Re: [arr] ayaiyo song...

Sun, 11 Sep 2005 09:42:17 -0700

hi,
Kudos 2 ur wonderful inferences n examples of the RIPPING syndrome prevalent in the so called home 2 Indian cinema Bollywood.Don't ever coin the tag COPYING with ARR.He is the ONLY genuine MD India has ever produced.
Even the so called LEGENDS of music like RD Burman SD Burman don't deserve that status as seen from the type of rehashings they hav done 2 attain that position.
 
Finally time and again any dicussion that crops up on such subjects ultimately prove that ARR is knots above the so called legends of Indian cinema.
 
Realise the Utilmate Truth....Realise A.R.Rahman
Bye
 


Anujit <[EMAIL PROTECTED]> wrote:
Hi all,
lets put to rest to all these speculations.i am pasting a document
from the following link(chk it for your reference):
http://www.planetbollywood.com/displayArticle.php?id=090905092530
it's a very intersting one and an eye opener for all of us.one thing
i am sure u won't be able to do is to figure out our boss's name in
this article.
Hats off to the "God of Music" and that in a span of 13 years
everything he composed was original or nearly original with
inspirations taken and his style being integrated. Make sure u read
the following article.. happy reading and this makes me a proud  ARR
fan..



Music…it's the basis of a unique reputation that Indian films have.
Musicals are what the west likes to call our films. We're accustomed
to seeing new audio releases every third day in India. With so much
music being produced, wouldn't there be a high chance of repetition?
It's safe to say that the music scene is flying high with some great
tunes in the recent past. We've heard Shantanu Moitra's dazzling
score in Parineeta. We heard Himesh Reshammiya lend his voice in his
top-selling album, Aashiq Banaya Aapne. And we've heard Pritam re-
energize our souls with the flashy soundtrack of Chocolate.

Yeah, we got a lot to be proud of. What if I told you that TWO songs
from EACH of those three albums were stolen? Not so proud anymore
eh? It's true. Shantanu Moitra, a man who has seemed to captivate
music lovers this year with Parineeta has stolen two of the seven
tracks. Kaisi Paheli Zindagani was lifted straight from Louis
Armstrong's 1951 track "A Kiss To Build A Dream On." And a line from
Soona Mann Ka Aangan was plagiarized straight from Tagore's "Phoole
Phoole."

Himesh Reshammiya's hit soundtrack Aashiq Banaya Aapne has two lifts
in it also: 1) Dillagi, which is taken straight from Pakistani pop
singer Ali Zafar's "Rangeen," from his 2003 album "Huqa Pani." 2)
Marjaawan is a blatant lift from Fakhir's "Marjaawan" from his 2002
album "Aatish." Oh yeah, Gela Gela (Aitraaz) was copied note for
note from R. Kelly's Thoia Thoing from his 2003 album "Chocolate
Factory."

What's sad is the fact that our composers go on and on about
cleansing our industry of plagiarism. Yet, they seem to have no
problem taking tunes from right across the border! And as you will
come to find out, Reshammiya isn't the only culprit in this hideous
case.

Pritam is known as the King of Dhoom. Well, he stole a track in
there also, Shikdum. Personally my favorite piece, I was disgusted
when I found out that he took it directly from from Turkish singer
Tarkan's "Sikidum." And when asked about the word Shikdum, Sameer
and Pritam never once stated the original piece. Where's the
justice?

In the just recently released Chocolate, yet another hot selling
album, Pritam steals Zahreeli Raatein and Bheega Bheega. The former
lifted from Pakistani pop band Jal's "Aadat." The latter is lifted
word for word from Abrar Ul Haq's "December."

As is the case throughout Filmi Music's infamous history, most of
the tracks that stand out as classics in the mind's of music lovers
are the ones that are plagiarized. You start to question the talent
and competence of some of these composers…respect is soon lost. To
add insult to injury, the originals (especially the Pakistani
originals) are far better than there uncredited Hindi versions.

Only a fraction of "inspired" tracks are legitimate ones. Recently,
Dharma productions paid a hefty sum for the rights to recompose
Pretty Woman in 2003's Kal Ho Naa Ho. If others do have the common
sense to credit the originals, they'll simply put a name beneath the
song. What's in a name? Proper acknowledgment and citations include
the name of the original composer, the title of the track, the year
it was composed, and to what album it belonged. A name. Ha!

Just recently, there was a popular soundtrack that released with all
sorts of speculation and controversy. Zeher was the name of the
film. Apparently none of the songs belonged to the composers of the
album (mainly Anu Malik, who is one of the kings of plagiarism). I
guess that's why there's no surprise as to why the score was a
success. Anyways, the original score was credited to Roop Kumar
Rathod. Is that so? It turns out that two of the popular tracks,
Agar Tum Mil Jao and Woh Lamhe belonged to, guess who….Pakistan. I
think it was just a way for the Bhatts and Anu Malik to get out of
any plagiarism allegations. Anyways. Agar Tum Mil Jao was in fact a
Pakistani ghazal by Tasavvur Khanum with the same lyrics, NOT Roop
Kumar Rathod's. Woh Lamhe was created by Pakistani pop band "Jal,"
NOT Roop Kumar Rathod. Mr. Bhatt, it's shameful enough you copy
every one of your films, at least leave our music alone. Please!

Here are just a few pieces of the past that were blatantly lifted
from composers all around the world:

1) Ram Laxman's Didi Tera Devar Deewana (Hum Aapke Hai Kaun) –
Inspired by Nusrat Fateh Ali Khan's "Saare Nabian." 2) Ismail
Darbar's Nimbooda (Hum Dil De Chuke Sanam) – Stolen note for note
from Ghazni Khan Manganiya's "Nimbooda." 3) Reshammiya's O Priya O
Priya (Kahi Pyar Naa Ho Jaaye) – Taken directly from Santana's
chartbuster "Maria."

You may have been aware of Bappi-Lahiri's date with plagiarism but
were you aware that most of the industry has played with the law?
After reading this article, I guarantee you that at least one of
your favorite tunes doesn't belong to an Indian composer. And
probably doesn't even belong to India! Anu Malik

It's mind-boggling to understand how this man has held his position
for so long. Not only does he compose mediocrity after mediocrity,
with maybe one good soundtrack a year, he breaks the law over and
over again by plagiarizing everything but the kitchen sink! Hey,
don't' take my word for it. Here is just a handful of evidence for
why he should be booked for grand theft!

1) Mera Piya Ghar Aaya (Yaarana) – Ripped off of Nusrat Fateh Ali
Khan's "Mera Piya Ghar." 2) Raja Ko Rani Se Pyar (Akele Hum Akele
Tum) – Taken from the love theme of "The Godfather." 3) Yeh Kaali
Kaali Aankhen (Baazigar) – Inspired by Dean Martin's "The Man Who
Plays The Mandalino." 4) Neend Churaayi Meri (Ishq) – From
Tolga's "Sending All My Love." 5) Soldier Soldier (Soldier) –
Blatant lift from The Modern Talking hit "Cheri Cheri Lady." 6)
Bheegey Hont (Murder) – Lifted note for note from the Pakistani
track "Menu Tere Naal" by Najam Sheraz 7) Jaana and Kaho Naa Kaho
(Murder) – The former is from the Bengali pop band "Miles"'
track "Finiye Dao."

Anu Malik has no shame in taking credit for pieces that aren't his.
These seven are just a small portion of tunes that Mr. Malik has
ripped off in his lifetime. What a shame!

Nadeem-Shravan

Nadeem-Shravan are actually known to plagiarize anything that
actually sounds decent. We all know that these two reached their
peak in the mid 90s. It seems as if they've become so frustrated
that they just plagiarize any tune that fancies them. Since 2000,
these guys have only come up with three solid soundtracks, Dhadkan,
Raaz, and Tumsa Nahin Dekha. And guess what. The first two are
copycats. I tried to keep this list small but in reality, one could
write a book on these two!

1) Yun Hi Kat Jaayega (Hum Hain Rahi Pyar Ke) – Lifted from Greek
singer Demis Roussos's "Lady Love of Arcadia." 2) Mujhe Ek Pal
(Judaai) – Blatant lift from Nusrat Fateh Ali Khan's beautiful "Sanu
Ek Pal." 3) O Mere Sapnon Ke Saudagar (Dil Hai Ke Maanta Nahin) –
From Cliff Richard's "Bachelor Boys." 4) I Love My India (Pardes) –
From Kitaro's "Dance With Saraswati"from his 1994 albums "Mandala."
5) Kitna Pyaara (Raaz) - Beghum Akhtar's ghazal "Aye Mohabbat Tere."
6) Aayega Mazaa Ab Barsaaat Ka (Andaaz) – Lifted from Pakistani
singer Khalil Haider's hit track "Naye Kapde Badal Kar."

It's quite sad that Barsaat's audio distributors, Shree Krishna, had
to add the tagline "Nadeem-Shravan's best music yet" just to
encourage sales. It's obvious to anybody that this isn't even close
to Nadeem-Shravan's best. And I mean come on, the claim was made by
the distributors of the audio! Oh and by the way, the song Nakhre
was stolen.

Sanjeev-Darshan

The story of Sanjeev-Darshan proves that a criminal life can't and
won't lead you anywhere along the path of success. These fellows
made their debut in 1999 with the film Mann. Ever since, they
haven't even tasted success. Not once! Well, it seems as if these
guys mapped out their future with the score of Mann. FIVE of the
NINE tracks were ripped off from composers all around the world!
What a way to make a first impression. Take a look for yourself…

1) Kaali Nagin Ke Jaisi – Lifted from "Ya Rayah" by Rachid Taha 2)
Tinak Tin Tana – Blatant lift from Malaysian track "Yang Sedang-
Sedang Saja" by Iwan. 3) Chaha Hai Tujhko - An exact lift from tamil
compoer S.A. Rajkuma's "Etho Oru Paattu." 4) Nasha Yeh Pyar Ka Nasha
Hain – Note for note from L'Italiano by Italian composer Toto
Cutugno. 5) Kehna Hai Tumse Kehna Hain – Inspired by "Liquid" by
band "Jars of Clay" (1995).

And from that score forward, they plagiarized happily ever after.

The list of composers who feel they can get away with breaking the
law goes on and on. From Jatin-Lalit (who most recently lifted Chake
De of Hum Tum from Middle Eastern singer Ragheb Alama's "Yala Ya
Shabab") to Sandeep Chowta (one example: Kambakth Ishq of Pyar Tune
Kya Kiya was taken from "Eireann" by Afro Celt Sound System) to
Anand Raj Anand (His two most popular tracks from Kaante, Maahi Ve
and Rama Re, were taken from Israeli singer Zaheva Ben's "Ma Yihye"
and Brazilian singer Nana Vazconselos' "Bird Boy," respectively).

Well, if that didn't get your jaw to drop then maybe this will. The
older generation may read this and act as if they're not surprised.
I mean, the new generation of music is corrupt and cheap right?
Well, it wasn't much different in your days either. Legendary
composers such as R.D. Burman, S.D. Burman, Laxmikant-Pyarelal,
Shankar-Jaikishen, O.P. Nayyar, and others have all cheated in their
times.

Here are just a few incidents of grand larceny by the father-son duo:

S.D. Burman

1) Saala Main To Saab Ban Gaya (Sagini – 1974) – A direct lift from
1957 Italian track "Chella Lia" composed by Renato Carosone. 2) Yeh
Dil Na Hota (Jewel Thief) – Taken from "River Kwai March" from the
1957 classic "The Bridge On The River Kwai." 3) Ek Ladki Bheegi
Bhaagi Se (Chalti Ka Naam Gadi) – Inspired by the 1955
track "Sixteen Tons."

R.D. Burman

1) Mehbooba Mehbooba (Sholay) – From Demis Roussos' "Say You Love
Me." 2) Chura Liya Hai Tumne (Yaadon Ki Baarat) – Inspired by the
theme of the movie "If It's Teusday Then This Must Be Teusday." 3)
Ek Main Aur Ek Tu – Inspired by the nursery rhyme "If You're Happy."

As you can see, Bollywood's obsession with "inspired" material
doesn't end with films. I guess that's why it's earned the
nickname "Copycat Cinema." It seems that an even newer copying
paradigm has made its way into our industry. Suddenly, modern
filmmakers want to show us their take on unforgettable classics.
Farhan Akhtar is remaking Don. Ram Gopal Varma is remaking Sholay.
And J.P Dutta is remaking Umrao Jaan.

Are we just now appreciating last generation's epic classics? Or are
we losing the ability to come up with new and innovative ideas? This
question leaves room for debate but the blatant lifting of tunes
from all over the world without giving due credit is unjustified.
Not only is it not justified, it's shameful and humiliating. We must
value composers like Shankar-Ehsaan-Loy, Vishal-Shekhar, and M.M.
Kreem among others who don't feel inclined to steal from across the
border or across the ocean (at least there aren't any signs of it).
Some of the current rip offs such as the ones in Parineeta, Dhoom,
Aashiq Banaya Aapne, and Chocolate are quite good. But that doesn't
make it right. I wont stop listening to Hindi Music just because
some of it is plagiarized, and I wont stop liking it. But at least
now I know where it's coming from and who deserves the credit.

It's just a matter of time before a lawsuit is slapped on one of
these composers. It boggles my mind as to how they've gotten away
with it decade after decade. Bollywood isn't as innocent as some
make it out to be. I'd like to thank Mr. Karthik S. for helping me
in compiling all these "inspired" pieces and discovering their
original roots.

Jai Rahman






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