Hindi film music

{{short description|Songs featuring in Hindi films}} {{EngvarB|date=December 2020}} {{Use dmy dates|date=March 2023}} [[File:Bollywood Playback Singers.jpg|thumb|A group of Bollywood at the Indian Singers' Rights Association (ISRA) meet in 2013. Standing (L to R) Kailash Kher, Sonu Nigam, Sowmya Raoh, Javed Ali, Shaan, Udit Narayan, Manhar Udhas, Kunal Ganjawala, Abhijeet Bhattacharya, Hariharan, Mahalaxmi Iyer, Sitting (L to R) Mohammed Aziz, Pankaj Udhas, Alka Yagnik, Sanjay Tandon, Chitra Singh, Suresh Wadkar, Mitali Singh.]] {{Music of India}}

'''Hindi film songs''', more formally known as '''Hindi Geet''' or '''Filmi songs''' and informally known as '''Bollywood music''', are songs featured in Hindi films. Derived from the song-and-dance routines common in Indian films, Bollywood songs, along with dance, are a characteristic motif of Hindi cinema which gives it enduring popular appeal, cultural value and context.<ref name="GopalMoorti2008">{{cite book |last1=Gopal |first1=Sangita |last2=Moorti |first2=Sujata |title=Global Bollywood: travels of Hindi song and dance |url=https://books.google.com/books?id=19JBf6oDOy0C |access-date=22 January 2012 |date=16 June 2008 |publisher=U of Minnesota Press |isbn=978-0-8166-4579-4 |pages=1–6 |archive-date=3 April 2024 |archive-url=https://web.archive.org/web/20240403085932/https://books.google.com/books?id=19JBf6oDOy0C |url-status=live }}</ref> Hindi film songs form a predominant component of Indian pop music, and derive their inspiration from both classical and modern sources.<ref name="GopalMoorti2008" /> Hindi film songs are now firmly embedded in North India's popular culture and routinely encountered in North India in marketplaces, shops, during bus and train journeys and numerous other situations.<ref name="Gokulsing2009">{{cite book |last=Gokulsing |first=K. Moti |title=Popular culture in a globalised India |url=https://books.google.com/books?id=5oT-OIKadyoC&pg=PA130 |access-date=22 January 2012 |date=4 February 2009 |publisher=Taylor & Francis |isbn=978-0-415-47666-9 |page=130 |archive-date=3 April 2024 |archive-url=https://web.archive.org/web/20240403085740/https://books.google.com/books?id=5oT-OIKadyoC&pg=PA130 |url-status=live }}</ref> Though Hindi films routinely contain many songs and some dance routines, they are not musicals in the Western theatrical sense; the music-song-dance aspect is an integral feature of the genre akin to plot, dialogue and other parameters.<ref name="GopalMoorti2008" />{{rp|2}}

The first song recorded in India by Gauhar Jaan in 1902 and the first Bollywood film ''Alam Ara'' (1931) were under Saregama, India's oldest music label currently owned by RP-Sanjiv Goenka Group.<ref>{{Cite web |url=https://www.saregama.com/static/about-us |title=Evergreen Hindi Songs, Ghazals & Devotional music from Saregama |website=Saregama |access-date=26 October 2019 |archive-date=26 October 2019 |archive-url=https://web.archive.org/web/20191026134007/https://www.saregama.com/static/about-us |url-status=live }}</ref> Linguistically, Bollywood songs tend to use vernacular Hindustani, mutually intelligible to self-identified speakers of both Hindi and Urdu, while modern Bollywood songs also increasingly incorporate elements of Hinglish.<ref name="scienceandmediamuseum">{{cite web |title=Decoding the Bollywood poster |url=https://blog.scienceandmediamuseum.org.uk/decoding-the-bollywood-poster/ |website=National Science and Media Museum |date=28 February 2013 |access-date=26 November 2017 |archive-date=16 July 2018 |archive-url=https://web.archive.org/web/20180716170038/https://blog.scienceandmediamuseum.org.uk/decoding-the-bollywood-poster/ |url-status=live }}</ref> Urdu poetry has had a particularly strong impact on Bollywood songs, where the lyrics draw heavily from Urdu poetry and the ghazal tradition.<ref name="Dwyer">{{cite book |last=Dwyer |first=Rachel |author-link=Rachel Dwyer |title=Filming the Gods: Religion and Indian Cinema |date=2006 |publisher=Routledge |isbn=978-1-134-38070-1 |page=106 |url=https://books.google.com/books?id=ZsKR1RKoJKUC&pg=PA106}}</ref> In addition, Punjabi is also occasionally used for Bollywood songs.

The Indian Music Industry is largely dominated by Bollywood soundtracks, which account for nearly 80% of the country's music revenue. The industry was dominated by cassette tapes in the 1980s and 1990s, before transitioning to online streaming in the 2000s (bypassing CD and digital downloads). As of 2014, the largest Indian music record label is T-Series with up to 35% share of the Indian market, followed by Sony Music India (the largest foreign-owned label) with up to 25% share, and then Zee Music (which has a partnership with Sony).<ref>{{cite news |last1=Malvania |first1=Urvi |title=Sony Music eyes numero uno position in India |url=https://www.business-standard.com/article/companies/sony-music-eyes-numero-uno-position-in-india-114042100807_1.html |work=Business Standard |date=21 April 2014 |access-date=9 January 2019 |archive-date=9 January 2019 |archive-url=https://web.archive.org/web/20190109011933/https://www.business-standard.com/article/companies/sony-music-eyes-numero-uno-position-in-india-114042100807_1.html |url-status=live }}</ref> As of 2017, 216{{nbsp}}million Indians use music streaming services such as YouTube, Hungama, Gaana and JioSaavn.<ref>{{cite news |title=Spotify's plan to beat Apple: sign the rest of the world |url=https://www.ft.com/content/2b1b317a-f87b-11e8-8b7c-6fa24bd5409c |archive-url=https://web.archive.org/web/20190109062717/https://www.ft.com/content/2b1b317a-f87b-11e8-8b7c-6fa24bd5409c |archive-date=9 January 2019 |url-access=subscription |url-status=bot: unknown |work=Financial Times |date=3 January 2019 |access-date=9 January 2019 }}</ref> As of 2021, T-Series is the most subscribed YouTube channel with over 170 million subscribers.<ref>{{cite news |last1=Malik |first1=Daniyal |title=Here Are The Channels With Most Number of Subscribers On YouTube |url=https://www.digitalinformationworld.com/2021/03/here-are-channels-with-most-number-of.html |access-date=9 March 2021 |work=Digital Information World |date=3 March 2021 |archive-date=10 March 2021 |archive-url=https://web.archive.org/web/20210310065732/https://www.digitalinformationworld.com/2021/03/here-are-channels-with-most-number-of.html |url-status=live }}</ref>

== History == Hindi film songs are present in Hindi cinema right from the first sound film ''Alam Ara'' (1931) by Ardeshir Irani which featured seven songs. This was closely followed by ''Shirheen Farhad'' (1931) by Jamshedji Framji Madan, also by Madan, which had as many as 42 song sequences strung together in the manner of an opera, and later by ''Indra Sabha'' which had as many as 69 song sequences. However, the practice subsided and subsequent films usually featured between six and ten songs in each production.<ref name="GopalMoorti2008" />{{rp|20}}

Right from the advent of Indian cinema in 1931, musicals with song numbers have been a regular feature in Indian cinema.<ref name="Morcom2007">{{cite book |last=Morcom |first=Anna |title=Hindi film songs and the cinema |chapter-url=https://books.google.com/books?id=kfVdxiSm-aYC&pg=PA208 |access-date=22 January 2012 |date=30 November 2007 |publisher=Ashgate Publishing, Ltd. |isbn=978-0-7546-5198-7 |pages=1–24 |chapter=The cinematic study of Hindi film songs}}</ref> In 1934 Hindi film songs began to be recorded on gramophones and later, played on radio channels, giving rise to a new form of mass entertainment in India which was responsive to popular demand.<ref name="Morcom2007" /> Within the first few years itself, Hindi cinema had produced a variety of films which easily categorised into genres such as "historicals", "mythologicals", "devotional, "fantasy" etc. but each having songs embedded in them such that it is incorrect to classify them as "musicals".<ref name="GopalMoorti2008" />

The Hindi song was such an integral features of Hindi mainstream cinema, besides other characteristics, that post-independence alternative cinema, of which the films of Satyajit Ray are an example, discarded the song and dance motif in its effort to stand apart from mainstream cinema.<ref name="GopalMoorti2008" />

The Hindi film song now began to make its presence felt as a predominating characteristic in the culture of the nation and began to assume roles beyond the limited purview of cinema. In multi-cultural India, as per film historian Partha Chatterjee, "the Hindi film song cut through all the language barriers in India, to engage in lively communication with the nation where more than twenty languages are spoken and ... scores of dialects exist".<ref>{{Cite book|last1=Gopal|first1=Sangita|url=https://books.google.com/books?id=19JBf6oDOy0C&q=Bollywood%2520music|title=Global Bollywood: Travels of Hindi Song and Dance|last2=Moorti|first2=Sujata|date=2008|publisher=U of Minnesota Press|isbn=978-0-8166-4578-7|language=en|page=14|access-date=11 March 2023|archive-date=3 April 2024|archive-url=https://web.archive.org/web/20240403085853/https://books.google.com/books?id=19JBf6oDOy0C&q=Bollywood%2520music#v=onepage&q=Bollywood%2520music&f=false|url-status=live}}</ref> Bollywood music has drawn its inspiration from numerous traditional sources such as ''Ramleela'', ''nautanki'', ''tamasha'' and Parsi theatre, as well as from the West, Pakistan, and other Indic musical subcultures.<ref name="MehtaPandharipande2010">{{cite book |last1=Mehta |first1=Rini Bhattacharya |last2=Pandharipande |first2=Rajeshwari |title=Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora |url=https://books.google.com/books?id=cgZTUn00crMC&pg=PA176 |access-date=22 January 2012 |date=15 January 2010 |publisher=Anthem Press |isbn=978-1-84331-833-0 |page=36}}</ref>

For over five decades, these songs formed the staple of popular music in South Asia and along with Hindi films, was an important cultural export to most countries around Asia and wherever the Indian diaspora had spread. The spread was galvanised by the advent of cheap plastic tape cassettes which were produced in the millions until the industry crashed in 2000.<ref name="Morcom2007" /> Even today Hindi film songs are available on radio, on television, as live music by performers, and on media, both old and new such as cassette tapes, compact disks and DVDs and are easily available, both legally and illegally, on the internet.<ref name="GopalMoorti2008" />

== Style and format == The various use of languages in Bollywood songs can be complex. Most use variations of Hindi and Urdu, with some songs also including other languages such as Persian, and it is not uncommon to hear the use of English words in songs from modern Hindi movies. Besides Hindi, several other Indian languages have also been used including Braj, Avadhi, Bhojpuri, Punjabi, Bengali and Rajasthani.

In a film, music, both in itself and accompanied with dance, has been used for many purposes including "heightening a situation, accentuating a mood, commenting on theme and action, providing relief and serving as interior monologue."<ref name="MehtaPandharipande2010" />

In a modern globalisation standpoint, Bollywood music has many non-Indian influences, especially from the West.<ref>{{Cite book |last=Gopal |first=Sangita |title=Global Bollywood : Travels of Hindi Song and Dance |publisher=University of Minnesota Press |year=2008 |isbn=978-0-8166-5644-8}}</ref> Many Hindi film music composers learned and mimicked Hollywood's style of matching music to scene atmospheres into their own film songs, the result being Bollywood music. These songs can be considered a combination of Western influences and Hindi music.<ref>{{Cite journal |last=Morcom |first=Anna |year=2001 |title=An Understanding between Bollywood and Hollywood? The Meaning of Hollywood-Style Music in Hindi Films |journal=British Journal of Ethnomusicology |volume=10 |issue=1 |pages=63–84 |doi=10.1080/09681220108567310 |jstor=3060772 |s2cid=194048350}}</ref>

== Production == Songs in Bollywood movies are deliberately crafted with lyrics often written by distinguished poets or ''literati'' (often different from those who write the film script), and these lyrics are often then set to music, carefully choreographed to match the dance routine or script of the film. They are then sung by professional playback singers and lip-synched by the actors. Bollywood cinema is unique in that the majority of songs are seen to be sung by the characters themselves rather than being played in the background.<ref>{{Cite web |last=Team |first=N. F. I. |date=2022-05-19 |title=What Is Bollywood? Everything You Need To Know |url=https://www.nfi.edu/what-is-bollywood/ |access-date=2023-03-30 |website=NFI |language=en-US |archive-date=30 March 2023 |archive-url=https://web.archive.org/web/20230330084509/https://www.nfi.edu/what-is-bollywood/ |url-status=live }}</ref> Although protagonists sing often, villains in films do not sing because music and the arts are a sign of humanity.<ref>{{Cite book |last=Sarrazin |first=Natalie |title=Focus: Popular Music in Contemporary India (Focus on World Music Series) |year=2019 |publisher=Routledge |isbn=978-1-138-58545-4}}</ref> In Western cinema, often a composer who specialises in film music is responsible for the bulk of music on the film's soundtrack, and while in some films songs may play an important part (and have direct relationship to the subject of the film), in Bollywood films, the songs often drive large-scale ''production numbers'' featuring elaborate choreography.

The key figure in Bollywood music production and composition is the ''music director''. While in Western films, a "music director" or "music coordinator" is usually responsible for selecting existing recorded music to add to the soundtrack, typically during opening and closing credits, in Bollywood films, the "music director" often has a much broader role encompassing both composing music/songs specifically for the film and (if needed) securing additional (licensed) music. In this sense, a Bollywood music director also plays the role of a composer and music producer.

The ''lyricist'' of Bollywood songs is less likely to be the same composer or music director, as Bollywood films often go to great lengths to include lyrics of special significance and applicability to the film's plot and dialogue, and/or the words of highly regarded poets/lyricists set to music written specifically for such words in the film, as noted above.

Bollywood film songs have been described as eclectic both in instrumentation and style.<ref>Morcom, Anna (2007) ''Hindi Film Songs and the Cinema''. Aldershot: Ashgate.</ref> They often employ foreign instruments and rework existing songs, showing remarkable inventiveness in the reinvention of melodies and instrumental techniques.<ref>[http://arpjournal.com/858/the-cultural-economy-of-sound-reinventing-technology-in-indian-popular-cinema/ Carlo Nardi (July 2011). "The Cultural Economy of Sound: Reinventing Technology in Indian Popular Cinema". ''Journal on the Art of Record Production'', Issue 5] {{Webarchive|url=https://web.archive.org/web/20130615074412/http://arpjournal.com/858/the-cultural-economy-of-sound-reinventing-technology-in-indian-popular-cinema/ |date=15 June 2013 }} {{ISSN|1754-9892}}.</ref>

Bollywood film songs often tend to be accompanied by expensive music videos. Some are among the most expensive music videos of all time.<ref name="ucnews">{{cite news |title=Here Are The 12 Most Expensive Songs Ever Made In Bollywood |url=https://www.ucnews.in/news/Here-Are-The-12-Most-Expensive-Songs-Ever-Made-In-Bollywood/1304706038450303.html |work=UC News |date=19 May 2018 |access-date=21 December 2018 |archive-date=1 April 2019 |archive-url=https://web.archive.org/web/20190401231043/https://www.ucnews.in/news/Here-Are-The-12-Most-Expensive-Songs-Ever-Made-In-Bollywood/1304706038450303.html |url-status=dead }}</ref> The most expensive Indian music video is "Party All Night" (for the 2013 film ''Boss''), which cost {{INR|60 million}} ({{US$|{{To USD|60|IND|year=2013}} million|long=no}}) to produce.<ref name="Party All Night 60&nbsp;million">{{cite web |title=Get ready to party all night with Akshay Kumar & Sonakshi Sinha |url=https://www.indiatoday.in/movies/bollywood/story/get-read-to-party-all-night-with-akshay-kumar-sonakshi-sinha-210242-2013-09-06 |work=India Today |date=7 September 2013 |access-date=7 September 2013 |archive-date=8 September 2013 |archive-url=https://web.archive.org/web/20130908150311/http://indiatoday.intoday.in/story/get-read-to-party-all-night-with-akshay-kumar-%26-sonakshi-sinha/1/308772.html |url-status=live }}</ref> Adjusted for inflation, the most expensive Indian music video was "Pyar Kiya To Darna Kya" (for the 1960 film ''Mughal-e-Azam''), which at the time cost more than {{INR|1.5 million}}<ref>{{cite book |last=Warsi |first=Shakil |title=Mughal-E-Azam |url=https://www.google.com/search?q=isbn:9788129113214 |year=2009 |publisher=Rupa & Company |isbn=978-81-291-1321-4 |page=57 |access-date=9 April 2020 |archive-date=26 August 2022 |archive-url=https://web.archive.org/web/20220826091445/https://www.google.com/search?q=isbn:9788129113214 |url-status=live }}</ref> ({{US$|{{#expr:1500000/4.76 round -4}}|long=no}}),<ref>{{cite web |title=Official exchange rate (LCU per US$, period average) |url=https://data.worldbank.org/indicator/PA.NUS.FCRF?end=1966&locations=IN&start=1960 |publisher=World Bank |year=1960 |access-date=13 December 2018 |archive-date=15 December 2018 |archive-url=https://web.archive.org/web/20181215022106/https://data.worldbank.org/indicator/PA.NUS.FCRF?end=1966&locations=IN&start=1960 |url-status=live }}</ref> equivalent to {{US$|{{Inflation|US|0.32|1960}} million|long=no}} ({{INR|{{#expr:3*(1000/{{To USD|1000|IND}}) round -1}} million}}) adjusted for inflation.

== Genres == {{Further|Filmi}}

=== M.P. === {{Main|Filmi devotional songs}}

=== Dance === {{Main|Hindi dance music}}

Hindi dance music encompasses a wide range of songs predominantly featured in the Bollywood film industry with a growing worldwide attraction. The music became popular among overseas Indians in countries such as South Africa, the United Kingdom and the United States and eventually developed a global fan base.<ref>{{cite news |title=Planet Bollywood |url=http://www.thestar.com/article/550760 |archive-url=https://web.archive.org/web/20121014230251/http://www.thestar.com/article/550760 |url-status=dead |archive-date=14 October 2012 |work=Toronto Star |date=14 October 2012}}</ref>

=== Disco === In the Indian subcontinent of South Asia, disco peaked in popularity in the early 1980s, when a South Asian disco scene arose, popularised by filmi Bollywood music, at a time when disco's popularity had declined in North America. The South Asian disco scene was sparked by the success of Pakistani pop singer Nazia Hassan, working with Indian producer Biddu, with the hit Bollywood song "Aap Jaisa Koi" in 1980.<ref name="geeta_ragas">{{cite web |author=Geeta Dayal |publisher=The Original Soundtrack |access-date=3 June 2011 |title=Further thoughts on '10 Ragas to a Disco Beat' |date=6 April 2010 |url=http://www.theoriginalsoundtrack.com/2010/04/further-thoughts-on-ten-ragas-to-a-disco-beat/ |archive-url=https://web.archive.org/web/20100902151454/http://www.theoriginalsoundtrack.com/2010/04/further-thoughts-on-ten-ragas-to-a-disco-beat/ |archive-date=2 September 2010 |url-status=dead}}</ref><ref name="geeta_disco">{{cite web |author=Geeta Dayal |publisher=The Original Soundtrack |access-date=3 June 2011 |title='Studio 84′: Digging into the History of Disco in India |date=29 August 2010 |url=http://www.theoriginalsoundtrack.com/2010/08/29/studio-84-the-history-of-disco-in-india/ |archive-url=https://web.archive.org/web/20120302083346/http://www.theoriginalsoundtrack.com/2010/08/29/studio-84-the-history-of-disco-in-india/ |archive-date=2 March 2012 |url-status=dead}}</ref><ref>{{cite news |title=12 x 12: The 12 best Bollywood disco records |url=https://thevinylfactory.com/features/12-x-12-the-12-best-bollywood-disco-records/ |work=The Vinyl Factory |date=28 February 2014 |access-date=10 December 2018 |archive-date=1 April 2019 |archive-url=https://web.archive.org/web/20190401135044/https://thevinylfactory.com/features/12-x-12-the-12-best-bollywood-disco-records/ |url-status=live }}</ref> Biddu himself previously had success in the Western world, where he was considered a pioneer, as one of the first successful disco producers in the early 1970s, with hits such as the hugely popular "Kung Fu Fighting" (1974),<ref name="metro_biddu">{{cite web |title=Biddu |author=James Ellis |work=Metro |date=27 October 2009 |url=http://www.metro.co.uk/showbiz/interviews/412-biddu |access-date=17 April 2011 |archive-date=2 September 2011 |archive-url=https://web.archive.org/web/20110902182831/http://www.metro.co.uk/showbiz/interviews/412-biddu |url-status=dead }}</ref><ref>{{cite book |title=The Listener, Volumes 100–101 |work=The Listener |publisher=BBC |year=1978 |page=216 |url=https://books.google.com/books?id=6tRBAQAAIAAJ |access-date=21 June 2011 |quote=Tony Palmer knocked off a film account of someone called Biddu (LWT), who appears to have been mad enough to invent disco music.}}</ref><ref name="shapiro_55">{{cite book |title=Turn the Beat Around: The Secret History of Disco |first=Peter |last=Shapiro |publisher=Macmillan Publishers |year=2006 |isbn=0-86547-952-6 |page=55 |url=https://books.google.com/books?id=GG1jtWGU0S8C&pg=PA55 |access-date=7 June 2011}}</ref> before the genre's Western decline at the end of the 1970s led to him shifting his focus to Asia. The success of "Aap Jaisa Koi" in 1980 was followed by Nazia Hassan's ''Disco Deewane'', a 1981 album produced by Biddu, becoming Asia's best-selling pop album at the time.<ref name="rs-india">{{Cite web|last=Lobo|first=Kenneth|date=30 December 2015|title=EDM Nation: How India Stopped Worrying About the Riff and Fell in Love With the Beat|url=https://rollingstoneindia.com/edm-nation/|access-date=11 March 2023|website=Rolling Stone India|language=en-US|archive-date=11 March 2023|archive-url=https://web.archive.org/web/20230311152838/https://rollingstoneindia.com/edm-nation/|url-status=live}}</ref>

In parallel to the Euro disco scene at the time, the continued relevance of disco in South Asia and the increasing reliance on synthesizers led to experiments in electronic disco, often combined with elements of Indian music.<ref name="geeta_ragas" /> Biddu had already used electronic equipment such as synthesizers in some of his earlier disco work, including "Bionic Boogie" from ''Rain Forest'' (1976),<ref name="bionic_boogie">{{Discogs release|2809569|Biddu Orchestra – Bionic Boogie}}</ref> "Soul Coaxing" (1977),<ref name="soal_coaxing">{{Discogs release|874902|Biddu Orchestra – Soul Coaxing}}</ref> ''Eastern Man'' and ''Futuristic Journey''<ref name="cduniverse">{{cite web |title=Futuristic Journey And Eastern Man CD |url=http://www.cduniverse.com/productinfo.asp?pid=7735242 |publisher=CD Universe |access-date=7 July 2011 |archive-date=25 October 2012 |archive-url=https://web.archive.org/web/20121025225734/http://www.cduniverse.com/productinfo.asp?pid=7735242 |url-status=live }}</ref><ref name="discogs_futuristic">{{Discogs master|109852|Biddu Orchestra – Futuristic Journey|type=album}}</ref> (recorded from 1976 to 1977),<ref>{{allMusic|album|r1401917|Futuristic Journey and Eastern Man}}</ref> and "Phantasm" (1979),<ref name="phantasm">{{Discogs release|1923348|Captain Zorro – Phantasm Theme}}</ref> before using synthesizers for his later work with Nazia Hassan, including "Aap Jaisa Koi" (1980), ''Disco Deewane'' (1981) and "Boom Boom" (1982).<ref name="rs-india" /> Bollywood disco producers who used electronic equipment such as synthesizers include R.D. Burman, on songs such as "Dhanno Ki Aankhon Mein" (''Kitaab'', 1977) and "Pyaar Karne Waale" (''Shaan'', 1980);<ref name="rs-india" /> Laxmikant–Pyarelal, on songs such as "Om Shanti Om" (''Karz'', 1980);<ref name="pitchfork-bollywood">{{Cite web|date=26 May 2015|title=Disco Goes to Bollywood: A Rough Guide|url=https://pitchfork.com/thepitch/775-disco-goes-to-bollywood-a-rough-guide/|access-date=11 March 2023|website=Pitchfork|language=en-US|archive-date=3 April 2024|archive-url=https://web.archive.org/web/20240403085741/https://pitchfork.com/thepitch/775-disco-goes-to-bollywood-a-rough-guide/|url-status=live}}</ref> and Bappi Lahari, on songs such as "Ramba Ho" (''Armaan'', 1981).<ref name="rs-india" /> They also experimented with minimalist, high-tempo, electronic disco, including Burman's "Dil Lena Khel Hai Dildar Ka" (''Zamane Ko Dikhana Hai'', 1981), which had a "futuristic electro feel", and Lahiri's "Yaad Aa Raha Hai" (''Disco Dancer'', 1982).<ref name="geeta_ragas" />

Such experiments eventually culminated in the work of Charanjit Singh, whose 1982 record ''Synthesizing: Ten Ragas to a Disco Beat'' anticipated the sound of acid house music, years before the genre arose in the Chicago house scene of the late 1980s. Using the Roland TR-808 drum machine, TB-303 bass synthesizer, and Jupiter-8 synthesizer, Singh increased the disco tempo up to a "techno wavelength" and made the sounds more minimalistic, while pairing them with "mystical, repetitive, instrumental Indian ragas", to produce a new sound, which resembled acid house.<ref name="ra_raga">{{cite web |title=Charanjit Singh – Synthesizing: Ten Ragas to a Disco Beat |publisher=Resident Advisor |author=William Rauscher |date=12 May 2010 |url=http://www.residentadvisor.net/review-view.aspx?id=7445 |access-date=3 June 2011 |archive-date=12 January 2012 |archive-url=https://web.archive.org/web/20120112035759/http://www.residentadvisor.net/review-view.aspx?id=7445 |url-status=live }}</ref><ref name="geeta_ragas" /> According to Singh: "There was lots of disco music in films back in 1982. So I thought why not do something different using disco music only. I got an idea to play all the Indian ragas and give the beat a disco beat – and turn off the tabla. And I did it. And it turned out good."<ref name="guardian_2011">{{cite web |url=https://www.theguardian.com/music/2011/may/10/charanjit-singh-acid-house-ten-ragas |title=Charanjit Singh on how he invented acid house ... by mistake |work=The Guardian |author=Stuart Aitken |date=10 May 2011 |access-date=16 June 2017 |archive-date=2 December 2016 |archive-url=https://web.archive.org/web/20161202015759/https://www.theguardian.com/music/2011/may/10/charanjit-singh-acid-house-ten-ragas |url-status=live }}</ref> The first track "Raga Bhairavi" also had a synthesised voice that says "Om Namah Shivaya" through a vocoder.<ref name="dayal_thoughts">{{cite web |author=Geeta Dayal |publisher=The Original Soundtrack |access-date=3 June 2011 |title=Thoughts on '10 Ragas to a Disco Beat' |date=5 April 2010 |url=http://www.theoriginalsoundtrack.com/2010/04/05/thoughts-on-10-ragas-to-a-disco-beat/ |archive-url=https://web.archive.org/web/20120305185502/http://www.theoriginalsoundtrack.com/2010/04/05/thoughts-on-10-ragas-to-a-disco-beat/ |archive-date=5 March 2012 |url-status=dead}}</ref>

Along with experiments in electronic disco, another experimental trend in Indian disco music of the early 1980s was the fusion of disco and psychedelic music. Due to 1960s psychedelic rock, popularised by the Beatles' raga rock, borrowing heavily from Indian music, it began exerting a reverse influence and had blended with Bollywood music by the early 1970s. This led to Bollywood producers exploring a middle-ground between disco and psychedelia in the early 1980s. Producers who experimented with disco-psychedelic fusion included Laxmikant–Pyarelal, on songs such as "Om Shanti Om" (''Karz'', 1980), and R. D. Burman, on songs such as "Pyaar Karne Waale" (''Shaan'', 1980),<ref name="pitchfork-bollywood" /> along with the use of synthesizers.<ref name="rs-india" />

=== Ghazal === {{Main|Filmi-ghazal}} {{Further|Ghazal}}

The ghazal tradition of Urdu poetry was the basis for early Bollywood music, ever since the first Indian talkie film, ''Alam Ara'' (1931). In turn, filmi ghazals had roots in earlier Urdu Parsi theatre of the mid-19th to early 20th centuries. The ghazal was the dominant style of Indian film music since the 1930s up until the 1960s. By the 1980s, however, ghazals had become marginalised in film music. Reasons for the decline include Urdu ghazal poetry being gradually phased out from the Indian education system, lyricists targeting urban middle-class audiences, and the influence of Western and Latin American music.<ref name="Kabir">{{cite book |last1=Kabir |first1=Nasreen Munni |last2=Akhtar |first2=Javed |author2-link=Javed Akhtar |title=Talking Films and Songs: Javed Akhtar in conversation with Nasreen Munni Kabir |date=2018 |publisher=Oxford University Press |isbn=978-0-19-909177-5 |url=https://books.google.com/books?id=S59MDwAAQBAJ&pg=PT114 |access-date=23 July 2020 |archive-date=3 April 2024 |archive-url=https://web.archive.org/web/20240403085923/https://books.google.com/books?id=S59MDwAAQBAJ&pg=PT114#v=onepage&q&f=false |url-status=live }}</ref>

Music directors like Madan Mohan composed notable film-ghazals extensively for Muslim socials in the 1960s and the 1970s.<ref name="Anantharaman2008">{{cite book |last=Anantharaman |first=Ganesh |title=Bollywood Melodies: A History of the Hindi Film Song |url=https://books.google.com/books?id=lmrSLuBwbKkC&pg=PA9 |date=January 2008 |publisher=Penguin Books India |isbn=978-0-14-306340-7 |page=9}}</ref>

The filmi-ghazal style experienced a revival in the early 1990s, sparked by the success of Nadeem–Shravan's ''Aashiqui'' (1990). It had a big impact on Bollywood music at the time, ushering in ghazal-type romantic music that dominated the early 1990s, with soundtracks such as ''Dil'', ''Saajan'', ''Phool Aur Kaante'' and ''Deewana''.<ref name="ghazal">{{cite journal |title=<!--ACTUAL ARTICLE TITLE BELONGS HERE! --> |journal=India Today |year=1994 |page=342 |url=https://books.google.com/books?id=TmkpAQAAIAAJ |publisher=Living Media |quote=In 1990, the super-success of Nadeem-Shravan's ''Aashiqui'' ushered in the era of ghazal-type romantic music as in ''Saajan'', ''Dil'', ''Phool aur Kaante'', ''Deewana''. |access-date=10 December 2018 |archive-date=3 April 2024 |archive-url=https://web.archive.org/web/20240403085934/https://books.google.com/books?id=TmkpAQAAIAAJ |url-status=live }}</ref> A popular ghazal song from ''Aashiqui'' was "Dheere Dheere", a cover version of which was later recorded by Yo Yo Honey Singh and released by T-Series in 2015.

=== Qawwali === {{Main|Filmi qawwali}} {{Further|Qawwali}}

It represents a distinct subgenre of film music, although it is distinct from traditional qawwali, which is devotional Sufi music. One example of filmi qawwali is the song "Pardah Hai Pardah" sung by Mohammed Rafi, and composed by Laxmikant–Pyarelal, for the Indian film ''Amar Akbar Anthony'' (1977).<ref>{{Citation|title=Shabaab Pe Main, Pardaa Hai Pardaa - शबाब पे मैं, पर्दा है पर्दा|url=https://www.hindigeetmala.net/song/shabaab_pe_main_pardaa_hai.htm|access-date=11 March 2023|language=en|archive-date=11 March 2023|archive-url=https://web.archive.org/web/20230311152839/https://www.hindigeetmala.net/song/shabaab_pe_main_pardaa_hai.htm|url-status=live}}</ref>

Within the subgenre of filmi qawwali, there exists a form of qawwali that is infused with modern and Western instruments, usually with techno beats, called ''techno-qawwali''. An example of techno-qawwali is "Kajra Re", a filmi song composed by Shankar–Ehsaan–Loy. A newer variation of the techno-qawwali based on the more dance oriented tracks is known as the "club qawwali". More tracks of this nature are being recorded and released.

Nusrat Fateh Ali Khan and A. R. Rahman have composed filmi qawwalis in the style of traditional qawwali. Examples include "Tere Bin Nahin Jeena" (''Kachche Dhaage''), "Arziyan" (''Delhi 6''), "Khwaja Mere Khwaja" (''Jodhaa Akbar''), "Bharde Do Jholi Meri" (''Bajrangi Bhaijaan'')<ref>{{Citation|title=Khwaja Mere Khwaja Dil Me Sama Ja - ख्वाजा मेरे ख्वाजा दिल में समा जा|url=https://www.hindigeetmala.net/song/khwaja_mere_khwaja_dil_mein.htm|access-date=11 March 2023|language=en|archive-date=11 March 2023|archive-url=https://web.archive.org/web/20230311152839/https://www.hindigeetmala.net/song/khwaja_mere_khwaja_dil_mein.htm|url-status=live}}</ref> and "Kun Faya Kun" (''Rockstar'').

=== Rock === {{Main|Indian rock}} {{Further|Raga rock|Sufi rock}}

Indian musicians began fusing rock with traditional Indian music from the mid-1960s onwards in ''filmi'' songs produced for popular Bollywood films. Some of the more well known early rock songs (including styles such as funk rock, pop rock, psychedelic rock, raga rock, and soft rock) from Bollywood films include Kishore Kumar's "O Saathi Re" in ''Muqaddar Ka Sikandar'' (1978), Mohammed Rafi's "Jaan Pehechan Ho" in ''Gumnaam'' (1965), and Asha Bhosle songs such as "Dum Maro Dum" in ''Hare Rama Hare Krishna'' (1971), "Ae Naujawan Hai Sab" in ''Apradh'' (1972), and "Yeh Mera Dil Pyar Ka Diwana" in ''Don'' (1978).

== Unauthorised contrafacta == The Pakistani Qawwali musician Nusrat Fateh Ali Khan had a big impact on Bollywood music, inspiring numerous Indian musicians working in Bollywood, especially during the 1990s. However, there were many instances of Indian music directors plagiarising Khan's music to produce hit filmi songs.<ref name="hindu">{{cite web |url=http://www.hinduonnet.com/fline/fl1418/14181230.htm |archive-url=https://web.archive.org/web/20011230173145/http://www.hinduonnet.com/fline/fl1418/14181230.htm |url-status=usurped |archive-date=30 December 2001 |title=The stilled voice |author=Amit Baruah, R. Padmanabhan |publisher=The Hindu, Frontline |date=6 September 1997}}</ref><ref name="Chaudhuri">{{cite book |last1=Chaudhuri |first1=Diptakirti |title=Bioscope: A Frivolous History of Bollywood in Ten Chapters |date=2018 |publisher=Hachette |isbn=9789351952299 |page=93 |url=https://books.google.com/books?id=_e9LDwAAQBAJ&pg=PT93 |access-date=23 December 2018 |archive-date=9 November 2023 |archive-url=https://web.archive.org/web/20231109190319/https://books.google.com/books?id=_e9LDwAAQBAJ&pg=PT93 |url-status=live }}</ref> Several popular examples include Viju Shah's hit song "Tu Cheez Badi Hai Mast Mast" in ''Mohra'' (1994) being plagiarised from Khan's popular Qawwali song "Dam Mast Qalandar", "Mera Piya Ghar Aya" used in ''Yaarana'' (1995), and "Sanoo Ek Pal Chain Na Aaye" in ''Judaai'' (1997).<ref name="hindu" /> Despite the significant number of hit Bollywood songs plagiarised from his music, Nusrat Fateh Ali Khan was reportedly tolerant towards the plagiarism.<ref name="Chaudhuri" /><ref name="rediff-khan">{{cite news |title=A rare encounter with Ustad Nusrat Ali Khan |url=http://www.rediff.com/movies/apr/05nusrat.htm |access-date=23 December 2018 |work=Rediff |year=1997 |archive-date=25 August 2019 |archive-url=https://web.archive.org/web/20190825191457/http://www.rediff.com/movies/apr/05nusrat.htm |url-status=live }}</ref> One of the Bollywood music directors who frequently plagiarised him, Anu Malik, claimed that he loved Khan's music and was actually showing admiration by using his tunes.<ref name="rediff-khan" /> However, Khan was reportedly aggrieved when Malik turned his spiritual "Allah Hoo, Allah Hoo" into "I Love You, I Love You" in ''Auzaar'' (1997).<ref name="Chaudhuri" /> Khan said "he has taken my devotional song ''Allahu'' and converted it into ''I love you''. He should at least respect my religious songs."<ref name="rediff-khan" />

A number of Bollywood soundtracks also plagiarised Guinean singer Mory Kanté, particularly his 1987 album ''Akwaba Beach''. For example, his song "Tama" inspired two Bollywood songs, Bappi Lahiri's "Tamma Tamma" in ''Thanedaar'' (1990) and "Jumma Chumma" in Laxmikant-Pyarelal's soundtrack for ''Hum'' (1991), the latter also featuring another song "Ek Doosre Se" which copied his song "Inch Allah".<ref name="srinivasan1">{{cite web |url=https://www.filmcompanion.in/music/how-guinean-singer-mory-kantes-music-was-lifted-to-create-tamma-tamma-loge-and-jumma-chumma-de-de/ |title=How Guinean Singer Mory Kanté's Music Was Lifted To Create 'Tamma Tamma Loge' and 'Jumma Chumma De De' |last=Srinivasan |first=Karthik |date=16 October 2018 |website=Film Companion |archive-url=https://web.archive.org/web/20200606090031/https://www.filmcompanion.in/music/how-guinean-singer-mory-kantes-music-was-lifted-to-create-tamma-tamma-loge-and-jumma-chumma-de-de/ |archive-date=6 June 2020 |url-status=live |access-date=16 October 2018}}</ref> His song "Yé ké yé ké" was also used as background music in the 1990 Bollywood film ''Agneepath'', inspired the Bollywood song "Tamma Tamma" in ''Thanedaar'', and was also copied by Mani Sharma's song "Pellikala Vachesindhe" in the 1997 Telugu film, ''Preminchukundam Raa''.<ref name="srinivasan1" />

== Cultural impact == Indian cinema, with its characteristic film music, has not only spread all over Indian society, but also been at the forefront of spreading India's culture around the world.<ref name="GopalMoorti2008" />{{rp|14}} In Britain, Hindi film songs are heard in restaurants and on radio channels dedicated to Asian music. The British dramatist Sudha Bhuchar converted a Hindi film hit ''Hum Aapke Hain Koun..!'' into a hit musical "Fourteen Songs" which was well received by the British audience. Film-maker Baz Luhrmann acknowledged the influence of Hindi cinema on his production ''Moulin Rouge!'' by the inclusion of a number "Hindi Sad Diamonds" based on the filmi song "Chamma Chamma" which was composed by Anu Malik.<ref name="ConrichTincknell2007">{{cite book |last1=Conrich |first1=Ian |last2=Tincknell |first2=Estella |title=Film's musical moments |url=https://books.google.com/books?id=PZS5vb7nQ_UC&pg=PA206 |access-date=22 January 2012 |date=1 July 2007 |publisher=Edinburgh University Press |isbn=978-0-7486-2345-7 |page=206}}</ref> In Greece the genre of indoprepi sprang from Hindi film music while in Indonesia dangdut singers like Ellya Khadam, Rhoma Irama and Mansyur S., have reworked Hindi songs for Indonesian audiences.<ref>{{cite book |last=David |first=Bettina |title=Global Bollywood: Travels of Hindi Song and Dance |url=https://archive.org/details/globalbollywoodt00gopa |url-access=limited |year=2008 |publisher=University of Minnesota Press |isbn=978-0-8166-4579-4 |pages=[https://archive.org/details/globalbollywoodt00gopa/page/n185 179]–220 |editor=Sangita Gopal and Sujata Moorti |chapter=Intimate Neighbors: Bollywood, Dangdut Music, and Globalizing Modernities in Indonesia}}</ref> In France, the band Les Rita Mitsouko used Bollywood influences in their music video for "Le petit train" and French singer Pascal of Bollywood popularised filmi music by covering songs such as "Zindagi Ek Safar Hai Suhana".<ref>{{cite news |title=Pascal of Bollywood |url=http://www.rfimusique.com/musiquefr/articles/060/article_15244.asp |access-date=10 September 2012 |publisher=Radio France Internationale |date=11 November 2004 |language=fr |archive-date=11 April 2015 |archive-url=https://web.archive.org/web/20150411042343/http://www.rfimusique.com/musiquefr/articles/060/article_15244.asp |url-status=live }}</ref> In Nigeria bandiri music—a combination of Sufi lyrics and Bollywood-style music—has become popular among Hausa youth.<ref>{{cite book |title=Global Bollywood: Travels of Hindi Song and Dance |url=https://archive.org/details/globalbollywoodt00gopa |url-access=limited |year=2008 |publisher=University of Minnesota Press |isbn=978-0-8166-4579-4 |editor=Sangita Gopal and Sujata Moorti |page=[https://archive.org/details/globalbollywoodt00gopa/page/n14 8]}}</ref> Hindi film music has also been combined with local styles in the Caribbean to form "chutney music".<ref>{{cite book |title=Global Bollywood: Travels of Hindi Song and Dance |url=https://archive.org/details/globalbollywoodt00gopa |url-access=limited |year=2008 |publisher=University of Minnesota Press |isbn=978-0-8166-4579-4 |editor=Sangita Gopal and Sujata Moorti |page=[https://archive.org/details/globalbollywoodt00gopa/page/n40 34]}}</ref>

== Best-selling soundtrack albums == {{See also|Indian Music Industry|Indian pop||List of best-selling albums by country}}

=== Top ten === {| class="wikitable sortable" ! scope="col" | Rank ! scope="col" | Year ! scope="col" | Soundtrack ! scope="col" | Music director(s) ! scope="col" | Sales ! scope="col" | {{Abbr|Ref|Reference(s)}} |- |1|| 1990 || ''Aashiqui'' || Nadeem–Shravan || 20,000,000+ (didn't count after) ||<ref name="india-today">{{cite journal|title=<!--ACTUAL ARTICLE TITLE BELONGS HERE! -->|journal=India Today|year=1994|volume=19|page=70|url=https://books.google.com/books?id=BHYZAQAAMAAJ&q=two+crore|publisher=Aroon Purie for Living Media India Limited|access-date=1 December 2020|archive-date=15 January 2024|archive-url=https://web.archive.org/web/20240115160514/https://books.google.com/books?id=BHYZAQAAMAAJ&q=two+crore|url-status=live}}</ref><ref name="indiatoday94">{{cite news |title=Bollywood hinges on Hindi film music industry, fans soak up wacky new sounds |url=https://www.indiatoday.in/magazine/cover-story/story/19941115-bollywood-hinges-on-hindi-film-music-industry-fans-soak-up-wacky-new-sounds-809899-1994-10-31 |access-date=17 July 2013 |work=India Today |date=15 November 1994 |archive-date=10 December 2018 |archive-url=https://web.archive.org/web/20181210235428/https://www.indiatoday.in/magazine/cover-story/story/19941115-bollywood-hinges-on-hindi-film-music-industry-fans-soak-up-wacky-new-sounds-809899-1994-10-31 |url-status=live }}</ref> |- | rowspan="2"| 2 | 1995 | ''Dilwale Dulhania Le Jayenge'' || Jatin–Lalit || 20,000,000 ||<ref name="rediff-kumar">{{cite news |title=Rediff On The Net, Movies: How Gulshan Kumar signed his own death warrant |url=http://www.rediff.com/movies/sep/02sup1.htm |work=Rediff |date=2 September 1997 |access-date=11 December 2018 |archive-date=26 January 2019 |archive-url=https://web.archive.org/web/20190126025220/http://www.rediff.com/movies/sep/02sup1.htm |url-status=live }}</ref><ref name="Ganti">{{cite book |last=Ganti |first=Tejaswini |title=Producing Bollywood: Inside the Contemporary Hindi Film Industry |date=2012 |publisher=Duke University Press |isbn=978-0-8223-5213-6 |page=390 |url=https://books.google.com/books?id=Hb83FwNGuR4C&pg=PA390 |access-date=11 December 2018 |archive-date=26 July 2023 |archive-url=https://web.archive.org/web/20230726091017/https://books.google.com/books?id=Hb83FwNGuR4C&pg=PA390 |url-status=live }}</ref> |- | 1991 | ''Saajan''|| Nadeem–Shravan || 20,000,000 ||<ref name="saajan">{{cite news|title=Bringing melody back, Nadeem-Shravan churn out hit after hit|url=https://www.indiatoday.in/magazine/society-and-the-arts/story/19920415-bringing-melody-back-nadeem-shravan-churn-out-hit-after-hit-766153-2013-08-19|work=India Today|date=15 April 1992|access-date=4 December 2017|archive-date=24 December 2017|archive-url=https://web.archive.org/web/20171224215302/http://indiatoday.intoday.in/story/bringing-melody-back-nadeem-shravan-churn-out-hit-after-hit/1/306650.html|url-status=live}}</ref> |- |3||1997 || ''Dil Toh Pagal Hai'' || Uttam Singh || 12,500,000 ||<ref name="boi90s">{{cite web|title=Music Hits 1990–1999 (Figures in Units)|url=http://boxofficeindia.com/showProd.php?itemCat=284&catName=MTk5MC0xOTk5|publisher=Box Office India|date=2 January 2010|url-status=dead|archive-url=https://web.archive.org/web/20100205042906/http://boxofficeindia.com/showProd.php?itemCat=284&catName=MTk5MC0xOTk5|archive-date=5 February 2010}}</ref> |- |4||1994 || ''Hum Aapke Hain Kaun''|| Raamlaxman || 12,000,000 ||<ref name="Morcom">{{cite book|last=Morcom|first=Anna|title=Hindi Film Songs and the Cinema|date=2017|publisher=Routledge|isbn=978-1-351-56374-1|page=198|url=https://books.google.com/books?id=WTQrDwAAQBAJ&pg=PA198}}</ref> |- |5||1996 || ''Raja Hindustani'' || Nadeem–Shravan || 11,000,000 ||<ref name="boi90s" /> |- | rowspan="6" | 6 | rowspan="2" | 1989 | ''Chandni'' || Shiv–Hari || 10,000,000 ||<ref name="indiatoday93">{{cite news|title=Audio tape producers ride crest of Bollywoods music boom, composers become stars|url=https://www.indiatoday.in/magazine/society-the-arts/story/19931130-audio-tape-producers-ride-crest-of-bollywoods-music-boom-composers-become-stars-811853-1993-11-29|work=India Today|date=30 November 1993|access-date=4 December 2017|archive-date=1 January 2018|archive-url=https://web.archive.org/web/20180101062557/http://indiatoday.intoday.in/story/audio-tape-producers-ride-crest-of-bollywoods-music-boom-composers-become-stars/1/303415.html|url-status=live}}</ref> |- | ''Maine Pyar Kiya'' || Raamlaxman || 10,000,000 ||<ref name="indiatoday93" /> |- | rowspan="2"| 1993 | ''Baazigar''|| Anu Malik || 10,000,000 | rowspan="2" |<ref name="indiatoday94" /> |- | ''Khalnayak'' || Laxmikant–Pyarelal || 10,000,000 |- | 1995 | ''Bewafa Sanam'' || Nikhil-Vinay || 10,000,000 ||<ref name="Outlook">{{cite journal|title=Making Music Like Ne'er Before|journal=Outlook|date=13 March 1996|url=https://www.outlookindia.com/magazine/story/making-music-like-neer-before/200987|access-date=9 December 2017|archive-date=12 January 2018|archive-url=https://web.archive.org/web/20180112025355/https://www.outlookindia.com/magazine/story/making-music-like-neer-before/200987|url-status=live}}</ref> |- | 1999 || ''Kaho Naa... Pyaar Hai''|| Rajesh Roshan || 10,000,000 ||<ref name="timesofindia">{{cite news|title=Film producers float their own music firms|url=https://timesofindia.indiatimes.com/entertainment/bollywood/news-interviews/Film-producers-float-their-own-music-firms/articleshow/43410031.cms|work=The Times of India|date=11 November 2011|access-date=29 November 2017|archive-date=16 July 2018|archive-url=https://web.archive.org/web/20180716235839/https://timesofindia.indiatimes.com/entertainment/bollywood/news-interviews/Film-producers-float-their-own-music-firms/articleshow/43410031.cms|url-status=live}}</ref> |}

=== By decade === {| class="wikitable sortable" ! scope="col" | Decade ! scope="col" | Soundtrack ! scope="col" | Sales ! scope="col" | {{Abbr|Ref|Reference(s)}} |- |1950s || ''Awaara'' (1951) || {{N/A}} ||<ref>{{cite web|title=Music Hits 1950–1959|url=http://boxofficeindia.com/showProd.php?itemCat=280&catName=MTk1MC0xOTU5|publisher=Box Office India|date=5 February 2010|url-status=bot: unknown|archive-url=https://web.archive.org/web/20100205042835/http://boxofficeindia.com/showProd.php?itemCat=280&catName=MTk1MC0xOTU5|archive-date=5 February 2010}}</ref> |- |1960s || ''Sangam'' (1964) || {{N/A}} ||<ref name="boi60s">{{cite web|title=Music Hits 1960–1969|url=http://boxofficeindia.com/showProd.php?itemCat=281&catName=MTk2MC0xOTY5|publisher=Box Office India|date=5 February 2010|url-status=bot: unknown|archive-url=https://web.archive.org/web/20100205042951/http://boxofficeindia.com/showProd.php?itemCat=281&catName=MTk2MC0xOTY5|archive-date=5 February 2010}}</ref> |- | rowspan="2" | 1970s | ''Bobby'' (1973) || {{nts|1,000,000}} ||<ref name="boi70s">{{cite web|title=Music Hits 1970–1979|url=http://boxofficeindia.com/showProd.php?itemCat=282&catName=MTk3MC0xOTc5|publisher=Box Office India|date=5 February 2010|url-status=bot: unknown|archive-url=https://web.archive.org/web/20100205042855/http://boxofficeindia.com/showProd.php?itemCat=282&catName=MTk3MC0xOTc5|archive-date=5 February 2010}}</ref><ref name="sholay">{{cite journal |title=Sûrya India |journal=Sûrya India |year=1979 |volume=3 |issue=2 |page=61 |url=https://books.google.com/books?id=MUvoAAAAMAAJ |publisher=A. Anand. |quote=Six years after the movie was released, 'Sholay' is still going strong. Polydor records has won a platinum disc for the sale of the 'Sholay' record |access-date=9 December 2018 |archive-date=6 August 2023 |archive-url=https://web.archive.org/web/20230806000945/https://books.google.com/books?id=MUvoAAAAMAAJ |url-status=live }}</ref><ref name="platinum">{{cite magazine |title=International |magazine=Billboard |date=18 July 1981 |volume=93 |issue=28 |page=69 |url=https://books.google.com/books?id=rSQEAAAAMBAJ&pg=PT69 |access-date=9 December 2018 |archive-date=9 October 2023 |archive-url=https://web.archive.org/web/20231009032352/https://books.google.com/books?id=rSQEAAAAMBAJ&pg=PT69#v=onepage&q&f=false |url-status=live }}</ref> |- | ''Sholay'' (1975) || {{nts|1,000,000}} ||<ref name="sholay" /><ref name="platinum" /> |- | rowspan="2" | 1980s | ''Chandni'' (1989) || {{nts|10,000,000}} ||<ref name="indiatoday93" /><ref name="boi80s">{{cite web|title=Music Hits 1980–1989|url=http://boxofficeindia.com/showProd.php?itemCat=283&catName=MTk4MC0xOTg5|publisher=Box Office India|date=5 February 2010|url-status=dead|archive-url=https://web.archive.org/web/20100205042958/http://boxofficeindia.com/showProd.php?itemCat=283&catName=MTk4MC0xOTg5|archive-date=5 February 2010}}</ref> |- | ''Maine Pyar Kiya'' || {{nts|10,000,000}} ||<ref name="indiatoday93" /> |- |1990s || ''Aashiqui'' (1990) || {{nts|20,000,000+ (Didn't count after)}} ||<ref name="india-today" /> |- |2000s || ''Mohabbatein'' (2000) || 5,000,000 ||<ref name="Mohabbatein">{{cite news |title=As film music industry struggles, Bollywood goes for rightsizing of copyright price tags |url=https://www.indiatoday.in/magazine/society-the-arts/films/story/20020401-as-film-music-industry-struggles-bollywood-goes-for-rightsizing-of-copyright-price-tags-795378-2002-04-01 |work=India Today |date=1 April 2002 |access-date=10 December 2018 |archive-date=21 June 2018 |archive-url=https://web.archive.org/web/20180621170653/https://www.indiatoday.in/magazine/society-the-arts/films/story/20020401-as-film-music-industry-struggles-bollywood-goes-for-rightsizing-of-copyright-price-tags-795378-2002-04-01 |url-status=live }}</ref> |- |2010s || ''Aashiqui 2'' (2013) || {{nts|760,000}} ||<ref name="puli">{{cite news|title='Komaram Puli' audio creates latest record!|url=http://telugu.way2movies.com/exclusivesingle_telugu/%E2%80%98Komaram-Puli%E2%80%99-audio-creates-latest-record!-4-45380.html|work=way2movies|date=16 July 2010|access-date=2 December 2017|archive-date=10 December 2018|archive-url=https://web.archive.org/web/20181210063221/http://telugu.way2movies.com/exclusivesingle_telugu/%E2%80%98Komaram-Puli%E2%80%99-audio-creates-latest-record!-4-45380.html|url-status=dead}}</ref> |}

=== By year === {| class="wikitable sortable" ! scope="col" | Year ! scope="col" | Soundtrack ! scope="col" | Sales ! scope="col" | {{Abbr|Ref|Reference(s)}} |- |1960 || ''Mughal-e-Azam'' | rowspan="9" {{n/a}} | rowspan="9" |<ref name="boi60s" /> |- |1961 || ''Junglee'' |- |1962 || ''Bees Saal Baad'' |- |1963 || ''Mere Mehboob'' |- |1964 || ''Sangam'' |- |1965 || ''Jab Jab Phool Khile'' |- |1966 || ''Teesri Manzil'' |- |1967 || ''Upkar'' |- |1969 || ''Aradhana'' |- |1970 || ''Johny Mera Naam'' | rowspan="3" {{n/a}} | rowspan="3" |<ref name="boi70s" /> |- |1971 || ''Haathi Mere Saathi'' |- |1972 || ''Pakeezah'' |- |1973 || ''Bobby'' || {{nts|1,000,000}} ||<ref name="boi70s" /><ref name="sholay" /><ref name="platinum" /> |- |1974 || ''Roti Kapada Aur Makaan'' || {{n/a}} ||<ref name="boi70s" /> |- |1975 || ''Sholay'' || {{nts|1,000,000}} ||<ref name="sholay" /><ref name="platinum" /> |- |1976 || ''Laila Majnu'' | rowspan="4" {{n/a}} | rowspan="4" |<ref name="boi70s" /> |- |1977 || ''Hum Kisise Kum Nahin'' |- |1978 || ''Muqaddar Ka Sikander'' |- |1979 || ''Sargam'' |- |1980 || ''Qurbani'' || {{nts|1,000,000}} ||<ref name="platinum" /> |- |1981 || ''Ek Duje Ke Liye'' || {{n/a}} ||<ref name="boi80s" /> |- |1982 || ''Disco Dancer'' | {{nts|1,000,000}} |<ref>{{cite news |title=Bappi Lahiri: The golden era of music has ended |url=https://gulfnews.com/entertainment/bollywood/bappi-lahiri-the-golden-era-of-music-has-ended-1.1360680 |work=Gulf News |date=17 July 2014 |access-date=10 December 2018 |archive-date=14 December 2018 |archive-url=https://web.archive.org/web/20181214065318/https://gulfnews.com/entertainment/bollywood/bappi-lahiri-the-golden-era-of-music-has-ended-1.1360680 |url-status=live }}</ref><ref name="platinum" /> |- |1983 || ''Hero'' | rowspan="2" {{n/a}} | rowspan="2" |<ref name="boi80s" /> |- |1984 || ''Pyar Jhukta Nahin'' |- |1985 || ''Ram Teri Ganga Maili'' || {{nts|1,000,000}} ||<ref>{{cite news |last1=Rahman |first1=M. |title=Host of new playback singers in the reckoning |url=https://www.indiatoday.in/magazine/society-the-arts/story/19871130-host-of-new-playback-singers-in-the-reckoning-799550-1987-11-30 |work=India Today |date=30 November 1987 |access-date=22 December 2018 |archive-date=2 September 2020 |archive-url=https://web.archive.org/web/20200902164050/https://www.indiatoday.in/magazine/society-the-arts/story/19871130-host-of-new-playback-singers-in-the-reckoning-799550-1987-11-30 |url-status=live }}</ref> |- |1986 || ''Bhagwaan Dada'' || {{nts|1,000,000}} ||<ref>Faruk Kaiser's Platinum Disc accolade for ''Bhagwan Dada''</ref> |- |1987 || ''Premaloka'' || {{nts|3,800,000}} ||<ref>{{cite news|title=Bahubali audio sold for Rs 3 cr, sets record|url=https://timesofindia.indiatimes.com/entertainment/kannada/movies/news/Bahubali-audio-sold-for-Rs-3-cr-sets-record/articleshow/47366344.cms|work=The Times of India|date=21 May 2015|access-date=5 December 2017|archive-date=11 December 2018|archive-url=https://web.archive.org/web/20181211005258/https://timesofindia.indiatimes.com/entertainment/kannada/movies/news/Bahubali-audio-sold-for-Rs-3-cr-sets-record/articleshow/47366344.cms|url-status=live}}</ref> |- | rowspan="2" | 1988 | ''Qayamat Se Qayamat Tak'' || {{nts|8,000,000}} ||<ref name="boi80s" /><ref name="filmfare">{{cite news |title=Top 25 films between the years 1985–1994 |url=https://www.filmfare.com/features/top-25-films-between-the-years-1985-1994_-26676-1.html |work=Filmfare |date=18 February 2018 |access-date=10 December 2018 |archive-date=10 December 2018 |archive-url=https://web.archive.org/web/20181210110937/https://www.filmfare.com/features/top-25-films-between-the-years-1985-1994_-26676-1.html |url-status=live }}</ref> |- | ''Tezaab'' || {{nts|8,000,000}} ||<ref name="filmfare" /> |- | rowspan="2" | 1989 | ''Chandni'' || {{nts|10,000,000}} ||<ref name="indiatoday93" /><ref name="boi80s" /> |- | ''Maine Pyar Kiya'' || {{nts|10,000,000}} ||<ref name="indiatoday93" /> |- |1990 || ''Aashiqui'' || {{nts|20,000,000+ (didn't count after)}} ||<ref name="india-today" /> |- |1991 || ''Saajan''|| {{nts|20,000,000}} ||<ref name="saajan" /> |- |1992 || ''Deewana''|| {{nts|7,500,000}} ||<ref name="indiatoday94" /> |- | rowspan="2" | 1993 | ''Baazigar''|| {{nts|10,000,000}} | rowspan="2" |<ref name="indiatoday94" /> |- | ''Khalnayak'' || {{nts|10,000,000}} |- |1994 || ''Hum Aapke Hain Kaun''|| {{nts|12,000,000}} ||<ref name="Morcom" /> |- |1995 || ''Dilwale Dulhania Le Jayenge'' || {{nts|20,000,000}} ||<ref name="rediff-kumar" /><ref name="Ganti" /> |- |1996 ||''Raja Hindustani'' || {{nts|11,000,000}} | rowspan="2" |<ref name="boi90s" /> |- |1997 || ''Dil To Pagal Hai'' || {{nts|12,500,000}} |- |1998 || ''Kuch Kuch Hota Hai''|| {{nts|{{#expr:8000000+300000}}|}} ||<ref name="boi90s" /><ref>{{cite magazine |last1=McClure |first1=Steve |title=Asian Acts Cross Cultural and National Boundaries |magazine=Billboard |date=8 April 2000 |volume=112 |issue=15 |pages=49, 54 (54) |url=https://books.google.com/books?id=0A4EAAAAMBAJ&pg=PA54 |access-date=26 March 2022 |publisher=Nielsen Business Media, Inc. |archive-date=26 March 2022 |archive-url=https://web.archive.org/web/20220326001537/https://books.google.com/books?id=0A4EAAAAMBAJ&pg=PA54 |url-status=live }}</ref> |- |1999 || ''Kaho Naa... Pyaar Hai''|| {{nts|10,000,000}} ||<ref name="timesofindia" /> |- |2000 || ''Mohabbatein''|| {{nts|5,000,000}} ||<ref name="timesofindia" /> |- |2001 || ''Kabhi Khushi Kabhie Gham''|| 3,500,000 ||<ref>{{cite news |last=Unnithan |first=Sandeep |title=As film music industry struggles, Bollywood goes for rightsizing of copyright price tags |url=https://www.indiatoday.in/magazine/society-the-arts/films/story/20020401-as-film-music-industry-struggles-bollywood-goes-for-rightsizing-of-copyright-price-tags-795378-2002-04-01 |access-date=23 August 2012 |work=India Today |date=1 April 2002 |archive-date=23 April 2018 |archive-url=https://web.archive.org/web/20180423034124/https://www.indiatoday.in/magazine/society-the-arts/films/story/20020401-as-film-music-industry-struggles-bollywood-goes-for-rightsizing-of-copyright-price-tags-795378-2002-04-01 |url-status=live }}</ref> |- |2002 || ''Humraaz''||{{nts|2,200,000}} | rowspan="6" |<ref name="boi00s">{{cite web|title=Music Hits 2000–2009 (Figures in Units)|url=http://boxofficeindia.com/showProd.php?itemCat=286&catName=MjAwMC0yMDA5|publisher=Box Office India|date=5 February 2010|url-status=dead|archive-url=https://web.archive.org/web/20100205042845/http://boxofficeindia.com/showProd.php?itemCat=286&catName=MjAwMC0yMDA5|archive-date=5 February 2010}}</ref> |- |2003 || ''Tere Naam''|| {{nts|3,000,000}} |- |2004 || ''Veer-Zaara''|| {{nts|3,000,000}} |- |2005 || ''Aashiq Banaya Aapne''|| {{nts|2,000,000}} |- |2006 || ''Dhoom 2''|| {{nts|2,000,000}} |- |2007 || ''Om Shanti Om''|| {{nts|2,000,000}} |- |2008 || ''Ghajini'' || {{nts|1,900,000}} ||<ref name="boi00s" /> |}

== Album streams == {{Further|List of most-viewed Indian YouTube videos}}

The following were the most-streamed Bollywood music albums, {{as of|2020|lc=y}}.

{| class="wikitable sortable" ! scope="col" | Year ! scope="col" | Soundtrack ! scope="col" | Composer(s) ! scope="col" | Lyricist(s) ! scope="col" | YouTube streams {{small|(billions)}} ! scope="col" | {{Abbr|Ref|Reference(s)}} |- | 2017 | ''Tiger Zinda Hai'' | Vishal–Shekhar | Irshad Kamil | 1.6 |<ref>{{cite web |title=Tiger Zinda Hai |url=https://www.youtube.com/user/yrf/search?query=Tiger+Zinda+Hai |via=YouTube |publisher=Yash Raj Films |access-date=18 April 2019 |archive-date=16 August 2019 |archive-url=https://web.archive.org/web/20190816153123/https://www.youtube.com/user/yrf/search%3Fquery%3DTiger%2BZinda%2BHai |url-status=live }}</ref> |- | rowspan="2" | 2018 | ''Satyameva Jayate'' | Nadeem–Shravan, Sajid–Wajid, Tanishk Bagchi, Arko, Rochak Kohli | Shabbir Ahmed, Ikka, Kumaar, Arko, Danish Sabri | 1.5 |<ref>{{cite web |title=Satyameva Jayate |url=https://www.youtube.com/user/tseries/search?query=Satyameva+Jayate |via=YouTube |publisher=T-Series |access-date=11 June 2019 |archive-date=28 April 2019 |archive-url=https://web.archive.org/web/20190428203229/https://www.youtube.com/user/tseries/search%3Fquery%3DSatyameva%2BJayate |url-status=live }}</ref> |- | ''Sonu Ke Titu Ki Sweety'' | Zack Knight, Yo Yo Honey Singh, Amaal Mallik, Guru Randhawa | Zack Knight, Kumaar, Yo Yo Honey Singh, Guru Randhawa | 1.5 |<ref>{{cite web |title=Sonu Ke Titu Ki Sweety |url=https://www.youtube.com/user/tseries/search?query=Sonu+Ke+Titu+Ki+Sweety |via=YouTube |publisher=T-Series |access-date=11 June 2019 |archive-date=19 April 2019 |archive-url=https://web.archive.org/web/20190419163050/https://www.youtube.com/user/tseries/search%3Fquery%3DSonu%2BKe%2BTitu%2BKi%2BSweety |url-status=live }}</ref> |- | 2017 | ''Badrinath Ki Dulhania'' | Amaal Mallik, Tanishk Bagchi, Bappi Lahiri, Akhil Sachdeva | Shabbir Ahmed, Kumaar, Akhil Sachdeva, Badshah | 1.4 |<ref>{{cite web |title=Badrinath Ki Dulhaniya |url=https://www.youtube.com/user/tseries/search?query=Badrinath+Ki+Dulhania |via=YouTube |publisher=T-Series |access-date=18 April 2019 |archive-date=23 April 2019 |archive-url=https://web.archive.org/web/20190423052150/https://www.youtube.com/user/tseries/search%3Fquery%3DBadrinath%2BKi%2BDulhania |url-status=live }}</ref> |- | 2017 | ''Ek Haseena Thi Ek Deewana Tha'' | Nadeem Saifi | Nadeem Saifi, Faaiz Anwar | 1.3 | |- | 2018 | ''Simmba'' | Tanishk Bagchi, Viju Shah, Nusrat Fateh Ali Khan, Kumaar | Shabbir Ahmed, Rashmi Virag, Nusrat Fateh Ali Khan | 1.6 |<ref>{{cite web |title=Simmba |url=https://www.youtube.com/user/tseries/search?query=Simmba |access-date=11 June 2019 |via=YouTube |publisher=T-Series |archive-date=28 April 2019 |archive-url=https://web.archive.org/web/20190428014819/https://www.youtube.com/user/tseries/search%3Fquery%3DSimmba |url-status=live }}</ref> |- |2022 |''Brahmāstra: Part One – Shiva'' |Pritam |Amitabh Bhattacharya |1.2 | |}

== See also == *Ankhiyon Ke Jharokhon Se *Antakshari * Babul (Hindi word) * Bhajan * Binaca Geetmala * Filmfare Award for Best Lyricist * Filmi qawwali * Filmi-ghazal * Filmi devotional songs * Hindi dance music * Hindi wedding songs * Indian film music * List of Indian playback singers * Soundtrack album

== Notes == {{Notelist}}

== References == === Citations === {{Reflist}}

=== Sources === * ''Behind the curtain: making music in Mumbai's film studios'' by Greg Booth * ''Cassette Culture: Popular Music and Technology in North India'' by Peter Manuel * ''Dhunon ki Yatra-Hindi Filmon ke Sangeetkar 1931–2005'' by Pankaj Rag * ''Early Indian Talkies: Voice, Performance and Aura:'' by Madhuja Mukherjee * ''Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community'' by Keila Diehl (Tibetan refugees) * ''Film songs and the cultural synergies of Bollywood in and beyond South Asia'' by Anna Morcom * ''Hindi film songs and the cinema'' by Anna Morcom * ''Music of Hindu Trinidad: Songs from the India Diaspora'' by Helen Myers * ''Pandits in the Movies: Contesting the Identity of Hindustani Classical Music and Musicians in the Hindi Popular Cinema'' by Greg Booth * ''Religion, gossip, narrative conventions and the construction of meaning in Hindi film songs'' by Greg Booth * ''The Cultural Economy of Sound: Reinventing Technology in Indian Popular Cinema'' by Carlo Nardi * ''The Indian Diaspora: Dynamics of Migration'' edited by Narayana Jayaram, p.&nbsp;164 (Trinidad) * ''World Music Volume 2 Latin and North America Caribbean India Asia and: Latin and North America'',...by Simon Broughton, Mark Ellingham (History)

{{Bollywood|horiz}}

Category:Filmi Category:Songs in Hindi Songs