed by
Shankar–Ehsaan–Loy. A newer variation of the techno-qawwali based on the more dance oriented tracks is known as the "club qawwali". More tracks of this nature are being recorded and released.
Nusrat Fateh Ali Khan and
A. R. Rahman have composed filmi qawwalis in the style of traditional qawwali. Examples include "Tere Bin Nahin Jeena" (
Kachche Dhaage), "Arziyan" (
Delhi 6), "Khwaja Mere Khwaja" (
Jodhaa Akbar), "Bharde Do Jholi Meri" (
Bajrangi Bhaijaan) and "Kun Faya Kun" (
Rockstar).
Rock Indian musicians began fusing rock with traditional Indian music from the mid-1960s onwards in
filmi songs produced for popular Bollywood films. Some of the more well known early rock songs (including styles such as
funk rock,
pop rock,
psychedelic rock,
raga rock, and
soft rock) from Bollywood films include
Kishore Kumar's "O Saathi Re" in
Muqaddar Ka Sikandar (1978),
Mohammed Rafi's "
Jaan Pehechan Ho" in
Gumnaam (1965), and
Asha Bhosle songs such as "
Dum Maro Dum" in
Hare Rama Hare Krishna (1971), "Ae Naujawan Hai Sab" in
Apradh (1972), and "Yeh Mera Dil Pyar Ka Diwana" in
Don (1978). == Unauthorised contrafacta ==