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What the “Asha Bhosle of Pakistan” comparison means
Rabe’s May 11, 2014 article places Akhtar in the context of Pakistani film music, highlighting songs with nightclub, disco and pop character. The analogy points to a perceived role in upbeat playback singing; it should not be treated as a formal industry designation or a comprehensive comparison of Akhtar and Asha Bhosle. The article’s account says Akhtar emerged in the mid-1970s, first on television and then in Lahore film music, and took on a role in lively film songs after Runa Laila’s departure. That is Rabe’s interpretation of the period.
The examples are film songs attached to particular Pakistani productions. They show one strand of Akhtar’s work, rather than establishing that all—or even most—of her repertoire was nightclub music. Read Nate Rabe’s Scroll.in article.
Five songs highlighted by the article
| Song | Film | What the article says |
|---|---|---|
| “Kisi Mehrban Ne” | Shama | Presented as a breakout song. |
| “Hello Madam Disco” | Mohabbat Ho To Aisi Ho | The sequence is described as a disco number. |
| “Disco Hangama” | Quli | Included among the article’s lively film-song selections. |
| “Badami Naino Wale” | Zanjeer | Included among the article’s lively film-song selections. |
| “Some Say I Am Sweety” | Kora Kaghaz | Noted for its English-language lyric and pop sensibility. |
“Kisi Mehrban Ne” and Shama
Shama is central to Rabe’s account: he identifies “Kisi Mehrban Ne” as a breakout song and includes Akhtar among the film’s singers. EMI Pakistan’s catalog lists a similarly titled track as “Kisi Meharban Ne Aake,” with lyrics by Tasleem Fazli and composition by M. Ashraf. The title spelling differs, so the two forms should not be silently treated as identical catalog entries. EMI Pakistan’s Nahid Akhtar catalog page provides the metadata and a request-license option.
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Disco, pop and a touch of English
“Hello Madam Disco” is the clearest disco-labelled example in Rabe’s selection. “Some Say I Am Sweety” stands out for a different reason: the article calls attention to its English-language lyric and pop sensibility. Together with the songs from Quli and Zanjeer, they suggest the variety within the lively film numbers featured—not a complete survey of Akhtar’s music.
These songs sit within a much wider career
Associated Press of Pakistan reports that Akhtar was born in Multan in 1956, began her career with a duet at Radio Pakistan Multan, and entered film playback with Nanha Farishta, released in 1974. APP also reports that she sang in Shama that year. Its account describes work across film music, pop, ghazal, traditional classical music, Punjabi folk, qawwali and devotional genres.
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APP gives an approximate career total of about 600 songs in more than 430 Urdu and Punjabi films. Those are the agency’s reported figures, not an independently audited discography count. The breadth of genres reported by APP is an important counterweight to the nightclub framing: Akhtar’s career cannot be reduced to the handful of energetic film songs in Rabe’s article. Associated Press of Pakistan’s 2023 career profile.
Where to listen and how to find catalog information
Spotify lists Film Hits Nahid Akhtar as a ten-song album credited to Nahid Akhtar and EMI Pakistan, with songs associated with Shama and other films. Amazon Music also lists it as streaming content. These listings establish digital listening options, not the availability of a physical CD or a particular edition. Spotify album listing · Amazon Music album listing.
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For catalog details or licensing inquiries, EMI Pakistan’s artist page is the relevant starting point: it includes track metadata and a “Request License” option. That route is for licensing; it does not establish a consumer affiliate offer or commission.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How far the comparison can be taken
The “Asha Bhosle of Pakistan” phrase is useful as Rabe’s shorthand for Akhtar’s place in a selection of lively playback songs. The material here supports that framing as an article premise, but it does not supply a parallel Asha Bhosle discography or a full comparison of their careers, musical styles, languages or film industries. The strongest grounded conclusion is narrower: Akhtar’s nightclub- and disco-inflected film songs are memorable examples from a much broader body of Pakistani playback work.
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