Raftaar on finding success in an industry that banks on girls, money and alcohol, as fodder for music
Raftaar
His stint as a judge on a stunt-based reality show behind him, Raftaar has his hands full with projects, both in Bollywood and overseas. Having recently rendered a track with British singer, Apache Indian, and delivered the hard-hitting political number in Manto, the rapper's work will also be put on display in Ayushmann Khurrana-starrer AndhaDhun.
In a chat with mid-day, he talks about meeting the various demands of the music industry. Edited excerpts from the interview:
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How did the collaboration with the makers of AndhaDhun come about?
I was approached two months before the film wrapped up. The movie and the music was ready. I had no idea then that Amit Trivedi had composed the music. It is prestigious for me to work with him. The guys [makers] had the idea of incorporating Nashik dhol in this song. From the trailer, I could make out that it was about a blind Jazz pianist and his run in with the law. So we had to retain the fun element when that situation cropped up [in the script]. I realised early on that I had to give this an Amit Trivedi sound, and add my own element of energy in it. The most interesting fact is that every element you hear in the title track has been recorded live in the studio. There isn't one pre-programmed loop.
It takes a special kind of ear to understand sounds that are distinct to each artiste...
Every prominent producer has a specific style. If you talk about raw sounds, ones that are recorded in a room, that's the kind of music Sneha Kanwalkar does. If you want to listen to environmental and organic sounds, that's Rahman sir's [AR Rahman] style. Amit sir's music has a Blues influence, in terms of the drumming.
Given that every track you've delivered has fared better than the last, would you say you've cracked the recipe for success?
That depends on how you define success — via the number of views a song gets or the kind of work you do. A dance number will have more views than this one, because this song can't be played at weddings, lounges or clubs. It simply conveys the story of the film. If you ask me, I think, I am balancing both. My dance tracks get me shows. And songs like these [AndhaDhun], which are musical, help me bag more work. Musicals have intelligent numbers. The lyrics need to have an element of storytelling. So I'm juggling between being a storyteller and an entertainer. The Manto track is another one I was excited about. This is India's first explicit song; one that speaks the truth. I'd call it among my most conscience raps.
You've been vocal about not using lyrics that demean women. For someone who first started off associating with Yo Yo Honey Singh — who was often pulled up for his questionable lyrics — when would you say the change came about?
I have had my share of it [writing offensive lyrics]. Honestly, when you're 18 and on the edge of achieving your dreams, [it's easy to do something] when someone tells you this kind of work will get highlighted. If you do anything [meaningful] it won't be [promoted]. If these songs are bad, how do they reach 100 million views. Who is watching it? Honestly, I never liked doing it. I've been raised by a hard-working mother. So, when I became independent, I never made a song like that again. Now, when Bollywood needs a [morally appropriate] song, I'm glad I get a call. I'd pick respect over money. I [already] have good money (laughs).
Also, if you keep a check on underground artistes, you'll see the kind of [meaningful] songs they're creating. I have eight people [being mentored] under me. They write about parties, but also write about important things. So, things are changing.
Also Read: Badshah: I always wanted to do something in music
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