A valve radio is the wooden set with glowing tubes that sat in the corner of Indian homes for forty years. This is that object, in a browser tab, with everything that came after it bolted on.

What it plays. Original film recordings from 1940 to today, in Hindi, Marathi and English. Saigal and Lata at one end, Arijit Singh and Laapataa Ladies at the other, and in between the whole spine of it: Rafi, Kishore, Asha, Geeta Dutt, the Burmans, Nadeem-Shravan, Kumar Sanu, Udit Narayan, Rahman, Sonu Nigam, Pritam.

Pick a decade, a voice, a mood or a room. Nine decades from the 1940s to the 2020s. Forty-odd singers. Eleven moods, from heartbreak to qawwali to gym. And eight rooms rather than genres: Morning Drive, The Barber's Chair, Afternoon Laziness, Terrace Evening, Mehfil, Bela Ke Phool, Truck Cabin and Wedding House. The station reads the clock on your own device, so the right room opens whether you are in Pune, Dubai or New Jersey.

The player changes with the decade. A valve set for the golden age, a boombox for the nineties, a portable CD player for the two-thousands, a laptop for the twenty-tens, a phone held sideways for now.

The Marathi shelf. Marathi film songs from the tamasha pictures of the fifties to Sairat: the Sangtye Aika and Pinjra lavanis, Sudhir Phadke and Anandghan, the Ashok Saraf and Laxmikant Berde comedies, Natarang, Katyar Kaljat Ghusali, Ved. It has its own singers, its own composers and its own channels, and like the English shelf it stays out of the eight clock rooms unless you go and get it. Switch shelves with HI / MR / EN in the bar at the top.

Angrezi Zhatka and Desi Fusion. Alongside the film catalogue sit two shelves that are not Hindi film music and do not pretend to be: international pop played from the artists' own official channels, and the crossover records where the two traditions meet. They live in their own moods, so if you want only film music, stay in the rooms and you will never hear them.

Only originals. No remixes, no jhankar beats, no unplugged sessions, no covers by other artists, no orchestral re-records, no live concert versions. If something wrong slips in, tell us and it goes.

Nothing is hosted here. Everything streams through YouTube's embedded player, and every play counts for the labels, composers and performers exactly as any other view does.