In the 1980s
in the 1980s
Major migrations of the Sikh Punjabis to the UK brought with them the Bhangra music, which became popular in Britain during the 1980s, although heavily influenced in Britain by the infusion of rock sounds. It signaled the development of a self-conscious and distinctively British Asian youth culture centred on an experiential sense of self i.e. language, gesture, bodily signification, desires, etc... in a situation in which tensions with British culture and racist elements in British society had resulted in alienation in many minority ethnic groups and fostered a sense of need for an affirmation of a positive identity and culture, and provided a platform for British Asian males to assert their masculinity.[2][4][5][6]
Bhangra dancing was originally perceived as a male dance, a "man's song", with strong, intense movements. However, "Second-generation South Asian American women are increasingly turning to bhangra as a way of defining cultural identity."[7]
In the 1980s Bhangra artists were selling over 30,000 cassettes a week in the UK, but not one artist made their way into the Top 40 UK Chart, despite these artists outselling popular British ones, as most sales were not through the large UK record stores whose sales were recorded by the Official UK Charts Company.[8]
The 1980s is also what is commonly known as the golden age or what the "bhangraheads" refer to as the age of bhangra music which lasted roughly from 1985 to 1993. The primary emphasis during these times was on the melody/riff (played out usually on a synthesizer/harmonium/accordion or a guitar); the musician/composer received as much fanfare if not more, than the vocalist. The folk instruments were rarely used because it was agreed that the music was independent of the instruments being used.
This era saw the very first boy band called the Sahotas, a band made up of five brothers from Wolverhampton, UK. Their music is a fusion: Bhangra, rock and dance fused with their very own distinctive sound.
One of the biggest Bhangra stars of the last several decades is Malkit Singh — known as "the golden voice of the Punjab" — and his group, Golden Star. Malkit was born in June 1963, in the village of Hussainpur in Punjab. He attended the Khalsa College, Jalandhar, in Punjab, in 1980 to study for a bachelor of arts degree. There he met his mentor, Professor Inderjit Singh, who nurtured his skills in Punjabi folk singing and Bhangra dancing. Due to Singh's tutelage, Malkit entered and won many song contests during this time. In 1983 he won a gold medal at the Guru Nanak Dev University, in Amritsar, Punjab, for performing his hit song Gurh Naloo Ishq Mitha, which later featured on his first album, Nach Gidhe Wich, released in 1984. The album was a strong hit among South Asians worldwide, and after its release Malkit and his band moved to the United Kingdom to continue their work. Malkit has now produced 16 albums and has toured 27 countries in his Bhangra career. Malkit has been awarded the prestigious MBE by the British Queen for his services to Bhangra music.
Gurdas Mann, a multi-talented Punjabi singer from the Punjab region, took Punjabi music world by storm. He started his career in 1980 with his first album, Dil Da Mamla, followed by his huge hit Masti, musically directed by Charanjit Ahuja, the man who changed the sound of Punjabi music in India with the use of non-ethnic instruments such as Spanish guitars, saxophone and trumpet. Since then Gurdas Maan has become an idol for many, not only for his lyrical and musical talent, but also his acting ability. He appeared in the Punjabi film Long Da Lishkara, which included the mega hit Challa (remixed in 1999 by Punjabi MC on his album "Legalised"). Since 1982, Gurdass Mann has released a number of hit albums, performed at sold-out concerts around the world, and has released many popular singles, including "Apna Punjab".
The group Alaap, fronted by Channi Singh, the man made famous by his white scarf, hails from Southall, a Punjabi area in London. Their album "Teri Chunni De Sitaray", released in 1982 by Multitone, created quite a stir at a time when Bhangra was still in its early days in the UK. This album played a critical role in creating an interest in Bhangra among Asian university students in Britain. Alaap were unique with a live-set that was the best ever to play on the Bhangra stage. Their music oozed perfection, especially within the rhythm section. The music produced for Alaap included the pioneering sounds by Deepak Khazanchi.
Heera, formed by Bhupinder Bhindi and fronted by Kumar and Dhami, was one of the most popular bands of the 1980s. Fans were known to gate-crash weddings where they played. The group established itself with the albums "Jag Wala Mela", produced by music maestro of the time Kuljit Bhamra and "Diamonds from Heera", produced by Deepak Khazanchi, the man behind the new sound of UK Bhangra, on Arishma records. These albums are notable for being amongst the first Bhangra albums to successfully create mix Western drums and synthesizers with traditional Punjabi instruments.
Bands such as “Alaap” and “Heera” incorporated rock-influenced beats into Bhangra because it enabled "Asian youth to affirm their identities positively" within the broader environment of alternative Rock as an alternative way of expression. However, some believe that the progression of Bhangra music created an "intermezzo culture" post-India's Partition, within the unitary definitions of Southeast Asians within the diaspora, thus “establishing a brand new community in their home away from home".[9][10]
Several other influential groups appeared around the same time, including The Saathies, Bhujungy Group, and Apna Sangeet. Apna Sangeet, most famously known for their hit "Mera Yaar Vajavey Dhol", re-formed in May 2009 after a break-up for charity.[11] They are known as one of the best live acts in Bhangra.
When bhangra and Indian sounds and lyrics were brought together, British-Asian artists began incorporating them in their music. Certain Asian artists, such as Bally Sagoo, Talvin Singh, Badmarsh, Black Star Liner, and State of Bengal are creating their own form of British hip-hop.
Even more well established groups like Cornershop, Fun-Da-Mental, and Asian Dub Foundation are finding different means and methods to create new sounds that other Asian groups have never formed.[12] By mixing the sounds of bhangra with the popular sounds of hard rock and heavy metal, Asians are able to stay true to their own culture, while being open to a world of change. British Asians have to be conscious of both cultures in their everyday life and now are doing so in their music as well.[13]