Best Indian Music of All Time

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We are here to discuss about some of the best Indian Music of all time. As everyone say old is gold.

Let's dive in

Shankar-Ehsaan-Loy

Notable Soundtracks: Dil Chahta Hai (2001), Kal Ho Naa Ho (2003), Lakshya (2004), Taare Zameen Par (2007), Rock On! (2008), Zindagi Naa Milegi Dobara (2011)

The SEL project is a perfectly mixed cocktail in various ways. They blend their Carnatic and Hindustani vocal traditions (Shankar), Western rock (Ehsaan) as well as a knowledge of fusion, which includes the ability to master an electronic synthesizer (Loy) to impart the Devi but global feel in their songs. They’ve composed music for more than 50 films in five languages: Hindi, English, Marathi, Tamil, and Telugu. Oscar-winning composer Gulzar describes their work as being a smart blend of class and popularity. The group is credited with revitalizing the interest of the Indian generation of millennials in classical music, and their modern mix of sounds”Amar Akbar Anthony” of Indian music is certainly the most enthralling combination of the two.

Vijaya Bhaskar

Notable Soundtracks: Santha Thukaram (1963), Belli Moda (1967), Gejje Pooje (1969), Sharapanjara (1971), Naagarahaavu (1973), Malaya Marutha (1986)

From multi-faceted, multi-lingual music director to the next. Alongside his significant contributions to Kannada musical composition, Vijaya Bhaskar worked in Tamil, Telugu, Malayalam, Marathi, Tulu, and Konkani films in various languages. He was once an assistant to musicians such as Naushad or Madan Mohan He was discovered by the renowned Kannada director BRK who offered the musician a break from Kannada cinema. Music scoring for over 600 film features, he’s well-known for his introduction of “theme music” in Kannada cinema. He also has the distinction of inducing producers to select the most famous works by Kannada poets through his music. The game-changer in Sandalwood.

Raichand Boral

Notable Soundtracks: Mohobbat Ke Ansu (1932), Zinda Lash (1933), Dhoop Chhaon (1935)

The seeds of Indian cinema music were planted long before India was granted its sovereignty at the New Theatres, Kolkata, by Raichand Boral and his associate Pankaj Mulick. Following the direction of background music for numerous silent Hindi and Bengali films, He made history by inventing the music of the first talkies and introduced playback singing for the country in the film ‘Dhoop Chahon setting a standard of music direction that was followed over the following two decades. This is why he is referred to as ‘The Father of Indian Cinema Music.’

M.S. Viswanathan

Notable Soundtracks: Aboorva Ragangal (1975), Muthana Muthallavo (1976), Raasathi Kalyanam (1980), Andha 7 naatkal (1981)

In terms of longevity-related, no one in the world can put an equal position to Thirai Isaichakravarthy(Tamil to mean “The Emperor of Cine Music”) M.S. Viswanathan. Composing music for over 1200 films and composing more than 15000 songs, he’s an absolute legend in Tamil music and the history of Tamil music. Also called Mellisai Mannar (Tamil for “The King of Light Music”) He introduced newer tunes, styles, and orchestration into the then largely Carnatic Tamil Film music. He initially worked with T. Ramamoorthy as a part of the duo Viswanathan-Ramamoorthy, but they split after over a hundred films. Viswanathan came from humble starting points to the point that his mother attempted to kill him as a young child. He was a hawker outside of an entertainment venue and began singing at thirteen years old. A tale of rags-to-riches and sheer determination.

 

Naushad

Notable Soundtracks: Rattan (1944), Anmol Ghadi (1946), Baiju Bawra (1952), Mother India (1957), Mughal-E-Azam (1960), Ganga Jamuna (1961), Pakeezah (1971)

While many music directors gained fame in incorporating international tones in Indian film music but Naushad Ali was Naushad Ali who first pioneered the art of a deft adapting classical music to mainstream film. Many of his compositions particularly during the silver jubilee classics such as ‘Baiju Bhwra and the enduring ‘Mughal-E -Azam which was inspired by ragas. He also incorporated famous classical musicians such as Amir Khan and Ghulam Ali Khan to make his music have the perfect shine. In addition, He was among the first to use sound mixing as well as the distinct recording of music and voice tracks of playback singing. He was also the first person to combine the clarinet and flute sitar, as well as mandolin. The accordion was his first introduction to Hindi film music and was among the first musicians to use background music that emphasized the moods of characters and their dialogue through music. He was a pioneer in the field of innovation with regard to Indian music.

A.R. Rahman

Notable Soundtracks: Roja (1992), Bombay (1995), Minsara Kanavu (1997), Dil Se (1997), Taal (1999), Lagaan (2001), Rang De Basanti (2006), Guru (2007), Slumdog Millionaire (2008), Rockstar (2011)

The name people scrolled through this long to look up is the largest popular choice in this list by an overwhelming majority. Allah-Rakha Rahman, also known as “The Mozart of Madras is in a class of his own in the world of contemporary composers. Rahman remains true to his traditional roots while remaining relevant through a contemporary style and the need for vigorous exploration. The perfect blend of Indian classical music and the modern music of the world has seen Rahman win 2 Academy Awards, two Grammy Awards and a BAFTA Award, a Golden Globe and 4 National Film Awards, and fifteen Filmfare Awards. In his remarkable career of two decades in music, he’s had the most success in taking Indian music to the international stage which has made him one of the world’s top-selling recording artists during the process. It is fittingly titled Isai The Musical Storm. (The Musical Storm).

R.D. Burman

Notable Soundtracks: Teesri Manzil (1966), Padosan (1968), Kati Patang (1970), Hare Rama Hare Krishna (1971), Amar Prem (1971), Yaadon Ki Baaraat (1973), Sholay (1975), Hum Kisise Kum Naheen (1977), State Pe Satta (1982), Ijazat (1987), 1942: A Love Story (1994)

The son is the one who wins over the father. Popularly referred to as ‘Pancham Da’ by his fans, R.D. Burman made a number of unforgettable songs over the course of the span of four decades, many of which are still cherished as well as remade, referenced, and modified to the present day and it’s difficult to even decide what to talk about the songs. Burman regularly composed the most beloved Indian soundtracks for blockbusters of the past that were often driven by the success of his films. The trio of Rajesh Khanna-Kishore Kumar-R.D.Burman, who worked in 32 films together, is one of the most timeless actor-singer-director blends.

Alongside in addition to the Western, Oriental, Latin, and Arabic marks on his music, he was also known for his unique methods, like rubbing sandpaper or the rubbing bamboo sticks to make a unique sound. He blew his breath into beer bottles to create the first beats of “Mehbooba, Mehbooba.” In the same way, he employed saucers and cups to create the tinkling sounds for”Chura Liya Hai. “Chura Liya Hai.” In the song “Satte Pe Satta,” Burman made artist Annette Pinto gargle to produce an ambient sound. He used a comb to rub an uneven surface to make an unsettling sound during the tune “Meri Samne Wali Khidki Mein.” The well-known reviewer Douglas Wolk once said that Burman “wrapped sugary string swoops around as many ideas as he could squeeze in at once.” The music director inspired contemporary music directors to this day with his signature exuberant sound, Pancham Da was the most authoritative movie music director India has ever witnessed.

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