As Bollywood composers’ indie singles catch netizens’ attention, here are the tracks that are currently the rage
Vishal Dadlani and Salim Suleiman
Salim Suleiman’s Ja ja re
Vishal Dadlani’s vocals shine in this beautiful composition from Bhoomi 2021, which landed the Merchant Brothers’ on the billboards of New York’s Time Square. The song, described as “a traditional classical bandish by Sadarang that conveys the emotions of a newly married couple”, has Dadlani’s contemporary notes enhance the traditional ones of folk singer Sattar Khan Langa. Composer Salim Merchant tells mid-day of the 300-year-old bandish, “I have heard a classical version of the bandish, and was keen to revisit it using a combination of folk and rock. The way the original has been composed by Sadarang is such that it is suited for a newly wed couple. The woman sings [the hook line] for her husband, fearing that her mother-in-law and sister-in-law may see them, as he attempts to romance her. [We added a new element] to it with Vishal’s sections, where he sings from the man’s perspective, encouraging his wife to come closer to him, without fearing about the women.” It hence became evident to him that two singers would be needed to appropriately justify this version. “There is a jugal-bandi between Sattar and Vishal. Vishal has a powerful voice, and I wanted their vocals to showcase the coming together of these two worlds.”
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Raashi Sood’s Sorry sorry
The unlikely pairing of Adah Sharma and Rohan Mehra makes Raashi Sood’s love track, Sorry sorry, a tad more refreshing. The song showcases a couple, head-over-heels in love with each other, experiencing affection in the small moments of their daily life.
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“The idea is to always stand out and do something different. We felt that a romantic Punjabi/Hindi song with this flavour was missing in the indie scene, right now. So, we made one. We wanted to showcase a cute story of every household, where a relationship has its ups and downs, but, in the end, things fall in place. Right now, I am focussing on showcasing the versatility in my compositions and lyrics,” says Sood.
Amit Trivedi’s Mooch
In the past year that Amit Trivedi dedicated himself to his independent music label, the singer has never seemed happier discussing his renditions. Part of the Sonic Roots project, Trivedi’s Mooch sees him collaborate with Mame Khan and Ruchika Chauhan for a track that is every bit peppy and groove-worthy. In an interview with mid-day, he had previously spoken about being “surprised to learn of a festival where people grow their moustaches for a full-day competition”. The track is inspired by this practice. Mooch is among six songs created by the singer. They have been crafted as a celebration of the various cultures of India.
Arko’s Pardesi Pardesi
Farishta hitmakers Arko Pravo Mukherjee and Asees Kaur’s latest rendition, Pardesi, sees Sunny Leone take centre-stage for a song that puts her dancing skills on display, yet again. An ideal hitmaker for the ongoing festive season, it is playful and peppy in equal measure.
Amaal Malik’s Pyar ek tarfa
Composer Amaal Malik has learnt the art of creating an entire cinematic experience with his four-minute long tracks. His recent offering, which see him share the mic with Shreya Ghoshal, and screen space with Jasmin Bhasin, tugs at the heartstrings of lovers who’ve grown apart, but ache for each other’s company. Teri mitti fame Manoj Muntashir takes writing credits.
Shaan’s version of Jagjit Singh’s Jeevan kya hai
The latest singer in the line-up of musicians paying tribute to the veteran as part of a Tips Music project, Shaan says he has always admired the Ghazal veteran’s compositions. “The musical virtuosity of the maestro can be measured by the spectrum of his work. He will always be a legend,” Shaan says. He adds that the work of poet Nida Fazli has also always caught his attention. “I have been a fan of his poetry. [He has] been among my all-time favourites. This track beautifully explains life, so to be given the chance to revisit it is a [blessing],” says Shaan of the rendition.
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