That lilt and flow. It’s largely missing these days. Though you can see some of it in certain songs, like in Coke Studio, but no more in our films. How many good numbers can you point out in our new cinema? Hardly any. What was their jadoo? Was it because those were the days of melody all over the subcontinent? Every song was an ear candy. No, not only that. Today, there’s much more experimentation in our music, like fusion, which produces quite a few innovative moods. For instance, Nusrat Fateh’s hits had a lot of variety. That kind of new composition had stopped coming in the 80s. Similarly, see how Sahir Ali Bagga innovates ke aap jhoom jatey hain, but, such class is few and far between. I still remember how we, as kids could tell by the intro tune of any song, which one it is. For instance, the intro of Noor Jehan’s Tum Zindagi Ko Gham Ka Fasana Bana Gaye, which was made into a film song in India phrased Aik Do Teen in Tezaab. In this way, the intro of Rushdi’s Kash Koi Mujh Ko Samjhata in Behan Bhai. In Aag, there is no intro to Mehdi Hasan’s Yun Zindagi Ki Raah Mein.

Actually, it’s the balance of music and poetry that makes you mad for those songs. Even after over 60 years, people still love Rafi, Asha Bhosle, Omkar Prasad Nayyar and Shamshad Begum’s Leke Pehla Pehla Pyar from CID. Isee tarah, Rushdi and Najma Niazi’s Mujhe Tum Se Mohabbat Hai, from Hira Aur Patthar is still remembered.