May 21, 2026 • 59 mins
May 21, 2026 "The Sound — Top 15 of the Duology"
The Bridge is available on the iHeart Radio app
Episode 537
ON TODAY'S SHOW
Sammy Chand's Thursday show closes Dhurandhar Week with the deepest possible listen — a full hour built almost entirely on the music of Shashwat Sachdev, the composer who built the franchise's sound from the ground up. Eleven of today's twelve tracks are Shashwat productions, ranging from his Bollywood vocal work with Arijit Singh (Gehra Hua, Phir Se), to his Punjabi catalog with Jasmine Sandlas (Main Aur Tu, Shararat), to the cross-genre architecture of the Dhurandhar title track itself, to deep cuts (Move, Lutt Le Geya, Naal Nachna) and franchise anchors (Ez-Ez with Diljit and Hanumankind, Teri Ni Karaaran with Diljit, the Dhurandhar Title Track, Aari Aari with Bombay Rockers, Khan Saab, Reble, and Jasmine Sandlas, and Jaiye Sajana with Sartaaj). Sammy interviews the band Indofuzon in a substantial conversation in the second half — a fresh voice in the show's rotation. Aashi Arora stops in with a Sunday show preview. Dr. Roy delivers Word On The Avenue. Doyeeta Das Gupta presents the Artist Spotlight. The hour closes with one last Shashwat-Arijit collaboration — Phir Se — letting the producer's signature ride out the week.FEATURED MUSIC
Gehra Hua — Arijit Singh, Shashwat Sachdev
Main Aur Tu — Jasmine Sandlas, Shashwat Sachdev
Aari Aari — Bombay Rockers, Khan Saab, Reble, Jasmine Sandlas, Shashwat Sachdev
Ez-Ez — Diljit Dosanjh, Hanumankind, Shashwat Sachdev
Lutt Le Geya — Shashwat Sachdev
Move — Shashwat Sachdev
Shararat — Jasmine Sandlas, Shashwat Sachdev
Naal Nachna
Teri Ni Karaaran — Diljit Dosanjh, Shashwat Sachdev
Jaiye Sajana — Jasmine Sandlas, Satinder Sartaaj, Shashwat Sachdev
Dhurandhar (Title Track)
Phir Se — Arijit Singh, Shashwat Sachdev
FEATURED GUESTS & CONTRIBUTORS
Indofuzon — Band. Interview at 38:08
Aashi Arora — Previews her Sunday show
Dr. Roy — Word On The Avenue, daily Rukus Avenue Radio All-Stars segment
Doyeeta Das Gupta — Artist Spotlight, daily Rukus Avenue Radio All-Stars segment
RUNDOWN
0:00 Sammy Opens The Show
2:30 Gehra Hua — Arijit Singh, Shashwat Sachdev
7:54 Sammy
8:36 Main Aur Tu — Jasmine Sandlas, Shashwat Sachdev
11:36 Sammy
12:04 Aari Aari — Bombay Rockers, Khan Saab, Reble, Jasmine Sandlas, Shashwat Sachdev
14:56 Sammy
15:32 Dr Roy with the Word On The Avenue
17:06 Sammy
17:32 Ez-Ez — Diljit Dosanjh, Hanumankind, Shashwat Sachdev
19:56 Sammy
20:20 Aashi Arora previews her show this Sunday
20:38 Sammy
20:54 Lutt Le Geya — Shashwat Sachdev
24:40 Sammy
25:13 Move — Shashwat Sachdev
27:53 Sammy
28:25 Shararat — Jasmine Sandlas, Shashwat Sachdev
31:53 Sammy
32:16 Naal Nachna
34:22 Sammy
34:52 Teri Ni Karaaran — Diljit Dosanjh, Shashwat Sachdev
38:08 Sammy Chand interviews the band Indofuzon
50:18 Jaiye Sajana — Jasmine Sandlas, Satinder Sartaaj, Shashwat Sachdev
52:52 Sammy
53:54 Doyeeta Das Gupta presents the Artist Spotlight
54:26 Sammy
54:52 Dhurandhar (Title Track)
56:42 Sammy Chand delivers the Closing Remarks
58:22 Phir Se — Arijit Singh, Shashwat Sachdev
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-bridge-by-sammy-chand--6650619/support.
Sammy Chand's daily radio show on Rukus Avenue Radio is the leading Indian music and culture show in the world. The one hour show airs daily worldwide.
"South Asian music podcast," "Punjabi music show," "Bollywood commentary," "Indian diaspora radio", "Indian Music", "Top Indian Radio Show", "Punjabi Radio Show", "Indian Radio Host", "Punjabi Radio Host".
The Bridge is available on the iHeart Radio app
Episode 537
ON TODAY'S SHOW
Sammy Chand's Thursday show closes Dhurandhar Week with the deepest possible listen — a full hour built almost entirely on the music of Shashwat Sachdev, the composer who built the franchise's sound from the ground up. Eleven of today's twelve tracks are Shashwat productions, ranging from his Bollywood vocal work with Arijit Singh (Gehra Hua, Phir Se), to his Punjabi catalog with Jasmine Sandlas (Main Aur Tu, Shararat), to the cross-genre architecture of the Dhurandhar title track itself, to deep cuts (Move, Lutt Le Geya, Naal Nachna) and franchise anchors (Ez-Ez with Diljit and Hanumankind, Teri Ni Karaaran with Diljit, the Dhurandhar Title Track, Aari Aari with Bombay Rockers, Khan Saab, Reble, and Jasmine Sandlas, and Jaiye Sajana with Sartaaj). Sammy interviews the band Indofuzon in a substantial conversation in the second half — a fresh voice in the show's rotation. Aashi Arora stops in with a Sunday show preview. Dr. Roy delivers Word On The Avenue. Doyeeta Das Gupta presents the Artist Spotlight. The hour closes with one last Shashwat-Arijit collaboration — Phir Se — letting the producer's signature ride out the week.FEATURED MUSIC
Gehra Hua — Arijit Singh, Shashwat Sachdev
Main Aur Tu — Jasmine Sandlas, Shashwat Sachdev
Aari Aari — Bombay Rockers, Khan Saab, Reble, Jasmine Sandlas, Shashwat Sachdev
Ez-Ez — Diljit Dosanjh, Hanumankind, Shashwat Sachdev
Lutt Le Geya — Shashwat Sachdev
Move — Shashwat Sachdev
Shararat — Jasmine Sandlas, Shashwat Sachdev
Naal Nachna
Teri Ni Karaaran — Diljit Dosanjh, Shashwat Sachdev
Jaiye Sajana — Jasmine Sandlas, Satinder Sartaaj, Shashwat Sachdev
Dhurandhar (Title Track)
Phir Se — Arijit Singh, Shashwat Sachdev
FEATURED GUESTS & CONTRIBUTORS
Indofuzon — Band. Interview at 38:08
Aashi Arora — Previews her Sunday show
Dr. Roy — Word On The Avenue, daily Rukus Avenue Radio All-Stars segment
Doyeeta Das Gupta — Artist Spotlight, daily Rukus Avenue Radio All-Stars segment
RUNDOWN
0:00 Sammy Opens The Show
2:30 Gehra Hua — Arijit Singh, Shashwat Sachdev
7:54 Sammy
8:36 Main Aur Tu — Jasmine Sandlas, Shashwat Sachdev
11:36 Sammy
12:04 Aari Aari — Bombay Rockers, Khan Saab, Reble, Jasmine Sandlas, Shashwat Sachdev
14:56 Sammy
15:32 Dr Roy with the Word On The Avenue
17:06 Sammy
17:32 Ez-Ez — Diljit Dosanjh, Hanumankind, Shashwat Sachdev
19:56 Sammy
20:20 Aashi Arora previews her show this Sunday
20:38 Sammy
20:54 Lutt Le Geya — Shashwat Sachdev
24:40 Sammy
25:13 Move — Shashwat Sachdev
27:53 Sammy
28:25 Shararat — Jasmine Sandlas, Shashwat Sachdev
31:53 Sammy
32:16 Naal Nachna
34:22 Sammy
34:52 Teri Ni Karaaran — Diljit Dosanjh, Shashwat Sachdev
38:08 Sammy Chand interviews the band Indofuzon
50:18 Jaiye Sajana — Jasmine Sandlas, Satinder Sartaaj, Shashwat Sachdev
52:52 Sammy
53:54 Doyeeta Das Gupta presents the Artist Spotlight
54:26 Sammy
54:52 Dhurandhar (Title Track)
56:42 Sammy Chand delivers the Closing Remarks
58:22 Phir Se — Arijit Singh, Shashwat Sachdev
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-bridge-by-sammy-chand--6650619/support.
Sammy Chand's daily radio show on Rukus Avenue Radio is the leading Indian music and culture show in the world. The one hour show airs daily worldwide.
"South Asian music podcast," "Punjabi music show," "Bollywood commentary," "Indian diaspora radio", "Indian Music", "Top Indian Radio Show", "Punjabi Radio Show", "Indian Radio Host", "Punjabi Radio Host".
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Episode Transcript
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Speaker 1 (00:00):
South Asian music and cultures can be.
Speaker 2 (00:02):
Found around the world.
Speaker 3 (00:05):
We track down the best and presented here for you
on Ruckus Avenue Radio.
Speaker 4 (00:15):
Yo, World, this is Khan We Become War.
Speaker 5 (00:18):
You're listening to the Three with the Boy.
Speaker 1 (00:22):
Hey everyone listen is Rouginder and you're listening to the
Bridge with Sammy John.
Speaker 6 (00:28):
Yo.
Speaker 7 (00:28):
This is still Vangals and you're listening to The Bridge
with Sammy chand only on Ruckus Avenue Radio. Yeah Yeah, WhatsApp.
Thank you very much for finding us here wherever you
may be around the world. My name is Sammy John
and welcome everybody to a May twenty first edition of
(00:50):
The Bridge. And thank you, thank you very much for
spending the next hour with us right here. And as
you guys know, we've been putting a spotlight on The
under and Theundered, The Revenge, the two films, the two soundtracks,
(01:11):
the impact that they've made, and today we'll go through
some of our favorite songs from the two soundtracks. On Monday,
we covered the first soundtrack and talked about the first film,
and I invited you all to go see the very
first film on Monday night and on Tuesday night. If
(01:33):
you caught the homework assignment. You saw the Revenge, but
you also saw the unedited or extended version of the film.
And yesterday, folks, we put it all into context and
talked about the film and the overall impact. Indeed, it's
pretty fast. Today it's the music we get into that.
(01:59):
Today it is a Thursday. We'll be joined by Indo Fusion.
It's a band. They're a cover group from out of
India and they recently migrated over to Dubai and they
continue to do their own thing. And I'm talking about
the two brothers and Radhika. The three of them make
(02:21):
up Indo Fusion. And if you haven't seen them or
if you need to go check them out on social media,
it's I N d O f U z O N
worth the visit, folks. We're all about the soundtrack today,
both of them. Let's get into it. We'll start with
Ajit saying welcome to the show.
Speaker 6 (02:43):
Tomedy.
Speaker 3 (02:45):
You have iedy Toomedy. Saudi ititedy tooermedy Myra.
Speaker 2 (03:00):
Remedy.
Speaker 3 (03:01):
U lated it to a girmedy dittle hooliated it to
a girmedy man who did.
Speaker 8 (03:13):
Betas Maham.
Speaker 2 (03:16):
But to got to collab me Rajah Eddy Vona from.
Speaker 9 (03:28):
Got head one.
Speaker 2 (03:32):
Got hurrah o gosh got hurd h.
Speaker 1 (03:43):
We got hurd up, We.
Speaker 2 (03:47):
Got hurd up.
Speaker 9 (03:51):
Dy A got h up.
Speaker 10 (04:00):
Lover Mary, you have I try two other Mary sorry
rah hat teddy two other Mary man.
Speaker 11 (04:30):
Bulacan Japar awesome, lor father, you should talk. You had
to job boo boot you there Rati Mary Barati on
the cover plagain Chapar awesome. What's the navy to Josada
(04:52):
de con hair on up Deva had to.
Speaker 12 (04:56):
Have job Mary Bahamaeda Hannah.
Speaker 8 (05:00):
Yeah he had augermedy for Sana Terra to ermedy tos
amana Terra to ermedy man terra.
Speaker 2 (05:18):
My home. But the time to collab.
Speaker 11 (05:23):
Maraja steady baham harb.
Speaker 1 (05:31):
Got had up.
Speaker 2 (05:35):
Grab n go a shoot.
Speaker 4 (05:43):
D h.
Speaker 2 (05:46):
Smedy Yeah have I dary.
Speaker 3 (05:51):
Two omedy sorry ray two othermedy.
Speaker 2 (05:59):
Terra piscus.
Speaker 6 (06:03):
I got my.
Speaker 2 (06:06):
Pizza, guys, Come my god, it's a piece o guys.
I got my.
Speaker 7 (06:14):
Pizza.
Speaker 13 (06:15):
Guys.
Speaker 6 (06:15):
Come, oh my god, there's a.
Speaker 2 (06:18):
Very mohaba the chele.
Speaker 14 (06:20):
Nabi or don't you say but you can't tell you
Nabby put you wrang up and about Nabby Manada who
trying to hack herd up hold Jordy said, what you go?
Speaker 2 (06:39):
He talking about over.
Speaker 11 (06:41):
Seas and let you get you love may.
Speaker 13 (06:45):
Drag the.
Speaker 15 (06:47):
Do you too.
Speaker 2 (06:50):
May have?
Speaker 3 (06:52):
I edy to other maedy, Sorry you don't edy to othermedy.
Speaker 2 (07:00):
Who did us.
Speaker 3 (07:06):
Moham to cart the Coluba Marajaa.
Speaker 2 (07:13):
Dry Bob you got hurd up, you got hur on.
Speaker 12 (07:26):
The ash thet up get hurd up got hurrah ddy
adu there are.
Speaker 7 (07:56):
The song is called geh out who were started off
the show with this one? And there's some of these
that are studio sessions that as a producer I wish
I was in and of course between anybody and adij
saying you definitely want to be in that room. Has
his own process around the music, around the recording, and
(08:17):
he spends a certain amount of time on the songs
no matter what, no matter what he's doing on there.
That's pretty impressive. He has a routine and something that
he has a bit of a ritual to his approach
to the music. It's very cool. This is Jasmine Sandless.
The song is called mah.
Speaker 16 (08:36):
Son Manjan Manjan Manjai jan manjan manjan munjan.
Speaker 4 (09:00):
Mad.
Speaker 17 (09:00):
He did you mad after your birth, I can happen
the hoey coft theb don't get a honky ruber roll
the caning can happened.
Speaker 6 (09:17):
Don't do something?
Speaker 18 (09:36):
Thank you cat Ka baby so much more your touch
(09:56):
like agave be sweet problem.
Speaker 19 (09:59):
What can send me comes?
Speaker 9 (10:02):
We can yet?
Speaker 6 (10:04):
Thank you?
Speaker 19 (10:04):
Kill me to find them bandy that what that me
comes comes.
Speaker 2 (10:16):
Till you send.
Speaker 20 (10:21):
Your manner that nobody job the jo John him and
John him and dying. When Maddy did you mad that?
Speaker 2 (10:43):
Did you pas.
Speaker 20 (10:47):
John them and John him and John him and die?
When that's Maddy?
Speaker 9 (10:57):
Did you man that?
Speaker 6 (10:57):
Did you google?
Speaker 7 (11:37):
Jack Vin Sandler's bringing in a little bit of that
d M type of a vible this song dope shout
out to shus what sustive and really the common thread
here between the two soundtracks and the man whose work
has really put himself into that upper echelon of Indian composers,
Indian Bollywood composers. If you will really have through these
(12:01):
two bodies of work, he's put himself there.
Speaker 2 (12:07):
Again learn made what.
Speaker 21 (12:15):
Can you give you?
Speaker 6 (12:17):
The letter.
Speaker 1 (12:20):
Made a.
Speaker 22 (12:25):
Cut down, Hardy yady hoady, hardy hoside hot again, hardy
(12:54):
yady hoy horry horty y.
Speaker 23 (13:06):
Yeah, my father raised me a winner. I would kill
from my people, and don't make me a sender from
the coast to the plains. Everybody know the name that
you're coming from. We got this to maintain.
Speaker 19 (13:14):
But you got an ego. Shut a fucking me.
Speaker 23 (13:16):
Though I may got that money like I'm running up
castine no ge cot Now I got that proper in
my geno.
Speaker 2 (13:21):
Cut the proof.
Speaker 19 (13:22):
Can you stand on?
Speaker 1 (13:23):
What's the tween?
Speaker 24 (13:23):
Does Pole put it in a paper like they were
crussing on each other promiking deputy bets of me.
Speaker 7 (13:27):
I'm making a couple of mother crazy.
Speaker 24 (13:28):
It's turning it laziest, probably to a product, probably probably
because I was probably prophet warns a mother warns a
mother two hands on that I was turning. Butther so
if I go to sleep, I'm probably burning covers. Turn
the covers. If the covers burned, I gotta turn the
mattress to get in the first pick you wanted to pick,
like a boarding caption, where come on my body by.
Speaker 23 (14:17):
Mena wo mother, take a body oil mana wood.
Speaker 25 (14:32):
Handy hoy yai honey, do.
Speaker 6 (14:42):
Y yady do bana bana honey to body him.
Speaker 12 (14:56):
By.
Speaker 7 (15:00):
There are two different types of composers out there. There's
the tinkerer and then there's the one that spits them
out and Shush what is the second? He spits them
out really fast. He's a very fast worker. And the
rumor is you cannot got a few songs in a
day working with SHUSHWZ. You really can. And there you go.
(15:22):
It really is helpful if you're trying to put a
bunch of music like they have in this film. Now,
let's bring in doctor Roy to this party with sub
Doctor Roy.
Speaker 26 (15:30):
Hey guys, this is doctor Roy with today's word on
the Avenue. In film and TV news, did you know
that The Runder two's Netflix release is titled Raw and
Undie Cup. That's because it sparked online social media discussion
about the film and some of its new footage on
the scenes. Taking to their handles on the film's ott
debut on Netflix for international viewing, a lot of the
(15:51):
fans put out several notable differences between the streaming version
and the theatrical cut released in India only. Audiences will
be able to share their experience to the film releases
on Geo Hotstar.
Speaker 1 (16:02):
In June for Indian audiences.
Speaker 26 (16:05):
In media news, Starbucks is reportedly planning to open its
first corporate office in India, marking a major step in
the company's global technology and cost optimization strategy. Led in
part by CTO Annan varad Rajanan. The new tech hub,
expected to launch in fiscal year twenty twenty seven, will
focus on bringing more engineering and technology roles in house
(16:28):
as Starbucks reduces reliance on third party service providers. In
event news, the sari worn by Nandini Harinas during India's
historic Mars orbiter mission is now on display at the
US Smithsonian National Air and Space Museum. A key member
of Eastro Indian space research organizations celebrated rocket woman Harinath
(16:50):
wore the blue and red sari when Mongo Yuan began
its journey to Mars in twenty thirteen, making the exhibit
a tribute to both india space achievements and women's scientists
behind them. Honored by the US, that's it for today's
word on the avenue until next time.
Speaker 7 (17:05):
Thank you, doctor Roy. This next artist was pretty much
the only thing left off of making this completely perfect
in terms of getting all the guns you needed for battle.
Ya sing and then you needed Delo sane and you
got him, and you got him with a song called
(17:25):
Easy Easy, and it helped really solidify the first soundtrack.
Speaker 27 (17:32):
Adiaba Guy Buddy Adiaba not Daba Gullias by body poor
(18:01):
puny ho yah b.
Speaker 28 (18:05):
Juddy ho y, Yeah, I should know about today, buddy
hoy y'all the gypsy something puddy who body cully pretty?
Speaker 7 (18:15):
Who are your the.
Speaker 27 (18:16):
Jypsy something hoy yah body cooly purty hoo y.
Speaker 4 (18:23):
Yeah, that is a promise.
Speaker 7 (18:25):
What is behind it?
Speaker 1 (18:26):
I'm sure that I know soon, I know when I
find it. I'm looking for our answers.
Speaker 2 (18:31):
I'm meaning behind it.
Speaker 7 (18:33):
I'm taking a chance here. Yeah, I'm gambling.
Speaker 29 (18:36):
When everyone said that we couldn't have put in the
word just to keep him. Their ads, the ads against me,
demons attainment, usually come with a smile and nothing that
I wouldn't do with the people I love. I've been
ready to die, were armed and ready. It's about to
get ahead. You're not telling me you're ready and that
yeah you ready enough? Tell me you ready at that
you ready at that you're really ready enough showing you ready.
Speaker 7 (18:57):
And now're telling me penny and that.
Speaker 6 (19:00):
You will you're ready at now?
Speaker 7 (19:01):
Who know if you're many at now?
Speaker 6 (19:04):
Is the matter?
Speaker 7 (19:05):
This is a promise? Are you mad?
Speaker 2 (19:08):
But what is behind it?
Speaker 6 (19:11):
I'm no so.
Speaker 9 (19:15):
I know what I've panted.
Speaker 7 (19:17):
Pull it the d I'm looking at my hands. That's
are your border. They're meeting behind it?
Speaker 2 (19:23):
Anybody not.
Speaker 21 (19:25):
I'm taking a chance here, just to the mtter easy, easy, arty,
gym persy, buddy.
Speaker 1 (19:32):
Hoy, how body poorly puny ho.
Speaker 6 (19:35):
Y b.
Speaker 1 (19:38):
Juddy ho y. I should know about to day.
Speaker 28 (19:40):
I want to move puddy hoy, Y're the gypsy? Sometime
then all the puddy who he body? Coolly party? Who
are y'are the gypsy?
Speaker 7 (19:51):
Buddy hoy?
Speaker 2 (19:52):
How body?
Speaker 7 (19:53):
Kolyn putty?
Speaker 6 (19:55):
How y?
Speaker 30 (19:57):
Yeah?
Speaker 21 (19:57):
Yeah?
Speaker 7 (19:59):
Battle track right there, del Gito Sange got some vocals
on there by hanuman Kind track is called easy Easy
and folks, let's invite Ashi Aurora into this Thursday episode
as we get you ready for Sunday. She has a
show on the air called leaders Creating Ruckas. How are
you Ashi?
Speaker 2 (20:19):
Thanks Sammy.
Speaker 30 (20:20):
This week on leaders Creating Ruckus, I'm sitting down with
doctor arun Chervu to talk about his lessons in leadership
on the path to retirement. Tune in this Sunday at
four pm Pacific Standard time to hear about our definitions
on work and various career choices.
Speaker 1 (20:37):
Back to you, Sammy, thank.
Speaker 7 (20:39):
You, Ashi, thank you so much. We'll all tune in
this Sunday at four pm Pacific time catch Ashi show
called Leaders Creating Ruckus right here on Ruckus Avenue Radio.
This song is called lute legy.
Speaker 6 (21:10):
S.
Speaker 9 (21:14):
Heart is sub let again?
Speaker 1 (21:17):
How is your num let?
Speaker 7 (21:20):
It there?
Speaker 2 (21:24):
More class?
Speaker 9 (21:25):
How is such turn up? I know the letter grid?
Speaker 1 (21:29):
How ministrup?
Speaker 9 (21:31):
I know it's the letter.
Speaker 19 (21:33):
H is Sarchery's episode.
Speaker 1 (21:37):
I look to learn again? The look, the len o,
the no look, the lea, the learn again.
Speaker 9 (21:57):
I spream such as guy, I spam my happ happened?
(22:20):
I spam happy, I fami I spam happens came?
Speaker 2 (22:47):
Not the cameo?
Speaker 1 (22:48):
No, rat didn't the general rat.
Speaker 2 (22:58):
Rasta?
Speaker 1 (23:00):
What's the latter?
Speaker 9 (23:02):
Listen to myself, man.
Speaker 2 (23:04):
Look at your feeling for the leg I.
Speaker 1 (23:08):
Just said, I'm ready my sen.
Speaker 9 (23:11):
Me money annoyed to learn again.
Speaker 2 (23:18):
O, the leg.
Speaker 1 (23:22):
O, the look to learn, that om, the no to
let go.
Speaker 9 (23:31):
I say, I see.
Speaker 7 (24:42):
Pretty interesting dynamic. When it came to the two soundtracks,
the very first soundtrack, of course, was released through Sada
Gama Music and the second one was released through T series.
That largely had to do with the original song that
was sampled in that Hanu man Kind Jasmin Sandless track,
(25:05):
which used an old song of Sadagamas.
Speaker 6 (25:08):
There.
Speaker 7 (25:10):
This song right here is called move from a second soundtrack,
it's called ye Is.
Speaker 23 (25:15):
There's a big Baga's on the lustick skin cope with
a black letter big news.
Speaker 19 (25:19):
There way nothing that a man can do to bring
in the wall.
Speaker 31 (25:22):
We pay dues.
Speaker 23 (25:23):
That's against that against the firs. He don't speak by
the danger. Would tell me a ship. When you eat
little breeches, say your prayers, call them the gangster. Don't
slander the stranger. Women, you know what I wanna got
the trigger? Oh God, you got them move it how
I wanted God. I rather to keep it to myself.
I got no love to understand. I got this blood
(25:44):
on my hands. So baby, do not understand you gottam
and me give me that violence started. If we want
of my problems started.
Speaker 32 (25:56):
Mob, give me that violence got it?
Speaker 23 (26:01):
You got it, you gota and don't come for the emotion.
I got touched with self potent and don't block with
the ocean and don't fuck with these trojans off. Keep
that distance up on that mission up for your witness
out buy my business. I've been projecting out by my
patients on time and wasting. You got them move, baby,
(26:23):
gave me that violence, got them move.
Speaker 19 (26:27):
If you ain't one of my problems?
Speaker 1 (26:28):
Baby more.
Speaker 21 (26:32):
Now so he could you now hugo there look at
there can be no Huggerina.
Speaker 2 (26:46):
Had to get there.
Speaker 15 (26:47):
He jump, he jump, held hold. It's let us to
know God, it's okay now you see can.
Speaker 6 (27:10):
Okay?
Speaker 15 (27:10):
Now if you imagine hooks.
Speaker 6 (27:14):
He just got it.
Speaker 1 (27:16):
Go ahead.
Speaker 2 (27:17):
You didn't want her to say, okay.
Speaker 15 (27:20):
Okay, it's your head, it's your heads. It's what the
monkey there got the monkey John John catches ahead. It
must be there day Brayby.
Speaker 19 (27:40):
You know why I wanta got the Oh God, you
got them move it.
Speaker 6 (27:44):
I want it?
Speaker 1 (27:45):
Got there?
Speaker 23 (27:47):
I bet they keep it through myself, But no love
to understand how glad there's blood on my head?
Speaker 7 (27:53):
Shout? What's great at this? Shosh? What is great at
bringing in the right artist to come in and play
the right voice for his song? Does it so well?
And between the two soundtracks did a phenomenal job of
spreading around the the real type of essence he was
looking for in each song, A great one right there.
In the hip hop version, that song called move Yeah
(28:15):
is this next song We've Got for You? Is from
the Dunder the Revenge soundtrack. The song is called shut out.
Speaker 2 (28:24):
A tune Bard tire.
Speaker 1 (28:28):
Yeah Bade the whole guy.
Speaker 31 (28:35):
Heiy yimmu labad vadi the whole guy.
Speaker 2 (28:45):
Nana mel hamminig good Jesse you.
Speaker 1 (28:59):
Sad oh.
Speaker 31 (29:20):
Chickli sa damas so much Hara you no runners on her,
Harald the chicka is damas so much. Hara runs on.
Speaker 1 (29:34):
But then the pick and it's over for there.
Speaker 2 (29:38):
The pitch is a copy me catch a c.
Speaker 33 (29:47):
Come then sa.
Speaker 1 (29:57):
Learna ha.
Speaker 31 (30:00):
No, not your medicam Nana you American he samanda is
someone boil.
Speaker 20 (30:11):
Then scon mama jugleman Lama.
Speaker 31 (30:18):
Then you shall at the scab jugleman learn, don't he
(30:42):
or homemokey later's out where able don't he has.
Speaker 1 (30:49):
Had a home must in.
Speaker 31 (30:50):
Her out the harbor, Mary love passages, Mary.
Speaker 20 (30:59):
Laos, thank you nap small.
Speaker 33 (31:06):
Then you shay comemaja Manama, then you shaa.
Speaker 9 (31:20):
Man not you married.
Speaker 31 (31:24):
You're married, then you Sha.
Speaker 9 (31:39):
Then Shara.
Speaker 7 (31:56):
We're gonna be joined by the band Indo Fusion here
shortly Varma and Sanjay Varma, the two of them doing
an amazing job of not only putting out covers but
also singing new stuff. And they'll be joined by their
third member, Radka today. Looking forward to the conversation.
Speaker 32 (32:15):
The girls like to party like the bat was dud down. Shaddy,
let me bag some girls like the party like the
bat was duck down. Shaddy, let me bag.
Speaker 34 (32:27):
Some handy Giovanni, you must be your must Harry Gavani.
Harry Vanni must be you mustize Harry Gavanni.
Speaker 35 (32:59):
Why why why y'all we look up for each other
when the sun goes up, say you go surrender when
the sirens cat from like the city is gonna for
it if we slowed down now, just be like we
might not forgive what the nights.
Speaker 34 (33:27):
N the Hona they're an't they're so honey.
Speaker 1 (33:31):
The who you do.
Speaker 20 (33:33):
Honey, hon, the honer they're ron they're so honey, the
who you done it?
Speaker 1 (33:41):
Don't do money? Then turn turn off man, turn.
Speaker 32 (33:55):
Turn the girls like the party like that? Let me
begs the girls of party like the Shari let me
beg so.
Speaker 7 (34:24):
Rebel is the artist and she gets together with Sana Khan,
the vocalist. There lyrics by Earshot come on music of
course by shash Watsu's there the song called Nachana and
the type of track that you feel that you've heard before,
probably because you have. It's kind of like an interpolation,
as we call it in the business. There you go.
(34:47):
This one is another one from Superstar Delgito Sane. The
song is called.
Speaker 6 (35:01):
Hsh gonna come the lark in.
Speaker 36 (35:18):
Ash the lark in the boska Ja John Ja ja.
Speaker 1 (35:47):
Sika came in Loo coming you.
Speaker 15 (35:55):
Nikam anam in there has some keep they an then
Adam has some keep the alamnue ptah Disgarley passad thats
(36:28):
al arcade. Oh you want to see bag barge arc
dicgarle pasad. That's it at arcade Xcugarley pass Larkie's the
(36:58):
want see bag badgie ar.
Speaker 7 (37:01):
Charlie.
Speaker 15 (37:02):
Are you move to such a door, but there are
you move to such a door? But the any cardamnue,
but that's the man. Keep any calam there, that's the man.
Speaker 6 (37:16):
Keep a ready avenue.
Speaker 37 (37:30):
M car looking at the arm to say, you're Garni.
Speaker 6 (37:56):
Looking.
Speaker 7 (38:10):
We have them all. We have Sewitage, Sunjay and Radhika
joining us from the band in no fusion. Of course
you guys have been hearing about it. Of course this
across this whole episode, and we finally wrote them in
how are you guys great? And currently you guys are
in Mumbai? Correct? Yes. What's more difficult is it coming
(38:33):
up with something original or reimagining a classic song that
everybody knows and you have to find some sort of
original way of delivering it. And and that is sometimes
pretty difficult to do because people are married to how
they want to hear something, and so when you reimagine
some of these classics, it's not as easy as some
(38:54):
people think. Uh, we walk us through that process. Between
the two, they're distinctly different processes, I understand, But which
one is tougher for you?
Speaker 5 (39:04):
The of use Doing a cover is always a challenge
because you have to you have to find a a
space to to give it a different, unique taste, a
different sound because uh, if you if you're touching, uh,
you know, if you're touching in a classic or very
legendary tracks from a bigger artists, H well known artists,
(39:27):
then you have that responsibility uh with you to to
to I mean make it in a very good way,
but it should not I mean spoil the soul of
the composition that the you know, the main challenge doing
our but we always try to to to see that
(39:48):
you know, space or to.
Speaker 4 (39:49):
To get that you know, the sound that what we like.
And so doing an originally is.
Speaker 5 (39:58):
Also a similar right now because for for indie musicians,
so a lot of people are you know, making tracks
very similiar to Hollywood right right, I'm not doing really well.
But you know, if I talk about new artists, new
musicians who are going very fast with the original numbers,
So I think they have that uh you know hat
(40:19):
they have got that you know, the tricks to to
to tend you know, out of the.
Speaker 4 (40:26):
The other people.
Speaker 7 (40:28):
Yeah, yeah, outside of your echo chamber. Correct, that's correct. Yeah,
you know, the original stuff probably as you put it,
it brings you into new audiences, It connects you to
different places. But I think there's something very comfortable that
the audience feels when they're hearing the cover work that
you do. It's so familiar, you know, you know, I
was gonna ask you, what is the song that you
(40:50):
guys perform no matter where you go, it's always a
hit with the audience.
Speaker 4 (40:57):
They are a lot of tracks I think rather something.
Speaker 19 (41:02):
So uh.
Speaker 13 (41:08):
I mean, you know, there are songs that were definitely
known for because again it comes with a lot of strategy.
Speaker 6 (41:16):
Uh.
Speaker 13 (41:16):
As I would say this is when you when you
saw something on on your social media and and when
you sort of push that through.
Speaker 6 (41:24):
Uh.
Speaker 13 (41:25):
There are songs which which get that high.
Speaker 4 (41:28):
So the name of you maybe from Sufi with say
maybe that's the rue.
Speaker 13 (41:33):
Uh Like songs like that, they're so legendary and they're
loved by everybody, so they're always a hit.
Speaker 7 (41:40):
Yeah, you can't go wrong with consop anywhere. So that's
definitely that's definitely the case for sure. Yeah, now that
that that's a great one. You know, rather got a
question for you. You know, the these two gentlemen have
been working together for such a long time and they
had a foundation there that you had to kind of
fit into in a way. And to me, it's very
natural though, you know, it's it seems like you your
(42:01):
voice has been there and even on stage, how you
guys have kind of this interaction amongst you it seems
very natural and there's a kind of a pace about
you that matches the other guys. You know, how much
how how much work was that? Was that something that
you have to kind of sit back and is it
because you knew them already and you're like, Okay, I'm
going to fit right into this or was that like
(42:22):
a thing for you and is that still a thing
for you where you're like, Okay, I have to find
myself in this. Even though I do represent the female voice,
there's stylistic kind of adjustments to be made.
Speaker 13 (42:34):
You know, I lost because I mean, it's still something
that we struggled with. It's definitely not easy because I
come from a very different background as a bonet and
they've been in you know, they've been together.
Speaker 4 (42:51):
They know each other.
Speaker 13 (42:51):
They have a chemistry that that you know, it takes
a life long to build. But for me, when I
came in, I think I started to wanted to bring
what I do best. I wanted to create an identity
within that identity as well. So it was a lot
of understanding, which I think is is it's constant across
(43:15):
any relationship, any artistic relationship that you work with.
Speaker 4 (43:20):
It does come with work.
Speaker 13 (43:21):
But then at the end of the day, what you
do on stage, it's your collaborations to your efforts from everybody.
So yeah, it's something we've worked on and it's something
that we're still working on.
Speaker 7 (43:32):
Yeah, absolutely, as with any band and as with any group,
and and and that's always the case. And that's something
of course that uh, you know, whatever the discussions are
and the negotiations are, as far as the product is
on stage, it just fits wonderfully. So whatever you guys
are doing, keep doing it all right. Uh you know, gentlemen,
(43:53):
you went from turning our to Dubai. What did that
change of your music?
Speaker 5 (44:00):
So it's a it's a I mean that process was
like complete you know, self learning for for for both
of us and for all of us. So in two
thousand and thirteen, so we used to sound i mean
very very different. And what we what we see now,
what we what we see now that that individual sounds
(44:22):
totally different because because of a lot of things, Because
this journey was like learning and it will be a
continuous learning.
Speaker 4 (44:32):
For for.
Speaker 7 (44:34):
Yeah, It's it's funny because when you're in the audience,
all you get to see is the product. You get
to see, you know, the beautiful music that comes about it.
I think some of the conversation that we've had also
kind of touches on the process behind the scenes as
far as you know what it takes, and it takes
a lot, and and you guys have certainly done an
amazing job with this. You're you're talking to an international
(44:56):
market today. You're talking to people that have maybe never
heard of you before. And if there's something that you
want the international market to get to know as they
discover you today, what is it that you could say
about how Indian music is doing in India and how
it's traveling now internationally, and as you guys have spread
your basis, We've talked about that from Tunderguard to Dubai
(45:19):
now and hopefully some of it spreads this way, you know,
tell us about the story of Indian music from a
global perspective. Given the work you're doing.
Speaker 13 (45:33):
You know, I think people around the globe, even if
we say the you know, the diaspora that that you're
talking about, I think everybody is getting a lot more
connected to their roots.
Speaker 4 (45:48):
Everybody is becoming slightly.
Speaker 13 (45:52):
It's not the culture is not diluted at all, and
people are actually trying to connect a lot more in
a schedual way, be to their roots, lead to their culture.
So when we perform, and even because Dubai is a
global market, Dubai doesn't have just Indians in it, so
we cater to a lot.
Speaker 5 (46:10):
Of people who stem from uh, those regions.
Speaker 13 (46:13):
As well that you're talking about.
Speaker 25 (46:16):
And we definitely note that.
Speaker 4 (46:18):
The acceptance, the awareness, the ability to.
Speaker 13 (46:22):
Sort of accept what an artist is doing and trying to.
Speaker 4 (46:25):
Present that has sort of evolved, you know, because people.
Speaker 13 (46:30):
Want things that that are familiar, uh in this place
where there's so much uncertainty, there's so much conflict about sells,
people just want to be connected to where they come from.
And so that's why, no matter where you belong on
the globe, Indian music is definitely going back to h
nostalgia where we talk about Lataji, where we talk about
(46:53):
you know, Kishoda, or we can talk about our Sufi legends,
beat Avidaji, be it. You know, so everybody is sort
of just you know, rooting in all together and sort
of connecting, you know, globally, there's there's no borders today.
Speaker 7 (47:08):
I think you very articulately defined Indo fusion to everyone
right there and and that's that's a good way to
kind of summarize it all. You know. I wanted to
first of all, thank you all for joining us today,
and I wanted to thank you all for the great conversation.
I wanted to turn the floor over. I see a
guitar here, and I wanted to know if there's anything
(47:29):
fun that you can perform for everybody, you know, not
to not to take too much of your performance time.
Maybe a couple of minutes here to give everybody a
little taste of some Indo Fusion on the air.
Speaker 4 (47:40):
Sure the.
Speaker 6 (48:03):
The you know that to Una the.
Speaker 25 (48:12):
Particle may game the bana because I am the kana
made you know that Huda from the perm hicle that
(48:49):
you understand it. But you look a day by John like.
Speaker 6 (48:59):
That, you know, said.
Speaker 7 (49:07):
To be.
Speaker 21 (49:14):
God.
Speaker 7 (49:39):
Yeah, thank you very much. How about that everybody? What
a treat that was. And of course a big shout
out to the band Indo Fusion for joining us, and
thank you so much there two gentlemen putting it together
for us, Sewage and Sunjay for for the beautiful rendition
of this quite a metal of stuff right there. You
(50:01):
got a pretty good cross section of the work that
they do right there in those couple of minutes. So
thank you very much, gentlemen, and thank you so much
Radica for joining us today.
Speaker 13 (50:10):
Thank you, thank you so much.
Speaker 4 (50:12):
Fama doing.
Speaker 7 (50:14):
All right, guys, we'll be right back after this.
Speaker 6 (50:17):
But the.
Speaker 38 (50:19):
Hondo locomemedy, But hondocome many.
Speaker 20 (50:35):
As you breathed, Lona Jesse.
Speaker 1 (50:39):
Hold holy on my body.
Speaker 31 (50:47):
Breathing ho on, Sorry, joh't Belanyny.
Speaker 39 (51:05):
Sorry, r Card Pussage, Yes, so sorry, Rama Card Pussage.
Speaker 31 (51:23):
Yes, there come my body and the tennis recap some
roa sorry.
Speaker 40 (51:44):
John l y oh you Knowternity, I'm sorry, Rama Card
a pussy, yes, Son said, looking.
Speaker 2 (52:10):
Kind of pussy.
Speaker 7 (52:12):
Yes, I've saved my favorite few songs here. Towards the
(52:56):
end of this show, of course, as we start to
in on what was a week long spotlight on the
Runder and the Runder the Revenge. And it's been fun
doing this, folks, it really has, because it's given us
a chance to really put this film into perspective for
everybody and its impact. And it's large because the film really,
(53:18):
in a lot of people's eyes, came in and saved
the industry as it was kind of decimated and breaking
into a million pieces. It's kind of re established. The
institution of Bollywood is good. Now let's bring Induitadas Gupta
to the show. What's up?
Speaker 41 (53:33):
Thanks Sammy. Hey everyone, this is your Ruckus Avenue Radio music.
Crispondent back with some fun sacs about your favorite artists.
Let's talk about any unkind the Kerala Bourne Houston Brett
rapper tearing through the global hip hop scene. He crashed
onto charts with big Dogs, the high velocity anthem and
motor stunt visual that was so electric even asap Rocky hopped.
Speaker 30 (53:56):
On the remix.
Speaker 7 (53:57):
Now his debut mistake Monsoon Season is out.
Speaker 41 (54:00):
Think twelve tracks Alive with Sonic Grain featuring fire collaps
like Reckless with Densel Curry, Goons with Maxo Cream and
the emotional ripples. As someone told me with Roycy, it's
not just a record, It's a sonic Monsoon bringing immersive
emotion and unfiltered energy. However, he did not stop there
this summer. He headlined Coachella, packed venues across the UK
(54:21):
and Europe and even had a nod from the Indian
Prime Minister. Then Global Wrap Energy with soul and authenticity.
Speaker 19 (54:28):
Well that's all for me now, back to.
Speaker 2 (54:30):
You, Sammy.
Speaker 7 (54:30):
Hanumankind has taken Indian hip hop and put some respect
on its name globally. He really has. And of course
this performance on this song to big Dogs, to all
kinds of stuff that he's been doing, shout out to
hanuman kind. Everybody, get ready.
Speaker 6 (55:00):
Up to mistake.
Speaker 7 (55:00):
They come me, you're bad man.
Speaker 1 (55:01):
That's a funny good thing.
Speaker 29 (55:02):
I'm gonna say, swing back when another man swing.
Speaker 7 (55:05):
So.
Speaker 29 (55:05):
I made my mama cry when they made your heads
round ither forgive me.
Speaker 6 (55:08):
I can't forgive them.
Speaker 2 (55:09):
You know my head streak.
Speaker 4 (55:10):
You know what I did then, what I do now?
Speaker 2 (55:13):
All hours heaviest the head. It's a blessing and a curse.
Speaker 6 (55:45):
Up, joke up.
Speaker 9 (56:09):
The only coin the phone.
Speaker 6 (56:10):
He's going in my mom all he's done.
Speaker 4 (56:15):
Well, he it all.
Speaker 9 (56:17):
The only coin the phone.
Speaker 6 (56:19):
He's going all, he's done, He's it all.
Speaker 29 (56:26):
I'm a king, but a bum mistake. That come me,
you're bad man. That's a good good thing. I said,
swing back when in the mess wing so I make
my mama prow and I make the ram. Heavy's the head.
Heavy is the head. Heavy is the head. It's a
blessed anticise.
Speaker 7 (56:41):
Heavy is the head. Heavy is the head man. When
Jasmine Sandlist and honeyman Kind dropped the song, they certainly
moved the needle in the culture, much like the rest
of the music in this soundtrack certainly shout out to
Jasmine Sandlist, honeyman Kind and shut what such the folks.
I've been making music for years and I've spent four
days on this show inside one film franchise. That's not
(57:04):
something I do lightly. I don't do these weeks because
they're cute. I do them because every once in a while,
something happens in this culture that deserves the full hour
four days in a row. The under was that not
because of the box office, not because of the Netflix release,
because of what it proved that a Hindi film can
still command three and a half hours of your attention
if it earns it, that a soundtrack can carry a
(57:27):
story instead of just dressing it up, That a thirty
year old Punjabi folk song can sit underneath the twenty
twenty five spy thriller and make the whole thing feel inevitable.
And the voice of the duology sat right here today
and told you how that actually got made. The version
of the music in cinema we just spent a week inside,
(57:48):
and that's what we should be measuring everything against now,
not whether a film opened, whether the music did its job.
Tomorrow on the show, folks, it's our weekly top twenty.
I want you to do is listen for the songs
on the chart that do their job the way that
the Runder soundtrack did its job, because the ones that
did are the future of this music business. This song
(58:11):
right here is called Firse. It's my favorite song from
the two soundtracks. Sing Shush what such Dave. I've had
a great time hanging out with you all today, see
you tomorrow.
Speaker 4 (58:23):
You do not.
Speaker 2 (58:32):
Mor Yeah do s Macky many right yeah do.
Speaker 8 (59:00):
On it GUSI, Perceon and Vody some jam from c
Coom do norm On Everson, a Nobody, some jam room
Heldom do he normOn Eperson and a body some.
Speaker 2 (59:25):
Jail from the Cartom, I'm.
Speaker 8 (59:29):
On every person and Nobody some jee
Speaker 2 (59:36):
Room Cottom do he rm on ep
South Asian music and cultures can be.
Speaker 2 (00:02):
Found around the world.
Speaker 3 (00:05):
We track down the best and presented here for you
on Ruckus Avenue Radio.
Speaker 4 (00:15):
Yo, World, this is Khan We Become War.
Speaker 5 (00:18):
You're listening to the Three with the Boy.
Speaker 1 (00:22):
Hey everyone listen is Rouginder and you're listening to the
Bridge with Sammy John.
Speaker 6 (00:28):
Yo.
Speaker 7 (00:28):
This is still Vangals and you're listening to The Bridge
with Sammy chand only on Ruckus Avenue Radio. Yeah Yeah, WhatsApp.
Thank you very much for finding us here wherever you
may be around the world. My name is Sammy John
and welcome everybody to a May twenty first edition of
(00:50):
The Bridge. And thank you, thank you very much for
spending the next hour with us right here. And as
you guys know, we've been putting a spotlight on The
under and Theundered, The Revenge, the two films, the two soundtracks,
(01:11):
the impact that they've made, and today we'll go through
some of our favorite songs from the two soundtracks. On Monday,
we covered the first soundtrack and talked about the first film,
and I invited you all to go see the very
first film on Monday night and on Tuesday night. If
(01:33):
you caught the homework assignment. You saw the Revenge, but
you also saw the unedited or extended version of the film.
And yesterday, folks, we put it all into context and
talked about the film and the overall impact. Indeed, it's
pretty fast. Today it's the music we get into that.
(01:59):
Today it is a Thursday. We'll be joined by Indo Fusion.
It's a band. They're a cover group from out of
India and they recently migrated over to Dubai and they
continue to do their own thing. And I'm talking about
the two brothers and Radhika. The three of them make
(02:21):
up Indo Fusion. And if you haven't seen them or
if you need to go check them out on social media,
it's I N d O f U z O N
worth the visit, folks. We're all about the soundtrack today,
both of them. Let's get into it. We'll start with
Ajit saying welcome to the show.
Speaker 6 (02:43):
Tomedy.
Speaker 3 (02:45):
You have iedy Toomedy. Saudi ititedy tooermedy Myra.
Speaker 2 (03:00):
Remedy.
Speaker 3 (03:01):
U lated it to a girmedy dittle hooliated it to
a girmedy man who did.
Speaker 8 (03:13):
Betas Maham.
Speaker 2 (03:16):
But to got to collab me Rajah Eddy Vona from.
Speaker 9 (03:28):
Got head one.
Speaker 2 (03:32):
Got hurrah o gosh got hurd h.
Speaker 1 (03:43):
We got hurd up, We.
Speaker 2 (03:47):
Got hurd up.
Speaker 9 (03:51):
Dy A got h up.
Speaker 10 (04:00):
Lover Mary, you have I try two other Mary sorry
rah hat teddy two other Mary man.
Speaker 11 (04:30):
Bulacan Japar awesome, lor father, you should talk. You had
to job boo boot you there Rati Mary Barati on
the cover plagain Chapar awesome. What's the navy to Josada
(04:52):
de con hair on up Deva had to.
Speaker 12 (04:56):
Have job Mary Bahamaeda Hannah.
Speaker 8 (05:00):
Yeah he had augermedy for Sana Terra to ermedy tos
amana Terra to ermedy man terra.
Speaker 2 (05:18):
My home. But the time to collab.
Speaker 11 (05:23):
Maraja steady baham harb.
Speaker 1 (05:31):
Got had up.
Speaker 2 (05:35):
Grab n go a shoot.
Speaker 4 (05:43):
D h.
Speaker 2 (05:46):
Smedy Yeah have I dary.
Speaker 3 (05:51):
Two omedy sorry ray two othermedy.
Speaker 2 (05:59):
Terra piscus.
Speaker 6 (06:03):
I got my.
Speaker 2 (06:06):
Pizza, guys, Come my god, it's a piece o guys.
I got my.
Speaker 7 (06:14):
Pizza.
Speaker 13 (06:15):
Guys.
Speaker 6 (06:15):
Come, oh my god, there's a.
Speaker 2 (06:18):
Very mohaba the chele.
Speaker 14 (06:20):
Nabi or don't you say but you can't tell you
Nabby put you wrang up and about Nabby Manada who
trying to hack herd up hold Jordy said, what you go?
Speaker 2 (06:39):
He talking about over.
Speaker 11 (06:41):
Seas and let you get you love may.
Speaker 13 (06:45):
Drag the.
Speaker 15 (06:47):
Do you too.
Speaker 2 (06:50):
May have?
Speaker 3 (06:52):
I edy to other maedy, Sorry you don't edy to othermedy.
Speaker 2 (07:00):
Who did us.
Speaker 3 (07:06):
Moham to cart the Coluba Marajaa.
Speaker 2 (07:13):
Dry Bob you got hurd up, you got hur on.
Speaker 12 (07:26):
The ash thet up get hurd up got hurrah ddy
adu there are.
Speaker 7 (07:56):
The song is called geh out who were started off
the show with this one? And there's some of these
that are studio sessions that as a producer I wish
I was in and of course between anybody and adij
saying you definitely want to be in that room. Has
his own process around the music, around the recording, and
(08:17):
he spends a certain amount of time on the songs
no matter what, no matter what he's doing on there.
That's pretty impressive. He has a routine and something that
he has a bit of a ritual to his approach
to the music. It's very cool. This is Jasmine Sandless.
The song is called mah.
Speaker 16 (08:36):
Son Manjan Manjan Manjai jan manjan manjan munjan.
Speaker 4 (09:00):
Mad.
Speaker 17 (09:00):
He did you mad after your birth, I can happen
the hoey coft theb don't get a honky ruber roll
the caning can happened.
Speaker 6 (09:17):
Don't do something?
Speaker 18 (09:36):
Thank you cat Ka baby so much more your touch
(09:56):
like agave be sweet problem.
Speaker 19 (09:59):
What can send me comes?
Speaker 9 (10:02):
We can yet?
Speaker 6 (10:04):
Thank you?
Speaker 19 (10:04):
Kill me to find them bandy that what that me
comes comes.
Speaker 2 (10:16):
Till you send.
Speaker 20 (10:21):
Your manner that nobody job the jo John him and
John him and dying. When Maddy did you mad that?
Speaker 2 (10:43):
Did you pas.
Speaker 20 (10:47):
John them and John him and John him and die?
When that's Maddy?
Speaker 9 (10:57):
Did you man that?
Speaker 6 (10:57):
Did you google?
Speaker 7 (11:37):
Jack Vin Sandler's bringing in a little bit of that
d M type of a vible this song dope shout
out to shus what sustive and really the common thread
here between the two soundtracks and the man whose work
has really put himself into that upper echelon of Indian composers,
Indian Bollywood composers. If you will really have through these
(12:01):
two bodies of work, he's put himself there.
Speaker 2 (12:07):
Again learn made what.
Speaker 21 (12:15):
Can you give you?
Speaker 6 (12:17):
The letter.
Speaker 1 (12:20):
Made a.
Speaker 22 (12:25):
Cut down, Hardy yady hoady, hardy hoside hot again, hardy
(12:54):
yady hoy horry horty y.
Speaker 23 (13:06):
Yeah, my father raised me a winner. I would kill
from my people, and don't make me a sender from
the coast to the plains. Everybody know the name that
you're coming from. We got this to maintain.
Speaker 19 (13:14):
But you got an ego. Shut a fucking me.
Speaker 23 (13:16):
Though I may got that money like I'm running up
castine no ge cot Now I got that proper in
my geno.
Speaker 2 (13:21):
Cut the proof.
Speaker 19 (13:22):
Can you stand on?
Speaker 1 (13:23):
What's the tween?
Speaker 24 (13:23):
Does Pole put it in a paper like they were
crussing on each other promiking deputy bets of me.
Speaker 7 (13:27):
I'm making a couple of mother crazy.
Speaker 24 (13:28):
It's turning it laziest, probably to a product, probably probably
because I was probably prophet warns a mother warns a
mother two hands on that I was turning. Butther so
if I go to sleep, I'm probably burning covers. Turn
the covers. If the covers burned, I gotta turn the
mattress to get in the first pick you wanted to pick,
like a boarding caption, where come on my body by.
Speaker 23 (14:17):
Mena wo mother, take a body oil mana wood.
Speaker 25 (14:32):
Handy hoy yai honey, do.
Speaker 6 (14:42):
Y yady do bana bana honey to body him.
Speaker 12 (14:56):
By.
Speaker 7 (15:00):
There are two different types of composers out there. There's
the tinkerer and then there's the one that spits them
out and Shush what is the second? He spits them
out really fast. He's a very fast worker. And the
rumor is you cannot got a few songs in a
day working with SHUSHWZ. You really can. And there you go.
(15:22):
It really is helpful if you're trying to put a
bunch of music like they have in this film. Now,
let's bring in doctor Roy to this party with sub
Doctor Roy.
Speaker 26 (15:30):
Hey guys, this is doctor Roy with today's word on
the Avenue. In film and TV news, did you know
that The Runder two's Netflix release is titled Raw and
Undie Cup. That's because it sparked online social media discussion
about the film and some of its new footage on
the scenes. Taking to their handles on the film's ott
debut on Netflix for international viewing, a lot of the
(15:51):
fans put out several notable differences between the streaming version
and the theatrical cut released in India only. Audiences will
be able to share their experience to the film releases
on Geo Hotstar.
Speaker 1 (16:02):
In June for Indian audiences.
Speaker 26 (16:05):
In media news, Starbucks is reportedly planning to open its
first corporate office in India, marking a major step in
the company's global technology and cost optimization strategy. Led in
part by CTO Annan varad Rajanan. The new tech hub,
expected to launch in fiscal year twenty twenty seven, will
focus on bringing more engineering and technology roles in house
(16:28):
as Starbucks reduces reliance on third party service providers. In
event news, the sari worn by Nandini Harinas during India's
historic Mars orbiter mission is now on display at the
US Smithsonian National Air and Space Museum. A key member
of Eastro Indian space research organizations celebrated rocket woman Harinath
(16:50):
wore the blue and red sari when Mongo Yuan began
its journey to Mars in twenty thirteen, making the exhibit
a tribute to both india space achievements and women's scientists
behind them. Honored by the US, that's it for today's
word on the avenue until next time.
Speaker 7 (17:05):
Thank you, doctor Roy. This next artist was pretty much
the only thing left off of making this completely perfect
in terms of getting all the guns you needed for battle.
Ya sing and then you needed Delo sane and you
got him, and you got him with a song called
(17:25):
Easy Easy, and it helped really solidify the first soundtrack.
Speaker 27 (17:32):
Adiaba Guy Buddy Adiaba not Daba Gullias by body poor
(18:01):
puny ho yah b.
Speaker 28 (18:05):
Juddy ho y, Yeah, I should know about today, buddy
hoy y'all the gypsy something puddy who body cully pretty?
Speaker 7 (18:15):
Who are your the.
Speaker 27 (18:16):
Jypsy something hoy yah body cooly purty hoo y.
Speaker 4 (18:23):
Yeah, that is a promise.
Speaker 7 (18:25):
What is behind it?
Speaker 1 (18:26):
I'm sure that I know soon, I know when I
find it. I'm looking for our answers.
Speaker 2 (18:31):
I'm meaning behind it.
Speaker 7 (18:33):
I'm taking a chance here. Yeah, I'm gambling.
Speaker 29 (18:36):
When everyone said that we couldn't have put in the
word just to keep him. Their ads, the ads against me,
demons attainment, usually come with a smile and nothing that
I wouldn't do with the people I love. I've been
ready to die, were armed and ready. It's about to
get ahead. You're not telling me you're ready and that
yeah you ready enough? Tell me you ready at that
you ready at that you're really ready enough showing you ready.
Speaker 7 (18:57):
And now're telling me penny and that.
Speaker 6 (19:00):
You will you're ready at now?
Speaker 7 (19:01):
Who know if you're many at now?
Speaker 6 (19:04):
Is the matter?
Speaker 7 (19:05):
This is a promise? Are you mad?
Speaker 2 (19:08):
But what is behind it?
Speaker 6 (19:11):
I'm no so.
Speaker 9 (19:15):
I know what I've panted.
Speaker 7 (19:17):
Pull it the d I'm looking at my hands. That's
are your border. They're meeting behind it?
Speaker 2 (19:23):
Anybody not.
Speaker 21 (19:25):
I'm taking a chance here, just to the mtter easy, easy, arty,
gym persy, buddy.
Speaker 1 (19:32):
Hoy, how body poorly puny ho.
Speaker 6 (19:35):
Y b.
Speaker 1 (19:38):
Juddy ho y. I should know about to day.
Speaker 28 (19:40):
I want to move puddy hoy, Y're the gypsy? Sometime
then all the puddy who he body? Coolly party? Who
are y'are the gypsy?
Speaker 7 (19:51):
Buddy hoy?
Speaker 2 (19:52):
How body?
Speaker 7 (19:53):
Kolyn putty?
Speaker 6 (19:55):
How y?
Speaker 30 (19:57):
Yeah?
Speaker 21 (19:57):
Yeah?
Speaker 7 (19:59):
Battle track right there, del Gito Sange got some vocals
on there by hanuman Kind track is called easy Easy
and folks, let's invite Ashi Aurora into this Thursday episode
as we get you ready for Sunday. She has a
show on the air called leaders Creating Ruckas. How are
you Ashi?
Speaker 2 (20:19):
Thanks Sammy.
Speaker 30 (20:20):
This week on leaders Creating Ruckus, I'm sitting down with
doctor arun Chervu to talk about his lessons in leadership
on the path to retirement. Tune in this Sunday at
four pm Pacific Standard time to hear about our definitions
on work and various career choices.
Speaker 1 (20:37):
Back to you, Sammy, thank.
Speaker 7 (20:39):
You, Ashi, thank you so much. We'll all tune in
this Sunday at four pm Pacific time catch Ashi show
called Leaders Creating Ruckus right here on Ruckus Avenue Radio.
This song is called lute legy.
Speaker 6 (21:10):
S.
Speaker 9 (21:14):
Heart is sub let again?
Speaker 1 (21:17):
How is your num let?
Speaker 7 (21:20):
It there?
Speaker 2 (21:24):
More class?
Speaker 9 (21:25):
How is such turn up? I know the letter grid?
Speaker 1 (21:29):
How ministrup?
Speaker 9 (21:31):
I know it's the letter.
Speaker 19 (21:33):
H is Sarchery's episode.
Speaker 1 (21:37):
I look to learn again? The look, the len o,
the no look, the lea, the learn again.
Speaker 9 (21:57):
I spream such as guy, I spam my happ happened?
(22:20):
I spam happy, I fami I spam happens came?
Speaker 2 (22:47):
Not the cameo?
Speaker 1 (22:48):
No, rat didn't the general rat.
Speaker 2 (22:58):
Rasta?
Speaker 1 (23:00):
What's the latter?
Speaker 9 (23:02):
Listen to myself, man.
Speaker 2 (23:04):
Look at your feeling for the leg I.
Speaker 1 (23:08):
Just said, I'm ready my sen.
Speaker 9 (23:11):
Me money annoyed to learn again.
Speaker 2 (23:18):
O, the leg.
Speaker 1 (23:22):
O, the look to learn, that om, the no to
let go.
Speaker 9 (23:31):
I say, I see.
Speaker 7 (24:42):
Pretty interesting dynamic. When it came to the two soundtracks,
the very first soundtrack, of course, was released through Sada
Gama Music and the second one was released through T series.
That largely had to do with the original song that
was sampled in that Hanu man Kind Jasmin Sandless track,
(25:05):
which used an old song of Sadagamas.
Speaker 6 (25:08):
There.
Speaker 7 (25:10):
This song right here is called move from a second soundtrack,
it's called ye Is.
Speaker 23 (25:15):
There's a big Baga's on the lustick skin cope with
a black letter big news.
Speaker 19 (25:19):
There way nothing that a man can do to bring
in the wall.
Speaker 31 (25:22):
We pay dues.
Speaker 23 (25:23):
That's against that against the firs. He don't speak by
the danger. Would tell me a ship. When you eat
little breeches, say your prayers, call them the gangster. Don't
slander the stranger. Women, you know what I wanna got
the trigger? Oh God, you got them move it how
I wanted God. I rather to keep it to myself.
I got no love to understand. I got this blood
(25:44):
on my hands. So baby, do not understand you gottam
and me give me that violence started. If we want
of my problems started.
Speaker 32 (25:56):
Mob, give me that violence got it?
Speaker 23 (26:01):
You got it, you gota and don't come for the emotion.
I got touched with self potent and don't block with
the ocean and don't fuck with these trojans off. Keep
that distance up on that mission up for your witness
out buy my business. I've been projecting out by my
patients on time and wasting. You got them move, baby,
(26:23):
gave me that violence, got them move.
Speaker 19 (26:27):
If you ain't one of my problems?
Speaker 1 (26:28):
Baby more.
Speaker 21 (26:32):
Now so he could you now hugo there look at
there can be no Huggerina.
Speaker 2 (26:46):
Had to get there.
Speaker 15 (26:47):
He jump, he jump, held hold. It's let us to
know God, it's okay now you see can.
Speaker 6 (27:10):
Okay?
Speaker 15 (27:10):
Now if you imagine hooks.
Speaker 6 (27:14):
He just got it.
Speaker 1 (27:16):
Go ahead.
Speaker 2 (27:17):
You didn't want her to say, okay.
Speaker 15 (27:20):
Okay, it's your head, it's your heads. It's what the
monkey there got the monkey John John catches ahead. It
must be there day Brayby.
Speaker 19 (27:40):
You know why I wanta got the Oh God, you
got them move it.
Speaker 6 (27:44):
I want it?
Speaker 1 (27:45):
Got there?
Speaker 23 (27:47):
I bet they keep it through myself, But no love
to understand how glad there's blood on my head?
Speaker 7 (27:53):
Shout? What's great at this? Shosh? What is great at
bringing in the right artist to come in and play
the right voice for his song? Does it so well?
And between the two soundtracks did a phenomenal job of
spreading around the the real type of essence he was
looking for in each song, A great one right there.
In the hip hop version, that song called move Yeah
(28:15):
is this next song We've Got for You? Is from
the Dunder the Revenge soundtrack. The song is called shut out.
Speaker 2 (28:24):
A tune Bard tire.
Speaker 1 (28:28):
Yeah Bade the whole guy.
Speaker 31 (28:35):
Heiy yimmu labad vadi the whole guy.
Speaker 2 (28:45):
Nana mel hamminig good Jesse you.
Speaker 1 (28:59):
Sad oh.
Speaker 31 (29:20):
Chickli sa damas so much Hara you no runners on her,
Harald the chicka is damas so much. Hara runs on.
Speaker 1 (29:34):
But then the pick and it's over for there.
Speaker 2 (29:38):
The pitch is a copy me catch a c.
Speaker 33 (29:47):
Come then sa.
Speaker 1 (29:57):
Learna ha.
Speaker 31 (30:00):
No, not your medicam Nana you American he samanda is
someone boil.
Speaker 20 (30:11):
Then scon mama jugleman Lama.
Speaker 31 (30:18):
Then you shall at the scab jugleman learn, don't he
(30:42):
or homemokey later's out where able don't he has.
Speaker 1 (30:49):
Had a home must in.
Speaker 31 (30:50):
Her out the harbor, Mary love passages, Mary.
Speaker 20 (30:59):
Laos, thank you nap small.
Speaker 33 (31:06):
Then you shay comemaja Manama, then you shaa.
Speaker 9 (31:20):
Man not you married.
Speaker 31 (31:24):
You're married, then you Sha.
Speaker 9 (31:39):
Then Shara.
Speaker 7 (31:56):
We're gonna be joined by the band Indo Fusion here
shortly Varma and Sanjay Varma, the two of them doing
an amazing job of not only putting out covers but
also singing new stuff. And they'll be joined by their
third member, Radka today. Looking forward to the conversation.
Speaker 32 (32:15):
The girls like to party like the bat was dud down. Shaddy,
let me bag some girls like the party like the
bat was duck down. Shaddy, let me bag.
Speaker 34 (32:27):
Some handy Giovanni, you must be your must Harry Gavani.
Harry Vanni must be you mustize Harry Gavanni.
Speaker 35 (32:59):
Why why why y'all we look up for each other
when the sun goes up, say you go surrender when
the sirens cat from like the city is gonna for
it if we slowed down now, just be like we
might not forgive what the nights.
Speaker 34 (33:27):
N the Hona they're an't they're so honey.
Speaker 1 (33:31):
The who you do.
Speaker 20 (33:33):
Honey, hon, the honer they're ron they're so honey, the
who you done it?
Speaker 1 (33:41):
Don't do money? Then turn turn off man, turn.
Speaker 32 (33:55):
Turn the girls like the party like that? Let me
begs the girls of party like the Shari let me
beg so.
Speaker 7 (34:24):
Rebel is the artist and she gets together with Sana Khan,
the vocalist. There lyrics by Earshot come on music of
course by shash Watsu's there the song called Nachana and
the type of track that you feel that you've heard before,
probably because you have. It's kind of like an interpolation,
as we call it in the business. There you go.
(34:47):
This one is another one from Superstar Delgito Sane. The
song is called.
Speaker 6 (35:01):
Hsh gonna come the lark in.
Speaker 36 (35:18):
Ash the lark in the boska Ja John Ja ja.
Speaker 1 (35:47):
Sika came in Loo coming you.
Speaker 15 (35:55):
Nikam anam in there has some keep they an then
Adam has some keep the alamnue ptah Disgarley passad thats
(36:28):
al arcade. Oh you want to see bag barge arc
dicgarle pasad. That's it at arcade Xcugarley pass Larkie's the
(36:58):
want see bag badgie ar.
Speaker 7 (37:01):
Charlie.
Speaker 15 (37:02):
Are you move to such a door, but there are
you move to such a door? But the any cardamnue,
but that's the man. Keep any calam there, that's the man.
Speaker 6 (37:16):
Keep a ready avenue.
Speaker 37 (37:30):
M car looking at the arm to say, you're Garni.
Speaker 6 (37:56):
Looking.
Speaker 7 (38:10):
We have them all. We have Sewitage, Sunjay and Radhika
joining us from the band in no fusion. Of course
you guys have been hearing about it. Of course this
across this whole episode, and we finally wrote them in
how are you guys great? And currently you guys are
in Mumbai? Correct? Yes. What's more difficult is it coming
(38:33):
up with something original or reimagining a classic song that
everybody knows and you have to find some sort of
original way of delivering it. And and that is sometimes
pretty difficult to do because people are married to how
they want to hear something, and so when you reimagine
some of these classics, it's not as easy as some
(38:54):
people think. Uh, we walk us through that process. Between
the two, they're distinctly different processes, I understand, But which
one is tougher for you?
Speaker 5 (39:04):
The of use Doing a cover is always a challenge
because you have to you have to find a a
space to to give it a different, unique taste, a
different sound because uh, if you if you're touching, uh,
you know, if you're touching in a classic or very
legendary tracks from a bigger artists, H well known artists,
(39:27):
then you have that responsibility uh with you to to
to I mean make it in a very good way,
but it should not I mean spoil the soul of
the composition that the you know, the main challenge doing
our but we always try to to to see that
(39:48):
you know, space or to.
Speaker 4 (39:49):
To get that you know, the sound that what we like.
And so doing an originally is.
Speaker 5 (39:58):
Also a similar right now because for for indie musicians,
so a lot of people are you know, making tracks
very similiar to Hollywood right right, I'm not doing really well.
But you know, if I talk about new artists, new
musicians who are going very fast with the original numbers,
So I think they have that uh you know hat
(40:19):
they have got that you know, the tricks to to
to tend you know, out of the.
Speaker 4 (40:26):
The other people.
Speaker 7 (40:28):
Yeah, yeah, outside of your echo chamber. Correct, that's correct. Yeah,
you know, the original stuff probably as you put it,
it brings you into new audiences, It connects you to
different places. But I think there's something very comfortable that
the audience feels when they're hearing the cover work that
you do. It's so familiar, you know, you know, I
was gonna ask you, what is the song that you
(40:50):
guys perform no matter where you go, it's always a
hit with the audience.
Speaker 4 (40:57):
They are a lot of tracks I think rather something.
Speaker 19 (41:02):
So uh.
Speaker 13 (41:08):
I mean, you know, there are songs that were definitely
known for because again it comes with a lot of strategy.
Speaker 6 (41:16):
Uh.
Speaker 13 (41:16):
As I would say this is when you when you
saw something on on your social media and and when
you sort of push that through.
Speaker 6 (41:24):
Uh.
Speaker 13 (41:25):
There are songs which which get that high.
Speaker 4 (41:28):
So the name of you maybe from Sufi with say
maybe that's the rue.
Speaker 13 (41:33):
Uh Like songs like that, they're so legendary and they're
loved by everybody, so they're always a hit.
Speaker 7 (41:40):
Yeah, you can't go wrong with consop anywhere. So that's
definitely that's definitely the case for sure. Yeah, now that
that that's a great one. You know, rather got a
question for you. You know, the these two gentlemen have
been working together for such a long time and they
had a foundation there that you had to kind of
fit into in a way. And to me, it's very
natural though, you know, it's it seems like you your
(42:01):
voice has been there and even on stage, how you
guys have kind of this interaction amongst you it seems
very natural and there's a kind of a pace about
you that matches the other guys. You know, how much
how how much work was that? Was that something that
you have to kind of sit back and is it
because you knew them already and you're like, Okay, I'm
going to fit right into this or was that like
(42:22):
a thing for you and is that still a thing
for you where you're like, Okay, I have to find
myself in this. Even though I do represent the female voice,
there's stylistic kind of adjustments to be made.
Speaker 13 (42:34):
You know, I lost because I mean, it's still something
that we struggled with. It's definitely not easy because I
come from a very different background as a bonet and
they've been in you know, they've been together.
Speaker 4 (42:51):
They know each other.
Speaker 13 (42:51):
They have a chemistry that that you know, it takes
a life long to build. But for me, when I
came in, I think I started to wanted to bring
what I do best. I wanted to create an identity
within that identity as well. So it was a lot
of understanding, which I think is is it's constant across
(43:15):
any relationship, any artistic relationship that you work with.
Speaker 4 (43:20):
It does come with work.
Speaker 13 (43:21):
But then at the end of the day, what you
do on stage, it's your collaborations to your efforts from everybody.
So yeah, it's something we've worked on and it's something
that we're still working on.
Speaker 7 (43:32):
Yeah, absolutely, as with any band and as with any group,
and and and that's always the case. And that's something
of course that uh, you know, whatever the discussions are
and the negotiations are, as far as the product is
on stage, it just fits wonderfully. So whatever you guys
are doing, keep doing it all right. Uh you know, gentlemen,
(43:53):
you went from turning our to Dubai. What did that
change of your music?
Speaker 5 (44:00):
So it's a it's a I mean that process was
like complete you know, self learning for for for both
of us and for all of us. So in two
thousand and thirteen, so we used to sound i mean
very very different. And what we what we see now,
what we what we see now that that individual sounds
(44:22):
totally different because because of a lot of things, Because
this journey was like learning and it will be a
continuous learning.
Speaker 4 (44:32):
For for.
Speaker 7 (44:34):
Yeah, It's it's funny because when you're in the audience,
all you get to see is the product. You get
to see, you know, the beautiful music that comes about it.
I think some of the conversation that we've had also
kind of touches on the process behind the scenes as
far as you know what it takes, and it takes
a lot, and and you guys have certainly done an
amazing job with this. You're you're talking to an international
(44:56):
market today. You're talking to people that have maybe never
heard of you before. And if there's something that you
want the international market to get to know as they
discover you today, what is it that you could say
about how Indian music is doing in India and how
it's traveling now internationally, and as you guys have spread
your basis, We've talked about that from Tunderguard to Dubai
(45:19):
now and hopefully some of it spreads this way, you know,
tell us about the story of Indian music from a
global perspective. Given the work you're doing.
Speaker 13 (45:33):
You know, I think people around the globe, even if
we say the you know, the diaspora that that you're
talking about, I think everybody is getting a lot more
connected to their roots.
Speaker 4 (45:48):
Everybody is becoming slightly.
Speaker 13 (45:52):
It's not the culture is not diluted at all, and
people are actually trying to connect a lot more in
a schedual way, be to their roots, lead to their culture.
So when we perform, and even because Dubai is a
global market, Dubai doesn't have just Indians in it, so
we cater to a lot.
Speaker 5 (46:10):
Of people who stem from uh, those regions.
Speaker 13 (46:13):
As well that you're talking about.
Speaker 25 (46:16):
And we definitely note that.
Speaker 4 (46:18):
The acceptance, the awareness, the ability to.
Speaker 13 (46:22):
Sort of accept what an artist is doing and trying to.
Speaker 4 (46:25):
Present that has sort of evolved, you know, because people.
Speaker 13 (46:30):
Want things that that are familiar, uh in this place
where there's so much uncertainty, there's so much conflict about sells,
people just want to be connected to where they come from.
And so that's why, no matter where you belong on
the globe, Indian music is definitely going back to h
nostalgia where we talk about Lataji, where we talk about
(46:53):
you know, Kishoda, or we can talk about our Sufi legends,
beat Avidaji, be it. You know, so everybody is sort
of just you know, rooting in all together and sort
of connecting, you know, globally, there's there's no borders today.
Speaker 7 (47:08):
I think you very articulately defined Indo fusion to everyone
right there and and that's that's a good way to
kind of summarize it all. You know. I wanted to
first of all, thank you all for joining us today,
and I wanted to thank you all for the great conversation.
I wanted to turn the floor over. I see a
guitar here, and I wanted to know if there's anything
(47:29):
fun that you can perform for everybody, you know, not
to not to take too much of your performance time.
Maybe a couple of minutes here to give everybody a
little taste of some Indo Fusion on the air.
Speaker 4 (47:40):
Sure the.
Speaker 6 (48:03):
The you know that to Una the.
Speaker 25 (48:12):
Particle may game the bana because I am the kana
made you know that Huda from the perm hicle that
(48:49):
you understand it. But you look a day by John like.
Speaker 6 (48:59):
That, you know, said.
Speaker 7 (49:07):
To be.
Speaker 21 (49:14):
God.
Speaker 7 (49:39):
Yeah, thank you very much. How about that everybody? What
a treat that was. And of course a big shout
out to the band Indo Fusion for joining us, and
thank you so much there two gentlemen putting it together
for us, Sewage and Sunjay for for the beautiful rendition
of this quite a metal of stuff right there. You
(50:01):
got a pretty good cross section of the work that
they do right there in those couple of minutes. So
thank you very much, gentlemen, and thank you so much
Radica for joining us today.
Speaker 13 (50:10):
Thank you, thank you so much.
Speaker 4 (50:12):
Fama doing.
Speaker 7 (50:14):
All right, guys, we'll be right back after this.
Speaker 6 (50:17):
But the.
Speaker 38 (50:19):
Hondo locomemedy, But hondocome many.
Speaker 20 (50:35):
As you breathed, Lona Jesse.
Speaker 1 (50:39):
Hold holy on my body.
Speaker 31 (50:47):
Breathing ho on, Sorry, joh't Belanyny.
Speaker 39 (51:05):
Sorry, r Card Pussage, Yes, so sorry, Rama Card Pussage.
Speaker 31 (51:23):
Yes, there come my body and the tennis recap some
roa sorry.
Speaker 40 (51:44):
John l y oh you Knowternity, I'm sorry, Rama Card
a pussy, yes, Son said, looking.
Speaker 2 (52:10):
Kind of pussy.
Speaker 7 (52:12):
Yes, I've saved my favorite few songs here. Towards the
(52:56):
end of this show, of course, as we start to
in on what was a week long spotlight on the
Runder and the Runder the Revenge. And it's been fun
doing this, folks, it really has, because it's given us
a chance to really put this film into perspective for
everybody and its impact. And it's large because the film really,
(53:18):
in a lot of people's eyes, came in and saved
the industry as it was kind of decimated and breaking
into a million pieces. It's kind of re established. The
institution of Bollywood is good. Now let's bring Induitadas Gupta
to the show. What's up?
Speaker 41 (53:33):
Thanks Sammy. Hey everyone, this is your Ruckus Avenue Radio music.
Crispondent back with some fun sacs about your favorite artists.
Let's talk about any unkind the Kerala Bourne Houston Brett
rapper tearing through the global hip hop scene. He crashed
onto charts with big Dogs, the high velocity anthem and
motor stunt visual that was so electric even asap Rocky hopped.
Speaker 30 (53:56):
On the remix.
Speaker 7 (53:57):
Now his debut mistake Monsoon Season is out.
Speaker 41 (54:00):
Think twelve tracks Alive with Sonic Grain featuring fire collaps
like Reckless with Densel Curry, Goons with Maxo Cream and
the emotional ripples. As someone told me with Roycy, it's
not just a record, It's a sonic Monsoon bringing immersive
emotion and unfiltered energy. However, he did not stop there
this summer. He headlined Coachella, packed venues across the UK
(54:21):
and Europe and even had a nod from the Indian
Prime Minister. Then Global Wrap Energy with soul and authenticity.
Speaker 19 (54:28):
Well that's all for me now, back to.
Speaker 2 (54:30):
You, Sammy.
Speaker 7 (54:30):
Hanumankind has taken Indian hip hop and put some respect
on its name globally. He really has. And of course
this performance on this song to big Dogs, to all
kinds of stuff that he's been doing, shout out to
hanuman kind. Everybody, get ready.
Speaker 6 (55:00):
Up to mistake.
Speaker 7 (55:00):
They come me, you're bad man.
Speaker 1 (55:01):
That's a funny good thing.
Speaker 29 (55:02):
I'm gonna say, swing back when another man swing.
Speaker 7 (55:05):
So.
Speaker 29 (55:05):
I made my mama cry when they made your heads
round ither forgive me.
Speaker 6 (55:08):
I can't forgive them.
Speaker 2 (55:09):
You know my head streak.
Speaker 4 (55:10):
You know what I did then, what I do now?
Speaker 2 (55:13):
All hours heaviest the head. It's a blessing and a curse.
Speaker 6 (55:45):
Up, joke up.
Speaker 9 (56:09):
The only coin the phone.
Speaker 6 (56:10):
He's going in my mom all he's done.
Speaker 4 (56:15):
Well, he it all.
Speaker 9 (56:17):
The only coin the phone.
Speaker 6 (56:19):
He's going all, he's done, He's it all.
Speaker 29 (56:26):
I'm a king, but a bum mistake. That come me,
you're bad man. That's a good good thing. I said,
swing back when in the mess wing so I make
my mama prow and I make the ram. Heavy's the head.
Heavy is the head. Heavy is the head. It's a
blessed anticise.
Speaker 7 (56:41):
Heavy is the head. Heavy is the head man. When
Jasmine Sandlist and honeyman Kind dropped the song, they certainly
moved the needle in the culture, much like the rest
of the music in this soundtrack certainly shout out to
Jasmine Sandlist, honeyman Kind and shut what such the folks.
I've been making music for years and I've spent four
days on this show inside one film franchise. That's not
(57:04):
something I do lightly. I don't do these weeks because
they're cute. I do them because every once in a while,
something happens in this culture that deserves the full hour
four days in a row. The under was that not
because of the box office, not because of the Netflix release,
because of what it proved that a Hindi film can
still command three and a half hours of your attention
if it earns it, that a soundtrack can carry a
(57:27):
story instead of just dressing it up, That a thirty
year old Punjabi folk song can sit underneath the twenty
twenty five spy thriller and make the whole thing feel inevitable.
And the voice of the duology sat right here today
and told you how that actually got made. The version
of the music in cinema we just spent a week inside,
(57:48):
and that's what we should be measuring everything against now,
not whether a film opened, whether the music did its job.
Tomorrow on the show, folks, it's our weekly top twenty.
I want you to do is listen for the songs
on the chart that do their job the way that
the Runder soundtrack did its job, because the ones that
did are the future of this music business. This song
(58:11):
right here is called Firse. It's my favorite song from
the two soundtracks. Sing Shush what such Dave. I've had
a great time hanging out with you all today, see
you tomorrow.
Speaker 4 (58:23):
You do not.
Speaker 2 (58:32):
Mor Yeah do s Macky many right yeah do.
Speaker 8 (59:00):
On it GUSI, Perceon and Vody some jam from c
Coom do norm On Everson, a Nobody, some jam room
Heldom do he normOn Eperson and a body some.
Speaker 2 (59:25):
Jail from the Cartom, I'm.
Speaker 8 (59:29):
On every person and Nobody some jee
Speaker 2 (59:36):
Room Cottom do he rm on ep
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