Showing posts with label Kumaar. Show all posts
Showing posts with label Kumaar. Show all posts
Image: John Abraham and Mrunal Thakur reunite for peppy music video titled 'Gallan Goriyan'
8:45 AM
Former co-stars reunite for music video produced by Bhushan Kumar
Himesh Mankad (MUMBAI MIRROR; June 9, 2020)
Recently, in the midst of the lockdown, John Abraham shot for a special music video, “Mera Bharat Mahaan”, in his home, as a tribute to the warriors fighting Coronavirus. Now, Mirror has learnt that the actor is coming up with another single, titled “Gallan Goriyan”. This one was shot before the nationwide lockdown was enforced. Produced by Bhushan Kumar, it marks a reunion for John and his Batla House co-star Mrunal Thakur. The peppy dance number is directed by Adil Shaikh.“It’s the first time that I was called upon to do typical naach gaana. I had to first rehearse for two weeks, during which our choreographer helped me shed my inhibitions and open up to the camera. In the song, I am supposed to catch John’s attention and will be seen shamelessly flirting with him,” the actress reveals with a laugh, adding that her co-actor would often boost her confidence, saying, “Mrunal, don’t freak out, if you get stuck, just smile, you have a beautiful smile.” Her whole family came to the set unannounced to cheer her up during the shoot.
Taz has set the song to music while also penning the lyrics with Kumaar. The lyricist-composer has also sung it with Dhvani Bhanushali. While Dhvani recorded her vocals in India, Taz did it from the UK. “Dhvani and Taz understand what youngsters relate with. They’ve come up with a fun dance number with a catchy tune which John and Mrunal have brought to life with their chemistry. Their pairing is one of the biggest USPs,” Bhushan asserts.
Apart from this song, Bhushan and John have multiple collaborations stuck in different stages of production owing to the Coronavirus pandemic. While Sanjay Gupta’s gangster drama, Mumbai Saga, is nearing completion, the duo was all geared up to kick off the Satyameva Jayate sequel in April. It is expected to be among the first films to go on the floors once normalcy returns.
Nawazuddin Siddiqui turns rapper for Bole Chudiyan
9:22 AM
Avinash Lohana (MUMBAI MIRROR; July 13, 2019)
Nawazuddin Siddiqui is gearing up to kick off brother Shamas’s directorial debut, Bole Chudiyan, in Mandawa, a town in the Jhunjhunu district of Rajasthan, from July 25. Now, Mirror has learnt that the actor will be rapping a song for the love story today. Titled “Swaggy Chudiyan”, it’s penned by Kumaar and composed by Inder and Sunny Bawra.
Shamas informs that his leading man plays a bangle seller who later sets up his own factory and uses the song to market his merchandise. “When I sounded him out, he was a little hesitant, but after some rehearsals with Kumaar and the composer duo, he got into the groove and now is excited to record for his first rap song,” he says, quick to add that “Swaggy Chudiyan” is not a promotional track but takes the narrative forward.
The rap has a rustic flavour to it and will be filmed in Rajasthan. “Many actors have been singing for their films and considering that the rap was written with Nawaz bhai’s character in mind, we thought it’s best if he sings it himself since it suits his voice well,” adds Shamas.
Tamannaah Bhatia has been roped in to play the leading lady in the Rajesh and Kiren Bhatia production. Anurag Kashyap will be seen in a pivotal role while South actor Kabir Duhan Singh plays the antagonist.
Chull, Matargashti, Dhingana: When Bollywood songs taught us quirky lingo...
7:43 AM
Purvaja Sawant (BOMBAY TIMES; July 7, 2017)
When Gulzar saab wrote the
lyrics of the song Mere Miyan Gaye England
(Rangoon), perhaps even he didn't realise that the lines 'Udan khatole
mein saiyaan
jo pehli baar ude, aasmaan mein chaand pakad ke jhapp se kood pade' will
pique the curiosity of a whole new generation, who wondered what an 'udan khatola' (flying machine) was! In the recent past, Bollywood
lyricists have caught our attention with not-so-common yet catchy words
and hooks in songs, often making us look up the word on the internet to
know what they mean. Be it OK Jaanu's Kaara Fankaara (hissing sound made
by a snake), Tamasha's Matargashti (strolling about aimlessly), Raees'
Dhingana (joy) or Fitoor's Haminastu (if there's heaven on earth, it's
here), all these sound exotic and add a tadka to the song.
A SEA CHANGE IN LISTENERS' TASTES
Bollywood music has evolved over the years, with musicians experimenting with different sounds, instruments and techniques. According to lyricist Kumaar, one of the reasons why unusual words have made their way into songs is because of the change in audiences' preference. His Kar Gayi Chull from Kapoor & Sons became a chartbuster, and it Bollywoodised the word 'chull'. Kumaar says, “In the 90s, there were a few key words that were present in almost every song - sanam, deewana, jigar, mohabbat, dil etc - because these were a hit with the audiences back then. Now, the trend has changed. Today, listeners expect non-filmi lyrics in Bollywood songs! Earlier, we would be asked 'What is the mukhda of the song?' and now, it's 'What is the hook?' Composers don't want 'used' words. The requirement is for unconventional lyrics. They want catchy lines that will get people instantly hooked to the song.“
Amitabh Bhattacharya, the lyricist behind songs like Raabta and Dhaakad, is of the opinion that Dhaakad, is of the when one comes across a non-familiar word in a song, it automatically automatically piques their interest, especially if they don't know the meaning. “The idea is that people should take the effort to find out the meaning of the word,“ he says. The song writer, who likes using khaalis (pure) Urdu in his songs like Zehnaseeb (Hasee Toh Phasee), believes it works well. He adds, “I think if the word sounds nice to the ears and is meaningful, it should be used in the song.“
DRAWING INSPIRATION FROM INDIA'S HEARTLANDS
Varun Grover, whose 'womaniya' has now become a cult word, says that the inspiration behind some of his unusual lyrics has come from the milieu that the film has been set in. He shares, “For Gangs Of Wasseypur, I decided to use local phrases like 'chhichhaledar' (a mess). Today, many film stories are set outside Mumbai, so there is scope for lyricists to write songs, which draw inspiration from different dialects and regions. Also, there is so much competition. To stay ahead, we need to be on our toes and come up with catchy lyrics. We have to capture the audiences' imagination in just those few words before they change the radio channel! Lyrics need to be flashy, but at the same time, they need to complement the setting and characters of the film.“
Amitabh agrees that it's often the script that demands the use of unconventional words. “When I was writing Dhaakad, I used a word which people in the northern belt were familiar with because the film was based in Haryana. Luckily, pan India, the word isn't common and so, it stood out. As lyricists, our job is to make a song stand out,“ he states.
A SEA CHANGE IN LISTENERS' TASTES
Bollywood music has evolved over the years, with musicians experimenting with different sounds, instruments and techniques. According to lyricist Kumaar, one of the reasons why unusual words have made their way into songs is because of the change in audiences' preference. His Kar Gayi Chull from Kapoor & Sons became a chartbuster, and it Bollywoodised the word 'chull'. Kumaar says, “In the 90s, there were a few key words that were present in almost every song - sanam, deewana, jigar, mohabbat, dil etc - because these were a hit with the audiences back then. Now, the trend has changed. Today, listeners expect non-filmi lyrics in Bollywood songs! Earlier, we would be asked 'What is the mukhda of the song?' and now, it's 'What is the hook?' Composers don't want 'used' words. The requirement is for unconventional lyrics. They want catchy lines that will get people instantly hooked to the song.“
Amitabh Bhattacharya, the lyricist behind songs like Raabta and Dhaakad, is of the opinion that Dhaakad, is of the when one comes across a non-familiar word in a song, it automatically automatically piques their interest, especially if they don't know the meaning. “The idea is that people should take the effort to find out the meaning of the word,“ he says. The song writer, who likes using khaalis (pure) Urdu in his songs like Zehnaseeb (Hasee Toh Phasee), believes it works well. He adds, “I think if the word sounds nice to the ears and is meaningful, it should be used in the song.“
DRAWING INSPIRATION FROM INDIA'S HEARTLANDS
Varun Grover, whose 'womaniya' has now become a cult word, says that the inspiration behind some of his unusual lyrics has come from the milieu that the film has been set in. He shares, “For Gangs Of Wasseypur, I decided to use local phrases like 'chhichhaledar' (a mess). Today, many film stories are set outside Mumbai, so there is scope for lyricists to write songs, which draw inspiration from different dialects and regions. Also, there is so much competition. To stay ahead, we need to be on our toes and come up with catchy lyrics. We have to capture the audiences' imagination in just those few words before they change the radio channel! Lyrics need to be flashy, but at the same time, they need to complement the setting and characters of the film.“
Amitabh agrees that it's often the script that demands the use of unconventional words. “When I was writing Dhaakad, I used a word which people in the northern belt were familiar with because the film was based in Haryana. Luckily, pan India, the word isn't common and so, it stood out. As lyricists, our job is to make a song stand out,“ he states.
#FeministBollySongs slams Bollywood chartbusters
8:06 AM
Mohar Basu (BOMBAY TIMES; January 24, 2016)
The hashtag 'Feminist Songs'
in which Bolly people are rephrasing original lyrics, with words that
are friendlier towards women has created a frenzy on the
internet. Lyricists across the country might take offence to this new
wave of feminism, but it is nothing short of a celebration for Indian
women who have been grudging the sexist tinge in romantic Bollywood
songs and item numbers. The trend, which started on a microblogging site
last month, picks on songs with misogyny-laden words.
Over the last few weeks, feminists on social media have kept the tempo
of this movement alive by posting tweets that range from powerful to
hilarious. Sample this - Chikni Chameli chhupke akeli pauwa chadha ke
aayi, because she's independent enough to do whatever the f*** she wants
to...#FeministBollySongs. For the conventional Indian mindset, these
tweets maybe blasphemous but some of them sound just so right.
SONGS ARE CROWD-PLEASERS
The Hindi film industry has often come under scrutiny for its objectification of women. Item numbers especially have been blamed for making derogatory remarks and getting away with it because they are, after all, popular. For instance, there were mixed reactions to Munni badnaam hui...which remains a hot favourite on the list of most memorable item numbers.A lyricist, on condition of anonymity, explains, “Item songs are crowd pleasers. Lyrics are written keeping the audience in mind and such things work. What is being viewed as art by feminists is purely commercial for producers. They want the music to work because it gives the film a big impetus and the money that is made from the songs is humongous.“
BLAME THE MALE-DOMINATED PSYCHE
The quintessential chedkhani (teasing) between the hero and the heroine and all the 'uski naa mein hi haan chupi hai' (her consent lies in her refusal) doesn't make sense to the more liberal section of the youth. There is a fast growing emphasis on 'consent', which is sacrosanct, now more than ever before. Women won't take a stalker for a lover anymore. With the shift in power dynamics between genders, power no longer lies with the man. Dev Anand's iconic song Chod do aanchal zamana kya kahega has been tweaked keeping feminist sensibilities in mind and now reads - Chod do aanchal because it is not about zamana but sexual harassment.
Besides item numbers that are immediate targets, even iconic romantic songs have come under attack. Amitabh Bachchan's ever-romantic song Kabhi kabhi mere dil mein khayal aata hai found a bitter reply from feminists. A certain tweet goes, “Kabhi kabhi mere dil mein khayal aata hai ki jaise tujhko banaya gaya hai, FOR YOU. Not for me or any other man.“
Another popular romantic song from the Shah Rukh Khan and Juhi Chawla-starrer Darr, 'Tu haan kar, ya naa kar, tu hai meri Kiran' has found a sharp comeback in 'Tu haan kar, ya naa kar, teri marzi Kiran'. A lot of feminists think some classic romantic lyrics also reflect the society's male-dominated psyche.
ALL ABOUT PERSPECTIVE
The song that received maximum flak for its lyrics was Chittiyaan Kalaiyaan from the film Roy. The song which goes like this...Shopping kara de, picture dikha de, Chittiyan Kalaiyaan ve. Gulabi chunni diva de,chudi diva de Chittiyan kalaiyaan ve...has been countered with a lot of criticism on social media. A post on Twitter said, “My immediate reply to the guy who says this will be 'Main apni salary se shopping kar sakti hoon and picture bhi dekh sakti hoon. I don't like pink. I don't have white wrists, so get lost!“ When we spoke to lyricist Kumaar, who has penned the original track, he says, “People never talk to me about my songs Tujhe bhula diya (Anjaana Anjaani) or Mere nishaan (OMG Oh My God!). If a film is made on an adult subject, how am I expected to write literature. Everyone has a right to their opinion in this country. I have no grouse against those who feel my songs put women down. But that has never been my intention. When I wrote Chittiyaan Kalaiyaan, I wanted to bring out the fact that a woman feels flattered when she is complimented. She wants her life to be full of love. I feel it is cute. Lyrics are also penned in keeping with the demand of the meter.Songs are a reflection of the society we live in. My words are always based on what I observe. Gandagi nazariye mein hai, meri soch mein nahin, (the vulgarity lies in the perception, not the thought)“ he says.
In this kudiyon ka zamana, this hashtag is making the right noise.
SONGS ARE CROWD-PLEASERS
The Hindi film industry has often come under scrutiny for its objectification of women. Item numbers especially have been blamed for making derogatory remarks and getting away with it because they are, after all, popular. For instance, there were mixed reactions to Munni badnaam hui...which remains a hot favourite on the list of most memorable item numbers.A lyricist, on condition of anonymity, explains, “Item songs are crowd pleasers. Lyrics are written keeping the audience in mind and such things work. What is being viewed as art by feminists is purely commercial for producers. They want the music to work because it gives the film a big impetus and the money that is made from the songs is humongous.“
BLAME THE MALE-DOMINATED PSYCHE
The quintessential chedkhani (teasing) between the hero and the heroine and all the 'uski naa mein hi haan chupi hai' (her consent lies in her refusal) doesn't make sense to the more liberal section of the youth. There is a fast growing emphasis on 'consent', which is sacrosanct, now more than ever before. Women won't take a stalker for a lover anymore. With the shift in power dynamics between genders, power no longer lies with the man. Dev Anand's iconic song Chod do aanchal zamana kya kahega has been tweaked keeping feminist sensibilities in mind and now reads - Chod do aanchal because it is not about zamana but sexual harassment.
Besides item numbers that are immediate targets, even iconic romantic songs have come under attack. Amitabh Bachchan's ever-romantic song Kabhi kabhi mere dil mein khayal aata hai found a bitter reply from feminists. A certain tweet goes, “Kabhi kabhi mere dil mein khayal aata hai ki jaise tujhko banaya gaya hai, FOR YOU. Not for me or any other man.“
Another popular romantic song from the Shah Rukh Khan and Juhi Chawla-starrer Darr, 'Tu haan kar, ya naa kar, tu hai meri Kiran' has found a sharp comeback in 'Tu haan kar, ya naa kar, teri marzi Kiran'. A lot of feminists think some classic romantic lyrics also reflect the society's male-dominated psyche.
ALL ABOUT PERSPECTIVE
The song that received maximum flak for its lyrics was Chittiyaan Kalaiyaan from the film Roy. The song which goes like this...Shopping kara de, picture dikha de, Chittiyan Kalaiyaan ve. Gulabi chunni diva de,chudi diva de Chittiyan kalaiyaan ve...has been countered with a lot of criticism on social media. A post on Twitter said, “My immediate reply to the guy who says this will be 'Main apni salary se shopping kar sakti hoon and picture bhi dekh sakti hoon. I don't like pink. I don't have white wrists, so get lost!“ When we spoke to lyricist Kumaar, who has penned the original track, he says, “People never talk to me about my songs Tujhe bhula diya (Anjaana Anjaani) or Mere nishaan (OMG Oh My God!). If a film is made on an adult subject, how am I expected to write literature. Everyone has a right to their opinion in this country. I have no grouse against those who feel my songs put women down. But that has never been my intention. When I wrote Chittiyaan Kalaiyaan, I wanted to bring out the fact that a woman feels flattered when she is complimented. She wants her life to be full of love. I feel it is cute. Lyrics are also penned in keeping with the demand of the meter.Songs are a reflection of the society we live in. My words are always based on what I observe. Gandagi nazariye mein hai, meri soch mein nahin, (the vulgarity lies in the perception, not the thought)“ he says.
In this kudiyon ka zamana, this hashtag is making the right noise.
Kumaar is my mentor in Bollywood-Shipra Goyal
7:44 AM
Singer Shipra Goyal talks about the making of Tutti Bole Wedding Di (Welcome Back) and Yadaan Teriyaan (Hero)
Kasmin Fernandes (BOMBAY TIMES; September 19, 2015)
What was the brief for Tutti Bole Wedding Di?
Director Anees Bazmee sir briefed Meet Brothers that he wanted a full-on Punjabi number for Welcome Back. Manmeet from Meet Brothers called up and said, 'Let's do this song.' I was given the brief that it's a dhamaal peppy gaana. I was thrilled because we are all Punjabis. That's what I tried in the song. All the songs I have sung in Bollywood till date are all Punjabi. Ishq Bulaava (Hasee Toh Phasee) was romantic, Ungli Pe Nachalein (Ungli) was a Punjabi number and Yadaan Teriyaan (Hero) is a Punjabi sad song.
How did Yadaan Teriyaan happen?
Jassi Katyal, Dev Negi and I had made the song last August and pitched it to Karan Johar. He liked the song and he archived it for his bank. He gifted the song to Nikhil Advani for the remake of Hero. They wanted a song like Lambi Judai that featured in the original. Yadaan Teriyaan features in the same situation as Lambi Judai. Johar sir locked my voice because he felt I sound like Reshma who's sung the original. He heard the dard in my voice. Being from Punjab, I sing Sufi kalam and Pakistani songs in live shows.
What's your equation with Meet Brothers?
I used to sing a lot of sad and romantic tracks but since I have started jamming with them, I am more into that peppy zone. They are super cool. Everyone knows they are good with rap and dance. I have learnt a lot about this kind of music after having worked with them for a while.The atmosphere in their studio is so good that it feels like family. Everyone is jamming and playing around with sounds.
How did you start off in Bollywood?
Though my roots are in Punjab, I was born in Delhi. I belong to a musical family. My parents, Subhash and Anju Goyal are musicians. Bachpan se main tutla tutla ke gaane gaati thi. I would be around them during their recordings. I used to sing songs of those times like Tu Tu Tara (Bol Radha Bol) so my parents knew that I would become a singer when I grew up. They trained me. I started participating in music competitions at the state level from the sixth standard itself. When my parents used to perform, I would wonder why I wasn't on stage with them. I was so eager that my first show was in Class 12. I am two years old in Bollywood playback. In fact, I turned 24 years old on September 25. I did my graduation in classical music from Hindu College in Delhi. I shifted to Mumbai two-and-half years back. God has been great that I got a chance to sing with good banners. I made my debut with Vishal-Shekhar's Ishq Bulaava and have constant support from people like lyricist Kumaar and Meet Brothers.
Do you like living in Mumbai?
After coming to Mumbai I feel like I can't live anywhere else. I am so much in love with it. The vibe of the city is such that once you get attached to it, you can't let go. This is a sentiment you will hear from other people who have come from different cities. Even when I travel for shows, the moment I land in Mumbai, I feel like I am home.
Which composer would you like to sing for?
A R Rahman. If I sing for him, I know he will bring out a different texture in my vocals.
Which artistes do you admire?
I really like Beyoncé. Everything about her her singing, performance and the way she carries herself on stage is mesmerising. I like listening to the ghazals of Ustad Ghulam Ali sahab. I have learnt a lot while listening to the songs of Nusrat Fateh Ali Khan sahab.
Who are your friends in music?
I have lots of musician friends.Kumaar sir is my mentor in Bollywood. He's a great support to me and other fellow musicians. I was a novice when it came to playback singing and it was a challenging task. He taught me about beats, rhythm and how much weightage should be given to specific words.
How important is social media to you?
I realised the importance of social media when my fan page got hacked and deleted. It made me aware of how many fans I had lost touch with since the days I was singing in Punjab. My fan page is up now and it helps me connect with my followers.
Director Anees Bazmee sir briefed Meet Brothers that he wanted a full-on Punjabi number for Welcome Back. Manmeet from Meet Brothers called up and said, 'Let's do this song.' I was given the brief that it's a dhamaal peppy gaana. I was thrilled because we are all Punjabis. That's what I tried in the song. All the songs I have sung in Bollywood till date are all Punjabi. Ishq Bulaava (Hasee Toh Phasee) was romantic, Ungli Pe Nachalein (Ungli) was a Punjabi number and Yadaan Teriyaan (Hero) is a Punjabi sad song.
How did Yadaan Teriyaan happen?
Jassi Katyal, Dev Negi and I had made the song last August and pitched it to Karan Johar. He liked the song and he archived it for his bank. He gifted the song to Nikhil Advani for the remake of Hero. They wanted a song like Lambi Judai that featured in the original. Yadaan Teriyaan features in the same situation as Lambi Judai. Johar sir locked my voice because he felt I sound like Reshma who's sung the original. He heard the dard in my voice. Being from Punjab, I sing Sufi kalam and Pakistani songs in live shows.
What's your equation with Meet Brothers?
I used to sing a lot of sad and romantic tracks but since I have started jamming with them, I am more into that peppy zone. They are super cool. Everyone knows they are good with rap and dance. I have learnt a lot about this kind of music after having worked with them for a while.The atmosphere in their studio is so good that it feels like family. Everyone is jamming and playing around with sounds.
How did you start off in Bollywood?
Though my roots are in Punjab, I was born in Delhi. I belong to a musical family. My parents, Subhash and Anju Goyal are musicians. Bachpan se main tutla tutla ke gaane gaati thi. I would be around them during their recordings. I used to sing songs of those times like Tu Tu Tara (Bol Radha Bol) so my parents knew that I would become a singer when I grew up. They trained me. I started participating in music competitions at the state level from the sixth standard itself. When my parents used to perform, I would wonder why I wasn't on stage with them. I was so eager that my first show was in Class 12. I am two years old in Bollywood playback. In fact, I turned 24 years old on September 25. I did my graduation in classical music from Hindu College in Delhi. I shifted to Mumbai two-and-half years back. God has been great that I got a chance to sing with good banners. I made my debut with Vishal-Shekhar's Ishq Bulaava and have constant support from people like lyricist Kumaar and Meet Brothers.
Do you like living in Mumbai?
After coming to Mumbai I feel like I can't live anywhere else. I am so much in love with it. The vibe of the city is such that once you get attached to it, you can't let go. This is a sentiment you will hear from other people who have come from different cities. Even when I travel for shows, the moment I land in Mumbai, I feel like I am home.
Which composer would you like to sing for?
A R Rahman. If I sing for him, I know he will bring out a different texture in my vocals.
Which artistes do you admire?
I really like Beyoncé. Everything about her her singing, performance and the way she carries herself on stage is mesmerising. I like listening to the ghazals of Ustad Ghulam Ali sahab. I have learnt a lot while listening to the songs of Nusrat Fateh Ali Khan sahab.
Who are your friends in music?
I have lots of musician friends.Kumaar sir is my mentor in Bollywood. He's a great support to me and other fellow musicians. I was a novice when it came to playback singing and it was a challenging task. He taught me about beats, rhythm and how much weightage should be given to specific words.
How important is social media to you?
I realised the importance of social media when my fan page got hacked and deleted. It made me aware of how many fans I had lost touch with since the days I was singing in Punjab. My fan page is up now and it helps me connect with my followers.
It was Salman Khan who convinced me to sing-Amaal Mallik
10:17 AM
Composer Amaal Mallik talks about making his debut as a singer with O Khuda from Hero
Kasmin Fernandes (BOMBAY TIMES; September 4, 2015)
How did O Khuda happen?
O Khuda was the first song I recorded for Hero, though I had composed and played Main Hoon Hero Tera to (producer) Salman (Khan) sir. I asked director Nikhil (Advani) sir to keep me in mind for any situation in the film as I really wanted to be a part of this project. He told me he wasn't sure how to fit in the title song, so he gave me a situation for another song which was to play in the climax and the toughest to crack, which is O Khuda. It is my special song as it gave me my entry into the project, after which Main Hoon Hero Tera came into the soundtrack.
You're debuting as a singer with O Khuda.
Initially, during the song sitting with Kumaar (lyricist), Nikhil sir heard my voice and said I should sing the scratch as 'I'm liking the way you are singing' and since there was very little time, I recorded a scratch version (for the shoot), and sent it. That's when Nikhil sir called me and said my voice is sounding really young and fresh. After the shoot, the marketing team and others suggested working with some big names. We got about 8 or 9 people to sing it, recorded with them. Nikhil sir and I shortlisted the voices, but he was convinced that my voice was good. We sent the final recordings to Salman sir, and he said none worked. He asked Nikhil sir who'd sung the scratch and got to know it was mine. He was surprised it was me as he had only heard me sing for him in sittings, but this was the first time he heard me behind the mike. He told me dub again and add a dash of Heroism. It was on my insistence that Salman sir agreed to sing the title track Main Hoon Hero Tera. However, for O Khuda, it was he who convinced me to sing. Nikhil had the belief since Day 1. It was on my birthday, on June 16, that Salman sir called to wish me and said, 'Your voice is approved and this is your birthday gift from me.' I asked him if he was sure and he laughed, saying, 'My bodyguards, my worker boys, the driver, the guy who gets me the pen drive from Nikhil Advani's office everyone heard the different versions and everyone said yes to your voice. So if your voice can touch their hearts, I believe we should go with your vocals.' I gave it my best and eventually, it was my version that made it to the album.
Your brother Armaan Malik has sung one version of the title song. What was it like to have him sing your tune?
The original version of Main Hoon Hero Tera is in Armaan's voice. The first time I composed it and sent it as a demo, it was in Armaan's voice and Salman was completely blown by it. I choose my singers very carefully, my song chooses my singer, in fact. This song was tailormade for Armaan, the minute he hit the first note Aankhon Ke Panno Pe, I knew this voice is indispensable. Armaan has sung this song with so much heart and soul, with a certain Heroism and a certain shyness that is Sooraj's personality as well. It's very important for your singer to know the Hero, his ways to be, his voice. And Armaan is a very malleable singer, you can turn him into anyone's voice. I feel after my grandfather, if there is any one who knows so much about Hindustani classical music in our family, it is Armaan. I'm never partial to him. Whoever fits the bill will sing the song.
You made your debut as a composer with Salman's Jai Ho and now you've made your singing debut with another film produced by him. How is it to work with him?
It was in 2014 that Salman sir saw potential in me and gave me my break as a music composer. It was a big deal because after many years, Salman Khan launched a music composer. He is a very musical person, and knows his music to the T. English, Hindi, French, Spanish, Farsi, Latin you name it. I was very silent and shy and couldn't do music sittings at one point of time. It was bhai who taught me to break my inhibitions. He'd say, 'Sing with all your might, reject hi hoga na gaana ek aur ban jayega.' I learnt how to face instant rejection, as he can say a song is good within a minute or less. It was sweet of him to give me a chance as composer and now, as a singer.
O Khuda was the first song I recorded for Hero, though I had composed and played Main Hoon Hero Tera to (producer) Salman (Khan) sir. I asked director Nikhil (Advani) sir to keep me in mind for any situation in the film as I really wanted to be a part of this project. He told me he wasn't sure how to fit in the title song, so he gave me a situation for another song which was to play in the climax and the toughest to crack, which is O Khuda. It is my special song as it gave me my entry into the project, after which Main Hoon Hero Tera came into the soundtrack.
You're debuting as a singer with O Khuda.
Initially, during the song sitting with Kumaar (lyricist), Nikhil sir heard my voice and said I should sing the scratch as 'I'm liking the way you are singing' and since there was very little time, I recorded a scratch version (for the shoot), and sent it. That's when Nikhil sir called me and said my voice is sounding really young and fresh. After the shoot, the marketing team and others suggested working with some big names. We got about 8 or 9 people to sing it, recorded with them. Nikhil sir and I shortlisted the voices, but he was convinced that my voice was good. We sent the final recordings to Salman sir, and he said none worked. He asked Nikhil sir who'd sung the scratch and got to know it was mine. He was surprised it was me as he had only heard me sing for him in sittings, but this was the first time he heard me behind the mike. He told me dub again and add a dash of Heroism. It was on my insistence that Salman sir agreed to sing the title track Main Hoon Hero Tera. However, for O Khuda, it was he who convinced me to sing. Nikhil had the belief since Day 1. It was on my birthday, on June 16, that Salman sir called to wish me and said, 'Your voice is approved and this is your birthday gift from me.' I asked him if he was sure and he laughed, saying, 'My bodyguards, my worker boys, the driver, the guy who gets me the pen drive from Nikhil Advani's office everyone heard the different versions and everyone said yes to your voice. So if your voice can touch their hearts, I believe we should go with your vocals.' I gave it my best and eventually, it was my version that made it to the album.
Your brother Armaan Malik has sung one version of the title song. What was it like to have him sing your tune?
The original version of Main Hoon Hero Tera is in Armaan's voice. The first time I composed it and sent it as a demo, it was in Armaan's voice and Salman was completely blown by it. I choose my singers very carefully, my song chooses my singer, in fact. This song was tailormade for Armaan, the minute he hit the first note Aankhon Ke Panno Pe, I knew this voice is indispensable. Armaan has sung this song with so much heart and soul, with a certain Heroism and a certain shyness that is Sooraj's personality as well. It's very important for your singer to know the Hero, his ways to be, his voice. And Armaan is a very malleable singer, you can turn him into anyone's voice. I feel after my grandfather, if there is any one who knows so much about Hindustani classical music in our family, it is Armaan. I'm never partial to him. Whoever fits the bill will sing the song.
You made your debut as a composer with Salman's Jai Ho and now you've made your singing debut with another film produced by him. How is it to work with him?
It was in 2014 that Salman sir saw potential in me and gave me my break as a music composer. It was a big deal because after many years, Salman Khan launched a music composer. He is a very musical person, and knows his music to the T. English, Hindi, French, Spanish, Farsi, Latin you name it. I was very silent and shy and couldn't do music sittings at one point of time. It was bhai who taught me to break my inhibitions. He'd say, 'Sing with all your might, reject hi hoga na gaana ek aur ban jayega.' I learnt how to face instant rejection, as he can say a song is good within a minute or less. It was sweet of him to give me a chance as composer and now, as a singer.
Sooraj Dooba Hain: How a rejected tune turned into a chart topper
7:44 AM
Roshmilla Bhattacharya (MUMBAI MIRROR; February 5, 2015)
Three years ago, Amaal
Mallik composed a tune with “okayish“ lyrics and pitched it to several
producers and got the thumbs down. So, he put the melody on the
backburner and only brought it out as an afterthought during a meeting
with Bhushan Kumar after he'd played half-a-dozen love songs to him.
“Bhushanji was in a hurry so I played it for him the next day and his
instant reaction was, 'Superb!' Get Kumaar to work on the lyrics with
you,“ recalls Amaal.Working with the Baby Doll, he cracked the antara in 15 minutes... Matlabi ho ja zara matlabi, duniya ki sunta hai kyun, khud ki bhi sun le kabhi.
“We hadn't got a narration of the film's story at that point because Bhushanji didn't want a situational song which worked within the context of the film. He wanted it to go beyond and connect with everyone, particularly twenty-somethings like me,“ explains Amaal, adding that they didn't even know it was for Roy. But when they sat down with director, Vikramjit Singh, he pointed out that the song was in sync with the film because Ranbir's (Kapoor) character, a carefree soul, tells Jacqueline's Tia to let loose and live life for herself.
The lines, Chale nahi ude aasmaan pe, pata na ho hai jaana kahaan pe, ki be-manzilein ho sab raaste, duniya se hon zara faasle, Kuch khud se bhi ho dooriyan, bring out RK's character eloquently.
The words flowed but the hook line was elusive. “Since it was a club number, we were thinking of sundown parties as the madness begins at night. That's how Sooraj dooba hai yaaron, do ghut nashe ke maaro, raste bhula do saare ghar baar ke came along,“ reminisces Amaal, who programmed and even sang the song himself.
But in retrospect he realised he needed more seasoned voices. Aditi Singh, the Dhoom and Raftaar singer, was the choice for the female vocals. For the male playback he turned to Arijit Singh, surprising even the singer who's not known for his dance tracks. “But the melody has a soft romantic feel, enhanced by his voice,“ he explains.
Amaal himself was surprised when Bhushan opened the promotions with Sooraj Dooba. The song was an instant hit, taking him out of the shadow of his illustrious grandfather Sardar Malik, uncle Anu Malik and dad Daboo Malik.
“This is new-age music, different sound and style, and has given me my identity,“ says Amaal who debuted with Jai Ho last year. “This is the kind of song Pritamda is known for. I'm told Bhushanji was thinking of approaching him when he heard Sooraj dooba, an oft-rejected, lyric-less song and turned it into a chartbuster.“
We used to be shy but Salman bhai has made us so free - Sajid-Wajid
7:57 AM
Sajid-Wajid, one of Bollywood’s most prolific composer-duos give us a glimpse into their music-making process and tell us what has driven their pursuit of excellence over the years
Bryan Durham (DNA; January 24, 2015)
With Tevar and Dolly Ki Doli in quick succession and a
strong showing in 2014, composer-duo Sajid-Wajid are at the top of
their game. Known for their strong melodies and hit tracks in every film
they take on, they’ve become a force to be reckoned with. The sons of
Ustad Sharafat Ali Khan have come a long way since their breakthrough
with Pyaar Kiya Toh Darna Kya in 1998 and have worked for the best and
biggest films in Bollywood, of course with varying degrees of success,
but mostly successful nevertheless. One thing has remained constant.
Sajid’s technical prowess and Wajid’s larger-than-life love for every
creation of his and his photographic memory of tunes and lyrics and
people he encounters. That and their love and respect for Salman Khan.
They had their ups and downs, but have the distinction of being part of a
very small club — of composers who fly solo on soundtracks — at least
most of the time. The brothers are inseparable and that bond shows all
too well in the music they compose. We met one evening and chatted
nineteen to the dozen about their journey so far...
Is it okay to tell you that I enjoyed Dolly Ki Doli’s music more than Tevar’s?
Sajid: It happens. Each soundtrack has to be different. Also, you also have to consider that a director’s vision is involved and consider how that works in a collaboration.
Wajid: And people like what they want. Despite releasing this close to each other, it helps that none of the songs sound the same. And that both albums have worked. That says a lot.
When voice casting, how do you reach a balance between using established and new singers?
Wajid: I believe the song chooses the singer. Nobody could’ve sung Phatte Tak Nachna like Sunidhi or Fashion Khatam like Mamta or Superman like I did (laughs).
You’ve had a great run over the last few years...
Sajid: Yes, 2014 went quite well — we had Jai Ho, Main Tera Hero, Heropanti, Daawat-E-Ishq and this year, Tevar and Dolly Ki Doli!
More often than not, Mika and Mamta Sharma feature in almost every other album of yours
Wajid: Really? I don’t know. (shrugs). When you speak of item numbers you need to have a voice. And Mamta is fantastic for character singing. Her voice texture is brilliant. She goes perfect inside that pocket, if you know what I mean. She just sits there... the way she learns the song and she's very raw, those little nuances she adds to a song, a trained singer cannot. And Mika has that alag andaz to his singing.
How do you choose your lyricists?
Wajid: Whoever gives me the best line (laughs). Of late, we’ve been working with Kausar Munir a lot, but here’s the thing. We work as a team. Danish Sabri, who’s my cousin as well as my assistant, has written some of the lyrics on the latest albums and I credit him for his contributions. But I give Kausar credit. She’s a senior writer who also appreciates something somebody else has written and is willing to share credits where it demands. Most lyricists are not open to doing that.
You’ve also worked with Kumaar...
Wajid: Yes, he’s written Mere Naina Kaafir Ho Gaye (from the DKD soundtrack) and is very happy. He writes hit songs for most films but never something like this for anyone. This one was exceptionally good.
Each soundtrack now sounds like a bazaar.. a cacophony of sounds with multiple composers on an album
Wajid: I’m not happy with this thing going on. it’s not fair to anybody (shrugs).
Sajid: At the same time, it’s fair also. you can’t even say if its fair to them or not fair to them, because jo struggle kar raha hai, usse ek gaana mil jaaye toh woh bahut badi baat hai. It all depends on whether you want to be a one-song wonder or a versatile music director.
Do you think it’s a passing phase?
Wajid: We really don’t know. We can only speak for ourselves when we say we’ve really worked hard to get to where we are. We work extra hard to ensure that all our songs are hits.
There are times directors/producers go in for an extra composer at the last minute...
Wajid: How much difference does it make to a film? Most often, these are promotional tracks and has a short shelf life. It happens with a lot of films.
What keeps you motivated enough album after album?
Sajid: Our love for music and our upbringing.
Wajid: We lost our father, Ustad Sharafat Ali Khan last year. He was a passionate musician who taught us that you don’t have to compete with anyone else but yourself. We work extra hard to make sure we live up to his name.
In the days of OP Nayyar and R D Burman, composers were kings, then singers became the superstars. I believe the age of composers (rather composer-singers) is upon us. Your take?
Sajid: Composers have come back in a big way.
Wajid: For me, it always was the composer who was the rockstar. Being a composer-singer is always a bonus. If you can sing your compositions, very good. I’ve seen new composers struggle to get a foothold but new singers manage with gigs. No such luck for struggling composers .Woh daldal hi hai. Either he has to sink in or get out of it. He has no other choice. It is very important to understand that. Everyone is equal. Bas koshish mein kami nahi honi chahiye.
How do you divide the work among yourselves?
Wajid: Sajid bhai always tells me if a song isn’t working. He’s got a fantastic ear. And he comes up with fabulous one-liners. He likes to compose that much and jokes, ‘Aage ka kaam tera hai’.
Sajid: But seriously, to make it simple we give the other his space.
Wajid: I do more compositions while he looks after the arrangement and how it sounds. But he’s the elder brother, so he takes the cake. He takes advantage of that.
Wajid, do you seek out his opinion?
He respects it when I do. I should be clear to counter him if needed. We do have disagreements at work because at the end we want what’s best for the film. We welcome our technicians as well to to voice their opinions openly. We foster that kind of culture at the workplace. We’re more like best friends than music directors.
I remember reading somewhere that Salman Khan said at a children’s event that he wished that you two were here because they’d keep the kids more entertained. What does he know that we don’t?
Wajid: One thing we’ve learnt from him is to exude that energy impromptu. We used to be shy, but he’s made us so free that now if he asks us to do something, we readily agree. We’re like kids who forgot to live and are getting a chance to relive our childhood by being kids around kids.
It’s a lesser known fact that you were the composers of Sonu Nigam’s Deewana album...
Wajid: What most people don’t know is that the album was prepared even before Sonu Nigam could come on board. He joined the project after all the compositions were created. His involvement began with later albums. Back then, to have an album on that level where the composer could call the shots musically — we were first-time composers then — was a big deal. At the time, only Daler Mehndi worked and everybody advised us to compose Punjabi numbers. I told them ‘I’ll do what my heart feels.’
Sajid: I said the same thing. We made that album, it broke records and made history. Since then, our formula has remained the same, eight songs toh eight songs hit, five songs toh five songs hit. The D-factor has worked for Sajid-Wajid, right from Deewana to Dolly Ki Doli!
What makes either of you incomplete without the other?
This rishta is made by Allah, it is not of this world. It will last us beyond forever. What stronger bond than that? We’re bound by blood, what can come between us? Those that don’t share that strong a bond can be separated by the smallest of things. In my opinion, it is all about upbringing. There exist differences between siblings, but they shouldn’t be that great that it separates you. That’s common between us as brothers. There are three of us — Sajid, Wajid and Javed. We’re a really close-knit family.
Censor Board goes hammer-and-tongs over certain songs; but spare Pinky, Chikni Chameli...
8:21 AM
What is it that makes the Censor Board go up in arms about certain scenes and dialogues in films when so many Bollywood songs are replete with shockingly explicit lyrics? Shubha Shetty-Saha begs the question on the selective nature of an otherwise easily-ruffled regulatory body
Shubha Shetty-Saha (MID-DAY; December 15, 2013)
A cultural
event is in progress at a housing society in the city. Five-year-old
Mini comes on stage to dance to Pinky Hai Paisewalon Ki. Standing right
next to her is her proud papa giving hercues and lipsyncing, in case she
misses a step.
Soon after, amidst loud applause, comes in Paayal with her brother and they shake their rear after every two seconds to the song, since they are dancing to the latest song which talks about Tooh, a woman’s butt.
Oh wait, that’s not all, soon they would be dancing to a song called Wah babbe, which, if loosely translated, means appreciation of a woman’s breasts. And all these lyrics went unchecked right under the nose of the Censor Board.
It is ironic that while we are trying to protect our children from all sorts of “harm” by keeping them away from sexual and violent content in films, the songs reach them anyway, thanks to the catchy tunes and the marketing techniques. So the question is, don’t we need to protect our children from songs where a Pinky is trying hard to sell herself to a paisewala or a Chameli wanting to play with the “lions” in the jungle?
Soon after, amidst loud applause, comes in Paayal with her brother and they shake their rear after every two seconds to the song, since they are dancing to the latest song which talks about Tooh, a woman’s butt.
Oh wait, that’s not all, soon they would be dancing to a song called Wah babbe, which, if loosely translated, means appreciation of a woman’s breasts. And all these lyrics went unchecked right under the nose of the Censor Board.
It is ironic that while we are trying to protect our children from all sorts of “harm” by keeping them away from sexual and violent content in films, the songs reach them anyway, thanks to the catchy tunes and the marketing techniques. So the question is, don’t we need to protect our children from songs where a Pinky is trying hard to sell herself to a paisewala or a Chameli wanting to play with the “lions” in the jungle?
Lyricist Amitabh Bhattacharya prefers playing safe and says that the
lyricist just does a job in hand. “These kind of item songs have been
around for a while now. The guy who writes these lyrics doesn’t do it
for his individual pleasure. We do know that the final authority is
someone else.More than the Censor Board, I think the homes
where these songs play should have some kind of personal censorship. We
need to be responsible as a society and as the caretakers of children.
When I was a child, there was this song, Choli Ke Peeche that had become
a rage. Sure, I jived to the song when I was a kid, but my parents knew
where to draw the line. So I guess I was lucky. So it is all about
individual choices and how the environment of your house is.”
However, lyricist Kumaar is more forthright about the situation. He
says, “Sometimes as a lyricist I am not too proud of what I write. But
what has now happened is that the makers insist on a hookline for every
song. This hookline has become the bane of our lives. What started as
naughty catchy numbers has worsened, thanks to competition. I
had written a song, Ek Doosre Ko Hum Sone Na De… I was not happy at all
because it so openly spoke about sex. But then it went on to become a
hit. People liked it. All of us have to survive in the film industry. So
when we are presented with situations which demand nothing but bawdy
songs, we are forced to do it. And the truth is 98 per cent of the
scripts today are like that. I have written great songs like Mere Nishaan in OMG Oh My God. But how many of those opportunities are offered to
us? Most often we are given scripts like Grand Masti and we have to think
of some lines to match the script. Catchline or hooklinehas become the
be all and end all and the makers don’t care what levels you go to, as
long as it becomes sensational. I am accused of writing such songs too
and i can honestly admit thatwhen we write such vulgar songs,we write
with the purpose of making it vulgar. We are expected to make it sound
vulgar.I wish the Censor Board was more responsible in nipping these
kind of songs in the bud, but since it hasn’t now we are standing right
in the middle of the sea and expect only worse.”
Survival vs conscience
Lyricist Irshad Kamil is one of the few who refused to be a part of this new race to get the bawdiest lyrics written. He says, “These songs show insecurity at two levels. Now that the returns are expected within the first two days of the film’s release, filmmakers somehow want the audience to come to the theatres and they in some weird way think using a song of this manner helps that. This speaks of insecurity of the filmmaker in his own product. And also the insecurity of the lyricists who accept these things and are going down to crazy levels. I understand one needs to survive here but one also has to answer to one’s conscience. I have quit movies where I was expected to write these kind of songs, where I was given clear instructions that they want a really vulgar song. The truth is these songs are added not only for those kind of A-rated movies, but also to otherwise clean movies. I look at it as a social responsibility of each of us to keep a check on our personal conscience and not allow these things. Earlier there used to be double entendres in songs, but now it is straight to the point.”
In defence of the Censor Board, its chief Leela Samson says, “While we can continue debating about the Censor Board’s schizophrenic decisions about doling out U/A and A certificates till cows come home, what is now alarming is the kind of lows the lyrics of Hindi movie songs are plummeting to.”
One then wonders -- if the Censor Board does not bell the cat, who will?
Objectionable lyrics
1. I Am A Hunter She Wants To See My Gun: Gangs of Wasseypur
2. Pallu Ke Neeche/Chupake Rakha Hai / Utha Doon Toh Hangama Ho: Rowdy Rathore
3. Laila Teri Le Legi Tu Likh Ke Lele: Shootout At Wadala
4. Kaddu Katega Toh Sabme Batega: Zanjeer
5. Don’t Touch My Body O Mere Saiyaan, Tera Jala Dungi Gada Aur Takiya: Bullet Raja
Kamil pens a protest
Noted lyricist Irshad Kamil pens a few lines exclusively for sunday Mid day on the topic
"Kalam ne chhodi sharam alfaaz nange hogayi...
Geet ki izzat nikli sikkon ki jhankaar ho gayi...
Aa mere saathi mere humdum main tujhko pyar doon...
Tehzeeb ka ehsaas doon ek naya kirdaar doon...
Main abhi anmol hoon iss adab ke bazaar mein...”
However, lyricist Kumaar is more forthright about the situation. He
says, “Sometimes as a lyricist I am not too proud of what I write. But
what has now happened is that the makers insist on a hookline for every
song. This hookline has become the bane of our lives. What started as
naughty catchy numbers has worsened, thanks to competition. I
had written a song, Ek Doosre Ko Hum Sone Na De… I was not happy at all
because it so openly spoke about sex. But then it went on to become a
hit. People liked it. All of us have to survive in the film industry. So
when we are presented with situations which demand nothing but bawdy
songs, we are forced to do it. And the truth is 98 per cent of the
scripts today are like that. I have written great songs like Mere Nishaan in OMG Oh My God. But how many of those opportunities are offered to
us? Most often we are given scripts like Grand Masti and we have to think
of some lines to match the script. Catchline or hooklinehas become the
be all and end all and the makers don’t care what levels you go to, as
long as it becomes sensational. I am accused of writing such songs too
and i can honestly admit thatwhen we write such vulgar songs,we write
with the purpose of making it vulgar. We are expected to make it sound
vulgar.I wish the Censor Board was more responsible in nipping these
kind of songs in the bud, but since it hasn’t now we are standing right
in the middle of the sea and expect only worse.” 
Survival vs conscienceLyricist Irshad Kamil is one of the few who refused to be a part of this new race to get the bawdiest lyrics written. He says, “These songs show insecurity at two levels. Now that the returns are expected within the first two days of the film’s release, filmmakers somehow want the audience to come to the theatres and they in some weird way think using a song of this manner helps that. This speaks of insecurity of the filmmaker in his own product. And also the insecurity of the lyricists who accept these things and are going down to crazy levels. I understand one needs to survive here but one also has to answer to one’s conscience. I have quit movies where I was expected to write these kind of songs, where I was given clear instructions that they want a really vulgar song. The truth is these songs are added not only for those kind of A-rated movies, but also to otherwise clean movies. I look at it as a social responsibility of each of us to keep a check on our personal conscience and not allow these things. Earlier there used to be double entendres in songs, but now it is straight to the point.”
In defence of the Censor Board, its chief Leela Samson says, “While we can continue debating about the Censor Board’s schizophrenic decisions about doling out U/A and A certificates till cows come home, what is now alarming is the kind of lows the lyrics of Hindi movie songs are plummeting to.”
One then wonders -- if the Censor Board does not bell the cat, who will?
Objectionable lyrics
1. I Am A Hunter She Wants To See My Gun: Gangs of Wasseypur
2. Pallu Ke Neeche/Chupake Rakha Hai / Utha Doon Toh Hangama Ho: Rowdy Rathore
3. Laila Teri Le Legi Tu Likh Ke Lele: Shootout At Wadala
4. Kaddu Katega Toh Sabme Batega: Zanjeer
5. Don’t Touch My Body O Mere Saiyaan, Tera Jala Dungi Gada Aur Takiya: Bullet Raja
Kamil pens a protest
Noted lyricist Irshad Kamil pens a few lines exclusively for sunday Mid day on the topic
"Kalam ne chhodi sharam alfaaz nange hogayi...
Geet ki izzat nikli sikkon ki jhankaar ho gayi...
Aa mere saathi mere humdum main tujhko pyar doon...
Tehzeeb ka ehsaas doon ek naya kirdaar doon...
Main abhi anmol hoon iss adab ke bazaar mein...”
Subscribe to:
Posts (Atom)