Showing posts with label Mithoon interview. Show all posts
Showing posts with label Mithoon interview. Show all posts
These songs will be a part of Border 3 and 4 as well-Mithoon
10:49 AM
As Javed Akhtar terms the recreation of old songs ‘creative bankruptcy’, Border 2 composer Mithoon says tracks like Sandese Aate Hain will always be part of the franchise’s soul
Priyanka Sharma (MID-DAY; January 26, 2026)
The year couldn’t have begun on a more celebratory note for Mithoon. January reverberated with the sounds of his songs from Border 2. People around him might have a different opinion on recreations, but as the composer-singer sits for a chat with mid-day, he is only filled with love and pride about revisiting the classic tracks of Border (1997) for the sequel. Excerpts from the interview.
How did your first meeting with director Anurag Singh go?
Bhushan Kumar [producer], Anurag Singh, and Nidhi Dutta [writer and producer] said they were planning a sequel to Border. Some things are non-negotiable. For example, everybody in the room knew that Border 2 would be incomplete without a couple of elements — one is Sunny [Deol] sir. The second is its iconic songs like Sandese Aate Hain and Toh Chaloon. Everyone felt I should be given the task of recreating them. But I was clear from day one that I wanted Anu Malik ji’s approval because those two songs are owned by him, and Javed [Akhtar] saab, who has written them. Anu ji agreed. That set the ball rolling.
How did you navigate the pressure of recreating these songs?
I don’t relate to pressure. Whether it’s an original song or a recreation, I don’t feel pressure because if you let it get to you, the battle is lost there itself. These are songs that people still relate to. In fact, there could be a Border 3, 4 or more [instalments], these songs will always be a part of its ethos.
Javed Akhtar revealed that he refused to write Border 2’s lyrics as he felt that recreating old songs is a sign of creative bankruptcy. How do you view it?
Javed saab is entitled to his opinion. But there are new characters in this movie, and they needed a fresh perspective. That is where the director and all of us felt the necessity to add a couple of new antras to the track. Again, it was in sync with the song.
So, do you disagree that using old songs for a sequel equals creative bankruptcy?
I do. I recreated Udd Jaa Kaale Kaava and Main Nikla in Gadar 2 [2023]. It’s what the story demands, and certain songs are etched into certain stories forever.
Mithoon comes out in support of A R Rahman amid 'communal' remark controversy: "He has every right"
3:13 PM
Priyanka Sharma (MID-DAY; January 23, 2026)
A R Rahman may be a man of few words, but he understands the power of them. Over the past week, the Oscar-winning musician has been at the receiving end of relentless backlash for his comments in an interview with BBC Asian Network.
During the interview, when asked about prejudice in the Hindi film industry, he said, “People who are not creative have the power now to decide things. And this might have been a communal thing also, but not in my face.” Since then, the musician — easily one of the brightest talents in the Indian music industry — has been trolled and termed “anti-national” for his communal bias remark.
Weighing in on the controversy, his colleague and Bollywood composer Mithoon has come out in Rahman’s support. “I have grown up looking up to Rahman sir. He was the man who threw every textbook rule out of the window, yet created a powerful impact in our industry,” Mithoon told mid-day, of the composer who, over a three-decade-plus career, has given hits like Roja (1992), Rangeela (1995), Guru (2007), and Rockstar (2011).
In 2009, he became the first Indian to win the Golden Globe Award for Best Original Score for Slumdog Millionaire (2008), following it up with two wins at the Academy Awards for the same movie.
Mithoon firmly stated that the Mozart of Madras is entitled to his opinion. He shared, “It’s been over three decades, and the country continues to love him. He has every right to say what he felt. All I can say, as his contemporary, is that this country will continue to love him. There can be no other A R Rahman.”
Rahman’s remarks were met with such vitriol that he had to issue a clarification. Calling India “my inspiration and my home”, he said, “I understand that intentions can sometimes be misunderstood. But my purpose has always been to uplift, honour, and serve through music. I have never wished to cause pain.”
When we asked Mithoon if he had experienced power shifts in the industry, he replied, “I haven’t experienced anything like this [but] this must be happening in every field. For instance, copywriters feel their bosses don’t understand what they are doing or directors feel that producers don’t understand. Ultimately, our job is to engage the audience with our art.”
As a 19-year-old commerce student, I got to record Woh Lamhe, which became an overnight chartbuster-Mithoon
8:06 AM
Masumi Shah (BOMBAY TIMES; October 26, 2023)
Mithoon, known for hits like Tum Hi Ho, Sanam Re and Tujhe Kitna Chahne Lage, is happy with the success of his music for Gadar 2, despite the controversy (music composer Uttam Singh had accused the film’s makers of using his work without permission).
He says, “I can only speak about my process of working on the movie’s music and adding my own element to it. I am happy with how the tracks turned out. As a kid, I always wanted to make music for films like this,” he says.
In a chat, the music composer and singer talks about his career milestones, equation with his wife (singer Palak Muchhal) and more.
‘I feel like I have just begun’
I always wanted to be like my father (music director Naresh Sharma) and dreamt of becoming a composer. Madan Mohan, R D Burman and A R Rahman have been my heroes. As a 19-year-old commerce student, I got to record the song Woh Lamhe (Zeher), which became an overnight chartbuster and I never looked back after that. I followed it up with Tere Bin (Bas Ek Pal) and Maula Mere (Anwar), which are considered iconic today. But I feel like I’ve only begun.
‘I never wanted to make music just for popularity or glamour’
When I entered the music scene, so many platforms did not exist. But I would have chosen to take the film route even if I were to debut today because I am a fan of films. I never wanted to make music just to become popular or for glamour. I was always a fan of Indian cinema. I get a lot of non-film offers from various labels, but I’m focusing more on film music.
I have explored playback singing and songwriting as well, but primarily, I love being a music composer. I love discovering new voices and feel proud that Atif Aslam, Arijit Singh, Mohammed Irfan and Shilpa Rao, some of the best singers that we have today, sang their first song with me.
‘I am still remembered for Tum Hi Ho’
Tum Hi Ho has really struck a chord with the audience in India and even outside the country, people still remember it. The song meant a lot to me emotionally because it was a tribute to my father, who was the music arranger for the first film of the Aashiqui franchise (in 1990). It was a special moment in my career.
‘Palak and I don’t talk about music much ’
Palak and I keep very busy and when we get some time together, we don’t talk about music. We talk about everything else. Ours was an arranged marriage, and we didn’t really date before our wedding. So, we are really catching up on our personal space now.
‘Something divine about Hindustani classical music’
I love Hindustani classical music and listening to greats like Pandit Bhimsen Joshi, Pandit Jasraj, Kumar Gandharva, Jagjit Singh ji. I feel a sense of fulfilment whenever I listen to them sing. There’s something so divine about the way they went about their music.
I can’t be influenced by society. It has to be the other way around-Mithoon
7:58 AM
Offering a true tribute to Gadar’s Udd Jaa Kaale Kaava with his ballad-like rendition, composer Mithoon says he prefers to keep an arm’s length from discussions that attempt to unravel the reason behind his success
Sonia Lulla (MID-DAY; July 10, 2023)
Amid the spate of remixes of ’90s ditties that have flooded the music industry in the last few years, only a handful have been created with such prowess that they can make a listener skip a heartbeat. Serving as true tributes to the original chartbusters, these recreations diligently amalgamate the beauty of the classics with contemporary demands. For this writer, Mithoon Sharma’s version of the Gadar number, Udd Jaa Kaale Kaava, is one such offering. Over two decades after the release of the original, enhanced music production techniques appear to have given Udit Narayan’s vocals a new lease of life in this ballad-like rendition.
“I don’t think I would be able to imagine this song without him. He is part of the song’s genesis. The way he has maintained himself and his vocal quality is commendable; he sounds so good even today, at the age of 67. He sang each line again for this version. People have connected with the [song] and his voice,” says Sharma, who, despite being vocal about his opposition to recreations, agreed to work on this one because “cinematically, there was a [valid] reason to recreate it”.
Speaking of the track that will feature in the film’s upcoming second instalment, he says, “I was sure that I would not change the original composition or poetry. Our director [Anil Sharma] appreciated the reverence. It does have a certain folk-base, and I wanted that to be reflected in the way it was rendered. You can hear a new set of progression and I’ve added [elements] that are telling of my work. When it begins, you can gauge that this is my work,” says Sharma, who also retained the instruments used in the original.
A spate of appreciated releases behind him, Sharma attributes his success to his ability to stay true to himself, and his admirers. “It is the people with whom an artiste has conversations. They are the ones who make a song what it eventually becomes. I feel I have a strong connection with them. Whenever I have been true to my heart, my work has connected with them.” However, when his close associates attempt to unravel his work to study his recipe for success, the composer dissociates with the attempts.
“As a composer, if I think [about this] too much, I won’t be able to make music. I can’t be influenced by society. It has to be the other way around. I am grateful that my music is reaching every corner of India. It makes me realize that Indian artistes have so much more to offer.”
Our wedding celebration was a reflection of our personalities, say Palak Muchhal and Mithoon
8:09 AM
Onkar Kulkarni (BOMBAY TIMES; November 7, 2022)
Back in 2013, singer Palak Muchhal and composer Mithoon collaborated for the music of Aashiqui 2, which went on to become a massive success. Little did they know that nearly a decade later, their professional relationship would culminate into a personal one. With an elaborate three-day celebration in Mumbai that comprised of haldi, mehendi, sangeet, shaadi and reception, Palak and Mithoon formalised their relationship yesterday in the presence of their family members and friends.
While the two have known and worked with each other, it wasn’t cupid, but their parents who brought them together. Mithoon, who has composed music for films like Half Girlfriend, Kabir Singh and Radhe Shyam, among others, says, “Even though we have known and collaborated with each other on multiple occasions, there was never any kind of social connect between us. It was only in the last one year that I felt a strong connection.”
Mithoon says, “So, I spoke to my parents about it a few months ago, and soon they spoke to her parents. Then they had a formal meeting, after which we started interacting more to understand each other.”
Palak shares, “When the rishta came, my parents were very happy. Personally, I have always admired and respected him. All these years that we have known each other, we only met for professional reasons and always focused on our work. So, this thought (of spending our life together) never occurred to us, but now it feels like it was meant to be.”
Palak and Mithoon, who tied the knot yesterday, say that they complement and complete each other. Palak says, “I can say that he adds peace to my excitement.” While Mithoon adds, “She has added so much to my perspective of life. She helped me discover various facets of my personality that I was not aware of. I met myself once again through Palak (smiles).”
Talking about keeping their wedding a simple and close-knit family affair, Palak says, “Our wedding celebration was a reflection of our personalities. The idea was to celebrate everything with people who mattered to us a lot.”
Mithoon added, “The wedding ceremony was an emotional affair, and the reception party was a celebration of our Indian traditions. We both are very proud of our culture, and right from the décor and clothing, to the food, we tried our best to celebrate our heritage. Though we kept the celebrations low-key, I learnt that in Indore (Palak’s hometown), there were people who joined in the bandwagon by bursting crackers on the streets. They (fans) were really excited about this development in Palak’s life. Yeh jo apnapan hain na, agar aap ne gairon ko bhi apna hone ka ehsaas de diya, toh phir aapse bada insaan koi ho hi nahi sakta. She inspires people, and I am also inspired by her.”
Mithoon says that he feels blessed to receive so much love and warmth from Palak’s mother. He adds, “I have developed a beautiful relationship with her family. Palak’s mom has been very protective of her. She has always been by Palak’s side. The day she gave Palak’s hand to me, I felt blessed. She showed trust in me, and now I hope that I live up to that responsibility.”
Though Palak and Mithoon are busy with work commitments and are yet to plan their honeymoon, they will take a much-needed break soon. “I feel we have always been clear about our priorities. For us, family time is very important. We have been able to take our time out for things that matter to us. Striking a balance between work and personal life comes naturally to us,” signs off Palak.
I’ve never done something like Shamshera. Meeting Karan Malhotra was a life changing experience-Mithoon
8:26 AM
A believer of the fact that directors bring out the best in composers, Shamshera, Ek Villian Returns composer Mithoon on being swayed by them
Sonia Lulla (MID-DAY; July 4, 2022)
Mithoon is refreshingly invested in this conversation. Unlike interviewees who are easily distracted during telephonic interactions, the composer is attentive, and eager to express, when prodded on his working methods. His razor-sharp focus, we assume, would make him a terrible multi-tasker. On the contrary, Mithoon has been juggling a gamut of projects with panache. “Be honest to the moment,” he says, when we ask him his secret. In this conversation, he reveals some more.
Edited excerpts from the interview:
Given the number of projects you’re currently juggling, what does a typical day for you look like?
I have different [elements] that need my attention. If I’m waiting on a melody, I need isolation, and must be disconnected from people. That process can take several days. But, if I’m recording, I can be part of multiple sessions at one time. Because, in this case, we have written, and arrived at the idea. I know what has to be done. But, what is important is finding the right emotion for a song. Having my own studio also makes things easier. If I am honest to the moment, I don’t need to carry the burden of tackling different genres. For instance, if I’m talking to you, I am honest to this conversation. Composition is like having a conversation with music. Also, a director’s energy is infectious for a composer. When I jam with Mohit Suri [for Ek Villian], his intensity reflects in the soundtrack. For Anil Sharma, the Gadar 2 soundtrack is a reflection of how epic he wanted it to be. The director-composer equation is crucial. Lakshmikant-Pyarelal wouldn’t make for any other director the kind of music that they made for Subhash Ghai. A R Rahman and Mani Ratnam also had a similar [relationship]. I believe in that formula, and respect it.
Often, there are actors who emerge to be bigger than the films they frontline, and often, it is the film’s musical heritage that is the dominant factor. Who do you cater to?
The character. When I was composing for Ji Huzoor [Shamshera], I wasn’t thinking of Ranbir. I was thinking of the character, Balli. And that inspiration came from [director] Karan Malhotra. He spoke of how Balli walks, talks, and acts. The character is bigger than the actor.
If you have to identify the factors that have helped you succeed in Bollywood, what would you say they are?
I don’t have a song bank. I am always looking to understand what the director wants. Also, there are different raagas, time-stamps, and key signatures. There are different raagas for the day, and I try to follow these [rules], because they were made for a reason. For example, if I talk of the bhairav raag, it’s a raag associated with the morning. It is scientifically connected to that time of the day. In Satyam Shivam Sundaram, the raag was suited for the morning, in accordance [with how it was shot]. It’s an important science associated with the human physiology. Also, I always say that a song should be written without production. I played Ji Huzoor to Karan on the piano. The song is actually a heavily produced one, with 120 elements.
Among all the work that you’ve recently done, do you have a personal favourite?
I’ve never done something like Shamshera. Meeting Karan was a life-changing experience, even at a personal level. The joy and vibrancy that he brought into my studio was refreshing. He would come in, call for tea, and spend an hour chatting with me. I am a silent person. But he was [affecting me] on a sub-conscious level. His Shamshera character, Balli, is [outspoken]. So, Karan wanted me to be brash, like Balli. I enjoyed that experience.
I am not a completely digital man, I believe in human interaction-Mithoon
8:07 AM
Nikita Deb (HINDUSTAN TIMES; August 19, 2020)
Music composer Mithoon, who is known for his melodious and soulful songs, such as Maula Mere (Anwar; 2007) and Phir Bhi Tumko Chahunga (Half Girlfriend; 2017), has been working in Bollywood films for over a decade, and has composed music for almost 35 films over a span of 15 years. But this lockdown period came as quite a challenge for the composer.
“The way I work, I make a lot of basic sounds and then the entire work of the final album happens during the post-production of a film. So, when the director and producer of Khuda Haafiz approached me in May end asking to release a complete album on OTT, I was hesitant,” he says.
Mithoon adds, “I had taken up this project last year, but the second half of last year and the first half of this year went in shooting of the film, so the music had really not been worked upon. I had these basic songs, but they still had to be recorded properly and no studio was available and it wasn’t practically possible for me to bring an entire soundtrack out. So, I was almost ready to tell them that I won’t be able to deliver. But then, I thought about it and I spoke to my team, and we thought that this is probably the best message we can give out as human beings that things will get better. So, we connected with people and found softwares that helped us work from our respective homes. This madness happened, and God is great that we were able to produce an album that was made entirely during the Coronavirus lockdown.”
The composer agrees that while digital may not be the ideal way to work, for now, it is the only way to do things. “We do not have any clarity on what the social norms are going to be in the coming days. But I am not a completely digital man, I believe in human interaction and that’s one of the reasons why I don’t have a bank of songs. But under the present circumstances, until people have a cure in place for the virus, and permissions from authorities are given, we will definitely be working like this,” explains the Chal Ghar Chalen (Malang) composer.
Adding that digital concerts don’t do justice to the experience of listeners, Mithoon says that nothing can match the feeling of standing in front of a stage and watching your favourite artiste perform live. “It definitely takes away from the experience, but mankind has always fought and survived the greatest calamities and adversities and that is because of our ability to find solutions. So, we should not be narrow-minded. As a musician, I am also encouraging a lot of my colleagues to do digital concerts, and I think it’s pretty cool if people can sit back and listen to an artiste at home, let’s just see the positive side of things for now,” he concludes.
My music is valued because I value it first, says Mithoon in a conversation with Manoj Muntashir
8:14 AM
Mithoon's offerings may be few and far between, but his die-hard fans don't mind waiting. He tells lyricist Manoj Muntashir why
Sonia Lulla (MID-DAY; March 30, 2020)
Manoj Muntashir complains that he often finds his social media inbox littered with pleas from Mithoon's female fans, seeking an interaction with him. He is set to prepare an invoice for the job to present to the composer, who does every bit to evade questions pertaining to his romantic interests, despite Muntashir's repeated attempts. Here's all that the duo discussed in an interaction at Muntashir's vibrant Andheri office in early March, before they departed with the promise of creating a music piece for the "emotional" ending of Tom Hanks' Cast Away.
Manoj: How did you save yourself from being entangled in this wave of re-creations?
Mithoon: I am always tempted to create original songs. Six years ago, I had recreated a song called Aye mere hum safar, which did well. But, I missed the happiness that one derives [while working on original compositions]. Even in the credits roll, [original composers] Anand-Milind's name was placed before mine. So, it wasn't guilt [that bothered me]. But, there was no joy. Many people say composers are not celebrated enough. But they don't understand the joy we derive when a newspaper seller sings our song at a signal.
Manoj: There are few composers whose names are used by directors as a selling point. They are proud to say: 'Mithoon is composing for us.' But, people also complain that you take too long to finish a song. Do you feel insecure about not meeting deadlines?
Mithoon: Like they say, ignorance is bliss. I don't know much about [how a delay in meeting a deadline can affect me]. And I prefer that it remain that way. I want to be consumed by music. In the Bible, it is written that the lord made the world in six days. On day one, he said, 'Let there be light.' And yet, he made the sun and moon on day four. So, I interpret this as the lord referring to the light within us, that is brighter than sunlight.
Mithoon: What went behind the making of Teri mitti [Kesari], which, according to me, is the best written song?
Manoj: At times, all we need is a trigger. Sometimes, our directors and the people around us turn out to be blessings. They elevate us from being ordinary writers. Kesari's director Anurag Singh was responsible for it. The tune was already established by Arko. Anurag referenced Kaifi Azmi's words in Kar chale hum fida, and asked me that if it had to be represented in today's scenario, how would [I do it]. I kept that brief in mind. If a soldier is shot, and knows that he will die within the next 10 minutes, what will he think in the interim? Will he be sad, upset or happy? So, the song was written from that point of view. If you see [a soldier] dying, you'll notice him smiling. Death is a painful process. But that smile comes from the joy of dying for the country. More worthy than any award for me was when I got a call from Punj, from a soldier who was a zamindar. When people would ask him why he was becoming a soldier, and choosing a job with a Rs 25,000 salary [despite being wealthy], he never had an answer. My song, he said, gave him the words he needed to do so.
Mithoon: [How important] is it for a musician to stay away from formulas and templates?
Manoj: There's absolutely nothing that I can say with as much certainty as I can this — setting a template implies death of music. We should be thankful that we don't have a formula. Every song has a journey, and if you begin to search for the roadmap that led to its making, [that isn't right]. None of the people who have made it big, have a roadmap. If you do, you'll be a one-film wonder. A good way to [approach your work] is to leave ego behind. Don't carry the weight of your laurels. Be the student you were when you started, each time you work on music.
Manoj: You received much acclaim for your song in Kabir Singh, which is Tujhe kitna chahne lage. There's something I noticed about it. If you study Kabir's character, who is aggressive and angry, it is tough to fathom how this spiritual song, which is all about surrendering, suits him. But that song helped the film tremendously. Many people have complaints against the character, and rightfully so. But what made Kabir relatable was his simplicity and vulnerability. And it is your song that gave us a peek into his heart, and made us see how weak in love he is. I don't think there's anyone who is as weak as a lover, just like there is no one who is stronger than him.
Mithoon: As much as I've never seen it that way, that's true.
Manoj: You don't have a social life. In fact, the people who love you will, for your own good, never invite you to a party.
Mithoon: As a teenager, I would feel everything that a man who is in love feels, but, that excitement would be to meet Pyareji [Pyarelal Sharma, of Laxmikanth-Pyarelal]. At 16, I was assisting my father [Naresh Sharma], who worked with orchestras for films. In the studio, every musician would have a different viewpoint, and as a young musician, I would want to hear each one, so that I could learn. But there was one voice that [mattered the most], and that was of Laxmikant-Pyarelal. He [Pyarelal Sharma] is my tayaji. But, I never [exploited that] relationship. I was passionate about learning from him. He is among the most passionate artistes that this industry has seen. He wouldn't tolerate mediocrity. I wanted to experience him in that form.
Manoj: You have few releases in a year, and keep your fans waiting for them. Is it a calculated move to keep them eagerly anticipating what's next?
Mithoon: The truth is that I celebrate and respect my music first. If I play something on the piano, and like it, I respect that bar [of music]. I won't simply tell my team to [work on] it and send it off to a client who is calling repeatedly for a song. My laptop is kept in my locker, because that's my wealth. I value it so much. For me, my music is a revelation. It must be kept on a pedestal. It is valued, because I value it first.
I think all musicians deserve due respect and credit-Mithoon
8:10 AM
Composer Mithoon reacts to the recent plagiarism of his track Tum Hi Ho in an American rap song
Debarati Sen (BOMBAY TIMES; December 22, 2018)
American rapper T-Pain’s latest track, That’s Yo Money used Mithoon’s original composition Tum Hi Ho from the 2013 hit Aashiqui 2. The track was blocked online, soon enough, on grounds of copyright issues. Not just that, the American composer got severe criticism on social media, when he denied the allegations in an alleged racist slur. In a candid chat with BT the composer of the hit song talks about plagiarism and more. Excerpts…
Thousands of songs release online every day and it can get tough keeping a track on plagiarism. When and how did you find out that your hook tune from Tum Hi Ho (Aashiqui 2, 2013) was used, uncredited, by T-Pain in his song?
A couple of days back, I woke up to my friend and director Mohit Suri’s call in the morning. A friend of his brought it to his attention and he did the same for me. When I heard T-Pain’s track, I clearly heard my melody and that’s when I reacted to it. The song is not just about me — I believe that good work does not belong to just one man. Many people are emotionally attached to the song; people who have actually cried after hearing it. I’m happy that even five years after I created the tune, it is still popular around the world. I definitely see this as a positive. I just want people to be more responsible and why not; tomorrow, there could be something that I want to use in my composition and I should do it the right way. I think collaborations should be encouraged, so that we can create a one-world vision.
You tweeted to T-Pain, but the rapper’s response was pretty non-committal…
I’m not in a position to comment on his response. T-Pain said in his tweet that he has never heard the melody before and my intention was to bring it to his notice that the melody he had used was created by another artiste and the song is already quite popular. This was from one artiste to another. I thought I must put forward the voice of billions of people who have listened to the track. I think respect and credit should be given where it is due.
Have you taken any action on the matter? Are you aware about the laws and rules to prevent plagiarism?
I am well versed with the law, but as an artiste, I am supposed to communicate what is my thought and opinion. I did speak to the label about this and they, as per law, immediately pulled the video down. The future course of action will be decided by the music label and not by me. I am sure that whatever will happen, will be in accordance to the law.
What are your thoughts about artistes borrowing inspiration to create their own work?
Actually, I believe the word ‘inspired’ has a relative connotation, though it is a beautiful word. To be truly inspired is to take art to the next level. Inspiration is something that you breathe in and then bring it out in a brand new way. It is like giving birth to a child. Over the years, I have been inspired by many artistes and there have been many who have openly said that they feel inspired when they hear my compositions. I feel proud and bless them. When I hear the work of other artistes, I acknowledge that they have been inspired by my work, but then I see their own point of view, too.
Are you aware of the term ‘sampling’, that’s what T-Pain claimed was responsible for it?
A lot of people have written to me about the process of sampling. It is about how different artistes work with samples — without knowing the source of the music, they take it. I don’t think that is a great creative process. There should be some kind of accountability, some responsibility to the source of the music, too.
Do you feel that in the digital world, the sheer volume of numbers can mask plagiarism and make it hard to spot imitations?
I think every artiste needs to learn about self-accountability and be responsible, because it’s not humanly possible to notice every case. The reason why I chose to be a musician was to create music that would first nourish me, satisfy me and then the world.
Technology has also brought the world a lot closer now. What do you have to say about modern creative collaborations?
I think there is a lot of change now with the internet becoming such a strong mode of communication. Twenty years back, what would happen on another continent would seldom make it to the rest of the world. Today, there is a lot more transparency and creative communication happening globally. There are so many songs from the West that strike a chord with Indian listeners and vice versa. The world has become a small place and it’s a good thing — it’s just that every artiste should be responsible. India has a lot of potential of songwriters, poets and vocalists, and the future looks bright. Talent needs to be nurtured and original music needs to be encouraged.
It’s been five years since Tum Hi Ho, what are you looking forward to now?
I have moved on from Tum Hi Ho, because I feel my best is yet to come. I am looking at my first English film featuring Steven Baldwin, where I have composed all songs. It’s my first movie with a big Bollywood banner and I am doing the entire album. My next Hindi film with Mohit Suri is also on the way.
I have always been a musician on my own terms-Mithoon
10:32 AM
Music composer Mithoon talks about his latest song Mar Jaayen from Loveshhuda and looks back at his career as he completes a decade in the industry
Sonil Dedhia (BOMBAY TIMES; December 25, 2015)
How has your musical journey been?
It feels good that I have come so far and achieved success in my career. Music makes me happy. I have composed music that is close to my heart and never been influenced by trends. I have always been a musician on my own terms, which is extremely fulfilling. Each day, when I enter the studio, I am excited to compose something new.
How did Mar Jaayen happen?
Back in 2006, I was approached to compose a song for Bas Ek Pal. I had offered the makers three melodies - Tere Bin, Kuch Is Tarah and a melody that was more of a scratch. At that time, Girish Kumar would attend music sittings as he was working as an assistant in his company. While working on Loveshhuda, Girish still had that melody in his mind. He reminded me about it. At first, I couldn't recollect but later, I found the scratch. He wanted the song for his film. I connected with Sayeed Quadri saab who had penned the lyrics. We changed the words a little bit to give it a fresh appeal. Sayeed saab is one of the most prolific and substantial poets in the world today. We share a great rapport and enjoy working with each other.
You have collaborated with Atif Aslam again. What kind of an equation do you share with him?
I have always had a good time while working with Atif. He has sung my compositions really well and I love his voice. But at the same time, I am not hell-bent on working with a particular singer. For me, melody is the king. I am sure if I have a good melody, then any good singer can make it sound better.
What is the most important element while composing?
For me, the lyrics are the most important element in a song. The words are the face while the song and tune are heard by the audience at a subconscious level. People start connecting to the lyrics and the melody slowly seeps in. I have always focused on good lyrical content for all my songs. Now, I have started writing lyrics on my own and am enjoying this phase of my career.
When and how did you learn music?
I started learning music at the age of 11. My father (Naresh Sharma) was a leading music arranger. He has composed background music for over 200 films. Since my father was busy, he sent me to the right people to train myself. He used to observe me closely and would often see what I am practising. He listened to the tunes that I created. My father believed that to be a musician, you should listen to your inner self. No one can teach you how music composition is done. This helped me create my own style. The entire credit goes to him for showing me the right path when I was teenager.
When it comes to Bollywood music, which has been your favourite decade?
I grew up in the 90s and I am fond of that decade's music. At the same time, my father would make me hear the works of stalwarts like Madan Mohan, Laxmikant-Pyarelal and Mohammed Rafi. But if I had to pick one decade, it would be the 70s as I enjoy listening to that era's music.
Are you a spiritual person?
I think faith can never be quantified. I don't necessarily connect with religion as I believe that God is the father of all mankind and loves everyone unconditionally.
Do you consciously keep a low profile?
I am an introvert. Crowd and noise are a complete turn off for me. I do not believe in the theory of out of sight, out of mind. So I do not see the need to attend all the parties in town. These things actually derail me for days which ultimately affect my work commitments.
Many composers are also judging reality shows but we haven't seen you in one of them.
I have been open to the idea of judging a reality show and to be honest, I have been approached quite often. But it's just that I am not convinced with the kind of circumstances in which they work.
Singles are making a big comeback. Would we see you doing one in the near future?
In our country, music is too attached to cinema so the trend of singles picking up again is a welcome change. I am happy about it. Ultimately, it is the music that is being appreciated. I have heard a few of the singles that have released in the last few months and they are good. I do have a couple of offers and in 2016 you will see me coming up with a few singles.
It feels good that I have come so far and achieved success in my career. Music makes me happy. I have composed music that is close to my heart and never been influenced by trends. I have always been a musician on my own terms, which is extremely fulfilling. Each day, when I enter the studio, I am excited to compose something new.
How did Mar Jaayen happen?
Back in 2006, I was approached to compose a song for Bas Ek Pal. I had offered the makers three melodies - Tere Bin, Kuch Is Tarah and a melody that was more of a scratch. At that time, Girish Kumar would attend music sittings as he was working as an assistant in his company. While working on Loveshhuda, Girish still had that melody in his mind. He reminded me about it. At first, I couldn't recollect but later, I found the scratch. He wanted the song for his film. I connected with Sayeed Quadri saab who had penned the lyrics. We changed the words a little bit to give it a fresh appeal. Sayeed saab is one of the most prolific and substantial poets in the world today. We share a great rapport and enjoy working with each other.
You have collaborated with Atif Aslam again. What kind of an equation do you share with him?
I have always had a good time while working with Atif. He has sung my compositions really well and I love his voice. But at the same time, I am not hell-bent on working with a particular singer. For me, melody is the king. I am sure if I have a good melody, then any good singer can make it sound better.
What is the most important element while composing?
For me, the lyrics are the most important element in a song. The words are the face while the song and tune are heard by the audience at a subconscious level. People start connecting to the lyrics and the melody slowly seeps in. I have always focused on good lyrical content for all my songs. Now, I have started writing lyrics on my own and am enjoying this phase of my career.
When and how did you learn music?
I started learning music at the age of 11. My father (Naresh Sharma) was a leading music arranger. He has composed background music for over 200 films. Since my father was busy, he sent me to the right people to train myself. He used to observe me closely and would often see what I am practising. He listened to the tunes that I created. My father believed that to be a musician, you should listen to your inner self. No one can teach you how music composition is done. This helped me create my own style. The entire credit goes to him for showing me the right path when I was teenager.
When it comes to Bollywood music, which has been your favourite decade?
I grew up in the 90s and I am fond of that decade's music. At the same time, my father would make me hear the works of stalwarts like Madan Mohan, Laxmikant-Pyarelal and Mohammed Rafi. But if I had to pick one decade, it would be the 70s as I enjoy listening to that era's music.
Are you a spiritual person?
I think faith can never be quantified. I don't necessarily connect with religion as I believe that God is the father of all mankind and loves everyone unconditionally.
Do you consciously keep a low profile?
I am an introvert. Crowd and noise are a complete turn off for me. I do not believe in the theory of out of sight, out of mind. So I do not see the need to attend all the parties in town. These things actually derail me for days which ultimately affect my work commitments.
Many composers are also judging reality shows but we haven't seen you in one of them.
I have been open to the idea of judging a reality show and to be honest, I have been approached quite often. But it's just that I am not convinced with the kind of circumstances in which they work.
Singles are making a big comeback. Would we see you doing one in the near future?
In our country, music is too attached to cinema so the trend of singles picking up again is a welcome change. I am happy about it. Ultimately, it is the music that is being appreciated. I have heard a few of the singles that have released in the last few months and they are good. I do have a couple of offers and in 2016 you will see me coming up with a few singles.
When composing Creature, I didn't have Aashiqui 2 or Murder 2 in mind-Mithoon
7:44 AM
Roshmilla Bhattacharya (MUMBAI MIRROR; August 21, 2014)
Song: Hum Na Rahein Hum (Creature)
Lyricist-Composer Mithoon
Hum na rahein hum, jo the kabhi
Khud ko hai chohda, peeche kahin
Teri ore, badhne lage
Teri tarah, banne lage...
It is surprising that this romantic ballad which starts out as a search for love and ends with the promise to leave oneself behind and become that person, is a part of India's first creature feature.
Lyricist-composer Mithoon admits that when he was first approached by producer Bhushan Kumar and director Vikram Bhatt, he wondered what he'd do in a thriller which induced fear. "But they immediately made it clear that they weren't looking for a song or even a music piece that embodied the Creature. I was told that the entire soundtrack should revolve around the relationship between this shy musician who conveys everything through songs rather than words and a girl who having lost everything, fears nothing as she attempts to make a fresh start in this hotel where the creature makes its appearance," he says.
It was the third week of May 2013 and the shoot was to begin in June. There wasn't much time left. With that brief in mind, Mithoon sat down at the piano one quiet afternoon and the words flowed, as easily and naturally as the notes. In a couple of hours he, had not just the lyrics but the melody too, and as is his habit, he went around the studio sharing his music with everyone.
"I then sang the song sitting on the piano and recorded it without any groove or movement and I sent it across to Bhushan and Vikram who loved it," he reminisces.
For eight months, through the shoot and into the edit, Hum na rahe hum played in Mithoon's voice. But just before the album was to come out, he felt that since he's not a trained singer, he should bring in a more professional vocalist who could bring a new dimension to the song.
"I was looking for a different voice and Benny Dayal who has crooned some amazing ballads and has a great connect with the youth, was on top of my list," he says.
He called the singer over to his studio three months ago. The first time Benny simply listened to the song and absorbed it. He then took off on a 20-day concert tour and on his return suggested they dub the track. "When I pointed out that we should rehearse it first, he told me that he had been doing just that for the last three weeks," smiles the music director, adding that they wrapped up the song in a couple of hours.
Prod him on the actors, Imran Abbas Naqvi and Bipasha Basu, and Mithoon says that while writing and composing a song, he only thinks about characters, not the actors. "Bipasha and Imran have done a fantastic job. I like the vibe and the dark tone of the frames," points out the composer who is still high on the success of Aashiqui 2.
Talking about his last year's big hit, he admits that given the popularity of the original soundtrack, he was under some amount pressure when composing for the sequel. "But as I do with every film and every song, I put every bit of myself into the music and Aashiqui 2 changed my life," he exults.
"When composing Creature, I did not have Aashiqui 2 or Murder 2 in mind. However, I'm the same guy so the emotions of love are the same. And it's not just the love between a man and a woman. It reaches out to encompass the feelings of a son for his father, a student for his teacher, a protege for his mentor, even a fan and his idol. A love that gives you a better life, a love for which you would even die."
Tere aage jhukne lage,
Tere raaston par rukne lage,
Ab to mohabbat mein lutne chale,
Jeene ki khwahish mein marne chale.
I don’t believe in camps-Mithoon
10:41 AM
After Aashiqui 2 and the forthcoming Ek Villain and Creature, Mithoon
Sharma seems to be the Bhatt camp’s favourite composer. But he insists
that’s because the producers have a good ear for music
Deepali Dhingra (MID-DAY; May 18, 2014)
Last year, there seemed to be only one song on everyone’s lips — Tum Hi Ho from Aashiqui 2. And there’s one man who can’t stop grinning from ear to ear when you mention the song. Mithoon Sharma, the song’s composer, admits that he never expected the song to get such a raving response. Mithoon, who has also sung for a couple of his own compositions, says that his fans can hear him sing in one of his forthcoming movies:
Your composition, Tum Hi Ho, won numerous awards last year. When you composed the song, did you think it would turn out to be the song of the year?
No, I never thought that it would turn out to be this huge, or an ‘anthem’ as my fans and well-wishers are calling it. In fact, not only this song but while composing any other song, I don’t think about how big it will become or how many awards it will win. I just put in my best and leave the rest to the Almighty.
Some of your best compositions have been with the Bhatt camp. You’re also working on Ek Villain and Creature with them and are seen as a Bhatt camp favourite.
I don’t believe in camps, though it is true that most of my films have been with the Bhatts. I think they have a wonderful ear for music and I’m also grateful for the fact that they have encouraged me and given me my space to come up with what I do.
You’re known for your soulful and melodious compositions. Are you apprehensive of getting slotted in that bracket? Given a choice, would you like to experiment more with your songs?
I think it is a high for me to be known as someone who can compose songs in a particular genre and people identify with it. These days the audience isn’t able to differentiate between songs of different composers and amid all of that, if they are still able to identify a Mithoon song, then I think I have succeeded in my attempt to be different. Even in the past I have composed songs of various genres and in the near future you will see shades of that in films such as Traffic and Veda.
Deepali Dhingra (MID-DAY; May 18, 2014)
Last year, there seemed to be only one song on everyone’s lips — Tum Hi Ho from Aashiqui 2. And there’s one man who can’t stop grinning from ear to ear when you mention the song. Mithoon Sharma, the song’s composer, admits that he never expected the song to get such a raving response. Mithoon, who has also sung for a couple of his own compositions, says that his fans can hear him sing in one of his forthcoming movies:
Your composition, Tum Hi Ho, won numerous awards last year. When you composed the song, did you think it would turn out to be the song of the year?
No, I never thought that it would turn out to be this huge, or an ‘anthem’ as my fans and well-wishers are calling it. In fact, not only this song but while composing any other song, I don’t think about how big it will become or how many awards it will win. I just put in my best and leave the rest to the Almighty.
Some of your best compositions have been with the Bhatt camp. You’re also working on Ek Villain and Creature with them and are seen as a Bhatt camp favourite.
I don’t believe in camps, though it is true that most of my films have been with the Bhatts. I think they have a wonderful ear for music and I’m also grateful for the fact that they have encouraged me and given me my space to come up with what I do.
You’re known for your soulful and melodious compositions. Are you apprehensive of getting slotted in that bracket? Given a choice, would you like to experiment more with your songs?
I think it is a high for me to be known as someone who can compose songs in a particular genre and people identify with it. These days the audience isn’t able to differentiate between songs of different composers and amid all of that, if they are still able to identify a Mithoon song, then I think I have succeeded in my attempt to be different. Even in the past I have composed songs of various genres and in the near future you will see shades of that in films such as Traffic and Veda.
Subscribe to:
Posts (Atom)