Our Polyester 80’s | A trip through Malayalam cinema’s memorable shiny disco ball halls.

Rahman in Thammil Tammil (1985) If you were around in the 80’s, actively following the trends and exploring the new evolving genres in Malayalam film music, it would have been really, really difficult to have missed the shiny disco balls in our films, specially involving Jayan, Rahman and Ravindran ( the actor ).If these three sound alien to you, and you are pushing 40, request you to please crawl out of that rock you have been holed up in. As with all other new (!) genres that somehow desperately tried to cash in on the popularity of its popularity worldwide, there were a few memorable compositions that came out of this Frankenstein experiment of Disco’s syncopated beats to our classically-rooted sangathis in that tightly packed decade. But most of them were outright ghastly, at least for me. And I believe it all started with the inexplicable popularity of the disco-beat that peaked with Tony Manero dancing to the  Bee Gees’ hip-busters. John Travolta could groove, by God, he could. And bringing up the rear were those BoneyM and Abba cassette tapes that accompanied almost every Gulf expatriate’s journey back home to Kerala, accompanying his beloved 2-in-1’s !

You should be dancing | OST from Saturday Night Fever (1977)

The problem was, there were hardly anyone in this sliver of peninsular India who could dance, atleast onscreen. In an age ruled by LPs, Audio Cassette Tapes and VHS tapes, it still took a bit for the “trend” to seep in, but luckily, someone closer home was doing it for us desis. Nazia Hassan and her album Disco Deewane, produced by Biddu, was nothing like anyone of us ever heard in our lives. It was impossible to ask the lower part of your hips and the pair of legs joined to it to stay still once the music started. It was infectious.

Nazia and Zoheb with a rare live performance of Disco Deewane.

And now that the general population were gently eased in to this genre, and seemed almost taken by it, our movie mandarins never lost a minute to  give our peaceful pallavis and progressions, a thumping bass beat. They had the talent, they could possibly churn out compositions based on the new beat, that was all fine, but there arose the main problem –  it was meant for dancing ! Actresses were a natural when it came to boogie, but we never had a  male actor who could dance, and even if there was some one around who could shake a leg good-naturedly, it was Jayan. And to him went the early compositions, till a lanky laddie became the darling of every girl fighting peer-pressure, teenage angst, zits and ill-fitting bellbottoms  – Rahman who debuted in Koodevide  (1983). Till then, we had Jayan.

So what was it that mesmerised the average Malayali’s lackadaisical pair of two left-feet? From what I have learned through my weary ears  is this – the disco rhythm, generously borrowing from Funk, Soul and drivin’ R &B, with soaring synthesiser notes, the Wah-Wah guitar pedals,  laid down all the four notes with a thumping bass note, known commonly as the the “Four-On-the-Floor”. The standard Rock rhythm for a basic  bar – the 4/4  beat ( broadly) goes Boom-Tak- Boom-Tak  with the 2nd and 4th note on the snare drum, but with Disco, you dedicated your Bass note to the 2nd and 4th too, so it went Boom-Boom-Boom-Boom, with the snare already on its pace – quite groovy when you actually experience it. Not surprisingly, all the current electronic dance music follow this pattern. The bottom line is simple – you had to dance. And it was really flexible and organic. You could still add a bit of everything else, and it would come out sounding better. So, in a decade that had us rolling our eyes in weariness by the end of it, here are some of the memorable compositions, for me, from Malayalam films, that when fell on the wayside when it came to actual dancing onscreen, did a fabulous job on the actual track and vice-versa.

Inee theeram thedum from Prabhu (1979 )

This is the the earliest one that stays in my memory, with a distinct disco flavor, featuring Seema and Jayan. Composed by Shankar – Jaikishen Ganesh ( thanks Sajith ), it has a surprisingly strong melodic structure that kinds of work in the composition’s favour as a groovy number. Maybe it took SJ to really push our indigenous bunch in that direction of churning out more in the reigning popular taste.I guess this was one of the few movies where we got to see Seema’s solo act on the dance floor, and Jayan, with all his good-naturedness can’t keep time to save his life. Seema, the ex-choreographer looks quite at ease moving to the music and performing as a club dancer should, but check out from 2 : 56 as Jayan gets on the floor. Jayan looks like a hapless, struggling  pet-owner trying to rein in his pet straining against the leash ! Dancing seem to be the farthest in his mind as he good naturedly two-steps around Seema :). See, THIS  is what I was speaking about. Masochism looked for a  place to crawl up and die anytime the club music came on in Malayalam movies ( not quite often now, from what I see.)

Ullasapoothirikal from Meen (1980).

It is the guitar intro that literally freezes you in your tracks. I personally consider this the best guitar intro/riff ever in Malayalam film music.Though Meen (1980) was quintessential Jayan, this club classic owes its charm, in part to Jose and Ambika too, who was the best that could ever be found to convincingly enact and portray the entire vibe onscreen. The original plan was to shoot the song at Yercaud as a usual run-around-trees-and-get-soaked-in-the-rain routine, but thankfully they had to drop the plan in the last minute and move it indoors, according to Jayanan Vincent, the movie’s DOC. How bland it would have been, if it had been the former, I wonder.What also amazes me more than the composition, is the amazing dexterity of G Devarajan in his compositions. Wah-wahing guitars and bossa nova infusion is the something that you would almost never expect from the Maestro, but when he does it, he does it brilliantly. Even though the charanams struggle hard to keep up with the tight rhythm ( I always imagine them packed in a tin ), the way it comes  out sounds as if KJ Yesudas does more scat-singing than normal playback. It almost seems like the charanam is in a tearing hurry to get somewhere 🙂 Also have you ever noticed that Jose’s guitar is NOT connected to any power source and he, like almost all our male actors, CANNOT play a single chord from the song, onscreen ?

Aarambham madhu paathrangil from Aarambham (1980)

This is here for a reason and it has more to do with the choreography and picturisation than the actual composition. This has been the best among the lot of the frantic and senseless gyrations that the choreographers put poor Ravindran through, in songs cloned a hundred times over. The guy was given a head band, spandex leggings and asked to go there and look “dancey” is what I feel everytime I see him in one of these.This song is also an prelude to another memoir that I felt I should put down on our fabulous Cadbury Songs ( the onscreen ‘Cabaret’ ), also called Caavarey Saangs by unaesthetic and tasteless peoples 🙂 KJ Joy‘s composition almost till the half of it proceeds at a very laid-back part-waltzy, part-bossa-nova pace till it reaches 2 :22 when all hell breaks loose as the synthesisers open up along with the horns. More, coming soon !

Welcome Ladies ( ! ) from Kolilakkam (1981)

I am not quite sure the song title is appropriate as all the female vocal track seem to be doing through out the track is to do a hideous impersonation of a telephone sex-chat caller. At best, cringeworthy ! To me, it just resembles one of those instrumental dance interludes that we were familiar from countless other movies, but done with more juice.There is always a mismatch when it comes to the actual rhythm of the song and the dance -forms/styles employed to convey the vibe. I mean, ball-room waltz in a club where the singer croons in a tone that would have your Bible-lovin’ grandma scrub your mouth, ears and eyes with soap if she ever came to know you were in it, watching her ? The rhythm goes purely break-beat at places, and  there is one more delightful aspect to it as Jayan actually gets on down and dirty, at times even taking out his “You should be dancing” moves – check out 40 : 42 !

Theyyattam Dhamanikalil from Thrishna (1981).

Aw, c’mon, don’t pretend as if you don’t like this song, of course you do 🙂 Though I do wonder where Raj Kumar is, these days. This was one of the signature compositions of Shyam, with its heavy laden rhythm layers and a pronounced guitar leading the proceedings. But if you notice, the bass notes are pounding away in the background, regardless of whether its a set of rain-soaked dancers onscreen 🙂 Also, mercifully, Shyam doesn’t restrict the booming rhythm to just the pallavi and takes the ‘ expected refuge’ with Indian percussion and violin overlays in the charanams, he stands his ground and let it pound away for the entire song. Then again, he wouldn’t need to, the man was a master of the West’s kind of music too.

Swargavaathil from Iniyenkilum (1983)

One of those IV Sasi assembly line products, that T Damodaran seem to recycle with happy abandon, since  Ee Naadu (1982) demolished the box-office, and this was no better. The setting here is the young bunch in Hong Kong for performing  a music concert and they go for a night-out in the city. Its Shyam again, and the opening guitar with wah-wahs are at work on overdrive through the composition.There is also a Japanese song sampler welded in between to enhance the ‘flavor’ maybe, but it doesn’t seem to bring in any, according to me.But the entire composition is peppy and then there is Ravindran and Mohanlal two-stepping in a rare occurance 🙂 What more do I need ?

Oru madhurakinavin from Kanamarayathu ( 1984 )

Probably our most recalled disco standard in Malayalam filmsongs. 1984 was the blessed year of disco as far as Malayalm films were concerned. It was the year that gave our twiddling producers their redemption – at last, here was a lad who could really dance, though he went a wee bit overboard at times. From Kaaanamarayathu, in 1984, it was the Era of the Disco Boy, till it petered out by the end of the decade. One had a morbid fear of losing one’s moorings , getting overdosed on the Rahman-Rohini-disco movies that seem to pop up every month.But Shyam had nailed it with Madhurakkinaavin. It was the bassline that ruled supreme along with those drum-solos, which I think were a first for Malayalam playback films, looking at the duration of those interludes. I consider this, along with Konchum nin Imbam from Thaalavattam (1986) and Puzhayorathil from Adharvam (1989) as the percussive trinity in Malayalam film playback, but then again, its me. But there is always a fundamental aspect that never loses its prominence, be it any composition of Shyam – a strong melodic structure. And it must be the very reason that the song stays afresh even today, and so “in” that they even made a remixed version out of it in 2011, but I’ll pass. I still love the original. Someday when I meet him personally, would really love to ask Shyam  if he could recall who pounded the skins on that recording session for this song. Wouldn’t be great to go over and meet him, then and personally thank him for that awesome solos.

The Disco Interlude from Kaliyil Alpam Kaaryam (1984)

Rahman again, but remember that bit about going overboard a teeny, weeny bit ?  This is one of those. There is also the ghost of “You should be dancing ” in the group-moves on the floor if you notice . Music is by Ravindran who also does the lead solo male vocal in the track. The movie also has something which I found very interesting, a live concert recording of  Osibisa ploughing through their Keep on Trying track, which the young Rahman is shown attending. And that too in a Sathyan Anthikkad movie ! Were there any movies where they showed live concert footage of  Western artists ? Do write in.

Checkout the Boogie.

Nishayude chirakil from Thammil Thammil (1985)

Rahman again, and this time, his producers have left no gilt costume shops unexplored and there is an added bonus ! We do have Ravindran joining in with the weirdest set of steps ever to be found on a makeshift dancefloor. Oh, the abuse they put him through 🙂 Somewhere in the middle, even good friend Rahman join in, and you start testing your sanity. And the costumes, God, the costumes. I think it was a continuation of the “I am a Disco Dancer” and “Star” legacies from up North. I have always thought Rahman looked like our version of Kumar Gaurav in Star (1982)  🙂

Our Disco Starts at 4 : 25.

Disco from Ee thanalil Ithiri Neram (1985)

As if to dispel  the faintest doubt from our minds, they go ahead and compose a song which just spells it outright, even though I usually look for a place to hide, listening to the Gandharvan spelling out D-I-S-C-O. It was also our own tribue to Ottawan’s monster hit D.I.S.C.O way back in 1979. If you remember, even Bappi Lahiri borrowed it for his Disco Dancer in  1982. There was no reason why we shouldn’t do it. I really hope the video of this surfaces up sometime 🙂 Not that it was much different from Rahman’s other disco adventures, but just for the record.  This was Shyam again who laid out the track, and am sure he would have chuckled trying to find out the romantic connotations that linked “സ്വര്‍ണത്താമര കിളിയെ” and “തങ്കതാഴികകുടമേ ” 😀

Oru Malarthoppile from Love story ( 1986 ).

Two reasons why this still stays memorable. The first was, obviously, the composition, again by Shyam. The wah-wah guitars and the synthesiser bass lines flitted on and off the main rhythm structure, but the final effect was pure groove. The second reason is the actor in that movie Shafiq. Another case of starburst, I suppose. Would reall love to know where he is now. Was he sidelined as he was found to be a threat to other young ‘heartthrobs of those times, wish I knew. The song is packed with energy and he brings it out I would say, in a way more natural and effective than Rahman.

Konchum nin imbabm from Thaalavattam (1986).

For the life of me, I cannot recall watching this song oncreen in Thalavattam (1986), but still have the looped audio file on infinite play in my Notebook. I have NEVER come across a song that makes you say “Hell, Yeah !” yet retains the essential flavor of Malayalam ever. This, for me, is THE ONE. Right from the liquid drum-solo intro and the brass section that screamingly joins, this is one song that lifts my spirit, every time I feel worn out. Raghu Kumar will have my lifelong respect for composing a track that you can proudly play out to anyone regardless of language, and see them go tapping their feet by the 4th bar. This is my all time favorite. It is, for me, the perfect driving song in Malayalam 🙂 The simple harmony soaring vocals, and the  guitar that joins the sonic conversation at 2 : 45 – sheer bliss. But its the driving drums that makes it memorable. I can go and on.

Please do write in with your favorites.

30 thoughts on “Our Polyester 80’s | A trip through Malayalam cinema’s memorable shiny disco ball halls.

  1. Nice complication, worth going through each, Konchum nin imbabm from Thaalavattam – reminds me of Rocky (Hindi) songs, nice tempo even quality is high bit rate.
    Looking for few more old malayalam disco songs, must Rahman in movie I guess Mandharam poothe …., oru Diamond Rani

  2. Absolutely awesome song Konjum nin imbam..always wondered who the drummer would be..big hats off to that maestro!!!

  3. Never heard of Konjum Nin Imbam – just raised my level of appreciation for Yesudas, couldn’t figure it was him, yet the voice as sweet as ever..However the song has a lot of overlap (I feel) with Thumba Poo Kaatil again from Reghu Kumar for Ninishtam Ennishtam..Who would have guessed Pandalam Sudhakaran is actually a poet & not just another politician ..Another excellent song that is of the psychedelic genre in malayalam is Aanantham Poovidum from the movie Charithram – The movie is an underrated (un-discussed) classic, showing (again) the excellent chemistry between Mammootty & Rahman on screen. The only thing people mostly remember about the movie is Jagathy saying ..”I bet, I bet a Thousand Times..”

  4. I’m a late entry into this disscussion. I was just googlin’ in search of Shafique, when I not only got his picture but the name of the movie (Love story) and the video of the song. That song was a rage during my school days, which was a relief from the letharigic classes. I was really wondering where he could be now ? Although the movie was average, his dancing was exceptional. Probably the story of a great performer being in the wrong place at the wrong time. He would certainly have given our new gen stars a run for their money if he performed now. Thanks a million CM for the trip down memory lane and the effort in compiling this documentary.

    1. Hi John,
      The whole point is to initiate discussions based on moments in Malayalam cinema which we seem to have forgotten or actively seeking more information. Am sure there will be more inputs on Shafique’s current whereabouts and other details through time. Thank you for writing in. Regards, cinematters.

      1. shafique got into tamil movies with a new name, Varun Raj and with moustache but his bad luck continued and faded away from the limelight by 1995. Wish we could see how he looks now.

          1. Thank you for the research and putting in the video. I also did some googlin’ and found out that he did 7 Malayalam, 6 Tamil and one Hindi movie. He tried his luck with the screen name Sanjay first, then Varun Raj (Reference – Wikipedia). His last movie was Athipathi (1997). I do wish we could get in touch with Shafique and tell him that even in 2014 we are discussing about you and your ” Love story” movie !

        1. Actor Shafiq is still very much an active guy in the socialite party circles in Calicut city..After a string of continous flops and being sidelined into the adult movies, he packed his movie dreams & settled back in his hometown Calicut..Later he took over into his family business of Surgical Equipments trading..For more information about his latest whereabouts & contacts info, someone around Calicut could please check in his shop Calicut Surgicals, behind Paragon Restaurant, below C.H.Flyover at Calicut city.

  5. A Trip down memory lane, no doubt.Thanks a ton.One more aspect of those days was the rush of movie ads in the news papers with their unique fonts.one which still lingers in my memory is that of THAMIL THAMIL ,must have been quite an effort in those pre photoshop era.

    1. Hi Sunil,
      Glad it took you back. The newspapers of those days were a delight with their print ads of movies with their own, mostly hand printed fonts. Here is a Newspaper Ad of Thammil Thammil, from Actor Rahman’s official website. https://oldmalayalamcinema.files.wordpress.com/2012/11/thammil-thammil.jpg The artwork was by Kitho. While we are at the subject, I had in fact started a tribute blog that celebrates the fonts across the years, which you can access here. Thanks again, cinematters

  6. Last month, me and my malayalee boss were on a drive to Pune for an official meeting.. and this song – Theyyattam Dhamanikalil – came up on the playlist.. and he was like “this song was the craze during my college days and i guess u werent even born then”.. i was like “i have heard it before but never managed to enjoy it till today”.. And in the vagaries of daily life I forgot the song though i tried to recollect it many times I could not.. Thanks for the link Cinematters

    1. Hi Hrishi,
      Some time back, not so far ago, there were three of us, sitting at different corners of the planet, trying to rack our brains in tracking down this osng, which just seemed to dance tantalisingly out of reach. We knew it was Seema dancing, and we knew Jayan was there, but the starting lines eluded us though we had the tune stuck in our heads 🙂 And suddenly, one day, there it was, playing in on one of the cable channels and the joy was indescribable :D. Guess most go through this atleast once. Thanks, cinematters

  7. Dear CM
    Thanks for the write up on the journey through Malayalam cinema’s disco songs. As you rightly pointed out,the songs in the kind of rock n roll and jerk dancing was there in the Black and white era also. Vidyarthini Njaan (Kattukurangu), Mizhiyo Mazhavil Kodiyo (Sakthi), Kaliyum Chiriyum Maari (Vilakku Vaangiya Veena) and the long list of cabaret songs were there till the early 70.
    It was really the 70s that brought a new wave in music coupled with the advancement of modern technology. Aniruddha Bhattacharjee & Balaji Vittal in the Book – R D Burman the man the Music ((Harper Collins 2011) – lucidly explained this phenomena. In the hindi film music,the Naushad, O P Nayyar, Chitra Gupta, Ravi , Roshan influence started fading and the new R D Burman, Laxmikanth Pyarelal, Kayanji Anandji age dawned. Let me take the words of Bhattacharjee & Vittal – Piya To Ab To Aaja from the film Caravan was like a scream against traditionalism -. The 70s of Hindi film saw the introduction of horns, Electric guitars, Key Boards, bass guitars, wa wa guitars and other instruments
    As usual, the changes that were happening at the national level trickled down to malayalam only in a slow pace. Songs like Kaamuki Maare Kanyakamare (Love Letter – Yesudas composed by K J Joy), Swarga Vaatil Turannu (Kaumarapraayam – P Jayachandran composed by Shyam), chettikulangara bharani naalil.(Sindhu – K J Yesudas composed by M K Arjunan) are a few songs of the last Black and white films with the characteristics of the new wave of composition that I can recollect.
    At that time, those who really love listening music solely depended upon the AIR. Records and spool tapes were available but it was fairly costly. It was in this situation that the migration of malayalees to Gulf countries increased in a more than proportionate momentum. Standard of living of the ordinary household improved. National Panasonic, Sanyo and sony two in one systems started appeared in the drawing rooms. Along with these tape recorders, the pre recorded cassettes of BoneyM, ABBA, Ossibisa, Carpenters, Brotherhood of Man etc also become favorites of the youngsters. Cinegoers of Tiruvananthapuram will definitely agree with me on the effect of BoneyM album Love for Sale that was played at Sri Visakh, Thiruvananthapuram before they start the film. It was a new experience that transcended the common man’s music appreciation levels to an elevated stage. Malayalam cinema’s disco songs appeared at this stage.
    The music for the film Prabhu (Innee Theeram Thedum) was composed by Sankar Ganesh and not Sanker Jaikishan. A lot many songs are there in this disco genre. But let me add just three songs that I find worth to be included here
    1. Devi Nin Roopam (Film Oru Thira Pinneyum Thira – K J Yesudas; Music M G Radhakrishnan). This song appears in the film in two versions. Listen to the fast version and you will wonder how M G Radhakrishnan managed to compose this song with such a different BGM. Mammootty appears in the scene of the song
    2. Swarangalil saghi oru swaramaayi (Film Dheera – K J Yesudas; Music Reghukumar). The BGM is enriched by the lead/wa wa Guitar, horns, and drums and listen how the lead guitar fades out in the BGM part before charanam. I don’t know whether this is a dance scene or not
    3Nava Varsha Puthu Lahari (Ithu Njangalude Kath. a – K J Yesudas; Music Johnson). This is also a group dance. Though the song is not fast, its interesting to note that the BGM is fast and varied

    1. Thank you so much for that exhaustive response Sajith. Always a pleasure to read and learn from your perspectives.I haven’t read R D Burman – the Man, the Music, plainly for the reason that when it comes to books on our leading personalities/idols, we most of the times leave objectivity at home 🙂 as we write about them.The RocknRoll genre in Malayalam films, I would say, mostly belonged to RK Shekhar. That man was a genius when it came to “adapting” rocknroll for our tastes, even if it was those crazy instrumental interludes from those insane CID movies 🙂 Been listening to Devi Nin Roopam with a smile on my face.

      Thanks again, cinematters.

      PS : The Music directors of Prabhu has been corrected. Thanks.

  8. Rajkumar and Ravindran enjoyed a bot of popularity during the 81-85 period-as dancing stars till Rahman took over. Rajkumar who looked and acted like Kamalhassan soon faded away and is one of the rare instance of an actor calling it a day after marriage (to actress Sreepriya). here is what he looks like now. http://www.indusladies.com/forums/movies/163572-actress-sripriya-wedding-picture-2.html.
    Ravindran- became a villain in some movies, but son found offers hard to come. he has launched a project of introducing world classic cinemas to school children. He has lost his hair and I think we saw him last in NOTEBOOK as a doctor. it seems that if the project IDUKKI GOLD materialises it will a comeback for Ravindran.
    Shafeeq acted in a couple of mainstream movies and also in some A rated movies before calling it a day. he had adopted the name Varun Raj for some Tamil movies. But success eluded him- and I wonder what he is doing now

    1. Dear Narayan, for some strange reason, WordPress had this put away in the Spam bin. Thank God I did a cursory check before hitting Delete. Jayanan Vincent informs he is one of the main players in Real Estate in Chennai now, Rajkumar that is.That Shafeeq had taken Varun Raj as his moniker is news to me 🙂 Thanks. cinematters

  9. Cinematters, I had just got out of school when the Rehman craze hit us. And hit us hard! 🙂 And I’m dating myself here. And you have no idea how we blessed the advent of Rehman. (He was the classmate of a friend of mine, by the way, and ruffled a lot of feathers in the dovecote when he landed up at the convent looking for her!) Finally, (finally!) we had a hero who could dance!

    Thanks for those clips of Jayan et al. I giggled my way non-stop through them. With all due respect to the man (and I loved him!) he couldn’t dance to save his life.
    But Ravindran?! Gah! The man looked like a cross between a lizard and something unmentionable that crawled out from under a stone! (Sorry, but there was something smarmy about the guy!)

    1. Buhahahahaha, Anu (THousand pardons, could’nt help it ) :). I know of a very dear friend who had a huge scrapbook full of Rahman’s paper cuttings from all the local dailies conveniently “borrowed” from the school library.The man raises his eyebrows now, being the Naval Officer that he is now.:D. Yes, He.So much angst against Ravindran, Anu? Think the guy was given a raw deal.Anyways, glad it left you giggling.regards, cinematters.

      PS. You know what comes next, don’t you? A Disconama on apna Bollywood along with Chai, perhaps?

      1. Rahman’s real name is Rashin. Or at least that was the name he had when he was in school in Abu Dhabi, Rashin Rahman. When he crossed borders to act in Tamil, he called himself Raghu.

        As for Ravindran, meh. Raw deal or no raw deal, I stand by my opinion that he had crawled out from under a particularly slimy stone. In any case, he mimicked a stone too – as one of my cousins said about Sarath Babu: “If you put a bullet through his head, he would still have the same expression” – I think that is exactly how Ravindran was. Stone. Wood. Heck, sawdust. 🙂

        Disconama on CoC? Perish the thought! You want me to inflict Bappida and the worst of RDB on my readers? *grin*

  10. I guess I must have missed out on this very significant phase of my growing years 😛

    I must say there IS a distinct resemblence between Kumar Gaurav and our Rahman. I quite like Rahman’s dancing. 🙂

    Thank you, Cinematters, for this variety D . I . S . C . O Programme. Enjoyed it.

    Didn’t LR Eeswari sing a few numbers like this all those years ago?

    1. Hi Susie,
      I am still not convinced that you “missed out” on this. Probably must have been right in the middle of it that you hardly noticed 😛 LR Eshwari’s numbers were representative of another genre, which, exactly like DISCO, was borne out the business acumen of exploiting a worldwide trend – RocknRoll, aka the sound of the 60’s. And the chief architect of it was RK Sekhar. That man was a genius. More on that coming soon. Thanks, cinematters

  11. Thank you for writing this! A lovely, lovely read! I am a 40 year old who grew up watching Jayan, Ravindran, Rehman et al. This post took me back to those years of 2 in 1s and air cooled theatres. Of standing in line for the first day – first show of Kaanamarayathu, being completely blown away by this tall kid who danced up a storm. Of watching Swapna in Thrushna, Ambika in Meen, Of bell-bottomed pants and shiny, shiny lights.

    Each selection is a gem. I can only begin to imagine the time you’ve invested in unearthing these clips! Thank you, once again!

    1. Hi Madhav,
      Blame it on catching a re-run of Kanamarayathu on local cable, and swearing at the remix of Disco Deewane in the latest gag-fest by Karan Johar. That led to going back to the original Nazia Hassan collection of LPs and tracks, and then by natural progression, this. I looked around and found there wasn’t any mention of this very significant phase of our growing years 😛 and thought to pitch in. Glad it took you back. Thanks again, cinematters.

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