majesticpankaj
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Bollywood music sheds poetry to takes on realistic shades and the listeners seem to like it
Take film music from any generation, 90 per cent of the songs are all bad. It is only 10 per cent of the music that is fresh, different and evolving, says Ram Sampath, singer of the popular Delhi Belly number Bhaag DK Bose. The song, along with Character dheela hain and Dhinka chika, both from Ready, has climbed up the music charts, proving that music replete with realistic allusions but shorn of the finer nuances of poetry are still a hit with listeners.
Songs like these need to fit into the story setting. For Bhaag DK Bose, the setting itself is a fast-paced one and the song fits into the story. More importantly, it reflects our socioeconomic structure. says Sampath. Such realistic comments also emerge from a slew of recent songs like the Mutton song from Luv ka the End, Shalu ke thumke from Bin Bulaye Baarati and even Aali re from No One Killed Jessica.
Sushant Jagtap, who penned the lyrics for the Shootout at Lokhandwala number Aye Ganpat, says, The songs also have a lot to do with what people now like. These songs, that use colloquial lingo instead of poetic lyrics, are a reflection of real-life stanzas from peoples lives. Even though a lot of older people feel that these are inappropriate, these songs garner a lot of airplay. Aye Ganpat was a situational number, and this is what anyone would call out to a waiter in a small Maharashtrian hotel.
In keeping with the changing language of the masses, where Hindi, English and vernaculars are often mixed up together, songs have moved away from the pure Urdu of lyricists like Gulzar. But the coarse, in-your-face lyrics that do not have the balm of poetic euphemism has also resulted in widespread criticism. A section of music critics has cringed at these popular numbers but Sampath doesnt seem bothered. Some people will like it, some wont, he says, with a shrug. He adds, Even in songs like Beedi jaleile and Kallu mama from Satya, there is a certain brazenness which reflects the edgy nature of our real lives. I feel it is a sign of realism coming into our songs.
Amitabh Bhattacharya, lyricist for Character dheela hain as well as for movies like Ready, Udaan, Luv Ka the End and Dev D, says, For Character dheela hain, the central character is asking why fingers are raised on his character when all he wants is to have fun like everyone else. For the Mutton song, it is a case of a guy who wants to let loose and dress up like a woman. These are the songs that people get hooked to.
Sampath agrees, The biggest advantage for us is that we work with people who understand the intricacies of the average citizens life. That is all that is reflected in most of the songs.
http://www.indianexpress.com/news/mutton-not-poetry/801131/1
I found it very interesting
Take film music from any generation, 90 per cent of the songs are all bad. It is only 10 per cent of the music that is fresh, different and evolving, says Ram Sampath, singer of the popular Delhi Belly number Bhaag DK Bose. The song, along with Character dheela hain and Dhinka chika, both from Ready, has climbed up the music charts, proving that music replete with realistic allusions but shorn of the finer nuances of poetry are still a hit with listeners.
Songs like these need to fit into the story setting. For Bhaag DK Bose, the setting itself is a fast-paced one and the song fits into the story. More importantly, it reflects our socioeconomic structure. says Sampath. Such realistic comments also emerge from a slew of recent songs like the Mutton song from Luv ka the End, Shalu ke thumke from Bin Bulaye Baarati and even Aali re from No One Killed Jessica.
Sushant Jagtap, who penned the lyrics for the Shootout at Lokhandwala number Aye Ganpat, says, The songs also have a lot to do with what people now like. These songs, that use colloquial lingo instead of poetic lyrics, are a reflection of real-life stanzas from peoples lives. Even though a lot of older people feel that these are inappropriate, these songs garner a lot of airplay. Aye Ganpat was a situational number, and this is what anyone would call out to a waiter in a small Maharashtrian hotel.
In keeping with the changing language of the masses, where Hindi, English and vernaculars are often mixed up together, songs have moved away from the pure Urdu of lyricists like Gulzar. But the coarse, in-your-face lyrics that do not have the balm of poetic euphemism has also resulted in widespread criticism. A section of music critics has cringed at these popular numbers but Sampath doesnt seem bothered. Some people will like it, some wont, he says, with a shrug. He adds, Even in songs like Beedi jaleile and Kallu mama from Satya, there is a certain brazenness which reflects the edgy nature of our real lives. I feel it is a sign of realism coming into our songs.
Amitabh Bhattacharya, lyricist for Character dheela hain as well as for movies like Ready, Udaan, Luv Ka the End and Dev D, says, For Character dheela hain, the central character is asking why fingers are raised on his character when all he wants is to have fun like everyone else. For the Mutton song, it is a case of a guy who wants to let loose and dress up like a woman. These are the songs that people get hooked to.
Sampath agrees, The biggest advantage for us is that we work with people who understand the intricacies of the average citizens life. That is all that is reflected in most of the songs.
http://www.indianexpress.com/news/mutton-not-poetry/801131/1
I found it very interesting
