Jeetendra’s ‘Himmatwala’, ‘Mawaali’, ‘Maqsad’, ‘Tohfa’ were all propelled by Bappi’s music. The duo became the go-to pair for the Southern productions. Bappi’s breathless foot-tappers and Indeevar ’s nursery-rhyme lyrics (Char baar marenge ek baar ginenge (film: Mawaali) were integral to these mind-numbing entertainers whose plots could match Donald Trump’s statements for incredulousness. This was also the time when Southern production houses made major investment and inroads in Hindi films. If ‘Awara hoon’ was Hindi cinema’s major cultural export in the 1950s, ‘Jimmy Jimmy’ remains a musical ambassador even in Vladimir Putin’s Russia today. From the title track to ‘ Jimmy Jimmy’, every track in Disco Dancer was dancey and delicious. Director B Subhash’s Disco Dancer became his high noon. His dalliance with disco started with ‘Hari Om Hari’ ( Pyara Dushman, inspired by Neil Sedaka/Eruption’s One Way Ticket) and ‘ Rambha ho ho ho’ (Armaan). No Bollywood composer understood, captured and expressed the new musical ecosystem like Bappi. And the electronic synthesizer became the busiest instrument. For the young and the restless, beat acquired more prominence. Songs became something that you both danced and listened to. In the 1980s, a disco track became mandatory in Hindi films after the tsunami-like success of Qurbani’s ‘Aap jaisa koi’ (singer: Nazia Hasan, composer: Biddu).
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