The Score Magazine - Archive April 2017 - Page 15

Discography Jai Ho - ‘Tumko To Aana Hi Tha’, ‘Love You Till The End’ (House Mix), ‘Jai Jai Jai Jai Ho’ (Title Track) Roy -‘Sooraj Dooba Hain’ Hero – ‘Main Hoon Hero Tera’, ‘O Khuda’ Hate Story 3- ‘Tumhe Apna Banane Ka’, ‘Love To Hate You’ Airlift - ‘Soch Na Sake’, ‘Mera Nachan Nu’, ‘Tu Bhoola Jise’ Sanam Re – ‘Gazab Ka Hai Yeh Din’, ‘Hua Hain Aaj Pehli Baar’, ‘Kya Tujhe Ab Ye Dil Bataye’ Kapoor & Sons – ‘Kar Gayi Chull’, ‘Buddhu Sa Mann’ Baaghi – ‘Sab Tera’ Azhar – ‘Bol Do Na Zara’, ‘Tu HI Na Jaane’, ‘Jeet Ne Ke Liye’ Sarbjit – ‘Salamat’ Do Lafzon Ki Kahani – ‘Kuch To Hai’ M.S. Dhoni: The Untold Story – ‘Besabriyaan’, ‘Kaun Tujhe’, ‘Jab Tak’, ‘Phir Kabhi’, ‘Parwah Nahin’, ‘Padhoge Likhoge’, ‘Har Gully Mein Dhoni Hai’ Baar Baar Dekho – Sau Aasmaan Force2 – Ishaara Badrinath Ki Dulhania – ‘Aashiq Surrender Hua’, ‘Roke Na Ruke Naina’ Today if an unknown, unassuming, raw talent has a great tune to croon over the mike, he’ll be definitely given a chance. That’s how it works today and I totally support this method because I think, we rather have good music on the board than crib about the number of people making it. I agree, the solo composer trend is still there and it has flourished for several decades now. But several successful movies with multiple composers like Kapoor & Sons, Sanam Re, Baar Baar Dekho have proved that fresh young blood with innovative brains and the capacity to hatch ideas out of the box can also deliver goods with no less flair. Today the most important thing is the song, and whoever has a good song, he or she will be heard across. It’s brilliant that new people are joining in. Well, that’s how the soundscape would change. Your generation is quite alien to a live-orchestra playing and rehearsing alongwith vocalists on the studio-floor when a song- recording is on. Do you prefer the current process of an instant recording inside a compact room on programmed music? In all my songs I try and keep a balance of live instruments and programmed stuff. The depth that a live gizmo can provide to a song is something a keyboard and virtual instruments obviously cannot. It has a unique flavor altogether. The audio-release of MS Dhoni was recorded by the Bombay Film Orchestra with an entire string section of violins, violas and cellos. We first programmed all the ideas, and then we got all of it dubbed over live instruments. For example, all the drums, the bass guitar, electric guitars, flutes, etc. Music releases have become more digital than physical. Is it now easier for amateurs to publish and promote their numbers online and get an immediate feedback from the listeners rather than approaching a music company and then ceremoniously launching an album after getting its approval? Yes, the digital market is booming and it augurs well for all of us. Isn’t it? Like you said, amateur artistes can certainly put out their work in the cyberspace and get a healthy response in return for a bulk of impressive output. It’s easy, cost-saving and the freedom of expression is well-maintained. Many of the greenhorn talents are in fact spotted over the internet and then called on to do more commercial work. So it acts as a great medium to hunt candidates with immense promise and possibilities. I think YouTube artistes like Shirley Setia, is the biggest case in point for this. The Score Magazine 13