News|December 26, 2011 6:08 pm

Anu Malik: I love to re-create a song myself

Anu Malik doesnt want to pay hefty rights and recreat others old songs, he says that he would rather chose one of his own old song and re creat it,

Anu Malik said,

Let me tell you that I would love to re-create a song myself. But the older song too should be mine! I do not want to depend on someone else’s work!

I think that the trend of officially incorporating old songs in today’s films, on the positive side, speaks very highly of our past composers and frankly, even my generation. It shows that Shankar-Jaikishan, Kalyanji-Anandji, R.D.Burman, Laxmikant-Pyarelal and others were 100 years ahead of their times and of today’s music directors! It proves that they composed timeless melodies that people still want to hear today, albeit with new sound production. And why not? Who does not like solid songs? The new generation has not heard these songs and when they do, they generally love them.

The money spent on acquiring these songs are justified because in most cases the song proves the best or most popular on the soundtrack. However, the money should not go only to the music company. The original creators, alive or dead, should get a share of this sum. This aspect has to be tackled and it will be, once the Copyright Amendment Bill is passed.

And when I say that very often the song proves to be the most popular in the soundtrack, the question arises, “Why don’t the music directors make new songs of the same calibre?” How can someone be called a composer if he or she has to fall back on a golden oldie to sell an album or promote a film? I wonder how film producers and directors have let this become a rampant trend. And why do music directors have to cower down and agree to do this? Let me tell you that I would love to re-create a song myself. But the older song too should be mine! I do not want to depend on someone else’s work!

When Laxmikant-Pyarelal’s Main jat yamla pagla deewana from Pratiggya became a huge hit in its re-created version in Yamla Pagla Deewana, my original song Tinku jiya matched it in popularity. This is not the case with the way Bappi Lahiri’s Ooee amma from Mawaali, which as the recycled Ooh la la from The Dirty Picture, has become its most popular song. So even if such songs are being included, the composer of the new film should have the talent to come up with something at least equally popular.

In this specific case, Bappi Lahiri singing the rework of his own song creates a strange situation. There is a risk that in the years to come, Bappi will be deprived of credit as the actual composer from whose song the new music directors derived Ooh la la. There have been cases where the reincarnation is later credited completely to the music maker of the newer film!

Khoya khoya chand from Shaitan, for example, does not match the situation to the lyrics and the diction of the singer is faulty. So does the person who has re-done the song have any skills? Why is such a song approved by the filmmaker? Whether a song is aesthetically re-done and used in a film are debatable points because opinions are always divided among listeners. But channels, radio stations and the likes must emphasise that this is not a song from Shaitan but a rework of the classic composed by S.D.Burman for Kala Bazar. And that too does not happen, which is a gross injustice to the original creators.

My generation of composers was often panned for passages in our songs that resembled older film tracks in parts, which also had to do with similarities in raags. We never claimed to be 100 percent original-no one is, except God. But our producers never needed to buy rights of older songs to get the best or biggest hit on our soundtracks. Re-creating old classics in new films therefore, I feel, is acceptable only if these conditions that I have mentioned are fulfilled.