Mine were largely things I’d heard on TV, or a few songs I’d found on those MP3 CDs you could buy in Lahore’s pirated CD stores that had a hundred songs on them. When we got a CD changer in our car my sister and I made endless mixes.
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There were a few cassettes in our house we would play all the time.
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Bits and pieces of songs that connect me to home in some way. Of course there are the obvious things: the soft melodies, the classic suave image, but underneath it is all a framework of memories. And for many years, to this day really, the Vital Signs are my frame of reference for music. As a toddler I am told I watched videos of the Vital Signs on VHS. I guess good things happen unexpectedly, just like this,” he muses.I grew up in a Vital Signs household. Then, the film released, the song and Nazia were a sensation. We went to the studio for the first time, Nazia recorded “Aap Jaisa Koi”, it was done in an hour, we returned home and forgot all about it. “We had exams and they were reluctant but he was able to persuade them. And suddenly, the actor-filmmaker from India was saying this was the voice he was looking for and asking their parents if Nazia could sing for his film. Zoheb picked it up and started strumming while Nazia sang. “Who does this guitar belong to?” he asked. “We were young kids from Wimbledon, Nazia, the star, and I her sidekick, yet India showered so much love and appreciation on us, shukriya,” says an emotional Zoheb who still can’t believe how stardom dawned on them.įeroz Khan was filming Qurbani when he bumped into them in London. The brother-sister duo recorded one last song, “Aap Ka Shukriya” for the Shatrughan Sinha, Poonam Dhillon-starrer Saaya with Bappida before returning home. “Such a young girl and so famous,” he marveled and was very encouraging, also collaborating with her on “Rock ‘n’ Roll.” Bappida adds that his Kishore mama who usually sang with Lata Mangeshkar and Asha Bhosle at the time, was astounded when introduced to Nazia. “Kishore Kumar had such an amazing voice, so much strength, clarity and control,” he says. Zoheb reassured her that she would be fine and accompanied her to the studio for the recording of “No Entry” for Main Balwaan.
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Soon after, his sister nervously told him that that she would be singing with the legendary Kishore Kumar and was clearly rattled.
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“We had never seen anything like this before but everyone was so well-coordinated and I was thrilled to be told I was giving the playback for Govinda, the hottest actor of the time,” he reminisces. Zoheb informs that living in UK, they were used to working in western studios with multitracking systems and were astounded when told the song would be recorded in one go with a live orchestra. A revamped version, titled ‘The Disco Song’, was used in the 2012 campus romance, Student of the Year. While brainstorming, the words ‘disco deewane’ came up and Biddu asked, ‘What’s deewane?’ When told it translated as ‘crazy’ he said, ‘Let’s go with it!’ I suggested the ‘ah ha’ which became an integral part of the song,” he recounts. “We had recorded eight songs but HMV wanted one more, a title track with the word ‘disco’ in it. The trio’s 1981 Disco Deewane was the best-selling Asian pop album, charting in 14 countries worldwide. We were just being ourselves, growing up in London, the East-West fusion happened naturally and caught the attention of (composer) Biddu,” Zoheb reminisces from London. “We were very young then, barely into our teens, and had no idea what music we were creating. “Jab Bhi Miltay Hain Hum Aur Tum, Aankhon Aankhon Main Hotay Hain Gum, Dil Bolay Boom Boom, Haan, Boom Boom” echoes in the collective consciousness of those who grew up in the ’80s when the brothersister duo of Nazia and Zoheb made us disco deewane. She would have turned 54 on April 3 had death not snatched her away 19 years ago, but for many Nazia Hassan is still a star.