Journalism of Courage
Sameer‘s pen keeps getting younger with experience – as the latest youth anthem Chaar baj gaye proves. The veteran lyricist in a chatfest with Screen.
Hes done it again – connected big-time with his target audience. Without a hint of crassness,hes penned the current chartbuster Chaar baj gaye from the seasons hit F.A.L.T.U.. Sachin-Jigar,who I think hold great promise if they work hard enough,were the obvious choices for this film, says Sameer. I have been associated with Vashu (Bhagnani)ji for 17 years now – I have done all his films with two exceptions – and I suggested to the films director Remo DSouza and him that they try out these young boys with whom I have worked in both Teree Sang and Krantiveer – The Revolution. Their music did the rest and three songs were locked at the first sitting itself.
Sameer has worked in the first films of Pritam (Dhoom the first solo assignment signed by todays market-leader),Harrys Jairaj (in his Hindi debut Rehnaa Hai Terre Dil Mein),Monty Sharma (Saawariya) and Sachin Gupta (Prince) and realises the importance of that one big break. I told Sachin and Jigar that the publicity of this music would be big,unlike with their past films, says the writer. This was a terrific platform that they could not afford to mess with and lose!
He adds,Yahaan sirf kaam chalta hai,naam nahin! Sachin-Jigar worked hard on the music for a full year,and the results are there for all to see. The music is the USP of the film. And Vashuji has pioneered a digital release of the audio – that is only on the Net. Digital sales are the future.
Getting candid,the veteran adds,Meri yeh shuru se koshish rahi hai that I work with the young people – to be frank,it is a selfish approach that benefits me because I gain insights about their thoughts and their vision. It opens up a new direction for me in terms of language and concepts. I have always moved with the times. Frankly,F.A.L.T.U. is my answer to those who thought that I was passé.
He quips,If Gulzarsaab who is 30 years older to me can connect with the new generation,I have at least three decades to go!
Sameer has worked with five generations of composers and is delighted that new offers are coming in every day. The senior-most were Laxmikant-Pyarelal and Bappi Lahiri,was a generation younger to them, says the writer. Then there were Nadeem-Shravan,Anand-Milind,Anu Malik and others of that generation. After them,there were Himesh Reshammiya,Sajid-Wajid,Pritam and Shankar-Ehsaan-Loy. Today,I am working with a mix of Nadeem-Shravan,Himesh Reshammiya,Sajid-Wajid,Sachin-Jigar and two young music directors,Pranay,who had done a song in Raaz – The Mystery Continues and Santosh Singh,who scored the popular Channa vey,in Raj Kanwars next.
The lyricist feels that a blend of young composers with senior lyricists will always be fruitful. That way their newness can benefit from our experience and vice-versa, he says. What about senior music directors and new lyricists? Most senior composers dont like to work with newcomers! he says with a smile.
Sameer recalls the time when he was saddled with a record number of assignments. Nothing succeeds like success in this industry. People insisted that I had to work with them even when I was overworked,and I found myself with some 110 assignments on hand at one point! After that,I have seen a phase when I just had five films! One should be ready for any eventuality here. At the same time,you must reinvent,because,as I said,only your work matters in the long run!
Sameers other forthcoming assignments are Shor In The City (whose music has just released) and Hum Tum Aur Shabana,both with Sachin-Jigar,Sajid Khans Housefull 2 and Eros Khote Sikkey with Sajid-Wajid,a Nikhil Advani film with Shankar-Ehsaan-Loy and Suneel Darshans film with Nadeem-Shravan. He is also involved in much of the work being done by Himesh Reshammiya.
About Himesh,he says,People are saying that he is finished aur unnpe itne bomb gire hain. But he has a game-plan and it is very innovative,interesting and contemporary. He will create an explosion at the right time and it will be such that producers and not music companies will benefit the most,and so creators and technicians will work harder because they will work for themselves and will gain in proportion to their work quality.
Adds Sameer,There are three composers you can never write offAnu Malik,Nadeem and Himesh Reshammiya. If the top stars and filmmakers are convinced to work with them and they get a proper opportunity,the fire in them is raging even now,and tuning in to trends today will be childs play. And I know what I am talking about.
He regrets the split between Jatin Pandit and Lalit Pandit and says,They made for a complete whole – Jatin with his intense flair for melody and romantic,raag-based songs and Lalit with his sense of rhythm and mastery over the guitar. If they come together,they will be back too.
Sameer feels that it is necessary to be versatile,grounded and very rooted in Indian culture to last in this profession. For the new breed,this is as important as their training and hard work. This is again why I see great promise in Sachin-Jigar. Even while being trendy,they never leave the melodic line in even some convoluted mukhdas. Their songs are never flat and they know the mathematics of music. Their tenure with Rajesh Roshan,Sandesh Shandilya and Pritam has helped them.
Sameer has another valid point to make. Film composers and lyricists are of a quam (community). A songwriter need not be a poet and every poet cannot be a lyricist here. The same goes for musicevery successful film composer need not be trained and every trained composer cannot hope to be a successful film maestro. For the last few years,a different kind of music maker has been working with some degree of success in films,but time has proved that neither they nor their songs have lasted. It just needed one Dabangg to bring about a healthier change that was a return to proper melody and words.
Sameer also stresses that no strong composer or lyricist needs anyone as a prop. Shailendraji may have been known for his work with Shankar-Jaikishan,but he did not need them to survive,which he proved with so many hits with other composers. Anand Bakshiji and Laxmikant-Pyarelal were never dependent on each other for survival. And had I stopped working with Nadeem-Shravan or any of the others with whom I formed hit teams,it would not have made much difference to them.
Among the present lyricists,Sameer sees a lot of potential in Irshad Kamil. I see that mix of the art and craft in him. Besides,he is focussed because songs are his rozi-roti. There is a difference between writers who also do other things and those for whom this is their only occupation. The same goes for music directors. The others may be excellent in flashes,but clearly the motivation is less when it is not the only or main source of livelihood where your future depends on what you deliver.
And Sameers advice to the new breed of writers is simple: There are two kinds of lyricists,jo jee ke likhte hain (those who write what they feel after they get into a characters core) and jo sochke likhte hain (those who write with calculation and deliberate design). It is always the former who will write better and last longer. And your real examination is always that big movie that you get,and of course,writing all the songs of a movie a complete film. And one more point: a grasp and knowledge of Indian folk is very important without that even item songs cannot have a long life!
SAMEER AT A GLANCE
1. Debut film: Bekhabar (1982) – one song
2. First solo film: Ab Aayega Mazaa (1984)3. First hit film: Love 86 (1986) – one song
4. Breakthrough: Dil and Aashiqui (1990)
5. 500th film: Saawariya (2007)
6. Regional films: About 25 Bhojpuri and a song in a Marathi film
7. Albums: Over 30
8. Senior-most composer: Chitragupta (1 Hindi & 13 Bhojpuri films)
9. More than 500 songs with: Anand-Milind & Nadeem-Shravan
10. More than 100 films with: Anand-Milind
