After The Interval (Interval Ke Baad)
Two friends rewatch the Indian movie classics we grew up on — one film at a time, one argument at a time. New episodes every week. Because the best part of any movie isn't the movie — it's always the conversation after.
After The Interval (Interval Ke Baad)
Asha Bhosle — Abhi Na Jao Chhod Kar
Use Left/Right to seek, Home/End to jump to start or end. Hold shift to jump forward or backward.
After The Interval (Interval Ke Baad) — Special Episode
Remember that feeling? The theater goes dark, that first note of music hits, and for the next three hours, nothing else matters.
On April 12th, 2026, we lost Asha Bhosle. Ninety-two years old. Eight decades of music. Over twelve thousand songs. A voice that could be a seventeen-year-old in love and a grandmother in grief, sometimes in the same album.
Bharath and Neelima pause the rewatch series to do the only thing that felt right — celebrate her. In their own way. With their own lists.
Neelima brings ten songs for ten moods. The Asha Bhosle playlist for living, from classical to psychedelic, from a 1958 cabaret to a non-film ghazal recorded across a border with a Pakistani legend. Because there was an Asha song for every single thing any of us ever felt.
Bharath brings a dream. A ten-thousand-seat stadium, intimate despite its size, where time collapses, and anyone can share her stage. Kishore Kumar walks out from the wings. Lata Mangeshkar stands beside her sister. R.D. Burman is at the piano. And Asha sings ten songs — chosen not as favorites, but as a concert. With an opening, a journey, peaks and valleys, and a closing that nobody saw coming.
And then, she comes back for one more.
Because the best part of any movie isn't the movie — it's always the conversation after.
Interval ke baad, the real conversation starts.
Follow us: @aftertheintervalpod
Email us: aftertheintervalpodcast@gmail.com
Produced by The LuminACE Group, LLC
Neilima, there is a question I get asked sometimes. Why do you love Hindi film music so much? And my answer is, how could you not think about what this music has done to us? It's taken poetry from poets like Sahir Ludhyanvi, Chavedaktar, Shailendra, Kulzar, Madru Sultan Puri, and married it to a melody in a way that just makes ordinary people like myself just feel extraordinary things. It turned a three-minute, four-minute song into just this complete emotional experience. Joy, longing, devotion, heartbreak. And back in the day on a cassette that cost 10 rupees. And the remarkable thing is that has never stopped. My wife Chai and I Neilam are big fans of Indian Idol. And you've got these kids, 16, 17, 18, from the small towns of India on that amazing stage, and they're singing songs from the 60s and 70s. They have no business knowing these songs, but the whole country stops. And because the whole country knows every single word. And the song belongs to their grandparents, their parents, and as much to them as well. For me, that is not nostalgia, that is something much rarer. That's music that's really made for the ages. And friends, today Neilima and I want to talk about one voice that's that sits in the center of that story. A voice that has recorded over 12,000 songs. We will probably finish our lifetimes before we even get to a fourth of those. Over eight decades, a voice that could be a 17-year-old in love, as we were once back in the day, or a grandmother in grief and everything in between, sometimes in the same album. Today's episode is a tribute to Asha Bosley. And I know Neilima, you want to say a few things about her.
SPEAKER_08Yeah. When I think about uh Lataji and Asha ji, I feel Lataji is like that uh more mother figure or a strict teacher who we all looked up to and who taught us a lot. But Ashaji was like a favorite aunt who understood you very well, who you could approach for advice anytime, who cooked all your favorite dishes, in short, who always had your back. So when I was a little girl, I would always hear her songs coming on the radio. When I was a teenager, she was the one who understood what I was feeling before I could even express it myself. When I fell in love, when I was heartbroken, she put words to my feelings. And what I find remarkable is that she could do all of those things. She just grew with you. She met you wherever you were. And I also think we sometimes forget how brave she was in an industry that had one idea of what a woman's voice should sound like soft, restrained, classical, traditional. Asha Bonesley sang cabaret numbers like Ryatu Apatwaja, rebellious songs like Dhamma Rudam, and made an entire generation feel like there it's okay to be a little bit dangerous. Yeah, and then she turned around and sang something so tender like Mirakuch Sama, heartbreakingly gentle, that you forgot that she had been anything but pure melody. That extraordinary range, impossible range is what I want to celebrate today. Ashaji, thank you for being there for all of it, for all moods, for every moment, for every one of us.
SPEAKER_01That is such a wonderful tribute, Neilima. She did a concert in Dubai two years ago, at the age of 90 with Sudesh Bosley. I'm like, the odds of us making it to 90, who knows? But the odds of us standing for three hours and belting out hit after hit after hit, that is the most amazing thing for me, or one of the most amazing things, Neilema, is Asha G's zest for life through all the hardships. It probably was not easy to have an elder sister like Lata Mangeshka.
SPEAKER_08Yeah, in her shadow. Yeah.
SPEAKER_01To be in her shadow, but then to carve this niche for yourself, to be able to have the range, the depth. For me, her songs were always back to that zest for life, the the sound of possibility. Her song, you listen to them in the house, in the car, weddings, funerals, on the radio, 3 in the afternoon, 9:30 p.m. in the night, you're having a long day, and you're like, Hirate, and just like, oh my god. So I think what I will miss most is that range, the ability to sing various types of songs, various genres, to start with Madan Mohan, go all the way to A.R. Rayman, and just be able to have that breath. And there is a song that was sung by Asha Bosleji for probably every mood. Her recordings are forever, 12,000 songs, eight decades. And so, friends, uh, today Nilima and I want to celebrate it in our own way. Let us first apologize. We certainly cannot get to all her great songs. So, what Nilema and I decided was, Neilima, I'd like for you to go first. You're gonna pick 10 songs, and then I picked 10 songs. We're not quite sure how you picked yours or how I picked mine. I hope there isn't. I would be surprised if there was zero overlap, but I also have a feeling that you're going to find some of our classics, and I'm going to find some of her most popular numbers.
SPEAKER_08And that's a good balance, I think.
SPEAKER_01Yes, and well deserved for Asha G. So, Neilima, why don't uh you go first? Tell us how you picked the songs, and then let's go through each one of them.
SPEAKER_08I thought about this a lot because how do you choose 10 songs from 12,000? Where do you even begin? And then I realized that the way I've always experienced Asha G's music is through mood. There is an Asha song for every single mood. Happy, sad, playful, heartbroken, uh romantic, rebellious, devotional. She covered all of it. I didn't pick my 10 favorite songs, but I picked 10 songs for 10 moods. The song I reach for when life puts me in a specific place. It's like uh my personal Asha playlist for living. And you might do.
SPEAKER_01I love it, I love it. So we are going to hear 10 picks from you that you have chosen for uh Nilma's different moods. Yeah. All right, let's do this.
SPEAKER_08Starting with classical. If you're in the mood for something classical, traditional, cultured, something with roots, when I want to be reminded that melody existed long before any of any one of us. So for that mode, I go to Yah Bhavari, Piyabhari, Piyab, Piyab, Adi Burman composing, Gulzar writing, Ashaji singing with Ashok Kumar, whose roughness and warmth is exactly what the sound needs. And the way it was picturized with Ashokumar on the tabla and Rekha and Shashikala dancing, it it's just so nostalgic and so melodious at the same time. And Gulzar Sab's words Pia Bowri, Pikaha, Pikaha. That's all he needed to express.
SPEAKER_01Isn't Gulzar just out of this world amazing? And great pick. When I think about Asha Bose Leonardi Berman, I'm not thinking about Pia Bowri, so well done.
SPEAKER_08So my next pick would be when I'm feeling philosophical, when life gets too big, when you're overthinking everything the past, the future, age kya hoga. So this is my pick. It must surely rank among Ravi Sahab's best compositions. And this was uh from Vakht released in 1965. What an absolutely fantastic song this is. The lyrics, music, voice, presentation, they all come together to create this classic. And Ashaji is sublime here. The whole song is one idea. You don't know what's ahead, you don't know what's behind. All you have is just this moment.
SPEAKER_01This moment. Sahir Ludhianvi, when he writes songs, it feels like not a song but a philosophy of life. He and Gulzar are unparalleled in that sense for the limited poetic abilities uh in terms of my being able to understand these guys.
SPEAKER_07Yeah.
SPEAKER_01But they don't need a ton of words, and every word has weight.
SPEAKER_08Yes, yes. Great song. Yeah, and between them, who do you feel uh you know more close to? I don't know if whenever I listen to a Gulzar song, even without knowing, I know Gulzar Sab must have written it. That unique style of his, but Sahir Ludyanvi, maybe because he's from a previous generation, I still can't identify it. Can you identify a song based on the based on who wrote it?
SPEAKER_01Mine would be the same as yours, Neilima. The songs are a lot of philosophy, but they're rooted in the day-to-day. Yeah. Right? He makes this amazing connection between us as humans and what we desire and what we want. Whereas I think Sahir Ludyanvi is much more broader in the way he he thinks about the world. Even this song, right?
SPEAKER_07Yeah.
SPEAKER_01It's like that's all you need to know. Now what comes next? I think Gulzar may be a little bit more predictable, a little bit more connected with the world.
SPEAKER_08Connected, yes, yes, exactly. So this brings me to my next topic when you're in the mood for you know some poetry, some nostalgia.
SPEAKER_01I have a feeling I know which one this is going to be. Oh my god. Okay. Oh my god.
SPEAKER_08Guess it, but what could it be? Based on my my choice.
SPEAKER_01Guzar? Ijazath.
SPEAKER_08Ijazath, yes. Mirakuch Saman. I know. All songs are good in the movie, but Mirakut Saman is uh uh is on a different level. Uh this movie um was released in 1987. Music director Ardi Burman, written by Gulzar and solo by Ashaji. This song won Ashaji her second national award. Gulzar Saab wrote it in free verse No rhyme, no conventional structure. Ek so solar chant ki rate, ek tumhare kande katel. Just memory listed like inventory. And Adi Bhamman Saab said this was the most difficult song he ever had to compose. In fact, he was uh he was very angry on Buljar Sab when he first saw this. He said, Tomorrow you'll bring me an article from Times of India and ask me to compose it. Is that what you say? And Asha Chi just took a look at it and sang it in 10 minutes in one take.
SPEAKER_01Singing Mehrakut Saman in one take is incredible because when now that I live, you know, eight, sixteen years of listening to Indian Idol and hearing Shaya Goshal talk about how singers think about the song because they spend a lot of time with the actors, with the director, with the scriptwriters, trying to get into the mood and the character of the song. How do you get into the mood and character of Meira Kut Saman in 10 minutes and bang it out in one go?
SPEAKER_05Absolutely.
SPEAKER_01Incredible.
SPEAKER_05Yeah.
SPEAKER_01Incredible. Great pick. Great pick. You are on a roll.
SPEAKER_08Yeah. Fourth song. Then when the mood is sedactive, when you want to feel completely, unapologetically powerful, and you walk into a room and you own it for that mood. It's Aya Mehrabad from Haurabridge. Opinaier and Ashaji, Kamar Jalal Rabadi writing picturized on Venus herself. Oh yes. Ashaji's voice is as much a performance as Madhubala's on-screen presence. These two women refuse to be anything but completely themselves. And this is the song that made Asha the queen of seduction in Hindi cinema. Before this, she was still finding her voice, but after this, nobody questioned what she could do.
SPEAKER_01And I have uh two thoughts on that. The first one is Didn't Opinaier and Asha have a falling out? I think around this time or right after this song. I don't think she sang for Opinia after, or at least she didn't sing for Opinai for a very long time.
SPEAKER_08Yes, yes, that's what I heard. Yeah. While they had a very successful partnership, they had a falling out, and uh we don't know why, but uh he never sang for him after.
SPEAKER_01And uh when you said being themselves, right? Asha ji quintessentially Asha, Madhubala quintessentially her, like these are women. What you saw is what you got, just amazing, live their life a certain way, intentional, purposeful. And then, of course, I hope you don't have any of this other lady that I'm thinking about, who also Asha sang for. Hope I will cover that in my section. Don't worry. Okay, another one of those confident individual ladies with such a zest for life. And uh Nirma, take a guess how many duets Kishore Kumar and Asha Bosley may have done.
SPEAKER_08Out of her 12,000, uh, can I say what 2,000?
SPEAKER_01Uh that's a high number, but uh somewhere around 700 songs.
SPEAKER_08Oh wow, okay.
SPEAKER_01700 songs between Asha and Kishur Kumar. It's just unbelievable. But four great picks, keep going.
SPEAKER_08All right. Next next pick is is one of those, you know, wacky, madcap, playful mood. Uh Dayaye make a passi from Karwa. Karma. Again, music directed by Adi Burman, lyrics by Madru Sultan Purim, the tongue twisting acrobatics, the sheer physical comedy of the delivery. And yet it sounds so completely effortless. She is working harder than you could imagine and making you think that she's just playing around.
SPEAKER_01Yes. Amazing song, just the free flow, the whole song is just joyful. You hear the song, and your the your mood immediately gets better. Yeah. And I think only Asha has that kind of power and ability where the sound is just so joyous, so mellifless, so melodious, you you can't help but get into a good mood.
SPEAKER_08And my next song is When You're in the Psychedelic Mood. Yeah, when you're in the mood for something rebellious. Again by the boss Adi Burman. Lyrics by Anand Bhakshi Saha. And picturized on Zina Taman in a role that made her a star. This song crossed every border cultural, musical, generational. Ashaji sang with the absolute conviction of someone who didn't care what anyone thought.
SPEAKER_01Yes, and so a couple of quick thoughts. One is Zina Taman, another individual, what you saw, what you got.
SPEAKER_08Unapologetically.
SPEAKER_01Upologetically herself. And listeners, if you don't follow Zina Taman on Instagram, you should. Neilma, some of her posts are just she's so true to herself and Ashajas Justice. Yeah, she's so true. Oh, very eloquent. Yeah, yeah. Very eloquent. And um, Dhammaradam, I believe, came in the same year as uh Pia Tu from your previous movie, Karma.
SPEAKER_08Another banger. Yeah.
SPEAKER_01Yeah. Imagine doing Piathu and Dhammaradam in the same year. What a great pitch! Alright, folks, first overlap. We made it through six songs till we got to the first overlap.
SPEAKER_08Not bad. Not bad at all.
SPEAKER_01Not bad.
SPEAKER_08So song number seven. When you just want to listen to a song, just cause you don't need a reason. This doesn't fit any category. This is Bechara Dilkyakare from Kushbu. Released in 1975. Again, I don't know. Maybe I have a bias towards Sadi Burman Saab's songs that I keep going back. Gulzar Saab again. Uh picturiz on Himamali and Sarida Jalal. Simple song, no drama, no grand statement. Just a woman asking her friend what her heart is supposed to do with all these feelings. Gulzar Saab at his most understated and Ashaji at her most conversational, a deadly combination.
SPEAKER_01And Neelima, this tells me this is the Neilima I know. And to all the listeners, this is what you get with Neilima because Mera Kut Saman certainly on many people's top ten, Dhamma. Rhythm obviously, but this is the rare pick where I wouldn't have thought of this song, but now that you picked it, I'm like, I know why you picked that song. That is quintessentially you.
SPEAKER_08I keep coming back to this song any any time, any any time of the day. Yeah. For sure. So my next song is uh classic, Gazal, when you're feeling melancholy and you you need a song to describe your feelings. This is for the darkest moments in your life when you look around and don't recognize where life has brought you. Sheryar wrote it. Sher Yar wrote the words for a 19th-century courtesan. Always brings tears to my eyes. Ashaji sang them for every person who has ever felt completely, utterly lost. Kayam Saab's music gives it no comfort, just the question hanging in the air.
SPEAKER_01I am glad because isn't this from Umrah Ujan? Yeah. Alright. When we get to my pics, we uh we had a close call here because I have a song from Umrahujan as well in my 10.
SPEAKER_08Yeah.
SPEAKER_01But I mean, what an album.
SPEAKER_08I think no Ashaji top 10 would be complete without an Umrajan pick.
SPEAKER_01Yes, without without a cabaret by Helen and without a pick from Umrahujan.
SPEAKER_08Umrahjan.
SPEAKER_01No way, no way that happens, right? Yeah. So we'll cover those two. But I'm told that this is one of the songs for all her natural talents. And we think, like you talked about Meira Kut Saman, she sang it in one take in 10 minutes. But this one, she went to Luckno, understood the culture, the Riti, the Rivas, really tried to embed herself into when we think about these amazing superstars. Yes, we all know how much hard work goes behind this, but this is a good example of where she spent weeks in Lucknow really just trying to get into the song, into the vibe of the song, into how she should sing the song. And that whole album is just classic, one after another.
SPEAKER_08I didn't know about the I mean the history of you know how she prepped, but it shows it shows in the album and how beautifully does her voice suit Ray Kaji. It's like they're made for each other, you know, at least as far as this album goes.
SPEAKER_01No doubt. Oh, talking about another strong, independent woman who what you saw is what you got.
SPEAKER_08What you got unapologetically herself.
SPEAKER_01Unapologetically lived her life. There is something there.
SPEAKER_08Yeah, yeah, definitely. And uh maybe Ashaji's voice suits such people even more.
SPEAKER_01Because there is a there is a certain um Lata ji, when I when you hear her, it's just pure melody. Yes. There is a pure the word when you hear Lata is purity. And especially with some of my pics, the word you think about for Asha Ji is freedom. There is a certain release in her songs. Absolutely. I mean, certainly Lata has it too guide banger. It just you know, there is so much joy in that song, no doubt. But Lata J has this restraint, this melody, whereas Asha Ji is just like, let it all go.
SPEAKER_08Yes, yes. And uh Lata J has that untouchable quality, I don't know. Whereas Asha Ji is like, you know, come with me. Come with me. Let's get on this journey. Yes, yes. Well said. My next song is my ninth song is proof that uh Gazle doesn't have to break your heart. This is this is so close to my heart. This next one, I can listen to it, you know, 24-7. It just puts me in a great mood. Uh, not just her vocals, but uh the background music as well. This is not from a movie but from a private album composed by the great uh Ustah Gulamali. Uh Salona Sajanhe.
SPEAKER_05Salona Salum.
SPEAKER_08And the fact that Ashaji from India and Gula Malisa from Pakistan, they they both found each other across the border and made something this beautiful. Uh, that means music truly doesn't have any borders.
SPEAKER_01Music doesn't. The love for music is universal. And what a bold pick. I I maybe I should have expected this from you, knowing you, but uh, you still surprise me. It's an amazing pick, and it also tells me that again back to Asha going where the music is, where the song is, and if it spoke to her, she would sing it. And this is this is one such example. Great pick. All right, last but not least, let's go. Number 10.
SPEAKER_08Number 10. I know she's she sung many devotional and patriotic songs, but this is something you know, playful as well as devotional. You hear this every single time. Oh, I think I know this one. Yeah.
SPEAKER_01On every pundle, on every street corner. Oh, is that I never thought Ashaji sang that. Oh no, sorry, tell us about the song.
SPEAKER_08No, no, I mean I I totally understand, but see, uh, whenever Rekas Rekha ji sounds so natural, you you can uh you know you can conclude that uh Ashaji has sung it. This is uh Oh She Rowali from Suha. Uh 1979, Lakshmi Khan Pyarelal composed it. Anand Bhakshi Sab wrote it. Ashaji Mohamad Rafi picturized on uh Amitabh and Rekha. What more do you need? Two greatest voices of their generation in a devotional song. Ashaji's voice carries it something, you know I can only describe as graceful.
SPEAKER_01What a range. You have a non-filmy pick, you have devotional, you have seductive, you have romantic, you have happy song, you have sad song. Amazing listeners, we are trying to do the best we can. Nilma, that was a great list. Only one overlap, and uh karma and um, a couple of movies. I thought of those as well. All right, are you ready for my 10?
SPEAKER_08Yes, please, take it away.
SPEAKER_01So you went with 10 moods, and I thought and thought and thought, and I said, you know what? A man can have a dream, right? So my dream is an Asha Bhosle concert. So I am imagining Nilima, you and I have been to so many concerts in the US together, a 10,000, 15,000 seater. I can pick whoever I want.
SPEAKER_02Wow.
SPEAKER_01So I've got I can choose any music composer, I can choose any song, I can get anyone on stage with her, but I have to limit myself to 10 songs. So my flow is more of a concert-like flow. My first song is Junkagi Rare. This is from Mera Saya in 1966. Mother Noan composed it, Raja Mahdi Ali Khan wrote the song. It was sang in this khajri folk tune style. I think it was picturized on Sadhna and in actually Bareli's bazaar. Oh. So Bareli ki bazar me. So when she sings that, it became such a big hit that there is actually a large jumka in one of the chalks in Bareli as a memory for that song. And I'm thinking the concert starts, the lights dim, you have the curtain goes up, and then Ashaji starts with Jumka Gira Re.
SPEAKER_08Perfect opener. And the whole stadium is singing along before she even finished the first line.
SPEAKER_01Then the second song, Because a Man Can Dream, from behind the screen comes Amita Bhachan. And I think you already know what song this is.
SPEAKER_08Is he on a boat by any chance?
SPEAKER_01Yes, he's on a boat, four buttons opened. And as soon as the audience sees Amitab there, people are going crazy. They know exactly what song it is. And from behind, the song starts in Italian. She tries to explain that, and all Amitab says isunauna. And Nilima, when when you hear that song, and when Asha J starts saying, Dola V Zonki, it is just butter. So we start with Jumka Girare, and then we go into Dolove Zonkihe.
SPEAKER_08Yeah, yeah. Just her voice alone when she starts, when she starts Dolove Zonkihe, just your heart stops for a minute. Yeah. I I've heard many people experiencing the same with this song. Yes.
SPEAKER_01That first line is just unbelievably melodious. So we've done with that song, and then Kishore Kumar walks on stage.
SPEAKER_08Wow.
SPEAKER_07Okay.
SPEAKER_01And uh this is then Asha starts singing, Yerate Yamasam Nadika Kinara. And by this time, the whole crowd is absolutely going sideways. Everyone's cameras are out, the lights are on, and that song from Dili Kitag, uh, music by Ravi, words by Shailendra, 700 plus songs, but you hear it at night, and I mean it is part romance, part lullaby, just such a beautiful song, and I will shamelessly admit that for many years I actually thought it was a Lata song. I don't know why, but for many years I thought it was a Lata song, and just in the last few years I realized, oh my god, that's not Lata, that's Asha. But the point is, when Asha wanted, she could absolutely sing as melodiously.
SPEAKER_08This one is a soulful memory. It remains a favorite across so many generations. And yeah, after everything that happened already, you're spoiling the audience beautifully.
SPEAKER_01Thank you. So we are now Jumka Girare, Dol of Zongki hai, and then we've done uh and then the stage clears for uh Asha G to sing in Kunki Masti. So again, by herself, Umrah Jahan, second song from that movie, and then the audience is just complete stillness, complete silence. This is probably the deepest valley of the night. Kayam, Shariyar, and this is a song where I believe Kayamji asked her to sing in a very low register than anyone had ever asked her. So she had to alter the way she sang, her technique. But I'm just thinking after Kishorkumar, just to be able to do this, and just the stillness and the quiet that this song will provide in a concert.
SPEAKER_08Ashaji's voice was truly intoxicating in this song. The depth in her voice complimented Rekhaji beautifully. Great pick.
SPEAKER_01Thank you. The fifth one, before the curtain comes down for halftime, is one of my favorites. All these songs are great. This may be a bit unconventional, but I love Radha K se na jale from Lagan. This allows me to bring Ehar Rahman and Udit Narayan on stage. I'm just being selfish now. Might as well, right? Why not?
SPEAKER_08Yeah. And this is so you. This pick is soyu.
SPEAKER_01Thank you. There's naughtiness to it, there is just the back and forth, the and again, same thing. Madhupa. She starts with Madhupa nu mechokana. And the and the naughtiness of that song, right? Now, after Inankon Ki Masti, everyone's starting to get and the energy. And she's done Rankila with Ayar Rayman, she's done Lagan with A. Rahman. Can you imagine? Like, you've done songs in the 60s with Madan Mohan, and you've done songs in the 2000s with A.R. Rahman. So this is just my opportunity to get A.R. Rahman on stage.
SPEAKER_08Rahman and Ashaji, two completely different musical universes finding each other, and it sounds like they've always been speaking the same language.
SPEAKER_01So the curtain comes down, and now I've got five songs left. We take a break in the concert, the curtain rises again, and why would I not have Lataji next to Asha? The crowd goes absolutely bonkers because they know exactly what song is coming next. And just again, Lakshmikan Piarilal, I'm mixing up my music composers, wasandev wrote, but just the ability and the to have both Lata and Asha on stage. These two have defined, let's admit it, an era of Hindi film music. For me, this will be the most intimate moment in the concert because after this song, the concert is getting ready for takeoff.
SPEAKER_08But this one is one of my all-time favorites. Yeah. I I wanted to include it in my uh list as well, but uh uh I didn't know what mood to put this under. But Ashaji and Lataji together, what more can you ask for?
SPEAKER_01Yes, people start paying me for this concert. So I talked about Radha Kesena Jale, one of my personal favorites. The next one is also one of my personal favorites, and I'll tell you why. This is Janejah. I love this song. This is probably one of her most electric duets. And this is the song Nilma Will, like we were talking about earlier. Joy, energy, freedom, lift off. And the thing I love about the song is every time I hear it, it's when she just hums. So Kishore Kumar is singing, and then she hums. And if you guys listen to the song, she hums in four or five different styles in the song. And just the joy of two people going back, and she's just humming. She's just humming. Then she picks up the song in the second half, and it's just humming elevates the song.
SPEAKER_08Yeah, the humming elevates the song so well that yeah, you you just can't imagine such a wonderful song without Asha G. Yeah. Yeah.
SPEAKER_01The song is just so much love, so much energy, and the way she hums, I just I cannot just, it's amazing. Alright, that's song seven. Song eight, it is another R.D. Berman. And I mean, we talked about Zinataman earlier. Uh this is Zinataman on a guitar. The crowd absolutely knows what song it is. Second half has started with Mankyo Beka, Janija, and song eight, of course, is Churaliah. And then the whole stadium is again like on enjoying the song.
SPEAKER_08Such an evergreen, evergreen melody, and it's hard to believe it. What year was this made?
SPEAKER_01Like seventy-three.
SPEAKER_08It's hard to believe it's from 73. It still feels fresh to like.
SPEAKER_01It's so such a f that's well said. It's such a fresh song. So that is Churalia, and then of course, you cannot have an Asha concert without a Helen song. And so the next song in the background, you have Monica. And then everybody's 100% at this point off their seats, in the stands, because they know exactly what's coming. Asha just belts out.
SPEAKER_06Monica!
SPEAKER_01And the crowd is just going bananas. What a song. I mean, 50 years later is still so amazing. And uh so apparently the story goes, Majur Sultan Puri wrote it, and uh he wasn't very happy that he wrote a song like this. So he told his son, hey, listen, beta mene kay, or something along those lines. But uh for making one of the most iconic songs in the history of Hindi cinema. They they start playing Piathu and they go straight from Piatu to Dhamarodam.
SPEAKER_07Oh, okay.
SPEAKER_01So that's the first overlap we have. I thought that is the 10th song. It has to be you, I mean, it's really hard to make an Asha top 10 without Dhamarodam, right?
SPEAKER_08Absolutely, yeah, yeah.
SPEAKER_01And uh, I mean, just what a song.
SPEAKER_08Yeah, wonderful, wonderful pics, Marat.
SPEAKER_01Yes. So what happens then, Neilima, is I cheated a bit, I apologize. So the tenth song is done. She leaves the stage, the crowd goes, Encore, Encore, we want one more song, we want one more one more song. So the lights are down, the stadium's on its feet, and the the clapping won't stop. So, Nilma, what is the one song where we can all ask Asha to do as an encore when she's leaving the stage?
SPEAKER_08What is it? Tell me.
SPEAKER_01Abhina Jao Chodekar Nahi Abhina Jao Chodekai Kinahi Abito Abi Abito. And allows me to bring Mamad Rafi on stage. And uh what what an amazing song. So, yes, I cheated a bit, that is the 11th song.
SPEAKER_08It's okay, yeah. It's a it's a fitting tribute to her uh and fitting uh song to end her concert with. This song from Hamdo No, Jay Dev Saab composing, Asha Gee, Momad Rafi Saab. This is j not just a song anymore, this is every one of us standing in that stadium refusing to let the night end. Ashaji, we said Abina Jao to you for 89 years. Every time a record ended, every time a concert finished, every time the radio moved on to the next song. We always wanted one more. And you always gave us one more 12,000 times, 12,000 memories. You continue to dwell with our hearts, and your voice will continue to touch our souls for as long as we live. Rest in peace, Ashatay.
SPEAKER_00Wonderful tribute, Neilima. Wonderful tribute.
SPEAKER_01So, folks, that was uh our list. I hope you all enjoyed it. Next week, Nilima and I are going to do our first Telugu movie. Folks have been writing in and asking about, hey, when are you guys gonna do your first Telugu movie? So uh the way it ends, folks, our first Telugu movie also happens to be from 1989. Our first Hidi movie for the podcast also started in uh 1989. The one and only Telugu movie that Maniratnam directed. And I think you all know what that movie is. So uh looking forward to re-watching Nagarjuna's banger with uh Mani Rnam next week. Nilima, thank you so much.
SPEAKER_08Thank you, Badit. Thank you all.
SPEAKER_01Had a great time, Alvida. And uh, folks, if you have any suggestions, please uh email us at after the interval podcast at gmail.com. In the meantime, be safe. Talk to you all next week. Bye bye.