Remixed songs from Bollywood’s past are a present for the future

While the percentages may differ, it does not change the fact that Bollywood music remains the dominant seller — be it through streaming or through downloads

There is no stopping Bollywood and, with it, its music. In the FICCI KPMG Indian Media And Entertainment Report 2015, the analysis provided was clear: “Bollywood music dominates the digital music industry in India.” In case further validation was required, another published source, Music Business World, spoke about Bollywood “claiming 81% of all music” sold in the country, and yet another source discussed that film music in India made up “72% of the music sales in India”.

While the percentages may differ, it does not change the fact that Bollywood music remains the dominant seller — be it through streaming or through downloads. And irrespective of several platforms making an effort to promote independent (“indie”) music, perhaps in this lifetime, we will

not witness any radical change in music consumption that will pull consumers away from film music. In fact, both individual artistes and record labels have turned wise(r) and have decided that, if you cannot beat the Bollywood music bandwagon, then join it —hence, the continuing resurgence in the remix market for those classic film songs from

yesteryear. Many thanks to several sources for supporting this ongoing phenomenon ranging from live shows by singers to festivities such as Navratri which had Bollywood tracks and remixes becoming an integral part of dandiya raas and garbas across the country during the nine-night revelry, and several TV commercials too for utilising version recordings of Bollywood’s classic hits. But there is no substitute to the new products that are being launched in the market, such as the recently launched Bollywood Unwind 2 (Strumm Entertainment), sub-titled “Romantic classics in a relaxing urban avatar”, which is a sequel to the best-selling “original” that was released in November 2014, still clocking a very credible five lakh streams per month, and 22 lakh views on YouTube from the seven videos shot to promote the album. The new album is available on digital platforms like iTunes, Snapdeal, and Amazon, and is also available physically.

Among the 12 tracks, those sung by Mohammed Irfan are certainly a notch above the others, especially his rendition of late ghazal singer Jagjit Singh’s Hothon se chhu lu, and his reading of Hum bewafa hargiz na thay from the film Shalimar. In fact, the other standout track is the one sung by the Canadian of Indian origin Jonita Gandhi, a version of Tu Tu Hai Wohi, in which the singer really seems to have enjoyed herself while recording the track. Indian Idol season 1 winner, Abhijeet Sawant, also finds himself featured on this album with his reading of the title track from 1976’s Chalte Chalte. The arrangements on the album contain a lot of live instrumentation and certainly have a lounge feel, a complete inverse to the big band sounds from the 1970s and ’80s, yet providing an opportunity for multiple listens and for unwinding, irrespective of your listening mood.

My first introduction to the remix culture actually took place in 1996 when musicians Ehsaan Noorani, Loy Mendonsa, and Farhad Wadia — as members of Instant Karma — auditioned Dance Masti for me at Farhad’s studio located off Mumbai’s posh locality of Pedder Road. I was convinced then that their market was the taxi drivers-cum-panwallas, and they would not buy a product while the original songs were still available in the market.

Anyway, to cut a long story short, Dance Masti was a massive hit (the audience was much larger than I had anticipated!). Instant Karma had proved me wrong, spawning multiple sequels and, even as of now, the remix boom shows no signs of abating.

But one needs to take a look at the roots of Instant Karma to understand where the then new genre of remixes had its genesis. The band

was formed after Delhi-born, UK-based music producer Bally Sagoo launched his album of versions, Bollywood Flashback, in 1994, and is credited for introducing the remix culture. With success in the past through songs like Chura Liya, Mera Long Gawacha, and Gur Naal Ishq Mitha as part of his kitty, the international DJ recently released his

17th studio album titled Café Punjab, which, he says, is a “tribute to his roots”.So while purists — both listeners and singers — may resist the ongoing craze for reinventing songs from Hindi cinema’s golden years, nothing changes the fact that they continue to attract new and young(er) listeners and, with it, ensuring that Bollywood’s past still remains a present for the musical future.

The writer has been part of the media and entertainment business for over 23 years. He still continues to pursue his hobby, and earns an income out of it.