Madhushree sings for Lata Mangeshkar’s AI version!
Anything is possible seemingly with AI! In the film, Shatak, Lata Mangeshkar has been ‘created’ with Artificial Intelligence and is shown performing a song, ‘Yug yug jiye’. And singer Madhushree is ecstatic that she has been chosen as the voice of the Nightingale by composers Sunny-Inder! And as per the singer, Shaan’s voice is said to have gone on an AI-generated Mohammed Rafi!!
Pritam’s hallmark after long
Pritam has all along been known to create instantly catchy melodies that are contemporary in rhythms and sound and yet have something that lingers, even when created for gimmicky situations. After eons, we see a Pritam composition match the energy of his creations for Garam Masala (2005), Bhool Bhulaiyaa (2007), De Dana Dan (2009) and Action Replayy (2010) with the zingy and crazily funky ‘Ramji aake bhalaa karenge’ from Bhooth Bangla. Armaan Malik and one Aravan have sung the song with gusto while the Rap is done by Mellow D. Wonder if Pritam’s return to Priyadarshan and Akshay Kumar (together and separately) have rekindled this long-overdue desi magic in this exciting number brilliantly penned by Kumaar.
But one thing’s for sure: Armaan Malik has got a whopper hit in his hands!
M.M. Keeravani scoring Jai Hanuman
In these times when period dramas of all hues seem to give Hindi filmmakers only two choices—South India’s A.R. Rahman and Maharashtra’s Ajay-Atul—with highly erratic results, we get the news that M.M. Keeravani is set to compose music for T-Series’ co-production with Mythri Movie Makers,’ Jai Hanuman. The uber-talented composer is dedicated to his work and makes sure that his music is tailored to a subject in every way, as is clear from his National award-winning 1997 film, Annamayya, which was dubbed in Hindi as Tirupathi Sri Balaji. The Shah Rukh Khan production, Paheli, the Bahubali franchise and RRR are further examples, if needed, of his skills at period music that is still far from dated.
The sad corollary for Mumbai’s music makers
The sad part is: even now, no existing Hindi film composer is considered fit for such films. Pritam, I had read somewhere, was supposed to be signed for Jai Hanuman. But we only need such challenges for our composers to come up with their best. Remember how Sajid-Wajid gave us their career-best score for Veer when Salman insisted on having them instead of one of the hyped names above? And a quarter of a century ago, Anu Malik had scored the superlative score for Asoka—The Great produced by Shah Rukh Khan’s production house. So why this fixed prejudice?
A musical demand and quick supply
Pritam had once told me about how he convinced Imtiaz Ali to have more songs in Love Aaj Kal. “When Irshad-bhai (Irshad Kamil, the lyricist) and I watched the movie, we came out very depressed, thinking that our music was weak compared to the film as we had only five songs. I suggested two more songs in places where there were montages with background music. Imtiaz was open to them and so came in ‘Aaj din chadheya’ and my personal favourite from the film, ‘Aahun aahun aahun’.”
A precedent in 1977!
Yash Chopra’s first assistant, Ramesh Talwar, also recollected something similar at the time of the making of his directorial debut, Doosara Aadmi. During the recording of one of the songs in that musical romance, veteran lyricist Majrooh Sultanpuri stated that four songs in a musical love story were not enough and asked for two more to cut a long-playing disc, as was the convention then in the pre-music cassette era. The lyricist suggested a background song (minus lip-synch) when Rishi Kapoor and Raakhee are doing a waltz together during a party and she is besotted with him.
“And there and then, he wrote the words, ‘Aao manaaye jashn-e-mohabbat / Jaam uthaaye jaam ke baad / Shaam se pehle kaun yeh soche / Kya hona hai shaam be baad’! that were perfect for that situation!” recalled Talwar. The two went to Rajesh Roshan and he was so preoccupied with the ongoing song recording that he said he would look into it later. This Kishore Kumar-Lata Mangeshkar zinger is now the highlight of the score!
No fees for Lata Mangeshkar!
Not widely known is the fact that Lata Mangeshkar never charged for any song she recorded for Yash Chopra, all the way from Daag in 1973 to Veer-Zaara in 2004. The highs in-between also included Kabhi Kabhie, Doosara Aadmi, Noorie, Kaala Patthar, Silsila, Chandni, Lamhe, Aaina, Yeh Dillagi, DDLJ and Dil To Pagal Hai.
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