Showing posts with label Tanishk Bagchi. Show all posts
Showing posts with label Tanishk Bagchi. Show all posts
I declined to remix Aashiq Banaya Aapne and Masakali-Amaal Mallik
3:24 PM
Neha Maheshwri (BOMBAY TIMES; September 25, 2026)
A few weeks ago, music composer and singer Amaal Mallik announced on social media that he was taking a one-year break from the film music industry to focus on his physical and mental health.
Explaining his choice to do this, he shares, “My mind is rocking but physical health is talking. Every artiste expects self-worth and appreciation. Main film music ko apni kadar dikha dikha kar thak gaya. Actor apni jagah aur hamaari apni jagah. Izzat ki baat hai. It’s not that someone’s career ends without the film industry. This is a perception in our country because people have a habit of looking at the music industry as a subset of the film industry.”
He adds, “Call it a break or retirement, but I took one in 2019. A seven-year relationship had ended, and I had also lost my dog around the same time. I was working on Kabir Singh, and the blueprint I had made for the soundtrack was taken by some composers. People asked why I didn’t speak about it then. That’s because I was going through such a personal emotional loss. I spoke when I was better and had the chance.”
‘I’ve been removed from 60 films, while I must have declined 15-20 films myself’
In an era of remixes, Amaal’s insistence on keeping original music separate from remix-led offers also shaped his choices and cost him opportunities.
He says, “I have been removed from 60 films, while I must have declined 15-20 films myself. I have a rule: if the original song is locked first and there is a need for a remix later, I will do it. But I will not do a remix as a condition for being offered an original song in another film. I declined to remix Aashiq Banaya Aapne and Masakali. In fact, I asked fellow composers not to do them because as a community, we cannot let down other composers. We are not one-song wonders or sell-outs.”
He adds, “I also started noticing a simple pattern: Amaal Mallik ko album se hataao, woh nahi chahiye, even if the song is good. I have realized that if you work with ethics, speak the truth and create original music, toh aapko kaata jaayega. I want to set an example to upcoming composers to ask for their rights and not sign wrong contracts.”
‘After the Awarapan 2 track released, I was offered 15 films and I signed three’
The experiences of being removed from projects and having to make difficult choices also took a toll on his confidence, but the response to Yeh Awarapan in Awarapan 2 has helped restore some of that belief in his work.
Amaal recalls, “At the time, I wasn’t confident, but ultimately, the song won. The day after the title track released, I was offered 15 films, and I have signed three. However, I don’t want to talk about them now because whenever I speak about my work, there is an effort to remove me from that project.”
‘I have the courage to call a spade a spade’
The negative PR he encountered around his song in Awarapan also contributed to his public confrontation on social media with composer Tanishk Bagchi, which he later deleted.
He says, “Many people tried to mess with the song and spread negative PR around it. I had proof to substantiate my claims, but I had to remove the garbage from my timeline. My post will make people famous, and I am not here to do that. I have the courage to call a spade a spade, toh agar meri galti hogi, main usko bhi accept karunga.”
Amaal also raised the issue with Salman Khan Films’ social media team after an anniversary post celebrating 11 years of Hero omitted his name as the composer and Kumaar as the lyricist of Main Hoon Hero Tera.
He says, “My tweet wasn’t directed at Salman Khan sir. My point was that Kumaar and I created the song. When you celebrate a song, the composer and lyricist should also be recognized. I didn’t fight for my own brother, who sang the song. I fought for my writer and myself. After that, many labels have added our credit and I am glad that people are coming around.”
Daboo Malik: If anyone wrongs Amaal, I will not remain silent
One development that has strengthened his resolve is his father Daboo Malik publicly stepping forward to support him.
Daboo says, “Amaal is a very important aspect of my existence, and many people don’t factor in how this child has grown and built a musical empire of his own. Many times, Amaal has stopped me from speaking up despite documented proof. Today, I feel it is time for me to speak up for him. If he is speaking his mind, I will stand by him. If anyone wrongs him, they should know that I will not remain silent. I will support him even if he chooses not to make music after this. His music speaks for itself, and my priority now is his health and well-being.”
Saiyaara royalty row: Tanishk Bagchi deletes unpaid dues post after YRF response
9:24 AM
Musician claims Saiyaara royalties are pending; YRF says all dues have been paid
Onkar Kulkarni (MUMBAI MIRROR; July 20, 2026)
Composer Tanishk Bagchi on Saturday claimed he is yet to receive `8 lakh in royalties for the title track of Saiyaara, a year after the film’s release. However, Yash Raj Films (YRF) said all payments have been made as per the contract.
Marking the film’s first anniversary, Bagchi shared a note on Instagram, saying he poured everything into the song, his first collaboration with YRF Music.
“Whatever YRF had paid me, all of that nominal amount was used to do the live and mixes... what was left was zero. That’s what I earned from a song so big.”
He added, “What hurts the most is that, as per the royalty statement, I’m yet to receive just Rs 8 lakh in royalties for a song that has gone on to do millions of streams and views across platforms. Honestly... Rs 8 lakh feels like peanuts.”
Responding to the claim, a YRF spokesperson said the Saiyaara title track was composed by Tanishk Bagchi along with Faheem Abdullah and Arslan Nizami, and royalties are shared equally among the three as agreed.
“Royalties for the title track have been shared and will continue to be shared by YRF equally between all three composers... The production house has paid every collaborator their due, as per contract, all within mutually agreed terms and time,” the statement said.
Bagchi clarified that his post, adding, “This experience has changed the way I look at this industry. From now on, I’ll only work with producers and directors who value creativity, honesty and the people who build their music.”
He also said he respected director Mohit Suri and lyricist Irshad Kamil from the film.
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HINDUSTAN TIMES (July 20, 2026)
A year after singer-composer Tanishk Bagchi delivered the hit title track of Saiyaara (2025), he sparked a controversy by claiming in a now–deleted social media post that his dues related to the song remained unpaid. The post was taken down after Yash Raj Films (YRF) issued a statement addressing the matter.
The 45-year-old musician took to Instagram on Saturday to allege that despite the title track’s massive success across music streaming platforms, he is yet to receive royalty payments worth ₹8 lakh.
“This was my first film with @yrfentertainment @yrfmusic… I agreed to everything because I believed in the music. I gave this song everything I had... Whatever YRF had paid me, all of that nominal amount was used to do the live and mixes. What was left was zero,” he also wrote in the post.
Following Tanishk’s allegations, YRF issued an official statement clarifying that all royalty payments have been cleared: “Royalties for the title track have been shared and will continue to be shared by YRF equally between all three composers as contractually agreed by all, including Tanishk. YRF has paid every collaborator their due, as per contract, all within mutually agreed terms & time.”
The track was composed by Tanishk in collaboration with Faheem Abdullah and Arslan Nizami, neither of whom has publicly reacted to the controversy so far.
Saiyaara’s success proves that Tanishk original songs mein bhi baap hai-Tanishk Bagchi
10:16 AM
Composer Tanishk Bagchi, the man behind Saiyaara’s hit title track, opens up about being more than a remix machine and discovering his versatility
Priyanka Sharma (MID-DAY; July 28, 2025)
Unless one is living under a rock, there is no chance they wouldn't have heard the Saiyaara title track. Tanishk Bagchi’s composition is everywhere, from radio to YouTube, from the music streaming apps to Instagram Stories. So, we catch up with the man behind the sensation and understand how he composed the song for the Mohit Suri-directed love story. Excerpts from the interview:
Having long been criticized for building a career on remixes, you must be feeling vindicated with the success of Saiyaara’s title track, which is an original song.
It’s not the first time that I’ve composed something original and got rewarded for it. But now I feel that I am a versatile music composer. You can tell by listening to a song that it must be composed by so-and-so composer. But with my songs, you won’t be able to tell if it’s Tanishk’s music or someone else’s because I’m so versatile.
Do you like creating remixes or do so because of market demands?
It’s 100 per cent because of the market demand, survival, and what the director wants. My first preference will be original songs. But there are instances where if I don’t [create a remix], somebody else will. When a work opportunity comes to me, I can’t reject it immediately.
Take us back to the time when director Mohit Suri came to you with Saiyaara...
The past two years [were trying] for me because there were lots of issues in my work and family. At that time, I met Mohit sir and he supported me. I didn’t have anybody to show me the way. So, I started following his vision. He told me that he needed a song for his film. I was working on a single for the last two years with Faheem [Abdullah] and Arslan [Nizami]. When Mohit sir said he needed a song, we had one called Saiyaan Mera, and Arslan had written this line, ‘Saiyaan mera tu rootha nahin hai, mausam zara sa rootha hua hai.’ We completed it and pitched it to Mohit sir. Then Irshad bhai [Kamil] wrote the entire track.
How was it to reunite with Mohit?
With him, there’s always an emotion behind a song. He will never say, ‘We want a promotional track.’ He’s a music-oriented director.
You mentioned that you were going through a lot when Saiyaara happened to you. Are you comfortable talking about it?
After you give a super hit song, there is a lot of competition in the market, and when you say no to certain things, people think, ‘He doesn’t know how to create original music, or he only does recreations.’ This stress would seep into my personal life. Sometimes I used to earn money, at other times I didn’t. There were times when my song would be placed fourth or fifth in an album and it wouldn’t be promoted. I had composed Raataan Lambiyaan [Shershaah] and Bolna [Kapoor & Sons], but people still doubted me.
Producers often seek a hook line, hoping their song will become popular on Instagram Reels. But Saiyaara has busted the myth of hook lines being necessary.
Absolutely! I have never followed a trend. If someone asks me to make a song catering to a 15-second reel, I won’t do it. I will make a four-minute song. After Saiyaara, people are saying, ‘We believe in your original music’.
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Samarth Goyal (HINDUSTAN TIMES; July 28, 2025)
As the popularity of Saiyaara’s soundtrack grows, Tanishk Bagchi feels like he has finally found vindication.
While the composer has delivered some of Bollywood’s biggest hits in the last few years, his success has been overshadowed by the criticism that he is inclined towards recreations.
However, the title track of Mohit Suri’s recently released romantic drama has gone on to shatter records, becoming the first-ever Bollywood song to break into Spotify’s Global Top 5. “People didn’t know the number of good original songs I composed. Par ab logon ko pata chal raha hai ki Tanishk Bagchi original songs mein bhi baap hai,” says the 44-year-old.
He’s loving the appreciation, but Tanishk also admits that this success helped him overcome a mental rut. “For two years, I was very affected by the trolling. Now, I’m happy and at peace,” he says.
As for Saiyaara’s success, the composer reveals, “Despite its new stars, I had hope ki yeh fatega.” The success was made sweeter by the fact that the song doesn’t rely on gimmicks. “There’s pressure to create viral hits. But if a track has soul and emotion, it’ll work, no matter how long it is,” Tanishk ends.
Rajkummar Rao, Wamiqa Gabbi to shoot one of Bhool Chuk Maaf's promotional songs in Varanasi
8:42 AM
Sources say Bhool Chuk Maaf makers are adding two songs at the last minute, with Rajkummar Rao and Wamiqa Gabbi set to shoot one in Varanasi this month
Upala KBR (MID-DAY; April 6, 2025)
Last week, it was announced that Rajkummar Rao and Wamiqa Gabbi-starrer Bhool Chuk Maaf, which was to initially hit the screens on April 10, has been pushed to May 9. Now, mid-day has learnt that director Karan Sharma is making additions, specifically two songs, to the romantic comedy. Sources tell us that while one is a promotional dance number, the other is a romantic track.
What made the director add two songs at the last minute? From what we’ve heard, both Sharma and producer Dinesh Vijan apparently felt they would increase the entertainment quotient of the comedy, which revolves around Rao’s character who is stuck in a time loop a day before his wedding.
A source reveals, “Of the two songs, Rajkummar and Wamiqa filmed one on March 29 at a studio in Mira Road. A set depicting a small-town street was built for the vibrant track. It’s a peppy promotional number composed by Tanishk Bagchi.”
The unit is now prepping for the second song that will be shot in Uttar Pradesh, which is where the film is set. “Rajkummar and Wamiqa will head to Varanasi in mid-April. With the film revolving around the couple’s impending wedding, this one will have a romantic bachelorette party vibe. Both the songs are choreographed by Vijay Ganguly, with costumes by Sheetal Sharma,” adds the source.
I will no longer make recreations-Tanishk Bagchi
8:37 AM
Tanishk Bagchi knows that his claim to fame may have been the work he has done in reviving old classics for this generation, but hopes his work as Sky Force’s composer will change his trajectory
Sonia Lulla (MID-DAY; January 13, 2025)
Often referred to as the king of recreations, Tanishk Bagchi is certain that the album of Akshay Kumar’s Sky Force will compel filmmakers to see him in a new light. While fans have celebrated his original hits, including Raataan Lambiyan and Bolna, the songs have often been dissociated with his name given the spate of rehashed numbers he has served music aficionados.
But Dinesh Vijan’s Sky Force, he says, is set to put his best work on display. “Imagine an album that has Raataan Lambiyan, Ve Mahi, Bolna, and Badri Ki Dulhania, all in one album,” he says of the film that has five songs crafted by him. In this interview, he reveals how he charted his career to facilitate this transition. Edited excerpts of the interview.
What was the discussion you had with the makers with regards to the music of this album?
I used to create a lot of songs for Dinesh sir, but it would be one song in the entire soundtrack. I’ve also done a lot of recreations. Dino [Vijan] had praised my skills as a composer. Nobody understood that I have the potential [to helm] a solo film. Dinesh sir told me about this film that he was working on, and told me to make the entire soundtrack. That is where we began. He spoke to me about the situations the songs were to be placed in, but left the work to me. He didn’t share any references and allowed me to decide the genres.
Because this is a patriotic film, we’ve tried to retain honesty in the emotions. I can’t take references from other tracks. I’m proud of this album because these are the songs that I’ve always wanted to make. I knew that if I ever got an entire film to work on, I could design the soundscape as I desired. When I’d see [composers like] Sachin-Jigar, Vishal Dadlani, or Pritam, I’d always wonder why I couldn’t get an entire soundtrack [like they do], and was only entrusted with promotional numbers. That was, in a sense, a struggle for me. So, this film marks a new journey. I have been known as the person who did recreations, so this breaks the barrier for me. All the songs are original, and have been composed by me. The credit goes to Dinesh sir.
Were there any active steps you took to make this transition?
It began with saying no to a lot of [offers]. I turned down offers to back recreations. The last remix I did was for Bhool Bhulaiyaa 3, and I did that only because I had worked on the second part as well. Even then, I tried to treat that number like an original song and added a new sound. I no longer wish to do any recreations. As much as I can, I will decline those offers. I’ve done what I had to do; I’ve established a trend. Now, I want to focus on my original music.
Is there a genre of music you’ve employed here that you feel you have dominance over?
When I compose, my music reflects a lot of the emotions that I encounter. Because I belong to Bengal, I’ve been inspired by folk melodies. I always wanted them to be reflected in my music. For Sky Force, I put all my skills to use, including using all the genres I know. Everything was scattered, but I created this package that brought it all together. This album includes one of the best tracks I believe I have ever composed. There’s another romantic song that, I am certain, will be liked by people. There’s also a number that adds emotional depth to the situation is was made for. Imagine having an album that has songs like Raataan Lambiyan, Ve Mahi, Bolna, and Badri Ki Dulhania and Aankh Marey, all in one album. I think, this is that.
Manoj Muntashir calls out Sky Force makers over song credit
8:32 AM
HINDUSTAN TIMES (January 9, 2025)
Lyricist and screenwriter Manoj Muntashir has expressed his frustration with the team behind Sky Force after being left out of the credits for the upcoming track Maaye. On Tuesday, Manoj took to X to voice his anger, warning the makers of Sky Force — Jio Studios, Dinesh Vijan’s Maddock Films, and Saregama Global — of potential legal action.
The controversy began when Jio Studios shared a teaser for Maaye on X, with the song credited to singer B Praak and composer Tanishk Bagchi. While the brief clip acknowledged the duo’s contribution, Manoj’s name was conspicuously absent. The post did tag Manoj in the caption.
Feeling disrespected, Manoj immediately reacted, tweeting, “Please note @jiostudios, @MaddockFilms @saregamaglobal. This song is not just sung and composed but also written by someone who has given all his blood and sweat to it.”
He continued, “Removing the writer’s name from the opening credits shows utter disrespect for the craft and fraternity by the makers. If it’s not corrected immediately, including the main song releasing tomorrow, I am going to disown the song and make sure my voice is heard by the law of the land. Shame. @IPRSmusic.”
However, on Wednesday a source close to the situation told us that the issue has since been resolved, with everything being “well now” between Manoj and the Sky Force team. The lyricist was invited to the song’s launch event on Wednesday, suggesting a positive outcome after the initial dispute: “It was an honest mistake on the part of the filmmakers.”
Muntashir also confirmed to us, “Yes, things are fine (between us), but the fight for the lyricists’ rights will definitely go on.”
BT Exclusive: Jackky Bhagnani to surprise Rakul Preet Singh on wedding day with a special song
8:23 AM
Onkar Kulkarni (BOMBAY TIMES; February 20, 2024)
Rakul Preet Singh and Jackky Bhagnani are all set to tie the knot tomorrow (February 21) at a beach wedding in Goa. The groom has a special surprise for his would-be bride. Jackky is presenting a heartfelt song to Rakul, which symbolises their love story.
The song titled Bin Tere will add a special touch to the ceremony, where it will be played in the presence of guests.
It has been written by Mayur Puri and composed by Tanishk Bagchi, who has also lent his voice to the song along with Zahrah S Khan and Romy.
A source tells Bombay Times, “Jackky has poured his heart into this love song for Rakul and it will be an important part of the celebration. He wanted to gift her something meaningful and unforgettable. The song promises to be a musical celebration of Jackky and Rakul’s union and the beginning of their beautiful journey together.”
Jackky wanted Rakul to experience the magic first-hand during their intimate and dreamy wedding in Goa, hence, he kept this idea under wraps all along.
The wedding festivities have begun in full swing in Goa. Ahead of the guests that were expected to fly in on Feb 19, Jackky and Rakul flew to the destination on Feb 17 after taking blessings from the Siddhivinayak Temple in Mumbai. BT had earlier reported that the duo will be seen sporting beautiful ensembles crafted by not one but five fashion designers - Tarun Tahiliani, Shantnu & Nikhil, Falguni Shane Peacock, Kunal Rawal and Arpita Mehta.
I made some songs only for the numbers-Badshah
9:49 AM
Rishabh Suri (HINDUSTAN TIMES; October 30, 2023)
Badshah is no stranger to topping music charts across the world with his hit tracks. Songs such as Genda Phool, Abhi Toh Party Shuru Hui Hai (Khoobsurat, 2014) and Kala Chashma (Baar Baar Dekho, 2016) have more than 900 million views each on YouTube. However, views aren’t the benchmark of success for the singer-rapper.
“Numbers are very misleading. There are a lot of my songs that have huge numbers, but I don’t enjoy performing them! I made them only for the numbers,” shares Badshah. The 37-year-old continues, “As artistes, you go through different phases. At one point, you are running after the numbers; at another, you are running after fame; and then there is the audience. But, views are meant for momentary pleasure. Jaise ek nayi gaadi lene ka 15 minutes ka maza hai; momentary hai.”
Therefore, he believes in not falling for the numbers game. “Aap khud ko jitna door rakh sakte ho kisi bhi influence se, utna hi maza aayega. When you reach a specific number, ek aur bada number hamesha taiyaar baitha hai. Usey bhi chase karte hain because human beings are competitive [by nature].”
When he’s told that not many musicians would admit to making songs for the sake of views, Badshah laughs and says, “Our industry is f****d if they (musicians) are not honest.”
The Gone Girl hitmaker goes on to reveal the songs he made for numbers’ sake: “A lot of the remakes I did [are a part of the list]. I really enjoyed The Humma Song (Ok Jaanu, 2017), as I had a vision for it. I always thought, ki main yeh gaana aise karunga. A lot of people don’t know that I even programmed the track with Tanishk (Bagchi, composer). Some songs I did because woh trend chal raha tha, paisa aa raha tha, numbers aa rahe thhe.”
Award mil gaya for an original song, it is a big thing-Tanishk Bagchi
8:34 AM
Tanishk Bagchi says he is unfazed by comments on his latest recreation, Aap Jaisa Koi
Ashish Kumar Singh (HINDUSTAN TIMES; December 4, 2022)
Tanishk Bagchi has constantly faced flak for recreating iconic Hindi film songs, but the music composer is unfazed by it. The 42-year-old found himself at the receiving end of a lot of trolling on social media for remixing the iconic melody Aap Jaisa Koi for Ayushmann Khurrana’s latest film, An Action Hero.
The original was sung by Pakistani pop star Nazia Hassan and was picturised on yesteryear actor Zeenat Aman in the film Abdullah (1979). In an exclusive chat, Bagchi tells us how he doesn’t let the negativity get to him, and that his sole focus is his work.
“I don’t have the time to look at social media or negative comments. I’m always occupied with my work. I get a song and then I move on to the next project. My work is my main passion and I do not focus on what everyone is saying. Award mil gaya na for an original song, it is a big thing,” says Bagchi, who bagged awards for his song Raataan Lambiyan from Shershaah (2021).
Social media users, visibly irked, took to Twitter to express their angst over the new rendition, picturised on Khurrana and actor Malaika Arora. Ask Bagchi his opinion on people remixing their own songs on Instagram and amassing millions of views — the latest being Pakistani girl Ayesha’s rendition of Lata Mangeshkar’s Mera Dil Ye Pukare Aaja — and he says every trend is a good thing, as long as people enjoy it.
“They are creating their own genre. However, the attention span of people is becoming short. Abhi reel 15 seconds hai, kal ko 2 seconds ho jayega,” he notes.
Bagchi also sheds light on the debate about songs being made specially for Instagram Reels.
“It’s a marketing gimmick. The rules keep changing. It’s good if a specific part of the song is being focused on,” says the musician, who is currently hooked to songs such as Calm Down, Pasoori, and Jhoom.
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Nazia Hassan must be turning in her grave: Adnan Siddiqui takes jibe at Bagchi
Pakistani actor Adnan Siddiqui was among the many to express their displeasure over the remix of Aap Jaisa Koi, from An Action Hero. He tweeted, “Is there something in the air that the world has suddenly developed a penchant for ruining perfect classics? Even re-creation requires talent. Nazia Hassan must be turning in her grave. #AapJaisaKoi nahi..(sic)”
Original singers of Jedha Nasha thanked me for putting their song in the film-Tanishk Bagchi
8:09 AM
Syeda Eba Fatima (HINDUSTAN TIMES; November 18, 2022)
Music composer Tanishk Bagchi as well as the music record label have been facing flak for “recreating” and “ruining” another popular song. Case in point: Nasha. But the remake’s composer asks, “If recreations give exposure to independent artistes and put them in the limelight, what’s the harm in doing it?”
Bagchi goes on, “Log jaante hi nahin hain ki kisne gaaya hai wo gaana (Amar Jalal and Faridkot). However, recreating the song and picturizing it on (actor) Ayushmann Khurrana and (actor-dancer) Nora Fatehi will help the original singers gain recognition. We are simply becoming a window through which these people can enter the mainstream.”
Giving an example of another song, Manike, Bagchi says, “We did a recreation of Manike for Ajay Devgn’s film Thank God, and it was a bigger hit than the original song. It also helped its artiste, Yohani, who is an independent singer, get her due. So, if recreation is helping an artiste, why shouldn’t we do it?”
As far as the decision to recreate this particular song is concerned, the Raataan Lambiyan (Shershaah, 2021) composer says it was not his call: “The filmmaker and the original singers collaboratively took the decision to work on this track, and I was included much later when they asked for my help with the composition. And since it’s not my track, I have not made many changes to it. In fact, after reworking the composition, I sent it to the original singers, and they really loved it. They thanked me for putting their song in the film (An Action Hero) and said, ‘We want people to know that it’s our song’.”
Bagchi, who has worked on several recreations, including O Saki Saki and Dilbar, doesn’t see any harm in it because everyone gets the credit as well as the money: “I make it a point that the original singers get credit and royalties. Like with Jehda Nasha, we ensured that the original singers got to sing it. Had we made another artiste sing it, the criticism would’ve been valid.”
People combine old and new songs for that feel, so they can make reels and trends out of it-Tanishk Bagchi
8:19 AM
Abigail Banerji (HINDUSTAN TIMES; November 7, 2022)
It was in 2019 that the Nora Fatehi-starrer O Saki Saki, from Batla House, was dropped. Three years later, the song’s popularity continues to soar, having now found several takers on social media, too. The hook step of the song is being recreated for Insta Reels by users in India and abroad. And its composer, Tanishk Bagchi, is glad to see it top trend charts.
Talking of the song, which is a remake of the 2004 track of the same name, the 41-year-old says, “It was a good recreation. But, it was a challenge... Now that it is picking up on Reels, I’m very excited. Nowadays, Reels can be very surprising, like how Kala Chashma (Baar Baar Dekho, 2018) went viral sometime back.”
However, for Bagchi, any recreation is meant as a tribute: “When I recreated O Saki... I made it a point that it sounds like the old track, but with a bit of masala, so that people dance to it.”
And he feels that’s exactly what people are looking for these days — good songs to dance to. “People combine old and new songs for that feel, so they can make reels and trends out of it. And, it is working,” he says, adding, “On social media, only 15 seconds of a song goes viral. But, it is about what they’re doing in a song. The dance step is what works.”
Bringing Manike Mage Hithe into a Bollywood film would also help Yohani-Tanishk Bagchi
8:09 AM
Composer on reviving Sri Lankan singer’s lockdown hit, Manike Mage Hithe, and enabling her to make her industry debut
Sonia Lulla (MID-DAY; September 12, 2022)
One among the most popular independent songs that caught music aficionados’ attention during the lockdown is headed to Bollywood. Tanishk Bagchi has revived Sri Lankan singer Yohani’s Manike Mage Hithe for Thank God, starring Ajay Devgn.
“Different artistes are now thriving, and the audience is accepting new singers, and new sounds with open arms. We knew this song [was gaining attention], so we decided to use it. Bringing it into a Bollywood film would also help [Yohani],” Bagchi tells mid-day, adding that since the original was designed with finesse, he decided to retain the essence of the song.
“It did so well because it is a good track to begin with. We wanted to retain her vocals in it. Since she is from Sri Lanka, her Hindi [pronunciation] wasn’t powerful enough. But, she practised and did it quite well. I expect this rendition to perform well among the masses,” says Bagchi, of the song that features Nora Fatehi.
The musician, who already has an enormous line-up of movies in Bollywood, has his eyes set on the South film industry. “I have already pitched to them, and am waiting for a response. I am waiting to work on a film in which I can get [control] over the background score music, as well as the songs.”
Those criticizing me are the ones dancing to my tunes-Tanishk Bagchi
8:30 AM
Undeterred by the brickbats he gets for remixing old ditties, Badhaai Do composer Tanishk Bagchi gets candid about emerging as the go-to person for filmmakers in search of chart-busters
Sonia Lulla (MID-DAY; January 31, 2022)
New music composers in the industry either win the favour of cinephiles and critics, or face brickbats. Tanishk Bagchi, however, faced an unusual predicament during his early years in Bollywood — he found favour in cinephiles, and faced the brickbats of critics. The Humma song, one of his first remixes, became a chartbuster in no time, and paved the way for a fresh trend in the industry. Bagchi’s scores became hot favourites among music consumers, a development that sat well with label heads, but not with composers of the original ditties that Bagchi was revisiting.
“I wasn’t the first one,” Bagchi tells mid-day in a candid chat. “Amit Trivedi did it with Hungama Ho Gaya, and Vishal-Shekhar with Bachna Ae Haseeno. When I started doing it, people questioned me. So, I decided that if I created two remixes, I’d make two original tracks as well. If I made Humma Humma, I made Akh Lad Jaave too. If I was at the top due to my remixes, I was also at the top because of my original songs.”
Bagchi’s resume evidently backs his claim. In 2021, apart from being a top performer on Indian music apps, his Shershaah composition Raataan Lambiyan made it to the Billboard charts as well. Emraan Hashmi-starrer Lut Gaye, and Nach Meri Rani were other Bagchi compositions that were also seamlessly adopted by music lovers.
Assured in the knowledge that “those criticizing me are the ones dancing to my tunes”, he says reinventing music is only a way of celebrating the work of revered composers. “My dad [Nandakumar Bagchi] would say that during the end of R D Burman’s life, few were there [with him]. But when he [passed away], people started reinventing his music. Nobody is trying to reinvent the work of those who are here. Only when they go do we say, ‘Wah, kya kaam kiya tha’. How do we get these legends back? We can do collaborations. Maybe, Anu Malik and I could collaborate.”
Despite the criticism he has faced, Bagchi is the go-to person for filmmakers seeking a hit track in their offerings. With as many as 20 projects under his belt as we speak, he gears up for his next, the Rajkummar Rao-starrer Badhaai Do. “I worked on the [franchise’s] first film as well, so I had the theme in my mind already. I begin to visualise the film through the music as soon as the story is narrated to me. I also like to think about it like a director would, and match the director’s vision. The dialect plays a crucial role as well. For instance, a Delhi-based film will have a Punjabi song. For a film set in UP, I will try to incorporate the flavour that we had in Badrinath Ki Dulhania. With 20 films [in my kitty], I need to be fast. It would usually take me a month, but, now, if a scenario is explained to me, I can churn out a track in a day.”
Matching the desired quality, one would assume, would be a challenging feat. But, Bagchi says his only aim is to appease himself. “Even if my manager or anyone else says a song I’ve made is good, I won’t present it unless I like it. If it doesn’t appeal to me, I will throw it out. I will also never repeat a certain kind of song. I can do a Makhna with Jacqueline Fernandez, a Nach Meri Rani with Nora Fatehi, a Raataan Lambiyan, which is [like a] sufi track, and a Tip Tip Barsa for Sooryavanshi. They all sound different.”
Bagchi admits that understanding the ways of the industry took a fair amount of toil. He didn’t find it easy to get work when he arrived in Mumbai from Calcutta, and turning down offers that he knew could easily go to other composers didn’t seem like a wise decision. “If I said no, producers would go to someone else. So I focussed on doing the best I could. At the end of the day, I focus on the good. When I will no longer be here, [my songs] like Ve Mahi and Baarish will be immortalized.”
I am glad that my voice was retained in Coolie No 1-Chandana Dixit
7:54 AM
For the remixed version of the Coolie No 1 song, the makers roped in original singer Chandana Dixit, who last lent her voice to a Bollywood track 17 years ago
Uma Ramasubramanian (MID-DAY; December 28, 2020)
Agitation against the rehashing of '90s ditties may not have stopped label owners from capitalising on the trend, but the effort hasn't been entirely futile. If Tanishk Bagchi's version of Husn Hai Suhana is testimony, attention is, at the very least, being paid to acknowledge artistes who were associated with the original track. For the remixed version of the Coolie No 1 song, the makers roped in original singer Chandana Dixit, who last lent her voice to a Bollywood track 17 years ago.
"The makers did not want to alter the original vocals. While the male vocals [of Abhijeet Bhattacharya] could be salvaged, a portion of the section that I had rendered was [hampered]. So, I had to record the mukhda again," says Dixit, evidently delighted that her work was retain-ed in the new version, featuring Varun Dhawan and Sara Ali Khan.
Retaining the original vocals, she says, is a gesture that artistes of her like appreciate. "[A song like this one is] precious for a singer. When our voice is retained, it is nice, because we have a bond with the song; we have seen it being created from scratch. Unfortunately, this did not happen when Sheher Ki Ladki was recreated (for Khandaani Shafakhana). That was also my song, but the rights were owned by a label, and it was hence their property. The owner naturally wanted his daughter to sing it. It was unfortunate, and I felt sad, but such is life."
In 2002, Dixit, who has worked with composers like Anand-Milind and Anu Malik, and rendered songs like Chumma Chumma and Tujhe Khaas Fursat, moved to the US after getting married. This rehashed version is the first Bollywood track rendered by her ever since. In the states, Dixit has been conducting music classes. "I have been training students for 18 years. I was interested in classical singing, and followed my passion."
Lyricists fight for credit on apps, streaming platforms
8:41 AM
Songwriters, long given short shrift in Bollywood, are now up in arms for recognition and royalties
Rishabh Suri (HINDUSTAN TIMES; July 26, 2020)
After nepotism and favouritism, another debate seems to be in the making in Bollywood. Recently, songwriter-singer Swanand Kirkire tweeted, “OTT pe lyricists ka naam na hona sirf credit ka na hona nahin hain balki Lyrics Writer ke Wajood ko na maanana hai”.
Last year, the Indian Performing Rights Society (IPRS) filed an FIR against a production house seeking around ₹100 crore in royalties due to composers and writers since 2012. Danish Javed, of the Screen Writer’s Association, says, “If lyricists get their name on a publishing platform, as a member of the IPRS, they get part of the royalty,” he says. We got in touch with some prominent lyricists on this.
SWANAND KIRKIRE (3 Idiots, Barfi!, Lage Raho Munnabhai)
Music companies and big labels put songs on YouTube, and don’t give proper credits. They don’t get back when we point out. Some platform did get back recently saying ‘thanks for bringing to our notice’. They didn’t even say it was a mistake. Apps don’t credit the lyricists anywhere in their algorithm. You can’t search a song by a lyricist’s name. You can search the music director’s name. I can search for songs I’ve sung as I am a singer too. I get a detailed history what’s happening with my song, how many are streaming it, which state or country they belong to, but lyricists have no way to find that out.
SHELLEE (Shahid, Manmarziyaan, Jawaani Jaaneman)
I wrote a song in 2014, Beparwah, for Shahid. Why is my name missing on YouTube? People comment ‘soulful lyrics’ but my name is missing! There’s a rule: if the name is missing, the royalties from the song won’t come to you, be it YouTube or music apps. Music apps have a different algorithm. If we are given credits, we’ll start getting royalty. But what about the royalties of the past? We don’t do gigs or concerts like singers. We get paid peanuts once, and nothing after that. Even if the spelling of your name is wrong, you won’t get royalty. IPRS controls the domestic royalties, we need more transparency in it too.
VARUN GROVER (Gangs of Wasseypur, Fan, Udta Punjab)
I have been talking about it for years now. Many official channels on YouTube, and music company channels of Eros, Sa Re Ga Ma, Shemaroo, Ultra, don’t credit lyricists or give wrong credit. We have a list of these song credits. Gulzar, Javed Akhtar, Shailendra, these legends have credits missing on YouTube channels. Apps pick data from music companies who provide them their libraries. In their library itself, they don’t have the lyricist’s name! Some apps work on the American mode, where they think composer is the songwriter. They don’t even have space for lyric credits in their software. You can’t search if you want to.
SAMEER ANJAAN (Aashiqui, Kuch Kuch Hota Hai, Dhoom 3)
The Screen Writer’s Association is taking a big step because I think people do this knowingly. They have a huge nexus and intention behind not keeping the writer or composer’s name, because then royalties will not go to the right place. But now we are trying our level best to make them (apps) aware. Then we will take legal action.
Also, about last year’s hit Dilbar Dilbar (Satyameva Jayate), a leading publication said, ‘Music by Tanishk Bagchi, lyrics by Shabbir Ahmed’, when the original song was by Nadeem-Shravan, and lyrics by me. Shabbir wrote one line in the beginning, rest of the song was original.
Original creators A R Rahman, Prasoon Joshi disappointed with Masakali recreation
8:20 AM
BOMBAY TIMES (April 10, 2020)
Recreations and remixes of old classics have now become a part of the music world and are often loved by fans. In recent times, reprised version of songs like Tamma Tamma, Dilbar and Muqabla turned out to be huge hits, but not every reprised version wins the audience’s appreciation. And that seems to be the case with Masakali 2.0, a recreation of Delhi-6’s song Masakali. It has been a decade since the Rakeysh Omprakash Mehra film hit the theatres, and Masakali was one of the most loved songs from the film. In fact, one of the highlights of Delhi-6 was its songs, scored by A R Rahman and penned by Prasoon Joshi.Masakali 2.0, featuring Sidharth Malhotra and Tara Sutaria, was released on Wednesday, and since then, it has divided netizens. The song has also become the subject of countless memes. While the original was sung by Mohit Chauhan, the new version has been composed by Tanishk Bagchi and sung by Sachet Tandon and Tulsi Kumar. Both the songs are owned by T-Series.
Rahman expressed his displeasure about the remix through a tweet (see left). Talking to BT, Prasoon says, “Masakali is special for many reasons. Though all the songs I have written are special for me, a few are milestones in their own right. The entire album of Delhi-6, I humbly say, is truly iconic. Masakali is a word which I coined. It has no meaning and it’s not part of any language. I tried to infuse meaning in it through imagery, which A R Rahman painstakingly and masterfully composed, and singer Mohit added many more dimensions to. Rakeysh Omprakash Mehra, cinematographer Binod Pradhan, and of course, Sonam (K Ahuja) made it visually come alive. There is a larger point here – Who will protect the sanctity of original music and poetry? Is there any accountability to the music lovers or can whoever feels like tamper with the soul? ”
On his part, Mohit Chauhan says, “Masakali is iconic and has been a really important song in my career. Rahman saab and Prasoon bhai have already conveyed the sentiment that I have at this moment about Masakali 2.0. When a world-renowned musician and composer like Rahman saab says that the original should be heard, and not the remix, he is politely conveying that the song has been butchered. I think the time of polite dismissal of remixes is gone and the industry now must state in clear terms that remixes are really not necessary.” Tanishk, who is known for remixing old songs, recently recreated another of Rahman’s iconic songs — Muqabla, for Street Dancer 3D. Both Bhushan Kumar, of T-Series, and Tanishk were unavailable for a comment till the time we went to press.
— With inputs from Rachana Dubey and Debarati Sen
Sidharth Malhotra and Tara Sutaria to feature in the recreated version of Masakali
8:10 AM
Tanishk Bagchi is recreating Sonam Kapoor’s song ‘Masakali’ for a video produced by Bhushan Kumar
Himesh Mankad (MUMBAI MIRROR; April 6, 2020)
A R Rahman’s 2009 composition, “Masakali”, from Rakyesh Omprakash Mehra’s Delhi-6, featuring Sonam Kapoor, Abhishek Bachchan and a pigeon, is still popular. Now, Mirror has learnt, that a 2.0 version with Sidharth Malhotra and Tara Sutaria has been recreated by Tanishk Bagchi. Directed by Adil Shaikh and sung by Tulsi Kumar and Sachet Tandon, the music video is produced by Bhushan Kumar.“A R Rahman created a musical gem in ‘Masakali’ which has been a personal favourite for years. The song is still a rage among youngsters, so I thought it might be a good idea to present it in a new fashion. We got Sidharth and Tara for the song as they look good together on screen and they infused life into the chartbuster,” says Bhushan.
Sid points out that the song is relevant today, when we are all locked in following the Coronavirus spread, trying to stay safe from the deadly virus. “We have unintentionally made a song revolving around two people cooped up indoors and still doing a lot of masti,” reasons the actor.Sid and Tara were earlier seen together in last year’s romantic drama, Marjaavaan, and Tara reveals that they managed to shoot the whole song effortlessly despite having rehearsed only once. “It was a breeze,” the actress exults, adding, “It’s such a catchy song despite being a mid-tempo tune. Bhushan ji and Tanishk have reimagined the 2.0 version beautifully while Tulsi and Sachet have given it a fun, sexy spin, which I love.”
We are wondering if we will see a kabootar fluttering in this one, too.
Are Kanika Kapoor’s actions a reflection of criminal negligence? Singers and composers open up
8:18 AM
Titas Chowdhury (HINDUSTAN TIMES; March 23, 2020)
On March 9, Bollywood singer Kanika Kapoor landed at the Mumbai airport from London, UK. After spending a couple of days in the city, she flew to Lucknow, Uttar Pradesh, on March 11 to help her family move into a new house. According to her father, Rajeev Kapoor, she took a trip to Kanpur on March 13 and then came back to the Capital to attend two parties.
But the date that upset the applecart was March 20 when she was tested positive for Covid-19 (Coronavirus). Ever since, the Baby Doll singer has received massive backlash on social media where many have labelled her actions as “criminal negligence”. On March 21, an FIR was lodged against her at Sarojini Nagar Police Station, Lucknow. “An FIR might be an overreaction albeit understandable because the price for her negligence will be paid for by several innocents,” says singer Sona Mohapatra.
Ashoke Pandit, director IFTDA, says that he has spoken to Ashok Dubey, president of FWICE, and they’re going to take an action against the singer. “Our office is shut, but the members have had an internal discussion and we are planning to take a strict action against Kanika. Her behaviour isn’t acceptable,” he says.
Pandit adds that the FIR filed is justified. “In a hypothetical situation, if any person present at the party gets infected and passes away, she should be held responsible for murder.”
Musician Jasleen Royal believes that the problem lies with organising a party at a time like this. “All of us need to stay indoors and not meet people. I believe that it was wrong to be organising a party in the first place,” she says.
Divya Kumar who collaborated with Kapoor for a song in Kis Kisko Pyaar Karoon (2015) asserts that attending a social gathering amounts to “criminal offence”. Reverberating Royal, Kumar says, “She went to a party that was also attended by politicians who have constantly been telling us to not go to any social gathering. All of them should be accused of criminal negligence and not just Kanika ji. The ones to be blamed the most are those people who’ve organised the gathering.”
For Mohapatra, the larger problem lies with how the cream of the upper class societies functions. “The real problem lies with our toxic celebrity and VIP culture which mollycoddles famous, rich and powerful people into thinking that they can operate by different rules. Senior politicians and leaders, who ought to have been ‘walking the talk’ of social distancing, attended these parties.”
Veteran music composer and vocalist, Bappi Lahiri, who has worked with Kapoor, opines that attending a party with the symptoms of Covid-19 makes for “irresponsible behaviour”. He says, “It’s an unfortunate incident. She should have taken precautions, but the same time, it’s a medical emergency and I hope she recovers soon.”
Nikhita Gandhi, singer, in a similar vein, says, “People are shaming her on social media. If it’s really that way, then it’s careless and irresponsible of her to socialise.”
Mohapatra adds that celebrities not obliging with airport officials for a medical check-up is also an issue that needs to be addressed. “The privileged and entitled elite of this country misbehave with officials in the airports if inconvenienced for a check. They complain about quarantine facilities as if they deserve to be kept in a five-star hotel,” she shares.
When contacted, music director Tanishk Bagchi says, “I don’t want to comment on it. I want these things to get over as we need to work. We have to be safe and at home.”
(With inputs from Sonil Dedhia)
Musician Karan Kulkarni lashes out at Tanishk Bagchi
8:27 AM
Debarati Sen (BOMBAY TIMES; March 8, 2020)
Music composer Karan Kulkarni is upset with Tanishk Bagchi after the latter recently said that the background score of Shubh Mangal Zyada Saavdhan had parts of his compositions and songs. Kunal says, “Tanishk may have composed the songs for the film, but the background score was created by me. I have always believed in and worked on original music and none of my works have had remixes or borrowed parts. I am known in the advertising industry for my unique sound. For someone to point a finger and claim that my work is his, must take a great deal of insecurity. I thought this used to happen back in the day, but for it to still exist, really surprises me. I never got to hear the songs of Shubh Mangal Zyada Saavdhan before its release. So, how would I have used them in my music? I have videos to prove that we have done it all ourselves.”Kunal, who has composed songs and done the background score for films like Shahid, Mard Ko Dard Nahi Hota, Tumhari Sulu and others, further says, “As a musician, you generally try to promote and encourage other musicians and support a healthy ecosystem. After all, it is an art form. If composers start fighting between themselves and start accusing each other, then I don’t think that’s a healthy system for us to be in. I don’t have anything to say against Tanishk, but why is he trying to accuse me? This is not something that I would do to another musician unless it was true.”
TANISHK BAGCHI REPLIES...
When we spoke to Tanishk about this, he said, “Karan is a good musician and I am not blaming him for anything. Using parts of songs as background score is common. I feel that when you do a full album, if the background music also comes to the music director, then it becomes easier for him to set the vibe of the entire film. But again, I am not accusing anyone. My idea is clear regarding this; when you have songs in the film, why not compose for the entire film with background score, themes, teasers, trailers and end credits? Generally, themes are made from the main songs.”
MEANWHILE, SHUBH MANGAL ZYADA SAAVDHAN’S DIRECTOR HITESH KEWALYA TWEETED THIS...
“Have all the love and respect for your work @tanishkbagchi originals+remixes. And am sure you will do well as a background music director too, but don’t discount the original work @karankulkarni has put in for SMZS. Using some riffs in the background music helps create a cohesive sound for the film (sic).”
Why should someone else take the credit for my music?-Tanishk Bagchi
8:23 AM
Debarati Sen (BOMBAY TIMES; February 29, 2020)
Composer Tanishk Bagchi, known mostly for his recreated songs, is singing a different tune these days. For the first time, 2020 will see him take over the music of a film. This will include not just the songs, but also the background score.
Talking about how other background music directors have used his work, Tanishk says, “They (background score composers) take my tracks and paste it throughout the film. Case in point is the recent film starring Ayushmann Khurrana (Shubh Mangal Zyada Saavdhan). The entire background score actually has many parts of my original songs. That’s why I decided to take this up seriously. Since the background musicians are using my tracks, I thought why not do it myself? Why should someone else take the credit for my music?”
Tanishk, who has earlier worked on background scores for other music directors, adds, “Creating a film’s background score will help me be completely involved in the project because I will be composing more than just the songs in it.” When asked about his numerous recreated numbers, he states, “The response to my remixes has always been good, but this year onwards, I am going to concentrate on my original music and score music for the entire album. Right now, I am doing at least four to five songs for each film that I am composing for.”
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