| Subtopic | Msgs | Last Updated | |
| Archive 2001-2002-2003 | 2178 | 12/09 07:12pm |
| Archive 2004-Aug2006 | 330 | 09/12 10:04am |
| Wednesday, October 25, 2006 - 03:39 am Melody king now `deals in aroma' Nirmal Mishra Wednesday, October 25, 2006 00:00 IST From composing music to selling perfume: it has surely been a long and controversial trek for Nadeem Saifi. Sources said that the once Numero Uno music director of Bollywood - he and partner Shravan shot to fame with films like ‘Ashiqui’, ‘Sajaan’, ‘Sadak’ - has shifted from London to Jeddah in Saudi Arabia. It has also been learnt that Nadeem was frequently visiting Dubai these days. Nadeem is wanted by Mumbai Police as a prime accused in the murder case of T-Series boss Gulshan Kumar, who was shot near an Andheri (west) temple on August 12, 1997. “Yes, he has frequently been travelling out of London. But I don’t think Nadeem has permanently settled down in Jeddah. There is nothing wrong legally if he has moved out of London. He has a house in Jeddah. He may be travelling up and down,” said Nadeem’s lawyer Majeed Memon. Amin, the former music director’s secretary in Mumbai, said that Nadeem had started a perfume business in Jeddah. “So, he keeps coming shuttling between the two cities,” Amin said without divulging any further detail. Shravan, too, said that he had heard of Nadeem having shifted somewhere. “But I don’t know where. A friend of mine said that he had bumped into Nadeem in Dubai sometime back,” said Shravan. Deputy commissioner of police (Crime) Dhananjay Kamlakar told DNA on Tuesday, “Even if Nadeem has really shifted to Jeddah, we can still pursue him through the Interpol. Plus there are other means like mutual legal assistance between India and Saudi Arabia.” Mumbai Police, with the help of Centre, had been trying to get Nadeem extradited from London. But the London High Court dismissed Delhi’s appeal and ordered Nadeem to be discharged “forthwith in relation to the offences in respect of which his return is sought by Union of India.” The Indian government lodged a plea that the court order be reviewed, but was rebuffed by the House of Lords.
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| Friday, October 20, 2006 - 04:13 am 1994 MELODY IN THE MOVIES Rajiv Vijayakar Posted online: Friday, October 20, 2006 at 0000 hours IST Jatin-Lalit add yet another feather in their cap with Kabhi Haan Kabhi Naa, consolidating their tuning with Majrooh Sultanpuri after Yaara Dildara and Jo Jeeta Wohi Sikander. Sanu-Alka’s ‘Aana mere pyar ko na tum jhoota samjho jaana...’ and ‘Ae kaash ke hum...’ (Sanu) are the most popular tracks, but ‘Woh to hai albela...’ (Sanu-Devki Pandit) is an outstanding song that is only tepidly popular. Also popular are ‘Kyoon na hum milke pyar karen...’ (Amit-Udit-Vijeta Pandit), ‘Deewana dil deewana...’ (Amit-Udit) and ‘Sacchi yeh kahani hai...’ (Amit-Udit-Vijeta). Rajesh Roshan fails to give a single hit in delayed films like Insaniyat and Aapatkaal.Shyam-Surender score a melodious Ishq Mein Jeena Ishq Mein Marna but no song works after the film collapses. Lata-Sanu’s ‘Naino se baatein karne do...’ from Elaan is popular. Venus also release the album of Mere Humsafar marking the film debut of bhajan specialists Triveni-Bhavani. The music does not work and the film is not made at all! However, they get a winner on par with a film song in the album of the Ramesh Sippy TV serial Kismat which has the hit Sanu’s ‘Kismat ka to yehi fasana hai...’ with lyrics by Maya Govind and music by Dilip Sen-Sameer Sen. Bappi Lahiri has a tepid year.‘Main jhoomta hua saawan...’ (Sanu-Alka/Mr Azaad), ‘Yeh duniya kya chahe money money...’ (Arun Bakshi/Amaanat) and ‘Dil ka panchhi bole...’ (Sanu-Alka) work for a while. ‘Zindagi char din ki...’ (Anuradha-Babul Supriyo) works fleetingly, but the tangy ‘Parbat roke sagar roke’ (Amit-Anupama Deshpande) in Juarri is not so lucky. Anand-Milind have their best year. Their N-S-esque ‘Ek baat bataaoon...’ (Sanu-Alka) is popular from Milan, but it is in the other songs that A-M score, led by Abhijeet’s superb ‘Kahin to milegi...’, Pankaj-Sadhana’s ‘Aansoo judaai ka...’, Abhijeet-Kavita’s ‘Aa jana...’, Sanu-Kavita’s ‘Ladki jab aaye...’ and Abhijeet’s ‘Aanewali hai...’. S.P.Balasubramaniam-Kavita’s ‘Dharti bane dawaat...’ and Amit-Sadhana’s ‘Aankhon mein band kar loon...’ from Sangdil Sanam are fleetingly popular. Udit-Kavita’s zingy ‘Main hoon champion...’ and Udit-Sadhana’s twinkle-toed ‘Dushmuni chhodo sanam...’ from Madhosh fail to register after the film falls flat. ‘Love rap...’ (Amit-Sudesh-Poornima-Sapna Mukherjee) from Krantiveer is a big hit, and ‘Jhankaro jhankaro...’ from the same film marks the debut of Sapna Avasthi in this duet with Udit and Sanu-Poornima’s ‘Chunri udi sajan...’are also popular. ‘Chane ke khet mein...’ (Poornima) and ‘Badi mushkil hai...’ (Abhijeet) are the hits from Anjaam, while Raja Babu has chartbusters like ‘A aa ee...’ (Abhijeet), ‘Sarkailo khatiya...’ (Sanu-Poornima), ‘Ooe amma...’ (Poornima) and ‘Pak chik pak...’ (Vinod-Jolly-Anand Chitragupta) are also popular. The Poornima version of ‘A aa ee...’ does not work. Laadla’s twin hits are Udit’s ‘Ladki hai kya...’ and Arun Bakshi-Vinod Rathod’s ‘Boi boi bam bababam boi...’- with this film, Anand-Milind touch 100 films in 10 years. To be cont’d..
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| Thursday, October 19, 2006 - 11:12 pm Ramzan’s Night of Forgiveness INNER VOICE || Rakhshanda Jalil For a believing Muslim, the most blessed of all nights falls on a particular night that no one can actually pin-point to with any certainty. Yet the faithful who have prayed through many dark watches, seeking communion with God, say that the heart always knows when communion has been reached. This mysterious, powerful and holy Night of Nights is variously known as Shab-e-Qadr or Lailat ul-Qadr. These musical names are understood respectively to mean the Night of Honour and Dignity, the Night of Destiny or the Night of Power. This important occasion can fall on any of the odd nights in the last ten days of the month of Ramzan, that is, on 21st, 23rd, 25th or 27th of the month of Ramzan. This year, these dates correspond with October 15, 17, 19 and 21. While the entire period of Ramzan is a time of fasting (sawm) and praying (ibadat), this night is special for it is believed to be the night when Allah first revealed the first verses of the Qur’an to Muhammad. The Prophet was then 40 years old and he received these verses from Allah through the angel Gabriel. Unlike other anniversaries, this is a solemn occasion — a time to reflect and pray and to celebrate the arrival of the Message from Allah. But this is done not through a feast for the senses but through abstinence and worship. Some go into retreat (i’tikaf), spending all their time in a mosque for the last ten days of Ramzan; others take as much time out as possible on these special nights for prayer and the study of the Qur’an. On this night one should ask and ask, to one’s heart’s content, but above all one should ask for forgiveness of all past sins. The Prophet’s wife is said to have inquired of him: “O Messenger of Allah! If I knew which night is Lailat ul-Qadr, what should I say during it?” The Prophet instructed her to say, “O Allah! You are forgiving, and you love forgiveness. So forgive me.”
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| Thursday, October 19, 2006 - 06:09 am Producer: J.P. Dutta Director: J.P. Dutta Starring: Abhishek Bachchan, Aishwarya Rai, Shabana Azmi, Sunil Shetty, Puru Rajkumar, Divya Dutta, Himani Shivpuri, Kulbhushan Kharbanda, and Ayesha Jhulka Music: Anu Malik Lyrics: Javed Akhtar Singers: Alka Yagnik, Sonu Nigam, Richa Sharma, Anmol Malik, and Javed Akhtar Audio On: T-Series Number of Songs: 10 Album Released on: 30 September 2006 Reviewed by: Gianysh Toolsee Reviewer's Rating: 8.5 / 10 How unfair is it (by all means) to start with comparisons for this soundtrack? It is also unfair to say that X,Y,Z music director or lyricist or singer would have done a better job instead of the ones being credited. It’s neither discussion nor concise arguments as one cannot predict the work of an artist as it all depends on inspiration, circumstances, producer’s demand, and market trend. In a word, it is called gossiping. It just does not make any sense. The man who has seen it all in the music industry – failure, success, betrayal, backstabbing, glory, depression, loneliness and fame – is strongly assigned to compose one of the most awaited soundtracks in the history of Bollywood. Providing music to a classic remake is not a small thing. There is a mountain of work behind; like understanding the classic story of Mirza Haadi Ruswa's 'Umrao Jaan Ada' (1905) as well as Urdu literature, the Nawaab culture and most importantly, the music being played in that century. J.P Dutta trusts Anu Malik and it really shows. Malik’s task is an immense assignment. Javed Akhtar has also been required to scribble exclusive Urdu poetry which can be easily converted into tunes. For music played a century ago, where the Nawaabs were ruling, expect something very classy, melodious and a good dose of ‘ghunghroo and tabla’ sounds. After all, the period was different. Classy, melodious and catchy are the only three words to describe Salaam. Alka Yagnik dominates the track with a solo rendition, which leaves a lasting impression. An addictive deepness is present in her voice. Orchestration by Malik is magnificent where he masters all the instruments perfectly and introduces a wide range of them – building the atmosphere of the soundtrack. Indian classical music never fails and this is where Malik scores. His approach in mixing Indian Classical with the period feel will leave listeners asking for more. Impressively, the tabla and sitar have been used in the best way, while the background music is supported by the elegant chimes of the ghunguroo. Note: The melody of ‘Salaam’s title line has been lifted from Nadeem-Shravan’s ‘Dhoom Machi Hai’ (Ansh). Whether the original source pre-dates ‘Dhoom Machi Hai,’ is yet to be discovered. Alka Yagnik comes to perfect form in Pehle Pehel, which is a very difficult song to sing and to tune music to. Javed Akhtar’s words embody a deeply embedded meaning; “Ishq taabir hain. Jiska dil naam hain, woh to ek jaam hain. Jaam chalkaa gaye…Tum bhi pehle pehel…Hum bhi pehle pehel.” – Javed Akhtar The rhythmic notes follow an unusual pattern and this makes the track special. The vocal modulations are a delight. Moreover, Malik keeps the composition concise and doesn’t deviate from the music earlier introduced. Melody is at its peak while the low tempo has been maintained throughout the song. Soft tabla beats provide the background score while the use of Sarangi is in sync with the theme. Pehle Pehel is a beautiful composition overall. Behka Diya Humein is the only duet in this album, but a precious one nonetheless. Sonu Nigam and Alka Yagnik render in finesse. Sonu Nigam goes into the character of Abhishek Bachchan and Alka continues in the same trend but gets the chance to be less classy and exposes other variations in the voice. A more relaxed Alka is heard. This light and simple number is made special due to the minimal arrangements by Malik. Malik doesn’t neglect the core melody and delivers in generous doses. Poetry by Akhtar is another plus point Classical and palatial music are ubiquitous where Nawaabs live and where empires are present. The sounds of tablas, violins, sarangi, harmonium and ghunghroos fill the aura and adorn the dwellings with musical ornamentation. This is exactly what Jhute Ilzaam is all about. An audience is needed for this song and the track has been composed with this in mind. Malik goes into the dynamics of such genres and delivers with impact. The male chorus reciting the classical alaaps complements the traditional music while the harmonium heartily brings an ancient era alive – which tends to be dictatorial. Alka Yagnik is again splendid in her rendition and gets the chance to sing in a high pitch mode in some stanzas. This slow-paced song takes time to grow and that must be appreciated. Main Na Mil Saku Jo Tumse is another number from the same mould – the same orchestra and arrangements have been beautifully used. However, this one will take some time to make its own way but it will! Malik comes with a complicated tune – with the use of a raaga. Alka Yagnik is at ease with the rendering because the raaga has been simplified for singing. The music follows the same path but the interludes are very Malik friendly. The simple chord progressions are a treat for music lovers. Pooch Rahe Hai has a terrific musical start and the attraction is in the alluring voice of Alka Yagnik. Malik builds the song from the prelude with the apt use of the tablas and the male chorus. Alka sings in the low pitch and is amazing in the antara. The music and arrangements have been kept constant with the previous songs. Pooch Rahe Hai is situational at places but maintains the standard Ek Toote Huye Dil Ki is a short alaap where Alka Yagnik removes everything from her heart while the music backs up this suffering with a lethargic progression. Javed Akthar comes next in Foreword who recites a few lines about the history of Umrao Jaan. ”Unnis wi sadi ka Lakhanau, Hindustaan ki gangaa jamuni tehzeeb ka gehwaaraa tha. Lakhanau us tehzeeb ka dil tha. Aur us dil ki dhadkan thi Umrao Jaan Adaa. Magar sitam yeh ke, us dhadkan ke seene mein bhi ek dhadakta hua dil tha, jiski awaaz uske jeetejii kisi ne nahi suni. Umarao Jaan ki har ghazal unhi dhadkano ki sadhaa hai. Usi dil ki pukar hai.” – Javed Akhtar Pain and suffering are heard in the voice of Richa Sharma in Agle Janam Mohe Bitiya; ”Agale Janam Mohe Bitiyaa Naa Ki Jo. Jo Ab Kiye Ho Daataa, Aisaa Naa Ki Jo.” – Javed Akhtar The start of the song is mesmerizing. The song turns out to be a complicated one again but Malik simplifies it with his arrangements, which have been meticulously crafted. This highly orchestrated song also comes with a strong flute accompaniment, which just adds more musical value to the painful and grieving piece. The usual violins and sarangi are played in the background, while the female chorus is sweet. Richa Sharma uses her voice as a beautiful instrument throughout the piece. The shorter version by Anmol Malik (Anu Malik’s daughter) is truly memorable. Anmol shows a lot of potential in her excellent debut rendition. Track record apart, credit should be given where due. Anu Malik is obviously instrumental in the crafting of such a beautiful soundtrack, but most credit should be given for concentrating on these areas: Technical Side: Anu Malik has done a formidable job in sticking to a real orchestra and has selected his instruments wisely. The use of music softwares would have destroyed the whole melody. Some Indian music (exceptions exist) and melody are not meant to be played on music softwares. Malik makes the distinction and uses instruments that take listeners back to the ancient era. Even the violins were used differently! The tablas and sarangi were at the heart of Malik’s compositions and are always front and center. Melody and Ragas: Connecting Ghazals with melody is not easy, as the scope to do so is limited. However, Malik manages to do just that. He injects melody into the heart of each song. There has also been use of certain ragas, which can be spotted in certain songs but hard to be described as it is too technical. “It was important to understand the culture of the backdrop of the film. I had to read about it. I have used raagas like maru bihag, kaushiki and jogeshwari extensively for the songs in Umrao Jaan. It’s as if the songs have come from my heart.” - Anu Malik [Newindpress.com] The m inus point tends to be the minimal inspirations in Salaam. Such lack of awareness is intolerable. Furthermore, it is outright inappropriate for him to stoop to such levels while composing for a remake of a classic film, whose music is its soul. Another deduction in points comes from the fact that all his efforts were allocated to the orchestration, while at times the melody of some musical interludes was clearly neglected. On the whole, Anu Malik proves his versatility once again by delving deep into the classical and ghazal genres. There is no lack of direction or cohesion in the music and certain sounds that pervade the album are uniquely Malik. The soundtrack also has its share of beauty in certain songs, where others receive royal treatment above the standard. Javed Akhtar continues doing the same good job. Alka Yagnik is genuine in her renditions and her unique vocals are enough to sell the album. And it shows that she remains Malik’s favorite female singer. Umrao Jaan is a quality album for those who like a balanced soundtrack. This is a sincere effort conveyed by Malik…but there’s a little magic missing that could have taken this soundtrack to even higher grounds.
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| Friday, October 13, 2006 - 12:27 am 2 year old film starring Dino-Mahima ready for release Joginder Tuteja, IndiaGlitz [Thursday, October 12, 2006] Couple of years back a suspense thriller starring Dino Morea and Mahima Chaudary was ready for release. Titled 'Gumnaam-The Unknown', the film came into limelight due to its unusual pairing. Songs by Nadeem Shravan were released too and the promotion was all there on the music channels. Then there came a lull period and there was no news about the film. 2 years down the line, the film has been revived and may now see a release before the year ends. Produced by Shubir Mukherjee who had made Dharmendra starrer 'Teesri Aankh' a couple of decades back, the film marks the directorial debut of Neeraj Pathak who had written the screenplay of 'Pardes' around a decade ago. Apart from Dino and Mahima, the film also stars Irrfan Khan, Suman Ranganathan and Rakhi Sawant in the principal roles.
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| Thursday, October 12, 2006 - 12:35 am 1994 MELODY IN THE MOVIES Rajiv Vijayakar Posted online: Friday, October 06, 2006 at 0000 hours IST As far as trends go, rap and the Rahman and Ilayaraja rip-offs rule, with Anand-Milind reworking a slew of Ilayaraja hit numbers and Anu Malik using a few Rahman tunes in The Gentleman, a film that N-S quit when told to rework Rahman’s songs. Muhaffiz marks the debut of classical composers Ustad Sultan Khan and Ustad Zakir Hussain as film composers, as also the playback debut of singer Shankar Mahadevan. Music Television and Channel [V] begin operations and have far-reaching effects on the audio-visual qualities of music in the years to come. The sleaze wave is at its zenith, but the poetic lyrics of 1942 - A Love Story (Javed Akhtar) and the warm sentiments of Hum Aapke Hain Koun!...(Dev Kohli and Ravindra Rawal) counter the trend in a big way. Among the seniors, O.P.Nayyar attempts another comeback with Zid, but fails. Kalyanji-Anandji’s last film to hit the theatres, Ulfat ki Nayi Manzilein, releases and vamooses - it is also the last film of giant lyricist Rajendra Krishan and has been in the making for almost 20 years. R.D.Burman’s other films, Janam Se Pehle and Professor Ki Padosan (delayed by almost a decade) are also non-starters. Laxmikant-Pyarelal’s ‘Payal utaar doongi...’ (Ila Arun) from Mohabbat Ki Arzoo and ‘Woh ladki jab ghar se nikalti hai...’ (Pankaj Udhas) from Tejasvini are their only popular songs. To be cont’d..
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| Wednesday, October 11, 2006 - 10:34 pm Rahman fights for copyright of his music "I can't run to music companies every time I need to use my own song," says the composer Subhash K Jha A R Rahman has decided to put his foot down and protest against the prevailing practices in Bollywood. The music composer is going all out to campaign for securing the financial rights of composers and lyricists, and even producers. As a first step to furthering this 'movement' Rahman has withdrawn from Farah Khan's next film. "I'm not doing Farah Khan's Om Shanti Om. But that doesn't mean there's any quarrel with her or with Shah Rukh who is producing her film. Farah and I go back a long way. We did Bombay Dreams together. In fact, I did some tunes for Om Shanti Om which Farah has now returned to me, not because she didn't like them but because we just couldn't agree on my terms," he says. Rahman's new policy is simple. He says, "I want to push for the copyright of composers and lyricists, even producers. I'm not saying that I want to be the sole proprietor of the songs I compose. But I want a share. There's nothing wrong with that. I can't run to music companies like T-Series and Sa Re Ga Ma every time I need to use my own song." Unfortunately, not too many producers in Bollywood are willing to share Rahman's demand for a share in the royalty for a song. But Rahman holds no grudges against anyone, least of all Aamir Khan or Shah Rukh from whose productions the composer has opted out, on this issue. "In fact Shah Rukh tried his utmost to see and to put forward my point of view," defends Rahman. Unfortunately, T-Series, the music company which will market the music of Om Shanti Om, would have none of it. Rahman laughs, "I realise that I have a huge fight on hand, although I don't see it as a fight. It's not like the British rock band Queen which owned sole copyright of all its songs. But I won't run to music companies in Mumbai for the rights for my songs every time I want to perform them at concerts. Music companies must recognise the changing ground reality. Today, conventional outlets for music sales are drying up. Soon all music will be free while the performers and performances will be paid for." Rahman is ready to take on the flak that he's likely to earn, for his stance. He says, "Any change is frowned at. But I'm standing up for what I think is right. Yes, producers will back out. But that's fine. I've always been asked why I haven't done a non-film album. Now, I have the time to do that." What could complicate matters for Rahman in Mumbai is his selective attitude to the copyright issue. While he has chosen to assert his financial rights over Aamir Khan and Shah Rukh Khan, Rahman has exempted Ashutosh Gowariker's Jodha-Akbar from the copyright-net. Rahman says, "It has to be flexible. I can't draw a net on all my assignments and draw up a uniform code. At the same time, I'm not insecure about my career. If I lose out on some assignments in Mumbai I'm ready to bear with the loss." • I'm not saying that I want to be the sole proprietor of the songs I compose. But I want a share. There's nothing wrong with that — A R Rahman
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| Wednesday, October 11, 2006 - 12:02 am Reshammiya composes for Shakalaka Boom Boom Joginder Tuteja, IndiaGlitz [Tuesday, October 10, 2006] Once upon a time, music for Darshan brother films spelt only two names - Nadeem Shravan! After giving numerous musical hits for both Dhamesh Darshan and Suneel Darshan, Nadeem Shravan would no more be seen for their new projects, at least for the time being, due to an alleged split between the two composers. Due to this, Himesh Reshammiya is now a hot favorite for both Darshan brothers. He recently gave a chartbuster score for Dharmesh Darshan's 'Aap Ki Khatir' and one wonders how much further the score would have worked if the film would have been a success at the box office. Well, at least Suneel Darshan would be thinking positively since he has roped in Reshammiya to compose for his 'Shakalaka Boom Boom'. As per him, the film is very urban, peppy and contemporary, something that suits the genre of the film [the film is about two warring rock stars]! Slated to arrive on the stands before the year comes to an end, one certainly waits to check out this album by Reshammiya which should keep his fans engaged once again!
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| Wednesday, October 04, 2006 - 01:15 am Kash Mere Hote Wallpapers: http://www.santabanta.com/wallpapers/category.asp?catname=kash%20mere%20hote
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| Tuesday, October 03, 2006 - 05:43 am If you thought that Annu Malik was the only man who pilfered songs from other music composers – wait… we will give you a new list. Shantanu Moitra was caught stealing Pal Pal in Lage Raho Munnabhai from Cliff Richard. While the old timers were accused of copying from Western Classical music, the music directors today have more access to music across the world and hence influences and inspirations apart, direct lifts also take place. Let me start from the recent movies…In the film Krrish - Rajesh Roshan, has come up with the song Dil Na Dia? The original song belongs to Ceddin Deden by Ottoman Military Project. We all know about soundtrack of Gangster, Pritam is the music director. Ya Ali was the best song of the soundtrack….whoa…..it's a ripped one from the band called Guitara, the original song name is Ya Ghali. The next best number from the movie was the lustrous Bheegi Bheegi, but the even tis one has been pinched from a Bangla band called Mohiner Ghoraguli, the song called Prithibi, and the last one Lamha Lamha stolen from Pakistani singer Waris Baig's track Kal Shab Dekha. This week's release Kunal Kohli's Fanaa has a score by Jatin Lalit. The song Chanda Chamkeis lovely and copied from their earlier work Yara Yara from Kunal Kohli's Hum Tum. Was this a good swansong from the duo, who will now score music separately? No, it is ripped from Aal-Samra Wil Beyda by the Miami Group. Sore notes? Listen to some more. Urzu urzu durkut from Shoojit Sarkar's film Yahaan with music by Shantanu Moitra who also scored for Parineeta has bene shamelessly ripped from the 1993 track Dulaman by Altan. The King of remixes, Himesh Reshammiya is not left far behind in this race. His rocking number Gela Gela from Aitraaz is not a remix but a bad copy of R Kelly's song, Thoia Thoing. A R Rahman copied himself umpteen times… look at songs like Dil Hua hai Deewana from Bombay, Roop Suhana Lagta Hai from Gentleman and Veerapandiya Kottayilay from Thiruda Thiruda…. That's one way of saying I didn't copy from anyone else! Courtsey radiosargam.com
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| Friday, September 29, 2006 - 04:43 am 1994 MELODY IN THE MOVIES Rajiv Vijayakar Posted online: Friday, September29, 2006 at 0000 hours IST The year belongs to Anu Malik, who consolidates his 1993 comeback with a cavalcade of hit scores in films like Khuddar, Vijaypath, Imtihaan, Main Khiladi Tu Anari, Naaraaz, The Gentleman and some isolated songs in other films. It begins with the shocking demise of composer R.D.Burman on January 4, weeks before the music release of 1942 A Love Story, which outclasses all scores of the year and sweeps the various awards for music, lyrics and playback singing, including the Screen Awards that will be launched next year. Raamlaxman’s second musical marathon for Sooraj R.Barjatya, Hum Aapke Hain Koun!... and Viju Shah’s breakthrough film Mohra are the other musical blockbusters. Anand-Milind have a good year with hits in Raja Babu, Laadla, Suhaag, Krantiveer, Anjaam, Jai-Kishen and Gopi-Kishan. Dilip Sen-Sameer Sen inch upwards with Yeh Dillagi, whose hit ‘Ole ole...’ marks the final breakthrough for Abhijeet along with ‘Badi mushkil hai...’ from Anand-Milind’s Anjaam and ‘A aa ee...’ from A-M’s Raja Babu. The year also marks the breakthrough for Kavita Subramaniam (then Kavita Krishnamurthi) with Mohra and 1942 - A Love Story. With the anthem ‘Tu cheez badi hai mast mast...’ from the former and ‘Kyoon naye lag rahe...’ and ‘Rimjhim rimjhim...’ (with Sanu) in the latter, Kavita finally makes an impact outside the Laxmikant-Pyarelal baton and is accepted on a widespread scale by all the leading music directors. Babul Supriyo makes his debut with `Zindagi char din ki...’ in Bappi’s Prem Yog, but it is with ‘Dil ko zaraa sa aaram denge...’ from Nadeem-Shravan’s Ekka Raja Rani that he first makes a mark. Rapper Bali Brahmbhatt makes his mark wih N-S’s ‘Amma dekh...’ from Stunttman and character artiste Arun Bakshi, who had made his singing debut in 1986 with Karma, makes a breakthrough with ‘Boi boi...’ (Laadla), ‘Yeh duniya kya chahe money money...’ (Amaanat). The biggest breakthrough, however, is of Alisha Chinai in her parade of hits under Anu Malik - ‘Sexy sexy sexy...’ (Khuddar) and ‘My adorable darling...’ (Main Khiladi Tu Anari) with Anu also as co-singer, ‘Roza Roza Sayang Sayang Re...’ (Naaraaz) and above all, ‘Ruk ruk ruk...’ (Vijaypath). In the Anu deluge, her splendid ‘Lal lal mere gaal lal lal...’ from L-P’s Chauraha goes unsung. To be cont’d..
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| Friday, September 29, 2006 - 12:29 am MUSIC REVIEW OF UTTHAAN By Satyajit - Eye TV India Bureau Juke Box Over-ambitious corporate connoisseurs, ruthless glamour "n" glitz professionals, manipulative media persons and corrupt political icons - all of them have something in common that they want to have meteoric rise in their career at any cost. 'Utthan' is the story of such rising ambitious people who want to be successful at any cost. The film comes with a tagline "Upliftment of common man" with a strong socially relevant message. Kumar Sanu, the playback singing prodigy of 90's, ventures into film production with 'Utthaan'. This thought-provoking film is directed by Ujjwal Chatterjee, who made strong international presence with critically acclaimed 'Escape from Taliban'. Priyanshu Chatterjee and Neha Dhupai, the successful pair of 'Julie', plays lead roles. Priyanshu Chatterjee plays Prashanat Bharati, a suave socialite who has ideology to expose manipulative and greedy politicians and media persons with his power and might. The actor played similar role in his only successful film 'Julie' opposite Neha Dhupia. 'Utthaan' will have Neha Dhupia playing Kiran Talreja, an ambitious model who has the mindset of uprooting evils from society, and teams up with Priyanshu. Bollywood ace chorographer Saroj Khan along with producer Kumar Sanu will be making special appearances as beauty contest judges. The supporting cast includes Avtar Gill, Anjan Srivastav, Preeti Puri, Akhilendra Mishra, Rana Jung Bahadur and Vivek Shaque. Kumar Sanu has composed the music that comprises six original soundtracks. Sudhakar Sharma has penned the lyrics. The original soundtracks of 'Utthaan' can be heard on Venus cassettes and CD's. AB NEEND KISE: The synchronized violin chorus, heavy drumming and tinge of Xylophone titillation come in an accelerated way to create tempo for the soundtrack "Ab Neend Kaise". Kumar Sanu comes with full force as he speeds up the lyrics in the most possible manner in emoting lines "Ab Neend Kise, Ab Chain Kahan". It has shades of RD Burman style of musical arrangements that proved chartbusting hits in 70's and 80's. The fastidious duet does not have the desired zing to stir up pop genre but makes out decent soundtrack in the end. Alka Yagnik's contemporary singing brings memories of her duets with Kumar Sanu in Nadeem Shravan rendered film albums. The song is there in promos but fails to create buzz. Kumar Sanu's voice impresses but the singer was a big hit. So, it would have been better if the album would have started with his melodious solo ballad. The singer fails to impress in musical rendition as it sounds stale and loud with unimpressive lyrics by Sudhakar Sharma. Alka Yagnik still carries the grace of contemporary playback singer as she sings in tandem with Sanu. However, it disappoints too. The introductory soundtrack has been spiced with disco beat fillers to give the number promotional boost in the soundtrack "Ab Neend Kise (remix)". DJ Sheizwood holds the disco station and echoes Kumar Sanu and Alka Yagnik's voices with a tinge of hip-hop lyrics. It's another average soundtrack that may work in promos but will fail to create any ripple in music industry. AB TUM HO KAMSIN: Kumar Sanu comes again with another romantic duet but with soft pitched orchestration in average soundtrack "Ab Tum Ho Kamsin". This time Sanu pairs up with Sapna Mukesh but once again the number fails to live up to the singer's reputation. The lyrics are in contemporary 90's mode when Anu Malik and Nadeem Shravan ruled the charts. The song has brief conversation that retards the pace and tempo of the soundtrack. Sapna Mukesh' vocals are not impressive to attract average listeners and Sanu's decayed musical arrangement is another disappointment. YEH KAISA UTTHAAN HAI: Asha Bhonsle, the reigning pop diva, makes a promising appearance in the thematically inclined soundtrack "Yeh Kaisa Utthaan Hai". The most successful socially relevant films like 'Page 3' and 'Corporate' have similar solo tracks by Asha Bhonsle that made news. This number tries to create the same magic as it narrates the theme of the film in meaningful lyrics. Asha Bhonsle sang "Kaise Ajeeb Yeh Dastan" ('Page 3') and "Lamha Lamha Zindagi Hai" ('Corporate') in the same tonal mode with sentimentally rendered lyrics. This may not be as penetrative but has the strong lyrical contents by Sudhakar that impress to the hilt. It depicts the declining morality of the rich and famous in their stupendous rise in society by burying ethics and principles. Asha Bhonsle's expressive voice emanates out this sentimental number with decent musical work. The number will attract class audiences. The title track "Yeh Kaisa Utthaan Hai" comes in the second version as Sonu Nigam sings with sentimental feel. Once again, the somber and relevant subject of the number will create impact on class audiences and will be non-starter among the pop genre. Sonu Nigam is the fine choice for the number and he delivers it with flair. Sudhakar renders his best lyrics in this thought-provoking number that comes as title track in this low impact and unimpressive film album. THOK DALEGA: The sensuous ambience of hot number is created where the seductress oozes out her physical desires and makes raunchy moves in unimpressive soundtrack "Thok Dalega". Hema Sardesai, who sang "Awara Bhanware" ('Sapney'), disappoints completely as she shrieks and irritates with loosely conceived lyrics. Kumar Sanu has been part of Bollywood's musical fraternity for years but this number fails him as music composer and proves a complete washout. It has old style musical arrangements of 80's thriller where villain meets his end after final conflict with hero. Sudhakar's lyrics are avoidable with harsh and inaudible words mixed in equally unimpressive music. Kumar Sanu, the playback singer who holds the record of being "Best Male Singer" for five consecutive years, completely disappoints as a music composer. None of the soundtracks have the tenacity or potential to be musical sensation. 'Utthaan', one of under-promoted albums of this year, has bleak chances of survival with average face value and poor musical score. It will be a total washout and will disappoint Kumar Sanu's fans.
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| Thursday, September 28, 2006 - 06:49 am topfive We’ve the best of the foot-tapping filmi OSTs from the ‘90s in this week’s top music 1 HUM DIL DE CHUKE SANAM This Sanjay Leela Bhansali film featured grand music by debutant Ismail Durbar. With lyrics written by Mehboob, the songs were rendered by singers who ruled the ‘90s era – Udit Narayan, Alka Yagnik and Kavita Krishnamurthy, among others. 2 A R RAHMAN – SIGNATURE COLLECTION A R Rahman is ranked among the top music directors worldwide, but his eclectic music compositions for films in the ‘90s helped him achieve his present status. This collection features the best of his tracks – from Roja, Rangeela and Taal. 3 RDX – R D BURMAN REMIXES While we do not associate the ‘90s era with Burman, this remix collection is an attempt to revive his evergreen melodies, made more contemporary with upbeat music. The 20-odd remixes include ‘Piya tu’, ‘Bachna aye haseeno’ and ‘Yeh jawani’. 4 DIL HAI KI MANTA NAHIN A major hit for Nadeem-Shravan and even the music label T-Series, Dil Hai Ki Manta Nahin received great reviews for its soundtrack. Come on, it is not really difficult to imagine those haystacks when you listen to the title track by Anuradha Paudwal, is it? 5 DILWALE DULHANIA LE JAYENGE This longest-running film in Indian cinema is so Jatin-Lalit. The DDLJ music album was a huge hit, with evergreen songs like ‘Mehendi laga ke rakhna’ and ‘Tujhe dekha to yeh jana sanam.’ (Compiled by Malay Desai)
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| Monday, September 25, 2006 - 06:37 am I've changed almost the entire team for 'Saawariya': Bhansali By Subhash K. Jha, IANS Filmmaker Sanjay Leela Bhansali has signed Pyarelal, nephew of composer Pyarelal, to score the music for his forthcoming "Saawariya". He has also roped in Sameer to write the lyrics for the film that stars Rishi Kapoor's son Ranbir and Anil Kapoor's daughter Sonam in main leads. "Change is a natural part of growth. I've changed almost the entire team for my new film 'Saawariya'," said Bhansali, in an exceptionally relaxed frame of mind. He has recorded almost all the songs for the film. "It feels good. When you struggle to create something, the fruits of success taste sweeter. I'm essentially a recluse. When people reach out to me in my time of joy, like this, I feel grateful and exhilarated," Bhansali told IANS. Exhilaration is the predominant mood in Bhansali's scheme of creation. The song recordings for "Saawariya" are on. Various singers are tested and tried. Yes, Sanjay is in an experimental mood as well. He has made an extremely bold and adventurous move by signing Monty to do the entire music score for "Saawariya". "After doing two scores in 'Hum Dil De Chuke Sanam' and 'Devdas' with Ismail (Darbar), it wasn't easy to move away," sighed Sanjay. "But like I said change is an inevitable part of growth. When Monty did the background music of 'Devdas' and 'Black', I realised he has the capacity to go beyond the theme in search of unexpected musical experiences. "He's equally capable of doing Indian and Western styles. For the background of 'Black' we shot with stock music and wondered how Monty would equal the work of great composers that I used to shoot my scenes with. But Monty stunned us. He lived up to every expectation." The praise for Monty's worth came from the highest quarters. "Amitji (Amitabh Bachchan) with his powerful sense of music called Monty a genius. Monty comes from a family of great musicians. He's Pyarelalji's nephew and was trained by Pyarelalji's father, who has trained half the musicians in the industry. Monty started playing the piano at the age of five." Bhansali lights up as he plays a haunting love melody by Monty for "Saawariya". "There's a kind of beauty, spirituality and sensuality to his music. It's not about telling the world, 'Main dikha doonga, hila doonga, phaad doonga.' Monty has a sense of commitment. He stood by me and composed the theme when the 'Devdas' score was left incomplete." One can expect a totally unique music score in "Saawariya". "It isn't anything like the music in 'Hum Dil De Chuke Sanam' or 'Devdas'. I just hope people like what we are attempting here. After A.R. Rahman, I think Monty is the only complete music composer." Too farce statement from Mr.Bhansali. My Dear Nadeemji i am waiting for your announcement
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| Thursday, September 21, 2006 - 04:20 am The legendary composer Pyarelal to make a comeback By Subhash K. Jha, September 21, 2006 - 02:50 IST Ever since the death in 1998 of Laxmikant his creative collaborator, Pyarelal has been in hibernation. "It wasn't as if there was a dearth of offers. But I couldn’t sully my partner and my name by doing any and everything that came my way. I was willing to wait,” confesses the reclusive maestro. The wait is finally over. The composing maverick has finally signed on to do a movie soundtrack, his first since Laxmikant's death eight years ago. "It's a film called Mr Gharib, and it's produced by Balbir Kumar with whom Laxmikant-ji and I did a film called Santosh many years ago. The film is directed by Sanjay Sarkar. The reason why I've finally agreed to working is double-fold: one, I needed to finally get back to doing what I loved the most… also, because one of my favourite actors-filmmakers Manoj Kumar is involved with Mr Gharib . If you recall, some of Laxmi-Pyare's best scores were for Manoj Kumar." Two of the tunes have already been finalized. And Pyarelal who created musical history with Laxmikant throughout the 1960s, 70s and 80s, is working on the other lyrics that Sameer is writing. Pyarelal gets nostalgic. "Do you know, Sameer started his career as a lyricist with Laxmikant and me in a film that K.C. Bokadia had produced. It's a pleasure to work with young minds. I feel I'm just starting my career."
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| Wednesday, September 20, 2006 - 12:29 am "Kaash Mere Hote Mahurat" Bollywood music director Nadeem Rathod, of the famed Nadeem-Shravan duo has ventured into the business of producing movies with the launch of his debut film "Kash Mere Hote" featuring newcomer Kumar Saahil. Saahil, a student of the Kishor Namit Acting Institute has been touted as the next face of Bollywood by the producer of the film. Legendary actor Dharmendra was present at the 'Muhurat' of the movie held recently at the Fun Republic and wished luck to the entire team associted with the project. http://www.bollywoodcountry.com/view_article.php?id=c79ec57a8e72a87d8a69d2c6b8a2a8d4&category=news
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| Tuesday, September 19, 2006 - 07:56 am “When Jatin and I were together I composed the bulk of the songs” – Lalit Pandit By IndiaFM News Bureau, September 19, 2006 - 03:30 IST His name might have been synonymous with his brother when the duo gave some of Indian cinema’s best music. Lalit of Jatin-Lalit fame has come into his own now and has composed independently for a number of films. IndiaFM spoke to Lalit who was quite excited over his forthcoming projects. What will be your first independent film you will be doing music for after your split with your brother? I am doing a lot of films right now but I don’t know which one will release first. There is My Name is Anthony Gonsalves directed by E Niwas. Then there is Mukesh Bhatt’s Showbiz directed by Raju Khan and Vikram Bhatt’s Sometimes Life Mein. One more project that I have is The Flag from a south producer Shrinivas. I will compose for most of them after the Shraddh period. How was it composing all alone? Was the pressure higher? No, I have always been doing that. When Jatin and I were together I composed the bulk of the songs. So there is no pressure, rather I enjoy composing alone. When Jatin and I were together I composed the bulk of the songs. Tell us something about the music of My Name is Anthony Gonsalves? I would say that the tunes of the film are very fresh and youthful. This is an important film mainly because it is produced by T-Series and Shah Rukh Khan. Music is of prime importance for this film and there is a lot of pressure on me. But according to me the music of this film is good and will be a super-hit. Will they have any title song? Any references to the song from Amar Akbar Anthony? There is nothing as of now. However there is a theme song with the name Anthony in it. That has been recorded. If Bhushan Kumar would want a remix or a remake of the original song then I will do it. Is it true that everyone at Red Chillies heard the songs? Yes, everyone was there and heard it. Everyone was unanimously happy with the songs and enjoyed them completely. How will you credits appear in the film - Lalit or Lalit Pandit? Lalit Pandit. Are you doing any other independent projects? I am doing an album for Tips. The winners of the TV show Fame Gurukul will be in it. I have almost completed the album. Any idea of what Jatin is working on independently? I believe Jatin is doing an independent album. I think he has also started a studio in Dubai. Will you guys ever come back together? I don’t see that happening.
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| Monday, September 18, 2006 - 10:56 pm No great feat by Anu Malik in 'Jaan-e-mann' Sep 18, 2006 Album: "Jaan-e-mann" Music Director: Anu Malik Lyrics: Gulzar Music Label: T-Series Rating: *1/2 The music world was waiting with eagerness for an Anu Malik score. But the veteran composer, waking up from his brief slumber, fails to impress in "Jaan-e-mann" despite having someone like Gulzar writing the lyrics. The opening track "Humko maaloom hai" starts with Salman Khan narrating a couple of lines before Sonu Nigam and Sadhna Sargam take over. Malik uses a lot of instruments in this number. It is listen-able though not an extraordinary number. One can see the use of instruments, specially the flute in the next number as well - "Ajnabi shehar", a soulful melody by Nigam. "Udh jaana... bro!", a fast dance number is sung by Kunal Ganjawalla, Adnan Sami, Sunidhi Chauhan and Earl. "Kubool kar le" is a boy-wooing-girl-type situational number sung by Udit Narayan, "Indian Idol" participants Rahul Vaidya, Amit Sana and Prajakta Shukre, Monali Thakur and Suzanne. Malik was a judge at "Indian Idol", a talent show. "Sau dard" is an average sad number with Nigam and Suzanne lending their voices. "Jaane ke jaane na" by Nigam, Sukhwinder Singh and Krishna is a qawwali where Gulzar uses an occasional English word or two! Malik misses a golden opportunity to silence his critics. He deviates from his usual melodious stuff - original or inspired - and tries to give an A.R. Rahman touch - orchestra, instruments and choruses - only to fail. Perhaps he really needs some "inspiration". This album may interest only those who are die-hard Anu Malik fans.
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| Monday, September 18, 2006 - 10:44 pm “We don't plan to split in this Silver-Jubilee year”- Anand-Milind By Subhash K. Jha, September 19, 2006 - 00:26 IST indiafm.com It's been a while. Rumours insisted that the late composer Chitragupta's sons had gone their separate ways. Going by the tradition of musical duos over the years—from Shankar-Jaikishan and Nadeem-Shravan to Jatin-Lalit and Nikhil-Vinay—it seemed as though Anand-Milind too had to split. Milind corrects the assumption. "But we're very much together. My brother and I get along fine. We live in separate homes and meet in the music room. It's true that we had our differences for a while—which two brothers don't have issues? But it never got serious. I sing his tunes, he sings mine. At one time we were so busy that Anand would be recording in on studio while I'd be recording in another. We're now very much together. I pray that we get another lifetime to be brothers and make music together. "We're now coming back to composing," says Milind. "We're coming back with a film to be produced by Rajendra Patel. He's making a film to be shot entirely in England. He has asked me and Anand to compose the music. And Lataji will be singing for us. You know, she had sung our very first composition," Milind gets emotional. "Lata Aunty and our father were very close. Do you know she named me Milind? And a few years ago she named my house Swar Ganga." Milind gets nostalgic about the first song. "It was a number called Raja tere raste se hat jaoongi for Pankaj Parasher's Ab Ayega Mazaa. At that time we were forced to compose like Laxmikant-Pyarelal. We had no choice. We had to go by the trend. It took us a while to come into our own with Qayamat Se Qayamat Tak." "I admit we were over-worked. We started in 1982. So we complete 25 years this year. We decided to keep our distance from the industry mainly because of the trend of multiple composers for one score. For Feroz Nadiadwala's Kartoos we were told we'd have to share the score with Bally Sagoo and Jatin-Lalit. We never returned . …We lost a lot of films because of this trend. We had composed a beautiful song for a film called Dehak. Before we knew it they got Aadesh Shrivastav to do two songs. In Jaanam Samjha Karo, the late lyricist Majrooh Sultanpuri's son who directed the film, got Anand and me to compose, then got Anu Malik into the soundtrack. We requested Anu not to fall for this trend. Now of course everyone including Aadesh and Anu are against the trend of multiple composers." After giving hits in Jaanwar and Dulhe Raja …Anand-Milind were eclipsed. "We did songs for a lot of Mithun Chakbraborty films, and got typed in that kind of (lowbrow) cinema. Even after doing films like Mrityunand with Prakash Jha and Mrityudaata with Amitabhji we went into a shell." Anand-Milind have composed music in about 225 films. "In our career so far we've done all kinds of songs , from the chalu Main to bhelpuri kha raha tha in Coolie No.1 to the semi-classical tunes of K. Vishwanath's Sangeet…I feel we did a lot of work. But like our father Chitragupta we never got our dues. Our father never worked with a Raj Kapoor or Dev Anand. But he did a low-budget comedy like Kali Topi Lal Rumal where every song was a hit." Milind laments the lack of good singing talent today. "Nowadays no one knows who the singer is. I wish we could go back to the era of Mohd Rafi, Kishore Kumar and Ashaji. Even when we composed the songs in Qayamat Se Qayamat Tak people knew they were sung by Alka Yagnik and Udit Narayan. Luckily we've Lata Aunty to sing for us."
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| Saturday, September 16, 2006 - 06:00 am GeetKaar Sameer http://launch.groups.yahoo.com/group/GEETKAARSAMEER/
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| Saturday, September 16, 2006 - 05:47 am February 18, 2002 Let the music play on! Subhash K Jha Both Aamir Khan and his Lagaan director Ashutosh Gowariker unanimously agree on one topic --- mainstream Indian films are incomplete without songs and music. The duo is least apologetic about them in the international cinema. "Our ethnicity is our main USP," reiterates Gowariker, glad that he refused to reduce the running time of the three-hour-40-minute film for the international market by cutting the songs of Lagaan. "So many foreigners who have seen Lagaan have commented on how effectively the songs are integrated into the plot. Some of our greatest films have been musicals. Would you say the songs came in the way of Ganga Jamuna, Mother India, Sholay or Naya Daur?" argues Aamir Khan. On the other hand, there is filmmaker Ramgopal Varma who is increasingly becoming wary of songs and music. "It depends on the genre. If we are making a musical, of course we need songs. But if it's a thriller like my Jungle we can't have the characters singing songs. At the most we can have songs and music in the background like in Hollywood films." Admitting that he was pressurised to add songs in Jungle for the music album and television promos, Varma had promised he would never use songs unless the genre demanded them. Now we hear something quite different. Spurred on by the astoninshing success of Kambakht ishq in his production Pyaar Tune Kya Kiya Ramgopal Varma has gone back on his decision to exclude songs in his latest directorial venture, Company. While earlier, Ramu was adamant about keeping songs out of his taut tale of rivalries between two underworld dons, his resolve gradually melted. First he asked Sandeep Chowta to compose songs for the background score. Then, songs gradually emerged in the foreground. Now, Company has got a sizzling item song by the Kambakht singer Asha Bhosle. Filmed on Isha Koppikar, the number is called Khallaas. Chowta who is currently looking forward to his unusual, and hopefully unusually brilliant, music score in Deepa Mehta's Bollywood Hollywood, is very excited about Khallaas. "It takes over from where Kambakht leaves off. You simply have to hear Ashaji (Bhosle) sing the number. She blows your mind." Interestingly, both the catchwords, Kambakht and now Khallaas, were suggested by Ramgopal Varma, who is quite a film music fan. The music industry, currently under the shadow of a stunning slump, still sees filmmakers continuing to design projects with at least six numbers. Suneel Darshan, whose Talaash has 12 songs, reasons, "What would our films be without music and songs? They are the backbone of cinematic entertainment." Hansal Mehta's slick thriller, Chhal, which would normally be considered taboo territory for musical empowerment has extracted an exciting music score from Viju Shah. But can the music industry weather the current recession? There are high hopes on Sanjay Leela Bhansali’s Devdas, which features a brand new female voice from Bengal. For his part, the director admits some recent musicals have been major disappointments. But, music, he avers, can never be outdated. Every filmmaker --- from Karan Johar and Dharmesh Darshan to Sanjay Leela Bhansali --- feels the acute scarcity of inspired music composers. Johar had to rope in newcomer Sandesh Shandilya to supplement Jatin-Lalit's output in Kabhi Khushi Kabhie Gham The overworked Anu Malik has one promising score in Sooraj Barjatya's Main Prem Ki Deewani Hoon. Sandeep Chowta works sparingly and gives his best to carefully chosen assignments. Jatin-Lalit seem to have run their course. We hear A R Rahman will now devote time only to his Western assignments and the South. Rajesh Roshan, if rumours are to be believed, works wonders only with his brother Rakesh Roshan. [Take Rajesh's disappointing music in Koi Mere Dil Se Pooche and Aap Mujhe Achche Lagne Lage]. Ismail Darbar has done nothing since Hum Dil De Chuke Sanam. That leaves the coast clear for the exiled Nadeem. Amazingly, Nadeem has delivered a hat-trick of hits (Yeh Dil Aashiqanaa, Raaz and Haan… Maine Bhi Pyaar Kiya) this year. Nadeem composes, arranges and sends all the tunes to Mumbai which are duly recorded by his partner Shravan. It's all very fine to say that our cinema is ready to revive the era of great musicals. But with no one really to carry the great tradition of Madan Mohan, Naushad, S D Burman, O P Nayyar, Shanker-Jaikishan, Laxmikant-Pyarelal and R D Burman forward, one wonders where the music industry is heading.
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| Saturday, September 16, 2006 - 05:36 am September 14, 2000. Is Taurani guilty? I knew Gulshan Kumar. Not too well perhaps but I knew him and liked him. I liked him because he refashioned the entire music industry in India. It was because of his spirit of enterprise that what was once a dead and desultory business came alive almost magically. People say he was a pirate. Possibly he was. But, at the same time, he was one of the highest tax payers in the land and proud to be so. That by itself makes him very different from all those other guys who wear an eyepatch and swig a bottle of rum. What also made Gulshan Kumar very different from others in the music business was that even though he made huge money off his consumers, he did not treat them like dirt. He respected them and, to make music easily affordable, he systematically drove down prices even as he cornered his rivals and grew the market exponentially. Till he came along, these companies were virtually looting the consumer by charging absurdly high prices for music cassettes. He made them much, much cheaper and reached music to millions of homes all over. He may have made some money through cover versions and piracy. But what is more important is that he benefited listeners, expanded the market and created a galaxy of new stars. He broke, in that sense, the existing monopolies and drove hard and fiercely a sloth, decadent, exploitative market to make it boom. Cover versions, the subject of so much controversy, so many court cases, are now accepted as legit in the music business. But, like all swashbuckling pioneers, Gulshan Kumar got a bad name for doing it first. Were it not for him, the music scene in India would have remained dull, dreary, brain dead. Unfortunately, because of his humble beginnings as a juicewallah, he got blackwashed by his envious rivals and painted as a gory underworld don. The reality is that he was a great innovator, a man somewhat ahead of his times and hence tainted by prejudice and badnaami. He was the first to pay big money to artistes. He was the first to pay huge taxes to the government. He was the first to make music available to everyone everywhere at such a low price. That alone should endear him in music history. Ramesh Taurani, the man accused of conspiring to murder him, is also a fine music entrepreneur. He came up during the Gulshan Kumar years and, like other music company owners, did not exactly admire the tactics of T-Series. No one did. They all gunned for Gulshan Kumar because, it is alleged, he made hundreds of crores from selling music he did not own. Given half a chance, any one of the rivals would have loved to shut down T-Series. For it controlled not just a huge share of the visible market but also its dark underbelly. But when Gulshan Kumar was murdered, it was Taurani and Nadeem Saifi who were left holding the can. Nadeem because he was an arrogant and a brash loudmouth who went public with his threats against Gulshan Kumar who, he claimed, had deliberately under-promoted his personal music album to cut him down to size. Taurani, because he was the biggest rival to T-Series and had, reportedly, paid a huge sum of cash as extortion money to the underworld which (unluckily for him) was redirected to fund the murder. Or so the police claim. However, the actual evidence against both Nadeem and Taurani appears too slender for anyone to conclude definitively that they had conspired to kill Gulshan Kumar. The case is before the courts and, till the honourable judges decide, we cannot (in all fairness) call them criminals. They are merely the accused. While Nadeem has fled to London from where he is trying to fight back extradition proceedings, Taurani has chosen to stay on in Mumbai and establish his innocence through the legal process. Ever since he came out of remand, he has quietly and bravely continued with his business as if nothing had happened. In fact, he has managed to successfully grow Tips into one of India's top music companies. Last week Tips announced it was going public. Unleashing a huge media debate on whether SEBI, the regulatory authority, should allow companies with promoters who have criminal records to raise public money. SEBI's answer was simple: How can we prevent any one from going public as long as they make full disclosures in their offer document? Which is exactly what Tips did. PILs have also been filed to stop the issue. But the question is: Are we not prejudging Taurani? Can we really call him a criminal till the courts say he is one? After all, the case is still being heard and until the courts actually judge him guilty, it is unfair to label him a criminal. Paying money to an extortionist to save your own life is not the same as being an accessory to murder. We all know how some sections of the police work in India. Many innocent people have spent long years in jail only to be eventually freed because the cases against them were weak and unjust. While many guilty men and women walk the streets of our cities because they enjoy the immunities provided by their power and position. To, therefore, describe Ramesh Taurani as a murderer and try to punish him for a crime he may or may not be responsible for till the courts pass an actual judgment is unjust, improper and somewhat irresponsible. He must be allowed to run his business and live his life as a respected member of our civil society until and unless the courts find him guilty. Till then, we must accept him as innocent. Pritish Nandy
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| Saturday, September 16, 2006 - 05:20 am I am not Aishwarya Rai : Sneha Ulhal Bhawna Gera / HT City New Delhi, September 7, 2006 One film old Sneha Ullal’s days of comparison with Aishwarya Rai’s looks seem to be over. And the 19-year-old dutifully gets irked at the very mention of the resemblance with the Ice Maiden. “She (Aishwarya) is beautiful but I want to have my own identity now,” she says. Let us see what her next release, Aryan, does to her identity. Sneha made her debut with Lucky opposite Salman Khan and is paired with Sohail Khan in Aryan. “I hope the film releases soon,” says Sneha, waiting eagerly for her second outing on silver screen. In Aryan, she travels in time playing a college girl as well as a mother. She goes a long way with the Khan family as she was discovered by Salman-Sohail’s sister, Arpita, when she moved to Mumbai from Muscat. “I thought it was a prank when Salman called me for the role,” Sneha recalls, adding, “Sohail takes his work more seriously than Salman.” Sneha says that this is one thing she cannot be- a party animal. “I like to spend time with my family and friends. I like to go bowling often but I try to avoid filmy parties,” she says. However, she adds in the same breath: “I think I will have to change my attitude and mingle with people more as it is affecting my work.” Though Sneha has been noticed thanks to her Khan link, her career is yet to take off. “I’ve not been able to pay attention to my career. It’s my bad luck that since the day I started acting someone or the other from my family has been in the hospital. My mom was undergoing chemotherapy when Lucky came my way. Such situations can be really tough.” Right now, she has four films in hand, including one of Shravan (of the Nadeem-Shravan duo).
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| Saturday, September 16, 2006 - 04:39 am Dharmesh Darshan Aap Ki Khatir is an elegant commercial film 25 August 2006: Having debuted as director in 1993 with Lootere, it’s been an eventful journey for Dharmesh Darshan, churning out films at regular intervals and contributing as story, screenplay and dialogue writer too, intermittently. Till date, he has directed seven films, including Aap Ki Khatir, which has just released. At this crucial juncture, here are excerpts from an interview… Your latest film AAP KI KHATIR is one the threshold of release, What are your feelings? I am happy to have made a fresh, young film that will appeal to all types of audiences. I do not claim to have made a cult classic. I would rather term it as an elegant commercial film with all the ingredients of a clear entertainer. Is there any specific category of audience that you are aiming at, considering the recent trend of seeking overseas patronage? As I said, Aap Ki Khatir caters to a universal audience. Indians are not just living in India alone. They are all over the world. International awareness of Indian cinema has grown. And one must take this into account while making films. I have shot Aap Ki Khatir extensively in London and on the border of Wales and England. I do not pretend to make any statement in the film. Which genre would you categorize the film? It is an intense, humorous, romantic film. My treatment of the subject is natural and I have avoided any affectations in the narrative. In that sense it is a new element for me. My estimate is that it should appeal notably to the middle-class youth. But at the same time, I have not isolated anyone since the core theme is multi-dimensional. Unlike Dhadkan, which I also made for Venus, that was serious content, Aap Ki Khatir is a contemporary subject where every character is an opportunist. You have directed Priyanka Chopra for the first time. How has the experience been? She is a wonderful actress and a wonderful person. I have not unnecessarily made her look over-glamorous. In fact, it was I who suggested her for Andaz. In that sense, she is quite familiar with me. Besides Priyanka, it was a pleasure working with Akshaye Khanna, Dino Morea and Hari Singh’s daughter Bhoomicka, who makes her debut in this film. It is rumoured that Aap Ki Khati is adapted from the western caper Wedding Date… They are just that – rumours. I deny that the film is adapted from Wedding Date or for that matter, any other Hollywood product. The film is entirely original, and I must say it has been a wonderful journey making this film. You seem to enjoy a special relationship with Venus, having made three films including Aap Ki Khatir… They are the best producers a director can ask for. I made two films for them in the year 2000 – Dhadkan and Mela. Both had diverse subjects. Aap Ki Khatir is the third film which I have made for Venus, and it’s been a wonderful experience working with Ratan Jai. He has a special feel for subjects and that makes my job easier. As far as music is concerned, you have worked with a variety of composers. How was it working with current hot favourite Himesh Resammiya? I have worked with the best of music directors. Fortunately, my producers have a keen ear for hit music, which helps immensely to draw the best out of the composers. Like Mela had Anu Malik and Dhadkan had Nadeem-Shravan. They were the top music directors of the time. In Aap Ki Khatir we have today’s most-in-demand and talented Himesh Reshammiya. And I must say, his music is exemplary and varied. There are different themes in the music track, like we have romantic songs, Punjabi ‘tekaa’, lounge music and the like. In fact the flavour of the music is one of the highlights of the film.The album is already a chartbuster. I consider myself lucky to have got a composer of the calibre of Himesh Reshammiya. What’s next on your cards? I don not make too many films at a time, and prefer to concentrate on the film that I have on hand. I began my journey in 1993 with Lootere and later made Raja Hindustani. In 2000 I made two other films, both for Venus –Mela and Dhadkan. In 2002, I made Haan – Maine Bhi Pyaar Kiya Hai, and in 2005 I came up with Bewafaa. And this year I have Aap Ki Khatir. So, you can see, I have phased out my films. Next on my cards is a film each for Venus and Tips
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| Friday, September 15, 2006 - 05:52 am Himesh in the eye of storm By MIO Team Sep 14, 2006, 13:11 Himesh Reshammiya is making news for his hits and also at the same time for his controversies. The composer- singer is juggling from one controversy to another. Surely people have to pay the price for being a celebrity. But here Himesh is calling trouble himself and is making news for the wrong reasons. Recently he claimed himself to be the ‘First Global Rockstar’. As the Hindi film industry is offended over this self-publicity, Himesh is just undeterred. He says that things will come out in the open when he will unveil his US concert tour plans in October. “It is not me who is making this claim. I have only said what leading websites and fans in the US are saying about me.” He says that though there are better and higher people in the music industry he can’t help if they are modest and don’t claim to be great. There were also reports that Himesh had irked superstar of Bollywood Shah Rukh Khan with his blatant comment on the music of KANK. Sources say that he made some spiteful remarks about the music, which reached Shah Rukh’s ears and got angry. When Himesh heard about it he immediately called SRK to apologise. Says Himesh from US where he is staging shows, “I heard from a friend that SRK was upset with me and I was surprised. When I found out the reason, I felt a need to call up Shah Rukh and tell him that there had been a misunderstanding. I called Shah Rukh, but before I could say anything, SRK himself told me that I need not worry, as he knew that I hadn’t panned the music of KANK. He said that I was like a brother to him. Shah Rukh has been my all-time favourite and there is no denying that the music of all his films has something to cheer about. I am not a fool to criticise KANK’s music. Honestly speaking, I appreciate the music of KANK. In fact, I had even sent a message to Karan Johar saying I liked the music, and this I had done when the music of the film got released. Anyway, all’s well that ends well. I have spoken to SRK and cleared the air.” © Copyright 2006 by MusicIndiaOnLine.com
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| Friday, September 15, 2006 - 12:42 am Sneha doesn’t mind working with debutants 9/14/2006 10:23:39 PM - By Shama Bhagat After her debut with Salman Khan in Lucky — No Time For Love actress Sneha Ullal was much talked about for her striking resemblance to Khan’s ex-girlfriend and actress Aishwarya Rai. But soon after that, Sneha seemed to have disappeared from the Bollywood scene. "I turned down a lot of offers after Lucky... because they were conventional Bollywood ventures in which I was expected to expose my body. This is something that is totally against my upbringing. I have no attitude problems, but I like to do what I feel is right," she says. The starlet will now be seen in music director Shravan Rathod’s film Kaash... Mere Hote, which is being directed by B.H. Tharun. She has been cast opposite newcomer Kumar Saahil. She says, "Sana Mirza plays the second lead. In the film, she plays a girl who believes in practicing black magic, while I am someone who doesn’t believe in it." When asked why she had accepted working with a newcomer after she has made a debut with a star like Salman, Sneha replies, "I was also new at some point in time and so there’s nothing wrong in working with a newcomer. I was lucky enough to debut with Salman but that doesn’t mean I shouldn’t be encouraging newcomers. I am here to do my job and as long as I am comfortable with people around me, I do not mind working with them."
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| Thursday, September 14, 2006 - 08:11 am Posted on : Fri February 07, 2003 Movie music industry tapping way out of doldrums By Subhash K. Jha Mumbai: After a year of hitting all the wrong notes, it looks like the film music industry is finally humming its way out of the doldrums. Sale of film soundtracks is showing an upward trend, thanks once again to A.R. Rahman, whose music in "Saathiya" caught the country's imagination at the fag end of 2002. And the New Year has begun on a bright note for the ailing music industry. Before "Saathiya", the only whopping seller last year -- Nadeem Shravan's "Raaz" -- was followed by a series of chart failures, including prestigious products like "Devdas" which director Sanjay Leela Bhansali admitted didn't sell half as well as the music of his previous work, "Hum Dil De Chuke Sanam". Said Bhansali: "I expected songs like 'Sheeshay se Sheesha Takraaye' to be a rage. But somehow I feel the music didn't reach an optimum level." Indeed, Nadeem Saifi was enraged about the music of "Devdas" getting precedence over "Raaz" at the popular awards when the sales figures indicate far greater impact of his work. The end of 2002 brought a sprinkle of good cheer for the recession-ridden music industry. The success of "Saathiya" triggered off a neo-revival in the slumping fortunes of film music. The first success of this year is the music of producer Boney Kapoor's "Khushi". Said a source at Tips music, which has marketed the "Khushi" soundtrack: "We've sold half a million tapes and 40,000 CDs so far. This may be a small figure compared with last year's sales of 'Raaz'. But compared with the sales of all other movie soundtracks that came after 'Raaz', it's quite a boon. "We're very proud of the 'Khushi' sales. Except for 'Saathiya', no other recent soundtrack has done so well. And with the release of 'Khushi' Friday, the music is bound to sell even better in coming weeks." The soundtrack of "Khushi" comes as joyful tiding not only for the music industry but also for composer Anu Malik, whose career came under a cloud in 2002. Said Anu: "The music of 'Khushi' is a craze among youngsters. This year I've at least two more outstanding scores in Sooraj Barjatya's 'Main Prem Ki Deewani Hoon' and J.P. Dutta's 'LoC'. And I'm sure they too would do their bit to bring our film music back to the top of the charts." All three of Anu's projects this year star Kareena Kapoor. Uncannily, all of his most successful works in the last two years have starred Kareena. "I feel we're bonded in a strange creative way," said Anu. "Some of my best work in recent years -- from Kareena's debut 'Refugee' to her first hit 'Mujhe Kucch Kehna Hai' to 'Ajnabee' and now 'Khushi' -- has been for movies starring her. I feel she brings out the best in me." Kareena in turn can't stop raving about the response she got in Lucknow when she danced to Anu's songs from "Khushi". "I feel Anu saves his best for my films," she smiled. As the ailing music industry turns a corner, composers and producers are heaving a collective sigh of relief. Tottering music company Crescendo has this year made revival plans by buying small but sonorous soundtracks like Raju Singh's "Satta", Anil Mohile's "Om", Vishal-Shekhar's "Jhankar Beats". Another music company, Virgin, has also gone into acquiring film soundtracks with the upbeat and sporty strains of Raveena Tandon's "Stumped". Sa Re Ga Ma is all set to release the soundtracks of Sooraj Barjatya's "Main Prem Ki Deewani Hoon" and Rakesh Roshan's "Koi Mil Gaya". And one of Bollywood's most successful producer-directors, Suneel Darshan, has decided to launch his own music company. Said Suneel: "I've been toying with the idea for over a year. Now there's really no choice, what with the established music companies twisting filmmakers' arms, making us part with music rights for a pittance." Suneel's music company will initially market the scores of films directed by him and his brother Dharamesh. Said Suneel: "Between us, we've quite a number of soundtracks every year. And we do have a reputation for quality music." The first music release on Suneel's label would be his "Andaz", a slick Akshay Kumar-Priyanka Chopra-Lara Dutta love triangle with a peppy music score by Nadeem-Shravan. "I think it's a good way to start my music company. Hopefully other filmmakers too would follow suit." According to industry sources, Yash Chopra too has decided to launch his own music company
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| Thursday, September 14, 2006 - 12:35 am Bollywood gets addicted to Sufi music Piyush Roy/ HT Style Mumbai, September 13, 2006 Jiya dhadak (Kalyug), Ya Ali (Gangster), Chaand sifaarish (Fanaa) and Mitwa (KANK)... And if you thought that was all, Nagesh Kukunoor’s next, Dor, has a winner in the making with Allah hoo. Another musical, Zindaggi Rocks, has Sufi-meets-rock in one of the album’s racy and already popular songs Rabbi. Sufi music has entered mainstream. Sufism is a mystic tradition of Islam and songs based on Sufi themes are perennial chart favourites, lingering on long after others have faded away. Remember Chaiyya Chaiyya (Dil Se)? Based on Bulleh Shah’s Tere ishq ne nachaya kar thaiyya thaiyya, the song is not merely remembered for Malaika Arora Khan and Shah Rukh Khan’s gyrations atop a moving train, but also made an overnight star of the singer, Sukhwinder. And then there is Al lah ke bande (Waisa Bhi Hota Hai - II), that made Kailash Kher a household name. And the latest Sufi sensation, singer Rabbi Sher gill, is all set to debut as a music director with Delhi Heights later this year. So what makes the Sufi strain so sought-after in Bollywood? Music director Anu Malik (who prefers to call himself Aanuu these days), the man behind Rabbi, pegs his Mehboob Mere track in Fiza as a take off point for experimentation of Sufi music in recent times. “I’ve again given Sufi a current connect by fusing rock essentials with the Sufiana andaz in Rabbi.” But Sufi music made inroads long before Fiza (2001), with the AR Rahman-composed Dil Se (1998) and Taal (1999). And it took off from the Nusrat Fateh Ali Khan-wave that ruled the charts in the mid-90s. However, of late, songs with Sufi influences have become de rigueur in almost every film being released these days, irrespective of the genre, whether it is a romantic Gangster or a cerebral Corporate. “Sufi is in the DNA of the Indian sub-continent,” says producer Mukesh Bhatt, whose Vishesh Films has at least one Sufi number in most films since Rahat Fateh Ali Khan’s chartbuster, Mann ki lagan (Paap). “The essence of a Sufi song can be brought out only by a Sufi singer though good lyrics are essential,” he says. So what makes Sufi rock? “Sufi songs equate the love of God to that of the beloved. And as a theme song in the background at a poignant moment, it takes the music to a phenomenal level,” says Mukesh. Adds Kailash, “Sufi songs have a universal appeal as they are intense love songs. The lyrics are traditional, but my sound appeals mainly to the 20-30 age group.” As Anu says, “If you can make it groove-worthy keeping intact its lyrical core, the result rocks.” It sure does.
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| Wednesday, September 13, 2006 - 03:17 am Reshammiya is about to change his style…. Undoubtedly today's hottest composer Himesh Reshammiya clears the air about all controversies in an interview with Subhash K Jha. Q: You're the first composer since Nadeem Shravan to sell a film to the audience. A: I don't think the music can make a film sell. But yes, people do go to see my songs these days. I'm trying to work hard. But I can't be responsible for a film's success or failure. I've control over the music, not the way the music is used. http://www.santabanta.com/cinema.asp?pid=11859
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| Tuesday, September 12, 2006 - 01:05 am Composers Nikhal-Vinay part ways Vajir Singh/ HT Style Mumbai, September 11, 2006. After Nadeem-Shravan and Jatin-Lalit, Nikhil-Vinay are the latest to join the trend of music composer duos going their separate ways. “Its been eight to nine months since we decided to part ways amicably,” confirms Vinay Tiwari, adding, “We worked together for almost 18 years and it’s been a nice journey.” When asked about the reason for the separation, Vinay insisted that there were no hard feelings between the two and that they are still on talking terms. “We didn’t part on a sour note. Everything is fine between us. It’s just that we decided to go solo,” he says, adding, “I’m enjoying every bit of be ing independent. Currently I’m busy making my music studio at Andheri.” Interestingly, Vinay, who believes in destiny, came to Mumbai to become a singer. “But then I met Nikhil and we became music directors,” he says. As a solo music director, he scored music in his brother Uday Tiwari’s film Strangers starring Jimmy Shergill, Kay Kay Menon, Nandana Sen and Sonali Kulkarni. “I enjoyed scoring music for my brother’s film in which Javed saab has penned the lyrics. It was a dream come true for me as I sang one of its songs with Lataji (Lata Mangeshkar),” he smiles. Could there be another Himesh Reshammiya in the making here? The duo have given many musical hits including Phir Milenge, Hum Tumhare aHain Sanam, Tum Bin and Bewafa Sanam.
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| Monday, September 11, 2006 - 10:37 pm Driver ban gaya actor Salman Khan’s driver Harish Dulani will act in a film based on the black buck case Rashmi Rajput: Salman Khan and his histrionics, on and off screen have always been followed and observed with keen interest. But this time, a controversy-ridden chapter in Salman's life, namely the black buck (chinkara) shooting case, is going to be the source of inspiration for producer Ranjeet Sharma's next. And in an attempt to make the film as authentic as possible, Sharma has approached Salman's driver, Harish Dulani to act in the film, who has consented to do the film. Dulani is going to play himself in the movie. "He will play the driver, who drives the Gypsy on that fateful day when he joins the actor on his hunting expedition,” says Sharma. The film called Quaidi No 210, draws inspiration from the famous batch number that Salman was given during his two-day stay at the Central Jail in April. At that time, the actor was given a five-year imprisonment and Rs 25,000 fine was pronounced by the Chief Judicial Magistrate Brijendra Kumar Jain, but the actor was later able to procure bail. Meanwhile, Dulani who is a prime eyewitness in the case (according to the police records is 'absconding') has shown an interest in acting in the film. "We were keen to make a film on the chinkara episode in Salman's life. We started tracking the story religiously and landed at Dulani's residence at Chupsana area in Jodhpur, Rajasthan. We approached Dulani on Monday morning with the script," says Sharma. "Initially he was sceptical about doing the film but the lucrative prospect of acting made him sign the movie," adds Sharma. Having cast Dulani, Sharma's next step was to approach Salim Khan to convince Salman Khan to act in the lead role. "A month back I had spoken to Salimsaab and asked him to convince Bhai for the role. He told us that Bhai was out of town and would inform Salman about the same," says Sharma. As for the movie, it promises to be a typical commercial two-and-half hour movie laced with songs. "We have conducted an indepth research on the subject. We are also going to focus on the Bishnoi committee that filed a case against the actor,” adds Sharma. But, the fate of the film dangles on Salman giving the nod. "We are contemplating whether to project Salman in a positive or negative light. Once the actor agrees to the film, we will arrive at a decision," says Sharma. The film is slated to release by March next year and as much as 10 crore has been spent on it. The music is being provided by music composer duo Sanjeev Darshan and is being directed by Amjad Khan (Hello Main Mahajan Bol Raha Hoon). "The movie will go on the floors by next month. We have acquired permission from the jail authority to shoot there," Sharma says.
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| Monday, September 11, 2006 - 10:33 pm Nikhil-Vinay part ways Vinay says they split eight months ago, while Nikhil denies their separation. So who do we believe? Kunal M Shah The music director duo Nikhil-Vinay seem to have followed in the footsteps of Nadeem-Shravan and Jatin-Lalit. Nikhil-Vinay have split after composing music together for over 15 years. When contacted, Nikhil, however, denied the news, saying "It's not true and everything is fine between us." But when we contacted Vinay, he spilled the beans. "It's true. In fact, it has been nearly eight months since we haven't worked together. I was always reluctant to speak about it. But now, since you have called I can say that Nikhil and I are not together anymore" he said. However, Vinay refused to divulge the real reason for the split. He said, "There's no definite reason. It's just that I got involved in my brother's film and was working separately for around a year. I loved calling the shots. I realised that I could also work alone and do what I wanted to do myself. Apart from that there's nothing more to it," he says. Vinay added, "Nikhil is like my brother. We still talk once in a while and I am always there for him. We've had no fights as such. After working for over 15 years, we just drew apart. I respect Nikhil for his work and he is a talented guy. I've always been media shy. Nikhil's the one who always talks to the media."
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| Saturday, September 09, 2006 - 11:17 pm ‘I have no competition’: Sameer Indranil Roy Saturday, September 09, 2006 20:23 IST He has just completed a marathon recording session with Viju Shah at a Peddar Road studio He has just completed a marathon recording session with Viju Shah at a Peddar Road studio. Then he’s hounded by cellphone calls. Switched off, finally lyricist Sameer gets baaton baaton mein: News is that you’re releasing your biography. A column about me in a Hindi magazine got tremendous feedback. So, I was advised by close friends to publish a biography in English. I called up (writer) Derek Bose, had long discussions with him and now the book is ready. I’m launching it on October 20th which is my father Anjaan’s birthday. Have you been frank? Brutally frank. There is a misconception that I’m a bade baap ka beta. No one knows how much I’ve struggled to reach where I have. I have also written about the technique of lyric writing which will help aspiring lyricists. Moreover, it made sense to release my biography when I’m still in the limelight. I’ve been very careful about not romanticising my struggle to get work. Have you spoken about the controversies surrounding you? Yes I have. I’ve even been honest about the women I’ve loved and the accusation that I hire ghost writers. I’ve admitted that some mukhdas of Pakistani songs have inspired me. And how Nadeem didn’t want me to work with Anu Malik. Who are your competitors? Now, after 25 years I’ve come to a point where I don’t have competition. Anand Bakshi saab was my only competition. Ever since he passed away, there hasn’t been a single song I wish I had written. How would you rate lyricists Prasoon Joshi and Swanand Kirkire? Swanand Kirkire has just done two to three films, it’s too premature to judge his work. As for Prasoon, he’s a family friend and a very intelligent man. He knows the language and constantly incorporates new words. He doesn’t follow my style, Javed saab’s or Gulzar saab’s. Since he’s also in advertising, he hardly has the time to write which is a pity. Is it true that recently you had a problem with T-Series. Impossible. T-Series is like family, I can never have any problems with them. There was a minor misunderstanding which has been sorted out. I can never forget T-Series’ contribution to my life and career. Gulshan Kumar was a father figure, he gave me my first break. That golden period of success which we all enjoyed in the 1990s was because of Gulshanji. After his death, I took a break. Then I met Bhushan Kumar and cleared all controversies. He understood, his ongoing support has been unbelievable. I will never leave T-Series till my dying day. What are your forthcoming non-film projects? I’m working on an album with Adnan Sami which is going to hit the market in a month. Work has already started on Himesh’s next album and this time it’s going to be on a much bigger scale.
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| Saturday, September 09, 2006 - 11:00 pm Sonu Nigaam turns music director: If music directors can become singers, the latter too can pose serious competition where composing tunes is concerned. For example, Sonu Nigaam knows a lot about the art and in fact, composes the music for his own albums. However, when quizzed him about film music composition as an alternative career, he says, “It can be quite a headache to compose music for films. Also, in the last eight-nine years, I have stopped approaching people for work. I’d rather people come to me with proposals. Also, I prefer composing music for myself just for the job satisfaction rather than to make it another measure of success. But yes, I am open to composing for movies, but that’s only if and when the project looks good.” Seems like someone’s ready to get people moving to his beats.
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| Saturday, September 09, 2006 - 06:21 am Universal Music set to buy BMG Music: Vivendi's Universal Music has agreed to pay $2.1 billion to buy Bertelsmann's BMG music publishing - making it not only the world's biggest seller of recorded music but also the largest in music publishing. The merger is yet to be approved by the US and European regulators. But analysts say that the fragmented nature of the music publishing business means that this deal has a reasonable chance of succeeding. BMG owns more than a million copyrights for artists ranging from Elvis to Christina Aguilera. Reuters' European Media Correspondent, Jeffrey Goldfarb, says that the deal also settles a legal dispute for Bertelsmann, who were being sued by Vivendi over the file-sharing service Napster. Reuters' European Media Correspondent, Jeffrey Goldfarb said:"Bertelsmann has been sued by a number of record companies from loaning money to Napster the file sharing service and keeping it afloat. What this does is that it removes one legal complication for them. They've settled and Vivendi's going to get $60 million out of the settlement and they've dropped their claims against Bertelsmann for supporting Napster." But the deal has raised some antitrust concerns, especially among independent record labels, and the sale can only progress if cleared by the US and European regulators. The recent European court ruling, preventing the previously approved Sony BMG merger, has raised questions, if this deal goes through. Reuters' European Media Correspondent, Jeffrey Goldfarb said:"The percentage chances are sort of up in the air mainly because of what happened earlier this summer with the European Court annulling approval of the Sony BMG deal. What that did was that it opened up a can of worms for a lot of people trying to understand exactly what too much consolidation in the music industry will mean. But the nature of publishing tends to be seen differently than recorded music, so the sense is that this will have a pretty good chance of being approved." Music publishing - which has often been viewed as the unglamorous side of the music industry - collects small royalties when music is used in adverts, in films or on television. However, it provides steady revenue, useful for the music industry at the times of upheaval. Music publishing is also seen as more fragmented than the record industry, and that's why both Universal and Bertelsmann are confident that the deal will go ahead. (Reuters)
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| Saturday, September 09, 2006 - 05:51 am Publication:Times Of India Mumbai; Date:Aug 16, 2006. Vasundhara feels one with the cause: Mumbai is no stranger to tragedy and this was one occasion when artists from the music world got together to give a fitting reply to the fears posed by the recent blasts. Tauseef Akhtar and Cheryl played host to the musical fraternity as they unveiled their latest venture. Vasundhara Das, looking pretty in a black emroidered kurti, took to the mike and spoke about the cause taken up by Tauseef and Cheryl. Even though Vasundhara was not a part of the venture, she was overheard saying that she came to express solidarity towards the cause, on the behest of Tauseef who’s a good friend. A fully clad in black Shravan was spotted mingling with the guests. While Neeraj and Sameer were seeing chatting about music, Ashok Pandit came in later and joined them
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| Friday, September 08, 2006 - 11:14 pm ohhh Mr.Mukesh Bhattji, Nadeemji is still genius. If at all you miss him and Shravanji so much why you are not signing him? How long we have to bear mediocre music (Killer,Woh Lamhe etc) from your banner? Today morning i again requested Mahesh Bhattsaab to revive music career of his blue eyed boy Nadeem Saifi. I hope that he will talk to Nadeemji and Shravanji and sign them soon?
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| Friday, September 08, 2006 - 10:48 pm Do you miss Nadeem of the Nadeem -Shravan fame? I do! One can’t take away the fact that he was a genius who ruled the industry for ten years and how! Himesh Reshamiya is successful but he’s not seen even 25% of what Nadeem saw in those ten years. Waiting To Start My Film Because Of A Star’s Dates Made Me Feel Impotent!’ By Prema K. | Friday, September 08, 2006 12:16:38 IST Call it arrogance or the ‘typical Bhatt trait’ but Mukesh Bhatt takes pride in the fact that he doesn’t need stars to sell his films. He also admits that he does not resort to the usual PR peg before the release of his films. Good promos that give the audience the flavour of the film is what he believes is enough to generate excitement about his films... --Select--NewsSportsDiaryEditorialsIn MumbaiOpinionsSpecial ReportLakme Fashion WeekThe Uppercrust ShowSpecial SectionBooksFilm ReviewBusinessHealth CheckBusiness ExtraWoman's ExtraBombay FirstShow BuzzCelebrity InterviewsGuest ColumnStray ThoughtsRound and AboutBooksEating OutPoliticsInternet HumourTarotscopeAsit ChandmalDr.Shirin WadiaMehraboon Irani for : Why are the Bhatts low on the publicity of their films? Gangster got enough mileage because of the Abu Salem angle (laughs). The music of my films is good and there’s always a certain excitement about my films. Gangster was hammered well on television and I don’t think there’s a more powerful medium than television to reach out to the audience. I don’t believe in having my actors talk about the film. That has been done to death. I let my film talk for itself. I don’t go for the overkill. I believe in making good promos that give the audience the flavour of the film. After that I let the audience decide for themselves. The audience knows that all this pre-release interview is nothing but a PR peg and they just brush it off. Hard-selling your product may have an appalling effect on the audience. There’s a difference between impressing a person and being honest to him. I don’t want to con my audience. Emraan Hashmi is regarded as your in-house actor. What if he has date hassles in future now that he’s doing outside films? He’s family so he’ll feature in our films but we’ve never stopped him from doing outside films. So far we’ve not had any date hassles with him as we have an understanding that he’s going to allocate a certain number of days for our films. The day he does not have that understanding, we’ll say, ‘It was nice meeting you Emraan’, and we’ll create another Emraan Hashmi!’ My distributors don’t ask me who’s my actor or director. They just want my film. It gives me great joy to know this and I’m thankful to God for this. I don’t need crutches to sell my film. I sell my films on my own steam. It’s not been an easy path but looking back, I feel it was worth it. It’s important to live life on your own terms and I’m enjoying every bit of it. That’s what I define as success. The ‘living life on one’s own terms’ seems to be a typical ‘Bhatt’ trait! (Laughs) Everybody aspires for that but not many people reach there or want to reach there. I used to feel frustrated waiting for a star to give dates for a film even when I had a good script with me. One had to wait for a year because my distributors wouldn’t buy the film without him. It made me feel jobless and impotent. That motivated me to make a good film with non-stars. One has to believe in one’s script. Delaying a project with a good script would decay the script. I started enjoying the process of making a film with non-stars. A film that you enjoy making can never let you down at the box office. Even the audience enjoys it. Newcomers bring with them a raw passion and they want to prove things to themselves and others. I remember the first day of the shoot of Gangster. Anurag Basu touched my feet and hugged me. There was something very pure and passion driven about it. I knew he would give his all to the film and I’d have a fantastic film. That’s why I say, ‘life is cinema and cinema is life’. Kangna Ranaut did a fantastic job in Gangster but is miles ahead in her next, Woh Lamhe with us. I won’t be surprised if she walks away with all the awards next year. She’s not good, she’s brilliant! All the big heroines of Bollywood had better watch out. A Tsunami is going to hit them soon! (Smiles). Will you ever work with Mallika Sherawat again? No! She’s a thankless person and I don’t work with thankless people (Laughs). We parted ways in a very ugly manner after Murder. She thought Murder became a hit because of her. Without elaborating any more, I think the rest is history. Not a single film of hers after Murder worked or registered. Her only claim to fame is Murder, Murder, and Murder! The whole world knows that. Anurag is very grateful to Mahesh Bhatt and you for all the support during that bad phase! He’d signed a couple of good films after ‘Murder’ but when these people heard about his illness, they just disappeared. He’s not a director for Bhatt Saab and me. He’s more like our kid. So whatever we did for him wasn’t anything great. We did what every family would do for its member. There’s a love bond between us which is very strong. He also claims to a feeling of security by being part of the Bhatt camp! He feels at home here. He talks to Bhatt Saab the way he would to his father. He’s like a child sharing his mind. He knows that whatever advice he gets from him will be the best. We share a very pure bond with him and it’s nothing to do with commerce. Here he has the freedom to do what he wants and he enjoys it. I think one can excel and blossom in an atmosphere like that. What happened to Vikram Bhatt when he went outside. He prospered with us because we gave him a free hand. All his hits have been with us. He went outside thinking the same world existed there. But he got bogged down by all the restrictions and limitations. What’s your equation with him today? All the dark clouds in his head have vanished. He’s come back to us and we’re too big to grudge a child who’d drifted away. We don’t have a script for any film with him right now but let’s see what happens later. Your other protégé, Meera, also seems to have imbibed the Bhatt trait! She was genetically that way. I don’t take responsibility for people born in Pakistan (laughs). She’s a nice kid but slightly crazy. She’s a go-getter, very obsessive and a bagful of surprises. One shouldn’t underwrite her tenacity to do things. There’s a hunger deep within her to become a star. Himesh Reshamiya is never part of your films! I don’t want him. People who don’t understand music need a name. It’s like a producer who needs a star to sell his film. I have nothing against stars but I have good subjects so I don’t need them. Melody has to be within you to understand it. I have a good ear for music and handle the music aspect of my film completely. Do you miss Nadeem of the Nadeem -Shravan fame? I do! One can’t take away the fact that he was a genius who ruled the industry for ten years and how! Himesh Reshamiya is successful but he’s not seen even 25% of what Nadeem saw in those ten years. Which are your other films? We have four films going on the floors soon; Suicide Bomber, Showbiz, Awaarapan, and Dhokha.
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| Friday, September 08, 2006 - 04:48 am The significance of forgiveness my Dear Dear Nadeemji. I am eagerly awaiting for your announcement. You will have to come back for your die hard fans. Forgiveness: Nature and significance INNER VOICE | Jagdish Prasad Jain 'Sadhak' September 8, 2006 Jains celebrate Forgiveness Day (kshamavani parv) at the end Paryushan or Daslakshan Parv lasting for ten days in the month of bhadrapada (August-September months). During these days, the Jains are lectured and reminded to practise ten (das) characteristics or features (lakshan) of dharma, the foremost of these being forgiveness. The ideal of forgiveness is best expressed in these words: Khamemi savve jiva, savve jiva khamantu me, mitti me savva bhuyeshu (bhuteshu), vairam majjham na kenvi, i.e. "I forgive all living beings; all living beings forgive me; I have friendship towards all beings, and enmity towards none." Of the four parts of this verse, the first signifies the renunciation of anger because one cannot forgive any person or being if he is nursing passion of anger inside him. It is not necessary that one forgives others only when someone asks for our forgiveness because the virtue of forgiveness is not dependent on others. In the second part of the above verse, we are required to give up our passion of pride, i.e. the ego-infected sense of I-ness (aham bhav) and adopt an attitude of humility. It is not possible to seek, solicit or ask others to forgive us unless we renounce our pride. In forgiving others, we do not wait for others to ask our forgiveness; likewise, we seek other's forgiveness irrespective of any thought of whether or not he will forgive us. Forgiving others or seeking forgiveness from others is a personal and independent act of the individual himself. Moreover, in seeking forgiveness our past misdeeds, we also resolve not to repeat those mistakes or misdeeds in future. The affirmation of friendship towards all beings signifies renunciation of the passion of deceit, jealousy, etc. and adoption of an attitude of straightforwardness. One does and is not expected to indulge in deceit, fraud, trickery, dishonesty, etc. with a friend. In the fourth part, one gives up enmity, hatred, aversion etc. towards all beings and adopts an attitude of compassion, kindness, service, charity, sharing, contentment, equanimity, etc. so as to cater to the well-being of others. One can perform these kinds of other referential activities beneficial to others only when there is renunciation of excessive attachment (mamatva) to material objects, subsidence of the passion of greed, i.e. acquisitiveness and exploitation of others, which are often the cause of enmity and hatred on the part of others. Thus, the virtues of humility, honesty or straightforwardness and purity of mind, including freedom from greed, are dovetailed into forgiveness. One is asked to renounce or minimise the four passions of anger, pride, deceit and greed, which are the real enemies of the purity of the soul.
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| Thursday, September 07, 2006 - 11:24 pm There's something about Karisma Somen Mishra CNN-IBN Posted Thursday , February 02, 2006 at 19:48 Updated Thursday , February 02, 2006 at 19:52 Mumbai: Karisma Kapoor has made it clear that she won't return to the movies. Her last film Mere Jeevan Saathi will be out in the cinemas on Friday. The movie-going audience may not be particularly excited, but the film's director says that there's something really special about Karisma. Almost five years after the shooting had begub, the Akshay Kumar-Karisma Kapoor-Amisha Patel starrer Mere Jeevan Saathi will finally release in cinemas on Friday. Bollywood trade pundits may have written off the film even before its release, but for the film's director Suneel Darshan, this film is special because it marks his last collaboration with "good friend" Karisma Kapoor with whom he has worked on several films over the years. Karisma, who after sorting her marital problems has settled in New Delhi with her husband and daughter, has made it clear that she will not return to the movies. "Karisma Kapoor has been an integral part of the kind of cinema that I relate to over the last ten years. I just hope that whenever I have a very good role and it demands an actress like Karishma Kapoor, she would agree to work with me because I just love working with her," says suneel Darshan. Producer of films such as Dosti, Barsaat, Ek Rishta, Jaanwar, Haan Maine Bhi Pyaar Kiya and Andaaz, Suneel Darshan will not let a business decision come in the way of his sentiments. The filmmaker may have sold the satellite rights of most of his films to television channels, but says he's holding on to the rights of his Abhishek Bachchan-Karisma starrer Haan Maine Bhi Pyaar Kiya, purely for emotional reasons. "Haan Maine Bhi Pyaar Kiya is a great film with amazing music by Nadeem Shravan. Also it is the only film in which Abhishek and Karisma have worked together in. It is a part of my personal catalogue and library," says he. Suneel Darshan will next produce fashion designer Manish Malhotra's debut film. He also intends to launch his own son Shiv Darshan next year.
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| Thursday, September 07, 2006 - 10:43 pm Remember them? Khalid Mohamed Saturday, August 19, 2006 20:07 IST Begum Para: Mother of tele-actor Ayub Khan, she rarely emerges out of her Versova apartment Shakila: The chiselled beauty of the 1950s, best remembered for Hatim Tai and CID, resurfaces occasionally at the Cannes festival (!) and at Bandra’s Jogging Park Nanda: The chhoti bahen of yore, as reclusive as Suchitra Sen and Nalini Jaywant Ameeta: The tonga companion of Shammi Kapoor in Tumsa Nahin Dekha, returned to tinsel zone with her daughter Sabia who was allegedly traumatised by Rajesh Khanna. Mother and daughter were never heard of again Rajshree: V Shantaram’s daughter who left movies like Suhaag Raat incomplete, on marriage to a Los Angelisian Sabita Chatterjee: The apple-faced heroine of B-grade movies was never heard of in the colour era Nishi: On the vampish side, she married Raj Kumar Kohli and quit Indira Billi: Totally camp, she was called Billi for her light eyes. Featured with Balraj Sahni in film noir Black Cat and entranced Raaj Kumar in Mere Huzoor Zaherra: She even did a bit part in the 007 flick On Her Majesty’s Secret Service... then poof! Zahida: Niece of Nargis and consort to Dev Anand in Prem Pujari, Gambler Kalpana: Heroine of Shammi Kapoor in Professor... no verified information available Nazima: The eternal sister subjected to a record number of rape scenes Nazneen: In the Nazima mould, she toted a hit with the successful Muslim social Mere Gharib Nawaz Archana: A St Xavier’s College graduate, she debuted in Hrishikesh Mukherjee’s Budha Mil Gaya. Like the Swades heroine, Gayatri Joshi, she preferred marriage to the movies Vikram: He made Lovely Laxmi’s heart beat in Julie, showed up with Smita Patil and Naseeruddin Shah in the football movie Sitam, now an event manager Mahendra Sandhu: India’s Dirty Harry-cum-James Bond who slayed the box office with Agent Vinod Rinku Jaiswal: Last sighted in hot pants with Shashi Kapoor in Mr Romeo Prema Narayan: Vanished soon after Umrao Jaan Kum Kum: Rekha swears by her dances to this day. Last seen in Ramanand Sagar’s Jalte Badan Zeb Rehman: The scene stealer of Jeevan Mrityu and Aankhen Radha Saluja: Film Institute graduate, the Do Raha girl, today running a travel agency in LA Rehana Sultan: Also from the Film Institute, daring to go all the way in shock value in Chetna, whose director BR Ishara she married and retired prematurely Kim: The Disco Dancer heroine was linked to Danny Denzongpa and then... who knows? Kunal and Karan Kapoor: Shashi Kapoor’s son Kunal switched to ad films after Ahista Ahista with Padmini Kolhapure, Karan packed off to the west Rohan Kapoor: Yash Chopra wanted to make Mahendra Kapoor’s son the next Amitabh Bachchan..the rest isn’t history Rajeev Goswami: Manoj Kumar’s kid brother, who cavorted in the snows with mini-skirted Meenakshi Seshadri (in the US today) Helena Luke: Mithun Chakraborty’s wife for the briefest of times, whooped it up as a hoity toity memsaab in Manmohan Desai’s Mard Purnima: Bhagyashree’s kid sister debuted in Amol Palekar’s tele-serial Kachi Dhoop, appeared in the monumental blunder Taj Mahal directed by Robin Khosla Salma Agha: Still remembered for Nikaah and a nasal twang, her marriages to tycoon Mahmood Sipra, Pakistani actor Javed Shaikh and squash coach Rehmat Khan, all ended in divorce... then no news. Pratibha Sinha: The debut of Mala Sinha’s daughter with Boy ‘Joy’ Mukherjee was a fiasco, ditto her liaison with music composer Nadeem. Claim to fame: the Pardesi pardesi ditty of Raja Hindustani
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| Thursday, September 07, 2006 - 01:01 am 'Saawariya' will have 15 songs By Vickey Lalwani ©2006 Bollyvista.com The latest on Sanjay Leela Bhansali's ambitious project, 'Saawariya', launching star children Ranbir Kapoor (Neetu and Rishi Kapoor's son) and Sonam (Anil Kapoor's daughter) is that it has 15 songs! This romantic film is currently being shot at Karjat and has music by Monty Sharma and lyrics penned by Sameer. Incidentally, Monty is the nephew of Pyarelal of the Laxmikant-Pyarelal fame. Ten of the songs have already been recorded.
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| Wednesday, September 06, 2006 - 10:47 pm ‘I’ll never retire’ ...says Asha Bhosle, who turns 74 tomorrow. And, yes, another resolution is never to leave Peddar Road, whether the flyover is built or not! NICOLE DASTUR Times News Network: She’s turning a year older tomorrow, but her youthful persona is still intact. “Just turn the digits around, and I’ll be 47,” she smiles. It’s been a long journey, with ups and downs, but Asha Bhosle has no regrets. “I never think about the past. Why waste time thinking about something I cannot change. I don’t believe in looking back and wondering, ‘Shaayad aisa kiya tha ya shaayad aisa hua tha. Jo aaj hain, woh hi sach hain.’ But Asha loves to reminisce about the ‘good ‘ol days’. “If I was ever working on my birthday, everybody in the recording studio used to cut a cake and sing ‘Happy Birthday’ for me. It was wonderful. Woh wakht alag tha, woh log alag the. Now, I like to spend my birthday with my family.” The singer’s forte, especially when she started her career in the forties and fifties, has always been bubbly songs, at that era, even considered ‘naughty’. Has that ever posed as a hindrance to her career? “When I began my career, I worked purely for the money. So I had no choice, I took up whatever I was offered. I was known as the cabaret singer, and in that day and age, those type of songs were not looked upon favourably. Dum Maro Dum was even banned from radio. But today, those very numbers are hits. I never regret any of the work I’ve done, I made my own choices, and believed in them,” says Asha. So is it this defying attitude that helps her compete with singers generations younger to her, even today? “It’s not a competition. I’m here to sing and make the public happy.” Ask whether she advices her grandson Chintu, who is part of a boy band, and Asha smiles, “His thoughts are very modern. We think differently. We never discuss work. He doesn’t even sing in front of me.” Bring up the issue of the controversial Peddar road flyover and Asha says, “Main yeh ghar kabhi chhod ke nahi jaoongi. Jo hona hai, woh hoga, but this is my home.” After having sung in over 14 languages, ventured into pop music and even done an international track, what is the one thing she yet wants to experiment with? “Kuch karne ke liye raha hain? Sab kuch to kiya hain!” she laughs. After a thought, she adds, “I’d like to do more of pure classical music.” As she embraces another year, does she have any plans to retire? “Why should I retire? I have always believed in what my late husband once told me: ‘Keep sowing new seeds, something will always grow from them.’ And I want to continue sowing them,” signs off Asha.
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| Wednesday, September 06, 2006 - 06:46 am I request all NS fans to come and support NadeemSaab now. Please request him to come back for his fans
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| Wednesday, September 06, 2006 - 12:54 am Great music comes from the soul: Anandji By Mayank Chhaya, IANS Veteran Bollywood music composer Anandji wears an expression on his face that suggests he will either break into a telling banter or a captivating song. His banter was in evidence during the World Gujarati Congress 2006, which concluded here on Sep 3, as he went from table to table and left guffaws in his wake. His music was hidden rather well. "It is not necessary to project creativity all the time. It is also not essential that you will get the kind of work you want," Anandji, the surviving of the legendary sibling duo Kalyanji-Anandji, told IANS. It is a measure of how closely intertwined the two brothers were that throughout the conference Anandji was introduced either as Kalyanji-Anandji or just Kalyanji. "Why should I mind being referred to like that. Kalyanji was like a father figure to me. His presence meant that everything was fine with the world," Anandji said of his brother, elder to him by five years, who died in 2000. At 73, Anandji is sprightly and has been in the news lately for a couple of reasons. Recently his efforts led to the US-based Broadcasting Media Inc (BMI), which deals with copyright issues, honouring the brothers after the hit band Black Eyed Peas used a part of their hit songs "Yeh Mera Dil" ("Don") and "Ae naujavan" from "Apradh" in the chartbusting song "Don't phunk with my heart". The other reason Anandji has been attracting attention is because of the remake of "Don" by Farhan Akhtar - the music for the original being scored by the brothers. To the inevitable question of what he thinks of the new version of their hit score by Shankar-Ehasn-Loy, Anandji offers a circumspect and tantalisingly ambiguous response: "What am I supposed to say? The score of 'Don' was very modern when it was first made. Maybe the generation now wants different orchestration." During a career spanning over 40 years Kalyanji-Anandji brought in a remarkable mix of modern instrumentation and full-blooded folk influence of the Kutch-Saurashtra region of Gujarat where they hailed from. Their entry into Hindi cinema music was at a time when the landscape was packed with giants of composition such as Naushad, Sachin Deb Burman, Madan Mohan and Hemant Kumar. But the two knew that there was some room to be carved with their background in folk music inherited from one of their grandparents. From 1959 when Kalyanji Virji Shah began with "Samrat Chandragupta" right up to the 1990s the composer siblings excelled at producing songs that effortlessly captured the popular mood. Although derided as wannabe Shankar-Jaikishan during the early days of their career, Kalyanji-Anandji quickly established themselves. In 1960, their hit score for the Raj Kapoor-starrer "Chhalia", which included the foot-tapping chartbuster "Dum Dum Diga Diga" and gloriously melancholic "Mere Toote Hue Dil Se", was dismissed by many as a fluke success. However, the brothers proved their versatility with "Purnima" (1965) with "Chand Ahen Bharega", followed by "Himlay Ki God Mein" and "Jab Jab Phool Khile". For the next 20-plus years Kalyanji-Anandji produced some of the biggest songs in Hindi cinema including the national award winning "Mere Desh Ki Dharti" ("Upkar" 1967). Between the shy and retiring Kalyanji and the more gregarious Anandji, the music produced may not have the profound classical depth of Naushad or the varied brilliance of S.D. Burman but it had irresistible melody and easy approachability which could not have come without unquestionable talent. Ask Anandji what he would do if he woke up one morning with a score he knows is outstanding. What would he do with it? "Great music stays alive in one's soul. It does not necessarily have to be etched on a CD," Anandji says. And what is great music, one might wonder. "Great music has to be spontaneous. If some one tells me that he has worked very hard to produce some great music, I would have problem believing it. Unless it comes to you spontaneously it would be like sawing a piece of wood. That too is hard work." Anandji says he spends his time doing a lot of charitable work as well as training fresh talents. Unlike many composers of his era Anandji's reply to the inevitable question of the quality of today's music is not bitter. "Music is a product of its ecology. Just as it would be extremely hard for another Mahatma Gandhi to emerge, it might be hard for great music to emerge. But I still think it is possible to produce great songs."
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| Wednesday, September 06, 2006 - 12:50 am Tips Films back with Abbas-Mustan: Ramesh and Kumar Taurani of Tips Films have joined hands with the director duo Abbas-Mustan again to make 2 films. Before their initially planned film (yet untitled) starring Anil Kapoor, Saif Ali Khan, Fardeen Khan, Bipasha Basu, Katrina Kaif and Mallika Sherawat which was to start early next year, Abbas-Mustan will direct another quick film staring Akshaye Khanna, Bobby Deol and a new comer, Urvashi. Both the films would have music from Pritam and this would be the first time that Tips and Abbas-Mustan would be working with music director Pritam.
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| Tuesday, September 05, 2006 - 10:54 pm Loud MP3 music could harm hearing IANS Tuesday, September 05, 2006 22:34 IST LONDON: People who listen to music with high volume on MP3 players might lose their hearing forever and reducing the volume even slightly can go a long way in reducing the damage to the ears. The Royal National Institute for Deaf (RNID) tested 10 MP3 users and examined the volumes used at London’s Victoria station. They found eight out of 10 had machines at more than 80 decibels, a noise level considered potentially hazardous, said the online edition of BBC News. The RNID says it is not trying to stop people from listening to MP3 players — or from going to pubs, bars and clubs and enjoying music — but does want to encourage people to protect themselves against the cumulative effects of loud music. Listening too loudly for too long a period of time causes hearing loss from noise. Ringing and buzzing in the ears are “warning signs” that hearing could be damaged, it said. “New technology and ever-increasing storage capacity enable people to listen non-stop for hours — and at louder volumes than ever before. If you are regularly plugged in, it is only too easy to clock up noise doses that could damage your hearing,” John Low, chief executive of RNID, warned.
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| Monday, September 04, 2006 - 11:01 pm Aap Ki Khatir : Music Director: Himesh Reshammiya Lyrics: Sameer Music Label: Venus Rating: * This is yet another typical Himesh Reshammiya fare - pacy, but mundane. The only notable thing is he manages to rope in a number of singers - Alisha Chinoy, K.K., Jaspinder Narula, Kailash Kher, Shaan, Sunidhi Chauhan and Kunal Ganjawala -to lend their voices to the album. The title song "Aap ki khatir" is sung by - who else but Reshammiya. Basically a situation song, the number has all the elements of Reshammiya - his moans, an overdose of instrumental music and jumps in the pitch. "I love you for what you are" by K.K. and Alisha Chinoy is an ordinary number with the wordings mostly in English. The next number, "Meethi meethi batein", sung by Chauhan, Narula and Kher, is a traditional song with a folk element and lots of percussion. Ganjawala's "Tu hai kamal", though racy, is another routine number. "Keh do na", by Shaan and Chauhan, is the odd one out in this ordinary album. The singers infuse some energy and melody into the song. Reshammiya sings "Afsana" and "Tu hi mera" - both lacking in any new elements. DJ Akbar Sami, in charge of the remix section, fails to ignite the dance floors like he did with "Saara zamana" or "Raat baki". There is also an unplugged version of the title song with lead actor Akshaye Khanna rendering a few lines. It's strange that filmmakers are making a beeline for Reshammiya despite his ordinary scores. In this case, it's Dharmesh Darshan, who was known to prefer Nadeem-Shravan, who had given music for his earlier films "Lootere", "Raja Hindustani", "Haan Maine Bhi Pyaar Kiya" and "Bewafaa". "Aap Ki Khatir" is repetitive, dull and unimpressive. Reshammiya fails to utilise the talents of the current big names in music, who in turn fail to value add to the composer's sagging fortunes (in terms of quality music).
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| Monday, September 04, 2006 - 10:00 pm Director turns into tarot card reader Rahul Rawail takes to tarot card reading to help himself quit smoking Kunal M Shah Rahul Rawail who directed films like Betaab, Arjun, Dacoit, Bekhudi, Anjaam, Aur Pyaar Ho Gaya and more recently, Jo Bole So Nihaal, and launched famous faces like Sunny Deol, Amrita Singh, Kajol, Aishwarya Rai, etc, has a newfound passion. He has become a tarot card reader. Confirming his pre-occupation with his new passion, Rawail says, "It all started seven months ago. Frankly, it started as a hobby only because I wanted to divert my attention from smoking. I was a chain smoker and I wanted to get rid of this addiction. Hence I took up tarot card reading." Even while his hobby gives him an insight into the future, Rawail says that it should not be used to reveal the future. "I don't think tarot cards should be used to reveal the future. Besides, I am not going to put my skill to commercial use. It is just a hobby. When I do tarot card readings for my friends, they reward me with cassettes or CDs, as I do it for free. But if a stranger approaches me, I will charge Rs 10,000," he says. Isn't Rs 10,000 an astronomical price to quote? "Yes it is. But as I said earlier, I have taken this up as a hobby only and not a profession. I am a designer tarot card reader. Just like a barber becomes a hair stylist and a tailor becomes a fashion designer, I have become a designer tarot card reader. (Laughs) So any unknown person who wants his future read by me will have to shell out a fee of Rs 10,000. The idea is to keep strangers away." Right now, Rawail is enjoying himself. "It is very interesting and great fun. I am flooded with queries from friends about their children, business and life in general. I oblige them," he says. However, he adds that this does not mean filmmaking will take a backseat. His next film, Buddha Mil Gaya, is all set to roll by November. • I don't think tarot cards should be used to reveal the future. Besides, I am not going to put my skill to commercial use. It is just a hobby. When I do tarot card readings for my friends, I do it for free. But if a stranger approaches me, I will charge Rs 10,000 – Rawail
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| Sunday, September 03, 2006 - 11:21 pm 'SANA MIRZA' BIRTHDAY PARTY http://www.indiaglitz.com/channels/hindi/gallery/m/Events/sanamirza020906/129700.html
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| Sunday, September 03, 2006 - 10:24 pm ‘I want to honour Naushadji’s last wish’ Dr Soma Ghosh will play a tribute to late music maestro Naushad Ali whose last wish was to listen to renditions from the Benares gharana Ram Kamal Mukherjee Legends never die; they live through their body of work,” says classical singer Dr Soma Ghosh. In an attempt to keep his memory alive and complying with the maestro’s last wishes to listen to classical renditions from the Benaras gharana, Ghosh has decided to pay homage to the late veteran music composer Naushad on September 7 at Ravindra Natya Mandir. The concert is called Rim Jhim Barse. “In December 2005, Naushadji had invited me to his house and he requested me to render a few semi-classical songs. I promised him then that I would organise a concert as soon as possible. But thereafter I got busy with the musical festival Parampara—on the endangered musical instruments of India, another subject very close to Naushadji. Then, Naushadji passed away. His last wish was to listen to songs from the Benaras gharana. I want to honour his last wish. So, I have decided to host this concert posthumously for him as a tribute,” says Ghosh. Naushad hailed from Lucknow and always had an affinity for the semi-classical and folk repertoire of the Benaras gharana. This liking reflected in his film compositions where he extensively used the folk tunes of Punjab, Rajasthan, Gujarat and Bengal. Even the very popular ‘Mohe panghat pe nandlal’ from the film Mughal-E- Azaam was sung by the renowned Gauhar Jaan, from Benaras. The concert will begin with the screening of a short film Naushad ki Awaaz, made by director Subhankar Ghosh. The famous poet, Ahmed Wasi, has penned the script of the short film which has been edited by Rajendra Mahapatra. “The film is made by my husband who was equally fascinated by Naushadji,” says Ghosh. Immortal hits of Naushadji will be sung by young talent under the direction of music composer Vivek Prakash. The grand finale will then be Dr. Ghosh’s performance as requested by Naushad. Rim Jhim Barse will be held at Ravindra Natya Mandir, on September 7 at 7 pm.
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| Sunday, September 03, 2006 - 12:50 am Me and my friend Sunil (off course all will read) want to read these statements from my Dear Nadeemji soon. Nadeem Saifi " I have full faith in my producers, just wait and see our meaning of striking back. Me and Shravan have settled our dispute, these things always happens. I will come back to India soon, All the credit goes to my die hard fans in India. My dear critics please go through sales reports. I am thinking of collaborating with A.R.Rahman for an album for world peace. Himesh is like my younger brother, I wish him all the best but he should forget his over confidence. I have specially composed a song which will be sung by Himesh "
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| Friday, September 01, 2006 - 11:13 pm 3 special appearances in 'Utthan' Joginder Tuteja, IndiaGlitz [Saturday, September 02, 2006] It's the time for special appearances and cameos. And going by the current scenario, it seems that Abhishek Bachchan is the numero uno choice for all film makers, what with Vidhu Vinod Chopra too looking at him to make his presence felt in 'Lagey Raho Munnabhai'. But is not just big films that are serious about this choice; even smaller films are trying to get their films in news by getting hold of some notables names that could add value for their projects. 'Utthaan' is one such film. Starring Priyanshu Chatterjee and Neha Dhupia in the lead, the film has been ready for months now but it seems that it may finally see the light of the day this month. While the principal starcast is nothing great to write home about, there are some attempts to hype up the film by roping in Saroj Khan, Shravan Kumar [of Nadeem Shravan fame] and Kumar Sanu [who is also the film's producer] for an important sequence in the film. Each of the three play a beauty contest judge in this film directed by Ujjwal Chatterjee that raises an all important point of sacrificing ethics and morals in return of fame and success!
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| Friday, September 01, 2006 - 10:33 pm The famous and the lonely Madhu Jain Thursday, August 31, 2006 22:17 IST Sometimes, eavesdropping can be quite enlightening. The other evening, at a diplomatic do, two smart young men, fixtures on the Delhi social circuit, were discussing one of the country's top business tycoons. One of them had spotted this gentleman at a party in Mumbai, standing all by himself: nobody approached him, and he did not approach anyone. “It must be lonely at the top. Who can he talk to? He must think everybody wants something from him…” His friend nodded sagely, adding, “Well, I for one would never go up to him. These super richies only want to meet their own kind.” Could he be right? See the huddle that the chosen few, or the current A-list types whose faces are their passports to almost anywhere, go into at social gatherings — the sorts for whom Davos is actually becoming déjà vu, passe. There’s a kind of invisible laksman rekha keeping others out, a subtle but perceptible closing of ranks that elbows out even the merely rich. Even people one may have known clambering their way up corporate or social ladders — those with whom one may have even shared the same rung of that ladder for a while and known intimately are prone to look through you once they have gone past those pearly gates of the privileged and famous. But I can't help this niggling thought: was the tycoon really waiting for somebody to come up and chat, somebody with whom he could just have a normal conversation — even about the weather, or Kabhi Alvida Na Kehna? The other day I spotted one of the world's richest men, Azim Premji, in the lounge of the India International Centre in New Delhi. It was the hallowed hour — teatime — at the watering hole of the capital’s culturati and superannuated bureaucrats. The snow-haired billionaire appeared to be with a young associate, and in between crunching facts and numbers he kept looking round the room, trying to catch a friendly eye, exchange a look or a smile. The others present would surreptitiously glance at him, in between bites of their lemon tarts and sips of Darjeeling tea. Psychoanalyst Sudhir Kakar once told me that CEOs of companies are amongst the loneliest of people — whether in Europe or in India. They can't trust anybody, often not even their spouses. Celebrities on the other hand are always being encroached upon. But then their fans only get to meet the masks they wear. Film stars have an advantage: their narcissism keeps them company, but only when they are up there. Once out of the limelight, they gradually become invisible, even their looking glass mocks them. And such loneliness is killing. Loneliness does not respect hierarchies. It is a malaise that afflicts us all. The usual buffers — joint families, sense of community, ideals, idealism, faith, dosti, yes even passion — are no longer in place the way they used to be. When the prevailing mantra is ‘I'm so busy’, the number of lonely people is bound to increase. As would the intensity of the loneliness. Take marriage, even in what's so quaintly called a “love marriage”: it does not take too long for a couple to become strangers, especially when one of them is on the fast track. “I can’t talk to my diamond bracelet can I?” complained a friend wallowing in loneliness, whose husband had given her everything but his attention and companionship. High-rises, gated residences, the disappearing nukkads and bonhomie of the street mohallahs have not helped. While working on an article on loneliness some years ago, I came across elderly people marooned in these multi-storied apartments, isolated from their friends and quasi-quarantined by their children and grandchildren who had no time for them, nor inclination. Particularly heartrending was a Delhi widower who ate all his meals alone in his bedroom, never joining his three sons and their families who lived in the same large home. The media this week was inundated by stories about the death of Hrishikesh Mukherjee, one of our most endearing film directors. But in the miles of newsprint one paragraph stood out. In an article, Mrinal Sen wrote that Mukherjee lived alone, with mirrors on every wall of his rooms. These mirrors had made Sen uncomfortable when he went to see his old friend. And when he mentioned this to him, the late director suggested they step “outside to see the sunset… Then, he broke the silence that had set in between us. ‘One more day has gone by.’ That was the measure of his loneliness.”
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| Friday, September 01, 2006 - 05:03 am Thursday, March 1, 2001. “My tapori days are over” He has come a long way since his ole ole days and though he’s taking time maturing as an actor, Saif Ali Khan has handled with aplomb most of the recent projects he’s been involved in. Whether it was Kundan Shah’s Kya Kehna or Sooraj Barjatya’s Hum Saath Saath Hain, the Chhota Nawab is on the right track and is just awaiting that one big hit that he hopes would take him right to the top. Saif talks about his life and times as a Bollywood star to Nutan Sehgal. Kya Kehna emerged a surprise hit in 2000. How do you feel about scoring a bull’s eye after some time? Of course, I’m on a high. But somehow, somewhere in the back of my mind, I always felt that Kya Kehna would do well. Kundan Shah is a brilliant director who loves to experiment. I feel it is because of him that the film got such a wonderful response. And I should remind you that people appreciated my performance in Hum Saath Saath Hain where I feel again it was Sooraj Barjatya who it responsible for extracting the best out of me. I am lucky to have worked with such excellent directors. How was the experience of working with Lawrence Desouza in your latest film, Yeh Pyar Hi To Hai? The experience was good. Lawrence Desouza is a very focused director and has given hits like Saajan, Dil Tera Aashiq, Arzoo and many more. I play a flirt who doesn’t take life seriously. But one fine day he actually falls in love with a girl (Pooja Bhatt). Everything is fine and the couple is all set for marriage when all of a sudden my best friend (played by Atul Agnihotri) ditches me and marries my girl. From here follows some high-voltage, exciting drama. But isn’t this character very similar to the one you portrayed in Kya Kehna? Yes, I must admit, it has a few similarities, but that is not intentional. The story and treatment in Yeh Pyar Hi To Hai is totally different. Nadeem Shravan have provided brilliant music and many of the numbers, including Ek Baar Pyar Se Tu Bol, Tum Gawahi do and the title track Yeh Pyar Hi To Hai are already big hits. How much have you evolved as a person over the years? Oh, my past has been really very crazy. I used to be quite a flirt in real life, too. I used to have late nights at discos and return home in the mornings. I was quite a tapori. But all that was before marriage to Amrita. Now, I’ve sobered down, learnt to take on responsibility as a family man. Trust me, I’ve really changed. What are the new projects that you have on hand? There is Farhan Akhtar’s Dil Chahata Hai with Amir Khan and Akshay Khanna. Then there is Ram Gopal Verma’s Jackpot opposite Sonali Bendre and Na Tum Jaano Na Hum along with Hrithik Roshan.
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| Friday, September 01, 2006 - 01:26 am Shweta records for Illyaraja after 15 years By Arpana Mumbai: Singer Shweta Pandit, whose hit single "Hall re" from "Neal N Nikki" topped music charts for months, is thrilled to have recorded a song with composer Ilayaraja after a gap of 15 years. The first song of her career was also composed by Ilayaraja. She has now teamed up with the music maestro for Ram Gopal Varma's "Shiva", a stylised crime drama, which is a remake of his directorial debut of the same name. "When I recorded a song for 'Anjali' I was a kid. I was extremely excited when I got an opportunity to work with Ilayaraja sir as a professional after so many years," Shweta told IANS. "I got a call from Ram Gopal Varma's office and they told me, 'we are recording for Ilayaraja in Krishna Studio in Mumbai'. They asked me to come over. I felt so wonderful and excited because I was going to meet Ilayaraja sir almost after 15 years. "This time I was singing for the heroine. It was a touching moment for me. I was really looking forward to recording with him." Shweta still remembers her first song "Anjali". "I was just four when I sang the Hindi version of the song. But even today if you wake me up at 4 a.m. and ask me to sing the song I will remember it. "It shows how finely we rehearsed that song, that it is etched in my memory permanently. It was an amazing way to begin my career. I worked for one of the greatest musical geniuses, Ilayaraja sir." ... Varma himself suggested that Shweta should sing "Chor police" for "Shiva". "Ramu sir thought I should sing the Hindi and Telugu versions of the song 'Chor police', which is different from the evergreen college campus song 'Jagda ja' in the original with Nagarjuna and Amla. "It is a fun song. Not really too much of singing but more expressions and interactions. It is a duet with actor-singer Ninaad Kamat, who was wonderful to work with. We were both nervous when we stepped into the studio but Ilayaraja sir made us feel very comfortable. Remembering her first meeting with Varma, Shweta said: "I remember when I was recording the songs for 'Naach' in 2004 with Amar Mohile, Ramu sir asked me which was the first song of my career and I had mentioned 'Anjali' to him." However, she says "Shiva" would always be special for her. "Ilayaraja sir taught me so much. He even sang a few Carnatic classical raags that I have not heard earlier. It was special and I'm really looking forward to listening to the audio that has just been released." "I'll be great if we record more songs after 'Shiva'," said Shweta who crooned for Karan Johar's "Kabhi Alvida Naa Kehna". "Shiva" is slated for a September release.
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| Friday, September 01, 2006 - 01:20 am Anu Malik goes back to school: By Vickey Lalwani: Anu Malik is all set to prove his detractors wrong. Malik has joined a music school in Andheri, to keep up to date with the new developments in his field. Says Anu, "I am a student and I keep learning things every day. I've had my share of glory. The awards and praises are a thing of the past. At present, I'm focusing on the future." Anu's forthcoming films are 'Umrao Jaan', 'Jaanemann', 'Zindaggi Rocks', Woodstock Villa' and 'Love Story 2050'. Is Himesh Reshammiya's soaring popularity the reason?
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