As his directorial Aashiqui 2 clocked in 13 years on (April 26), Mohit Suri revisited the journey of the film that lives in the heart of the audiences.

Getting emotional about this milestone, Mohit told Mumbai Mirror, “I think the reason this film has resonated for so many years is because all of us who worked on this film — Aditya Roy Kapur, Shraddha Kapoor, the music directors and me — we all were at that stage of our careers where we were not chasing success but we had something to say emotionally. We had seen failure. Mithoon (singer-composer) and I had success with Murder 2, but Aditya and Shraddha wanted to prove themselves as they had not seen success despite being part of big films. Ankit Tiwari, who was new, sang the song Sun Raha Hai Na Tu. Jeet Ganguly (singer) was trying to do something outside his comfort zone.”

Reflecting on the phase they were all in at that time, Mohit said, “All of us went out with the intention of doing something we had never done. The pressure of the success of Aashiqui 1 was upon us, but we all went out to make a good film. Success was the cherry on the cake. I believe that when you say something with your heart, the world listens.”

He further added, “Every year no matter what happens and where she is, Shraddha always messages me on this day. We might miss our birthdays by a day or two, but we never miss this day and we thank each other for where we are today.”

Days after Zubeen Garg died in a scuba diving accident in Singapore, his friend and collaborator music composer Jeet Gannguli tells us, “With him gone, it feels like I have lost the soul of my music. It’s difficult for me to believe it.”

As he mourns the late singer, Jeet reveals to us, “We just spoke four days back, and he said, ‘Once I am back, you come over to my Guwahati studio aur music banate hain.’ Before leaving, he recorded his last song with me, Vidhi Re for the film She To Ajo Bojhena. I was just mixing the song yesterday when I got the news. Zubeen had told me, ‘You complete the song, promote sath mein karenge’.”

As he looks back on his decades-long friendship with Zubeen, the composer says, “He loved swimming, scuba diving since always; everything related to water sports was his favourite. This guy swam in the Brahmaputra and in the Ganges several times.”

Having worked together on over 40 film songs across languages such as Bengali, Assamese and Hindi, Jeet’s association with Zubeen goes way back. Ask him about it and the 48-year-old shares, “We have known each other for over 30 years. We worked together on over 45-50 film songs, and of course the endless jingles that brought us together, way back in 1995.”

And it was their ad work that led to their first-ever film collab, the 2003 Bengali film Premi. “Tab tak bahut gehri dosti ho gayi thi. Zubeen was not just a singer; he was an emotion, a man with a heart of gold. Not many know this, but he had an NGO in Assam where he worked relentlessly to make the lives of the less fortunate better. He has left a void that can never be filled.”

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While Bollywood has always had a significant number of talented female singers who have made remarkable contributions to the music industry, the number of solo female songs in Hindi films, overall, has been much lesser in comparison to the number of solo male songs and duets. And, in the last few years, this discrepancy has only increased.

Even duets often feature the female vocalist for the last one minute of a three-minute song, case in point -- the recent popular number Tere Pyaar Mein from Tu Jhoothi Main Makkaar sung by Arijit Singh and Nikhita Gandhi. The song sparked a debate on this subject, and many female singers believe that, ‘It’s the society, more than the film or music industry, that is responsible’.

While Nikhita Gandhi has had two solo Bollywood songs this year, she believes that there is definitely a disparity. “There is a slight tilt towards male songs in Bollywood playback. There is usually a lot of male-centric music in Bollywood. Having said that, I wouldn’t say that there isn’t any female song at all, because I just sang Mushkil from the film Blind (for Clinton Cerejo and Bianca Gomes) and Banjaare from Almost Pyaar With DJ Mohabbat. There is still a long way to go for female solo songs.”

Shreya Ghoshal, who has sung the maximum solo songs in Bollywood in the last three years, says, “I think somehow there is some kind of a subconscious choice which a creator or producer has, which stems from the society we live in. But now, things should change. There are girl bosses everywhere. It’s the time for women, but the same is yet to reflect in our films, stories and music.”

Music composer Jeet Gannguli agrees that there is a dearth of female-led songs in the Hindi film industry. “It all depends on the heroine’s character and the importance she has in the narrative. In all of Sanjay Leela Bhansali’s works, female solos are beautifully used because they have significant roles. And female-oriented action films do not have much scope other than background music and title songs.”

Shilpa Rao is among the few female singers who recently had a big solo hit, Besharam Rang from Pathaan, but understands the need for change. “We need to have more voices, and by voices, I mean perspectives. Every gender has its own voice that needs to be represented. The story will be incomplete otherwise.”

Harshdeep Kaur explains that the lack of female voices is because there aren’t enough female protagonists in our movies. She says, “Most films generally are male dominated and that’s why there are many more songs that are sung by men. Unless an entire film is women-centric, with women protagonists, there won’t be many solo songs for female vocalists. Even at big music festivals and music concerts, the headliners are usually male singers.”

Composer Shantanu Moitra says, “In most Bollywood films, directors, producers and scriptwriters are male, and therefore, the narratives are from the male perspective. Today, the overall usage of songs has anyway reduced in films, even in that limited space, the point of view given out is that of a male, hence, you are listening to more male songs. Even if it is just four lines, the male perspective is prioritized. There are exceptions of course, but it all depends on the subject of the film. And that is the snapshot of India – for the average woman in non-urban India, the narrative is controlled by the man. And the representation of a voice comes from there. Sickening but true.”

Bollywood has about four-five songs in the film albums these days and female songs are much lesser than before. But it all depends on the heroine’s character and the importance she has in the narrative

Today, the usage of songs has reduced in films, and even in that limited space, the point of view given out is that of a male, hence, you are listening to more male songs

Most films generally are male dominated and that’s why there are many more songs that are sung by men. Unless an entire film is women-centric, with women protagonists, there won’t be many solo songs for female vocalists

I think narrative-wise, people tend to just adhere to more male vocals. A lot of it is also due to the fact that our society, in general, is like that. In India, we are sort of just pre-conditioned to listen to the male voice, including ads and documentaries. I think that it’s society, more than the film or the music industry, that is responsible

We need to have more voices, and by voices, I mean perspectives. Every gender has its own voice that needs to be represented. The story will be incomplete otherwise

Mithoon’s father, Naresh Sharma, was responsible for the sound arrangement for the 1990 hit Aashiqui. Destiny played its part, and 23 years later, Sharma’s son, music composer Mithoon, came on board to work on the music of Aashiqui 2.

Mithoon initially did not tell his father about his involvement in the project. “That gave me a lot of space to work [on my own and not feel any more pressure than what I was already feeling] to recreate the magic with the second instalment. When the basic idea of the song was ready, I went up to him and told him about the news.”

So what did his father say? Mithoon shares his father “gave a very understated reaction”: “That’s because he is also my guru, and I can’t get very pally with him. However, after a few days, when he heard the final version of Tum Hi Ho as well as the instrumentals in the film, he called up Mohit Suri (director), who was in South Africa at that time, and said, ‘What my son has done for your film is better than the work of my entire career’.”

Mithoon says it was an extremely emotional moment, not just for him but also for Suri, as the entire team needed that pat on the back from someone as experienced as his father.

Tum Hi Ho went on to become a massive hit, with its popularity enduring to this day. When asked what makes the melody timeless, the composer says, “It’s the intention to not create history. All I tried was to work on an emotion I connected to.”

Mithoon, who is often requested to perform the song during his live shows, calls it the “most honest moment with his audience.”

“When all the barriers between me and my audience are broken and we are one, that’s when I perform Aashiqui. I never see it as a mere presentation to impress people. This song is beyond streaming numbers and awards for me, and when I perform it, I let people know that I am sharing a piece of my life with them,” he ends.

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Singer KK’s sudden demise last week left everyone – the music industry and his fans – shocked and heartbroken. He was laid to rest in Mumbai on June 2. He had an underlying heart condition that was aggravated by lack of oxygen (hypoxia), which led to a fatal cardiac arrest, the final post-mortem report has stated. As love and condolences from his grieving fans and colleagues continue to pour in, so do various reports on how the show at Kolkata’s Nazrul Mancha was allegedly overcrowded, mismanaged and lacked medical and emergency facilities. It has sparked nationwide conversations on how concerts and live events in India need sharper focus in areas that the venue of KK’s final performance apparently lacked.

Armaan Malik was among the first to raise his concern over this on social media. He wrote, “Concerts in India need better management, medical and emergency facilities. I’ve seen and been a part of far too many shows that don’t serve the right conditions for us to perform in. But yet, being the artists we are, we continue with performing because we don’t want to disappoint our fans. (sic)”.

Ever since, several singers, composers and musicians, who perform at live gigs, have weighed in and pointed out multiple issues that pose a threat to their and audience safety during live concerts.

Pota, lead singer of Bangla band Cactus, who performed at Nazrul Mancha a day before KK, says, “The performance pressure remains high when we have back-to-back concerts. We are performers and want to entertain people, but not at the cost of our own lives, or for that matter, anyone else’s life. We performed at the same stage of Nazrul Mancha just a day before KK. It was overcrowded; there were around 100-150 extra people. But the next day, the crowd was more than double of the hall capacity. That really puts a question on their management.”

Euphoria’s Palash Sen, who has been performing live since the ’90s, says he insists on adequate safety and security measures, apart from sound, light and technical support. “We have always had a strict rider that states things specifically for halls, auditoriums or open-air stadiums. That is scanned and approved by us before we go for the concert. After this sad and shocking incident, I am going to insist on having a paramedic backstage henceforth. Ensuring proper medical arrangements and keeping oxygen cylinders handy are basic necessities. We have hours of high-energy performances and it can get strenuous. If the artiste is unwell, they must take a call soon. Since I am a doctor myself, there have been instances when I have provided medical assistance to my team members and even to people in the audience.”

Shilpa Rao says organisers should ensure that they don’t exceed the capacity of a venue. “Plus, there should be medical emergency facilities, not just for the artiste, but also for the audience. Say, if a fan is not feeling well during the concert, there should be proper care and medical facilities to get them the right aid at the right time,” she adds.

Composer-singer Jeet Gannguli says, “We need auditoriums that are well-equipped with disaster management teams, emergency response systems, and fire safety compliant. Ambulances, too, should be at the venue for medical emergencies. There should be a strict control on the crowd allowed inside an auditorium.”

He adds that before using special effects, such as the blasts of the confetti machines and the smoke machines, all precautionary measures must be taken.

Talking about performing in other countries, Kailash Kher says the facilities provided during their concerts abroad are way better. “When we go abroad to perform, the organisers take artistes’ and crowd safety much more seriously. They always have a fire brigade, an ambulance and a doctor readily available in case of any mishaps. I know people have immense love for us and they love our work, but there should be respect for our personal space and comfort too.”

Singer-songwriter Silajit Majumder says when he goes for a show, he makes sure to inform the organizers about a few things he requires. “The basic necessities may vary from performer to performer. But many a time, we aren’t even provided with the most basic things. Instead, we are asked why we need this and that, and why we can’t manage with what is being given. So, it’s better to make it clear at the outset. The problem with some organizers is that once they hire us, they feel their job is done,” he adds.

When KK, took to the stage at Kolkata’s Nazrul Mancha on Tuesday evening for Sir Gurudas Mahavidyalaya’s fest, Utkarsh 2022 – no one could have imagined that this show would be his last. The singer passed away shortly after the concert, reportedly of a massive cardiac arrest.

The singer was in Kolkata for two back-to-back shows – one on Monday and another on Tuesday – both of which drew full houses. According to those present at his concert on Tuesday, right after wrapping up the show, at around 8 pm, he complained of uneasiness. He made his way back to his central Kolkata hotel, but the discomfort did not subside. He was then rushed to a private hospital in south Kolkata where he was declared brought dead.

Speaking to us, a student, who was present at the concert, shared, “He wasn’t well on Tuesday – one could tell. He was sweating profusely and kept going backstage in between the set for a breather. He was struggling to wrap up the concert. The last song he sang was Pal and soon after, complained to his team of uneasiness. He was immediately escorted off the stage. That was the last time we saw him.”

Another student from Vivekananda College, who attended the concert on Monday, shared, “The only thing noticeable was that he kept asking for the AC to be turned up. We assumed it was because the auditorium was packed and he was quite energetic on stage.”

Music composer and KK’s long-time friend Jeet Gannguli said the singer’s untimely demise has left him devastated. Speaking to us, he said, “I was having dinner with my wife at a restaurant when I got a call from a colleague. I immediately rang up KK’s manager, who was crying inconsolably. I rushed to the hospital but it was all over by then.”

According to Jeet, the singer, on his way back to the hotel, complained of the heat and humidity. “He asked the chauffeur to increase the AC’s fan speed. On being told that the AC was running at full strength, he said he was feeling unusually hot and was also experiencing muscle cramps on his legs and arms,” he said.

Jeet, who has known KK for over 24 years and has worked with him on film albums like Aashiqui 2, Raaz 3D and Sadak 2, said he was not just a versatile singer but a fantastic human being. “He was such a gentle person. There was a lot to learn from him. Never did he turn up at the studio without rehearsing a song. He was a dedicated artiste. Tonight, when I held his hand at the hospital, it seemed as though he’d gone off to sleep. Clad in the concert clothes, he looked like he was taking a nap and would wake up for his next set,” Jeet added.

Kolkata: Singer Krishnakumar Kunnath, aka KK, whose lilting voice cascades through an oeuvre of timeless odes to love and friendship, died of suspected cardiac arrest late Tuesday shortly after what was to be his last concert in front of a packed audience at Kolkata’s Nazrul Mancha. He was 54.

KK, whose discography includes generational songs like Pal, Yaaron Dosti, Tadap Tadap Aankhon Mein Teri, etc, had the audience tapping and clapping to his music on stage from 7 pm to 9 pm, after which he returned to his hotel at Esplanade in the heart of the city. He complained of chest pain moments later and was taken to CMRI Hospital, around 5 km away, where he was declared dead on arrival.

“Singer KK was brought dead to our hospital. The body has been kept in our mortuary for the night, although it has been formally handed over to the police,” the hospital said.

Music director Jeet Gannguli, who worked with KK in multiple films and was among the first to reach the hospital, said the singer showed no apparent sign of illness before his sudden death. “He was extremely fit, and would always ask me to take care. He was a great friend. I can’t believe this has happened.”

Minister Arup Biswas, who was also at CMRI with singer-composer Anupam Roy, said the authorities were in touch with KK’s family in Mumbai.

KK was in the city since Monday to perform at two college fests. On Tuesday, he was performing for Gurudas College at Nazrul Mancha along with fellow singers Satish Gajmer and Subhalaxmi.

“He was brilliant at the show and the showstopper. He performed for two hours non-stop, jumping and dancing while singing one chartbuster after another. The auditorium was jam packed. It was so crowded that audiences also felt suffocated,” said Kajari Biswas, a student of Calcutta University.

Justin Bieber's performance at the D Y Patil Stadium in Navi Mumbai marked the India leg of his Purpose World Tour and fetched the state government a cool, though not unexpected, Rs 3 crore approximately. Around 45,000 Beliebers thronged the stadium to see the Canadian pop star sing live. But turns out, a huge section of his fans were disappointed because the show didn't turn out the way they expected it to. While concert-goers were looking forward to hearing him improvise his songs on stage, little did they know Bieber would lip-sync 12 tracks out of his set. The funniest part? The singer didn't even try to make the put-on act believable. From digs at an unusually long list of demands (including a chopper and fancy upholstery) to clothes that looked straight out of a basketball match, fans vented it all on social media...

MUSICIANS SHARE THEIR THOUGHTS ON THE CONTROVERSY

BABUL SUPRIYO, Singer
Performing artistes are expected to dance even as they sing. Michael Jackson, Madonna, Rihanna, Beyoncé, Justin Timberlake and Usher are known to do that. But when you go for a concert of Eric Clapton, Elton John, Adele or Taylor Swift, you know they will only sing as you watch them perform live. What is important is to know if the performer is also a good singer. Justin Bieber is a talented singer whose voice is not computer generated. When it comes to him, one has to first decide if they want him to sing or perform. Because if you wish to put up a rocking dance performance, it's not possible to sing all through.

SHANTANU MOITRA, Composer
People were waiting to catch a glimpse of Justin Bieber. Some may vouch never to see him again even though he has promised to be back and for others, it's good enough to have seen him just once. When it comes to ethics, it's just like watching a mimed philharmonic. I fail to understand why an artiste should travel all the way from another country to meet his fans and then sing perhaps just two songs. Having said that, Bieber is a great singer and I couldn't figure out if he was under any compulsion to put up a show like that.

JEET GANNGULI, singer-composer
Artistes lip-sync during televised shows. They do the same for music videos as technically, it's not possible to do both at the same time. But in places where they are connecting with the audience directly, it's not ethical to lip-sync, all the more, when people are paying a hefty amount for the tickets to hear you sing.

ANUPAM ROY, singer-composer
There is no rule in India that defines how a stage act should be conducted. So, anyone wanting to lip-sync can go ahead with it. I don't think even Shakira was singing live on the World Cup stage. The stakes are so high and the investment is so much that no artiste can take the risk to go wrong on a platform like that. Lip-sync, as a trend, has been going on for ages. An artiste can also develop a sore throat and might be unable to sing. It's not possible for him to then cancel the day's show as it involves a lot of artistes and money, too, is a factor.

KAILASH KHER, singer
Mohabbat mein nahin hai fark jeene aur marne ka ussi ko dekh kar jeete hai jis zalim par dum nikle. Since our culture is rapidly changing, most continue to look up to the West. When an artiste is visiting India, he or she already has a perception and knows they can get away with anything. The audience is to be blamed equally for this. For an artiste, the stage is the temple and singing, his religion. So, a basic amount of honesty is needed when one is performing. Since art is not a medium to con people, it's important to know if the audience really loves the artiste or his art. India is a country of Tagore, Swami Vivekananda, Bhimsen Joshi, Pt Kumar Gandharva, Pt Hridaynath Mangeshkar, Lata Mangeshkar, Asha Bhosle and other greats. What are we adding to our culture by bringing Justin Bieber, who is all but singing? I have travelled the world with Kailasa and our demands have been bare minimum. All we want to do is to propagate our music and we do that with great honesty. Ultimately, this is what matters.


EIGHT INTERNATIONAL LIP-SYNCING SCANDALS IN RECENT PAST

Who: Mariah Carey
When: 2017 New Year's Eve
Who can forget Grammy-winning singer Mariah Carey's major lip-sync fail during the New Year's Eve performance at Times Square in New York? Performing live at the venue, the singer struggled hard to salvage the situation after the wrong song played. She stopped singing abruptly and encouraged the audience to finish off the lyrics to Emotions for her. Carey later described she was 'mortified' and blamed it on an in-ear monitor malfunction.


Who: Beyoncé
When: 2013
Queen Bey lip-synced the national anthem at the inaugural ceremonies for former US president Barack Obama! The live performance of The Star-Spangled Banner at the event was merely a lip-synced run-through of a track she had recorded earlier. However, Carey shut trolls up when she said, “It was about the president and the inauguration, and I wanted to make him and my country proud, so I decided to sing along with my pre-recorded track, which is very common in the music industry.“


Who: Katy Perry
When: 2013
While performing her hit number Roar at the NRJ Music Awards in Cannes, Katy Perry suffered a major lip-sync fail. Her lips couldn't match the track playing in the backdrop, creating a rather long delay.

Who: Chris Brown
When: 2012
R&B star Chris Brown was caught in the middle of a controversy during his dance-heavy performance at the Billboard Music Awards in 2012. While many were of the opinion that with all the dancing Chris does, it isn't really a big deal if he lip-syncs, some were mighty upset. His mime during his Turn Up The Music at the show drew flak from the music industry. Singer Pink tweeted about the incident, saying, “One day if I lip-sync, I hope I do it as well as him.“ Joe Jonas too took to social media to voice his displeasure over the incident. “What happened to people singing live?“ he wrote.


Who: Shakira
When: 2010
The Waka Waka singer was caught lip-syncing during the FIFA World Cup inauguration concert held in South Africa. The pre-recorded track kept playing even before she stepped on to the stage, thus leaving her completely mortified. That the singer was miming to glory was painfully evident. But then again, when Shakira is on stage, you want her to stun and boy, did she stun with her body swaying to music!


Who: Lindsay Lohan
When: 2004
The Mean Girls actress started her career with a lip-syncing scandal. The pop star turned up on the sets of Good Morning America, supposedly and expectedly, to sing live. But Lohan's mouth was not moving because she had forgotten the lyrics to her first single, Rumors. The song was heard in the background. And this was the day her debut album Speak hit the stores!


Who: Britney Spears
When: 2007
At the 2007 VMA, Britney Spears was heavily crticised for lip-syncing. The performance, which was poised as her comeback, was not just evidently lip-synced, but fans were disappointed that she didn't even care to do anything about it. A sparkly black bikini and her blonde locks didn't help her poor performance.


Who: Milli Vanilli
When: 1989
In July 1989, German R&B duo Milli Vanilli lost their Grammy because there was pressure from the American media after a lip-sync scandal involving them. During a live performance in Connecticut, the recording of the song Girl You Know It's True began to fall off-key, repeating the line Girl, you know it's...over and over on the speakers. They put up the pretense for a few more minutes before doing the obvious -running off the stage. With that, the Grammy, too ran away.

WHY DO SINGERS LIP-SYNC AT LIVE CONCERTS?
- Singers often lip-sync because they are not able to reproduce the vocals that were originally on record. Temporary hitches include sore throat, performance pressure and logistics.
- Time constraints is a hindrance as well. A live performance typically takes some time to set up, which includes a thorough soundcheck for all the musical instruments involved. In case the musicians don't have time for this, they take the lip-sync way.
- Sound engineers often add the Midas touch, or as they say in musical terms, autotune, to make a singer's voice flawless. This isn't possible during a live performance.
- Besides, if singers are dancing on stage while singing, they don't get enough time to breathe in between.
- Many singers are really not very good at singing and mostly depend on artificial enhancements that make them sound good in the studio. But performing in front of a live audience? That's a different ball game altogether.
- It gives singers peace of mind knowing that their song will be perfect so they can focus on their performance (audience interaction, dancing and the build-up).

She is just 19, but already has two popular songs in her kitty - Tu Alvida (Traffic) and the more recent, Dhal Jaun Main (Rustom). And what makes these numbers special for Aakanksha Sharma is that both the songs she ever recorded for have released in her voice. The cheerful youngster says, “When you are 19, no one takes you seriously. But I've got a lot of love and respect from the audience and industry people alike. It is overwhelming.“ In a chat with BT, the singer talks about her journey to Mumbai --the city of dreams, her experience while recording for Jeet Gannguli in Rustom and why she thinks young achievers should take it slow...

Bollywood is home to many struggle stories. What is yours?
I have none (smiles). I belong to a small village in Rajasthan and my parents are now settled in Jaipur. When I decided to pursue my dream in the playback industry, I was prepared for a long-drawn struggle. I knew it would take me at least a year to get a foothold. But, I just got lucky. About nine months ago, I came to Mumbai to stay with my relatives. My plan was to do some sightseeing, indulge in street food and go back home. But I met Anurag sir (head honcho of a music label) by chance and a few days later, I'd made Mumbai my home.

How was it recording for Dhal Jaun Main?
Jeet da has composed a classic song and to be honest, I was extremely nervous while recording it. The pitch was too high for me, and I wasn't sure if I could pull it off. But I guess they liked what they heard and my voice was retained in the album. If you ask me to sing the song now, I am not sure I will be able to pull it off. What's interesting about the two songs I've sung so far is that both released while I was travelling. I got to know from social media that my songs were being received well.

Tell us something about yourself...
I'm not formally trained and none of my family members are musicians per se. But my dad loves listening to songs and I would give him company. I used to win all the music competitions at school and my music teacher suggested I try my luck in reality shows. I travelled all the way from my place to audition for the Voice of India Chote Ustad and ultimately won the reality show when I was 12. After two years, I tried my luck in Jo Jeeta Wohi Superstar. I was the youngest contestant and one of the finalists. By then, I was convinced that I wanted to pursue playback singing and started working towards it.

What's your take on young children doing reality shows? Do you think there is undue pressure on them to sustain the fame they have earned?
I can't speak for everyone, but I think at least singers should wait a while before they aggressively pursue a career in music because they need to give their voice enough time to mature. So many kids take up a lot of assignments immediately and shift base to Mumbai to try their luck, but I think they may not be able to meet the expectations. I was sure I won't take up a lot of performances because I wanted to save my voice for playback singing. Actually, I'd come to Mumbai a few years ago to do voice test for Aashiqui 2. I recorded a track, but I didn't like the way my voice sounded. I'd got my mom along and we were staying in a hostel. But, I decided to go back because I wanted to come to Mumbai only when I had something concrete to look forward to.

Do you have any regrets?
Yes; I regret that I didn't do regular schooling. I'd stopped going to school because I wanted to concentrate on music and have been taking private lessons ever since.

Music is an intrinsic part of the upcoming drama thriller Rustom. The song Dekha Hazaro Dafaa, composed by Jeet Gannguli, sung by Arijit Singh and Palak Muchhal, brings back the charm of the 60s. Filmed on Akshay Kumar and Ileana D'Cruz, the song has the superstar looking his dapper best, while the actress unleashes the charm to the melodious beats of the track.

Jeet tells us that producer Neeraj Pandey and director Tinu Suresh Desai's brief was precise. He says, “They wanted it to be a ball room dance sequence. It's an intimate, melodious song, reminiscent of an era gone by. In this age of techno beats, we have used group violin. I also got the scope to use some acoustic beats. Arijit was a natural fit and Palak rehearsed hard to hit the right note. All in all, this song like a spectacle and we've done our best in terms of music to bring out the grandeur.“

Rustom, produced by Zee Studios and Kriarj Entertainment, in association with Cape of Good films and Friday Filmworks, releases August 12.

You started with Tere Liye, did another film and then got into Bengali films. Why did you do that?
When I used to go to Kolkata during Durga Puja, I would hear only Hindi songs and would wonder why Bengali songs weren't being played. That's when my parents and wife encouraged me to create good Bengali music. I started in 2004 and today Bengali songs are played all over. Having said that, Mumbai remained my base. All the singers I needed were in Mumbai. It was due to one of my Bengali songs that I got a chance to work with Mukesh Bhatt.

Your relationship with Mukesh Bhatt has a lot of memorable 'phone' incidents. Tell us about them...
He had first heard my song as a caller tune and liked it so much that he contacted me. When he called, I thought someone was playing a prank. I actually disconnected the call but then he texted me and I realised it was actually him! Mukeshji is always ready to hear a tune. I first played the tunes of Muskurane Ki Wajah and the title track of Khamoshiyan to him over the phone.

You have an interesting partnership with Arijit Singh...
It could be the Bong connection. Arijit is like my brother. We just connected. Singers should practice every morning to strengthen their voice and lungs so that they can sing an entire line at one go. Arijit is one of the singers who is brilliant in this aspect. When he sings, he puts his soul into it. I have also worked with Sonu Nigam, who is my all time favourite. He takes it to another level altogether.

Any other tip that you want to give the singers today?
Clean your soul and sing like you are praying! You should hear Javed Ali. Listening to him makes you forget your problems and just feel good.

What are your views about composing one song in a film over composing for the entire album?
One music director should work on the entire film, including the background music. I enjoy doing an entire film. However, you have to accept what is happening today. Directors prefer it that way and it is not a negative thing. A lot of good songs have happened because of this.

How many instruments do you play?
I play the harmonium, tabla, guitar, conga and little bit of sarod. I come from a family, which has been into music for 18 generations. My father plays the accordion while my grandfather was a classical singer. My mother is also a singer and I learnt Rabindra Sangeet from her.

You do a lot of shows. How much confidence do you draw from the fact that you were introduced to the stage early in life?
As a child I used to play tabla with my father on stage. I must have been around five years-old when I started and one person from the audience came up to me and gave me a chocolate. That was my first award. And that gave me so much confidence. You get to learn a lot when fans interact with you. The stage can be both dangerous as well as a great learning ground.

Tulsi Kumar is one of the voices behind Bollywood's leading ladies like Kareena Kapoor Khan, Katrina Kaif, Sonakshi Sinha and Asin. It was her father Gulshan Kumar who made her realise that she has a beautiful voice and got her to start training to become a singer when she was just seven.

Says Tulsi, “Whatever I am today, I owe it to my father. When I used to hum songs while watching TV as a kid, papa liked my tonal quality and got me to start training in light classical music at Suresh Wadkarji's academy. When I see myself today after entering the industry, I feel it's papa's blessings and I'm living his dream.“

On the 30th anniversary of T-Series, a special concert has been conceptualised for Gulshan Kumar and Tulsi has chosen this platform to thank him for his love and guidance. A first of its kind, the song Mere Papa is her dedication to her father, who always considered her his favourite child. When the singer decided on making a special number for her father, her brother Bhushan Kumar asked Manoj Muntashir to pen the lyrics. Soon, composer Jeet Gannguli too came on board. Says Tulsi, “Mere Papa is very close to my heart. It is bhai's (Bhushan), my sister Khushali's and my dedication to our father on a day when we're celebrating his successful journey in the field of music.“ She adds, “Jeetda and Manojji understood my emotions attached with this song and created such a heartrending melody that touched me the moment I heard it. Every father and child will relate to this song.“

Mere Papa will be performed live at a concert on September 22. 

Music director Jeet Gannguli, who has composed the title song and Yeh Kaisi Jagah for Hamari Adhuri Kahani, has reason to celebrate. The encore version of Hamari Adhuri Kahani, which he also sang, has not only received accolades from critics and audience, but has also registered a huge number of views on a digital platform, too. Moreover, Jeet's rendition is also currently reigning as No. 1 in Radio Mirchi Top 20 Songs.

The composer, with hit numbers in films like Aashiqui 2, Citylights and Khamoshiyan, recalls how Mukesh Bhatt, whom he considers his godfather, called him to say he needed the best melody from him. “I heard the one line of the movie and composed the tune,“ says Jeet, adding, “The best part is that the composition came from within, like a blessing from God.“ After creating the tune, he called the producer and played it for him. Interestingly, it was also at the behest of Mukesh and Mahesh Bhatt and Mohit that the composer, who has previously sung Ek Charraiya for Citylights, also rendered the encore version of the song Hamari Adhuri Kahani.

Pleased with the way the song has been portrayed in the film, he says, “Mohit is a very musical person and shoots the songs amazingly. His vision brings out the emotions of the track. And he has also used the theme piece very effectively.“

Another icing on the cake for Jeet is that his encore version gets an encore request from the audience at concerts. “Wherever I have performed this song, people shout 'once more'! I have a string of shows coming up in Delhi, Bangalore, Kolkata and even the USA, and I'm sure I'll have to sing it at least twice at the forthcoming shows too,“ he sums up.

Whether you like a film made by the Bhatts or not, you cannot not like their music. Both Mahesh and Mukesh Bhatt are very musical and are known for the music in their films. We have exclusively learnt that composer Jeet Gannguli, for Vikram Bhatt's upcoming film Mr X, starring Emraan Hashmi, has composed a song called You Can Call Me X for which Mahesh Bhatt has lent his voice. We learnt that at the time when Jeet made Bhatt sahab listen to the song first, he kept alternating between the girl's voice and the boy's voice to make Bhatt sahab understand which part would be sung by the girl and what part by the boy. Bhatt sahab loves singing and volunteered to sing the male part for him, but Jeet liked it so much that he decided to keep it in the final song. Talking about his singing debut to us, Bhatt sahab said, “My voice is as old as music is.“ Usually, daughters follow in their father's steps. But Mahesh Bhatt is a different father. And he seems to be following in Alia's footsteps as far as singing goe.