Dear Hindi Film Music Lover...not sure if you have seen a website called itwofs.com. The site lists out 'inspirations' that our Indian film industry's music directors have had from their western (and eastern, middle eastern, asian, african, south american etc etc) counterparts. Music knows no boundaries and reaches across borders, so do our music directors! Copyright = right to copy, our cinema may not have really turned global, it sounds like our music certainly has.
You will find some usual suspects there, while Bappi Da perfected ‘lift and drop’ routine earlier on, Pritam has dropped the personalization step altogether and simply plagiarizes and monetizes. At least Bappi Da gave the industry some really soulful original tracks in the 70s and 80s, Pritam’s repertoire boasts of a re-hashed mix of global tracks in every album. The rest of the composer fraternity isn’t above board anyway. Quantity will score over quality in a tune-in-a-minute world, if you can’t create a melody, go buy the latest Australian aborigines’ music CD and pump out your score.
What aches the heart most is the realization that some inspiring tracks of great composers have been themselves inspired from elsewhere. Be it the haunting melody on guitar in Karz or the lilting “Aye Dil Hai Mushkil Jeena Yahan” from CID, our mighty may not have fallen but they surely have stumbled on occasions. Although it does not take away from the stunning body of work they have created, minor transgressions do blot their ‘track’ record forever.
In the middle ages, the line between minor and major transgression blurred. Bappi Da and Pancham started to get inspired quite often and Nadeem continued to get divine inspirations from the neighbouring country while Shravan slept. People from my generation will remember the score of Ashiqui, their first of many hits. Ashiqui also unleashed Gulshan Kumar, Kumar Sanu and Anuradha Paudwal on our senses for the better part of next decade and seems all songs in that album were lifts from earlier Pakistani film songs. While Anu Malik went abroad westwards to get his inspirations, Anand Milind did a mad rush to Madras and hopped on to Trivandrum and Hyderabad on their inspirational round trip.
What gives me hope with this generation is that for every Pritam, there is a Vishal Bhardwaj and a Vishal-Shekhar and for every Sanjiv-Darshan (sons of Shravan!!) there are Shankar-Ehsan-Loy. This threesome goes to the extreme to ensure anything they compose doesn’t sound similar to any other tune they may have heard. More power to this new generation and more PMPO to its music….hope originality and melody live long.
You will find some usual suspects there, while Bappi Da perfected ‘lift and drop’ routine earlier on, Pritam has dropped the personalization step altogether and simply plagiarizes and monetizes. At least Bappi Da gave the industry some really soulful original tracks in the 70s and 80s, Pritam’s repertoire boasts of a re-hashed mix of global tracks in every album. The rest of the composer fraternity isn’t above board anyway. Quantity will score over quality in a tune-in-a-minute world, if you can’t create a melody, go buy the latest Australian aborigines’ music CD and pump out your score.
What aches the heart most is the realization that some inspiring tracks of great composers have been themselves inspired from elsewhere. Be it the haunting melody on guitar in Karz or the lilting “Aye Dil Hai Mushkil Jeena Yahan” from CID, our mighty may not have fallen but they surely have stumbled on occasions. Although it does not take away from the stunning body of work they have created, minor transgressions do blot their ‘track’ record forever.
In the middle ages, the line between minor and major transgression blurred. Bappi Da and Pancham started to get inspired quite often and Nadeem continued to get divine inspirations from the neighbouring country while Shravan slept. People from my generation will remember the score of Ashiqui, their first of many hits. Ashiqui also unleashed Gulshan Kumar, Kumar Sanu and Anuradha Paudwal on our senses for the better part of next decade and seems all songs in that album were lifts from earlier Pakistani film songs. While Anu Malik went abroad westwards to get his inspirations, Anand Milind did a mad rush to Madras and hopped on to Trivandrum and Hyderabad on their inspirational round trip.
What gives me hope with this generation is that for every Pritam, there is a Vishal Bhardwaj and a Vishal-Shekhar and for every Sanjiv-Darshan (sons of Shravan!!) there are Shankar-Ehsan-Loy. This threesome goes to the extreme to ensure anything they compose doesn’t sound similar to any other tune they may have heard. More power to this new generation and more PMPO to its music….hope originality and melody live long.
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