The Score Magazine July 2017 issue - Page 16

I do regret the fact that our elderly lot or the senior critics don’t much get to hear their choice of music. But we have many erstwhile geniuses like Naushadsaab, Ravi, Laxmikant-Pyarelal, Khayyamsaab, Kalyanji-Anandji, RD Burman, et al to woo their tastes and preferences, who swear by the retro era. Enough music has been created for the aged audiences to enjoy and take a walk down their memory lane. On the flip side, the current-day critics must also accept the contemporary idiom and learn that the times they are changing. It is in a constant flux. See, it’s the rule of the universe that man’s likes and dislikes alter from decade to decade. Music is who we are. It bears an authentic reflection of the socio-political-economic culture we represent. It is a correct identity, so it cannot be different. If the millennials and the Gen-Z progeny like their music in a certain way, so be it. 14 The Score Magazine highonscore.com How did you guys professionally foray into the mainstream Bollywood music? Oh, this goes back a long time. Actually, when we were working at an FM radio station in our hometown Gwalior, we used to have a lot of free time in hand while programming the shows. Hence, we started making songs. In fact, it was our first-time stint with the song making routine in life. We realized that we can actually make music. Right from our colleagues to everybody else at our workstation would appreciate our songs and would ask us to lend them in films. So when we finally moved to Mumbai, we just met a few good people who had genuinely showed a keen interest in our songs. We perhaps had enough confidence in what we had created at that point of time. And after garnering appreciation from whoever we had played our songs to, it made us somewhat feel that we are on the right path. We could never ever imagine that our songs like ‘Babydoll’ and