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Defining frontiers for music in Hindi cinema in 2007

Enkayaar, Bollywood Trade News Network
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If one were to run a scan of the music of the films that have been released during 2007, one thing which would return as a recurrent motif is the Punjabi-sation of the Hindi music, and even the same being finding its recurrent echo in the films being made in South India as well. O.P. Nayyar's soul be blessed, or would it. From the very first film released during the year, to WELCOME and even in HANUMAN RETURNS the beats and hoofs of the instruments of Punjab music, tempered and adapted on to the synthetic keyboards reverberate to a synthetic echo. The use of acoustic instruments in the music of SAAWARIYA could not ultimately make the same impact as could OM SHANTI OM and could it be owing to the fact that it did not have the beats and hoofs as it is happening in every second film.

The purists may scoff at emergence of this trend in the Hindi film music, but the slow melodies are not able to withstand against the hoof and huff of the drums and pads of myriad dimensions. No wonder a whole film was christened as DHOL probably as a testimony to the importance that now Dhol has in the Indian film music.

Be it in NAMASTEY LONDON, or WELCOME, or PARTNER or SALAAM-E-ISHQ, or JAB WE MET it is the Punjabi music that is emerging as a theme around which the music of the whole film is built. Were one to turn the glance to the list of successful films of the year, the music the recurrent theme would again be the music set to the Punjabi expositions.

It seems that across the scale adoption of this genre is owing to the fact it provides an opportunity to the directors to spell the razzmatazz on the screen on the grandest scale, and has it not been displayed in aplomb in OM SHANTI OM.

A very significant experimentation that has probably gone unnoticed has been that done by Pritam and his other friends in LIFE IN A METRO. It is surely for the first time that the music composers are tuning the guitars and breaking into the song and making it a natural occurrence. This is what used to happen during the earlier times, but the difference in this experimentation in LIFE IN A METRO lies in the fact that the composers are not disguised as street singers giving expression to the feelings of the lead players on the silver screen.

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