Dupatta Tera Sat Rang Da
Fine Tone Electronics Industries, Ludhiana: FT 140 © 1994
Roma Music Bank: RMBMC 163 © 1996
Music: Atul Sharma
This is the biggie of course, the song that got Bindrakhia where he is. In a sense it's representative of his style since it has almost all the features I've noted elsewhere. The words and the dhol arrive in staccato, almost like gunfire. You can't help but imagine yourself walking around slowly with arms raised up and shoulders shaking. Undeniably one of the best songs to get people off their feet. It don't need no remixin' either. Shamsher Sandhu's lyrics are nothing to laugh at, "hirnan ne udhari tethon mangi" still gets me.
This one is belted out, almost as if he were reading it out. The trademark pauses are there, the first "Tu tan kurihye ni" is probably the perfect example of this particular trick. The music is very brass band-ish, often getting out of control with different beats and themes, it sounds vaguely like music at a 70s Indian wedding played at twice the speed with the tracks cut to mesh with each other. Still, not a bad song. Dev obviously (as the "last name" suggests) is less than serious and there's a lot of playing around on the lyric.
The dhol can be very, very, fast on this one. Almost like ants running across the skin of the drum. The vocals and the music are better blended on this one, both moving together. The song is worth listening to, lots of staple Punjabi humour, but some surpisingly novel stuff as well.
For the song that it is, the music is exceedingly light-hearted and almost scandalously fast. I think it seeks to make a statement of sorts and an important one at that, considering the status of the daughter-in-law in most Punjabi households. But Bindrakhia almost destroys everything with the speed of the music. If you listen carefully though, you'll notice that his voice never loses its harsh seriousness in this track, it may be the only one where his voice isn't airy (which it usually is despite the deep bass tone). It's also the only song where the drunk appears in a bad light. Towards the end the song gets even faster, till it becomes a portrayal of violence itself.
Vintage Bindrakhia, the whole bag of tricks is here.
For a persuasion, this one is written quite well, a little whiny, but then poetic license and all that. Bindrakhia goes over it very quickly though, and there's not enough desperation.
The music starts out in a theme that's almost slow, but it can't last of course, and the tempo picks up quickly. There more changes in Bindrakhia's tone than normal, he changes moods often here. The chorus is not slick, but then this is all supposed to sound rustic anyway. I like the premise behind the song, the dramatic element is not half bad.