It is widely reported that the idea for the song was formed by Rajiv Gandhi, Kona Prabhakar Rao and Jaideep Samarth, who was the brother of actresses Tanuja and Nutan and a senior executive at Ogilvy Bensom & Mather (OBM). Samarth approached Suresh Mullick with the proposal made by Doordarshan to create a film on the unity of India with a planned release date of 15 August 1988. Mullick had previously worked with Kailash Surendranath on the successful national integration film of 1985, Torch of Freedom (or Freedom Run), and thus chose him to produce the film. Mullick and Surendranath then approached Pandit Bhimsen Joshi who immediately agreed.[7] Mullick decided to fuse together Carnatic and Hindustani classical music with modern music for the same, choosing Raga Bhairavi as the base (as per Pandit Joshi's suggestion). The lyrics were written by a young Piyush Pandey and were approved after seventeen other drafts were rejected. Mullick chose Louis Banks and L Vaidyanathan to blend the music correctly and arrange the final score, which was sung by M Balamuralikrishna, Pandit Joshi and Lata Mangeshkar.[3]
I recently sang Mera Saaya Saath Hoga (My shadow will always be with you) at Prithvi Theatre to honor the legendary Indian playback singer Late Lata Mangeshkar. This was the first song I performed live when I was seven years old and evoked a sense of dj vu. I am an ardent admirer of singer Geeta Dutt as her songs evoke emotions. For young musicians like me, the work of composers like A. R. Rahman, Shankar Mahadevan, Madan Mohan, S. D. Burman, and Hemant Kumar is inspirational. In the western classical music world, I admire the works of Maurice Ravel, Richard Strauss, Igor Stravinsky, and Ottorino Respighi among others.
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Apart from music, I love to dance to Indian classical songs, an interest I developed during childhood. I appreciate visual art and museums and admire jewelry and unique fashion. I am a foodie and enjoy great cooking.
Sibling composer duo Jatin-Lalit were responsible, along with AR Rahman, for reviving the fortunes of Hindi film music in the 1990s. The brothers composed for some of the biggest musical successes of that decade and the 2000s, including Jo Jeeta Wohi Sikandar, Dilwale Dulhania Le Jayenge, Kuch Kuch Hota Hai Kabhi Khushi Kabhi Gham, Hum Tum and Fanaa, before parting ways in 2006. Lalit Pandit, the younger of the brothers, looked back on the partnership, their experience of working with songwriters such as Majrooh Sultanpuri, and the changing role of the composer in contemporary Hindi cinema.
Several older music composers took on work as it came. Did you plan to put quality over quantity in terms of the number of films that you signed?
In fact, very few people know this about Jatin-Lalit. But I would say that what the old composers were doing at that time was completely right. At that time when they worked, you could literally finish a song in five-six hours of recording because there was very little mixing to be done. There were technically many constraints. So you could do many films.
But things became different when we came in because we brought the multi-track system. We started recording in 24 tracks. The more the tracks, the more elaborate the mixing. When these senior composers were working, the singer would sing, it needed no balancing, you just recorded everything together and you were done with that song. It was possible to do hundreds of films at a time.
In our case, we were very careful. We would insist that a singer rehearse before singing in the studio, so all these things put a lot of pressure on time. We knew that because of this new multi-track system, we would be spending more time on making a song, which is the most important thing.
A song will sound good only when you are clear in your mind about how the orchestration has to be done, what has to come where. In earlier songs, the guitar and the vibraphone used to play all through the song. We said, no, we will say play it here a certain number of times and then leave it. We paid great attention to the clarity of a song.
Every technical aspect, including orchestration, was my department. Sometimes I would make a song and sometimes he [Jatin] would compose a song. At times, I would give the entire music for a song. Jatin had more confidence in my balancing and orchestration. He would leave that to me completely.
Also, the younger directors would usually interact with me. And the older directors would interact with Jatin. I had fewer songs in the films by the older directors, but the younger directors easily aligned with me.
Is there a positive aspect to this digitisation of music?
The positive impact is that you may be a composer, I may be a composer. We are now both working on the same machine. So the sound advantage is there for all. The quality will remain the same. It is the concept, therefore, that matters. There are 50 ways of doing a song. Like Munni Badnaam Huyee is a concept. It sounds a certain way because of the concept.
Another thing is that directors are creating situations where everything is loud and crass. Yet, even today, if you give a slow romantic song, it works. In fact, it gets more recognition because the audience has been deprived of such songs. Now you hardly have such songs.
Jatin and you split at the peak of your fame and career, just after the tremendous success of Fanaa (2006). Any regrets?
Of course, there is great regret. And there should be because we never faced a low in our career. We might be the only duo who quit at the peak. And with Fanaa, you will see the correct combination of good melodies and songs that are very well produced.
But with the pandemic's second wave wreaking havoc, I dropped the idea of doing a song where I was dancing with several people. I thought working on a slow-paced song would be the best bet at that time.
Yet, how could this performance be made accessible to a teen and a tween, both Indian-American? Although I am fluent in Marathi, I grew up in America. My own ability to understand Marathi poetry is limited. Their understanding is less than my own, and song and music sometimes makes the words harder to understand.
A: When I professionally started my career in the music industry around 25 years ago, at that time, as you correctly mentioned, it was cassettes, so people were listening to music on cassettes. Now in cassettes, you could not skip from song to song so easily, so there, the album was a very important concept, because you had to listen to the cassette from the beginning to the end, because it was very difficult to go from song one to song two, so albums were everything.
After that when we moved to CDs, everybody started making individual songs, because you can skip from song to song now. So that way, every song was extremely important and people were concentrating on making conceptual albums, they would make a collection of songs, there was still pride of ownership at that time. People would buy cassettes, friends would come home, play the music and talk about the new piece, and people would open CDs and say wow, this is this new band that I discovered. Then you went to mp3, where you had to store the music on your phones, and I-pods, but now there is no pride of ownership anymore. People don't want to store something on their phones anymore. They just directly go to a streaming site, and they don't want it to stay on their phone. So there is no pride of ownership. Because of this, songs do not last the way they used to last. When you buy a CD you know you are going to listen to it for 10 years, 20 years, the physical product that you have purchased, you had that pride that you actually owned this piece of music and you listen to it. But right now you listen to a song for about two weeks, or three weeks and then you forget about it. Then you move on. So I believe that the longevity of music has been lost because of streaming platforms.
A: Yes, I was part of the film, 'I am Baul'. I produced the movie and composed the original music for it, but I am not a documentary filmmaker. I never direct my own music video, I have got fantastic directors who do that job because I believe that being a musician I should stick to that. Also, every time a filmmaker makes a music video of mine, the more I suggest something to a filmmaker, the worse the music video becomes you know. That is why I believe I should stick to music.
About the Baul documentary, a fantastic filmmaker Sairam Sagiraju made that documentary with a lot of my vision. So the thing about the Baul culture that got my interest was that, it is basically over 1000 years old, and these amazing musicians use music as their pathway to speak to God. They do not want their gateway to God through a priest, maulvi, pandit or anyone like that they believe that the way we are going to reach out to our God is with our voices, our music. This tradition has been passed down for over a thousand years, and these people are so simple. They sing for food, a place to stay at night. They are nomads so they move from place to place. For them, being part of the culture was their way of going out of the caste confines. Music was everything for the Bauls. That was such a lesson for me and I realised that I need to know more about the power of music.
I have composed for several Salman Khan films including Khamoshi, Jab Pyaar Kisise Hota Hai, Pyaar Kiya To Darna Kya and we have a hundred per cent success ratio together. For Munni, I was approached by Arbaaz Khan who is the producer of the film along with the director Anubhav Kashyap. They wanted a folksy and retro item... number. Arbaaz gave me a situation and I came up with this song. I made them hear the demo and they were flabbergasted with the music. Later Salman also heard the track and absolutely loved it. It was exactly the kind of song they wanted. We wrote the wordings and since it was a fun song so we necessarily didn't need a shayar for it. We all gave our inputs for the track and it turned out to be one of the biggest hit of my life. e24fc04721
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