Riff Rap and Rewind

One cannot think of starting a column on the music scenario in India without a recap of the events that have led to it’s emergence as a multi-label market. The music industry in India has expanded considerably over the last two decades especially. At one time, a single company held sway over the music racks – HMV.

Music, Indian music came in two genres: film songs and non-film, the latter was chiefly bhajans, and the odd classical recording. The International selection too was limited to classical and pop. Cliff Richard and all EMI artistes were ever-present. But, King Elvis (Presley) was absent for most time, barring the unexplained release of the single Wooden Heart.

Hindi film songs are the earliest ventures into fusion music, for the 60s saw Hindi film music losing its indigenous flavour to the more poppish western beats

However, they did cash in somewhat on the soaring popularity and demand for The Beatles. Soon HMV had a healthy competitor in Polydor (Music India-Polygram-Universal Music). The latter’s cymbal crashing success story began with the release of the first-ever album of film dialogues, namely Sholay. That album sold as much as the best-selling music albums of the day. With Polydor, the International selection too was enhanced with hitherto ‘unheard’ artistes/groups like The Who, Barry White, and John Denver, etc.

The label capitalised on the ghazal boom in the mid-80s with Pankaj Udhas, Anoop Jalota, etc. and all too soon these voices were as much heard over the radio and cassette recorders as were the film playback stalwarts. By then, more copacts audio cassettes replaced the wieldy LPs and expensive spools; and CBS entered the fray.

Soon it was time for Indian entrepreneurship to enter the music industry. The first wholly indigenous music label was Magnasound, helmed then as now by Shashi Gopal. This spawned (BMG) Crescendo which introduced another dimension to the music scene – artiste and talent management. Suresh Thomas was quick to notice that artistes make bad business people and since private impresarios just do not fit into showbiz in India, he felt that a music label would serve well the purpose with an in-house talent management service.

The assessment of such would merit another time. As T-Series, Tips, Milestone & Co. entered the market, so did two labels emerging from the publishing media – Times Music and Music Today. Multinationals took on India as the opportune market place with Sony Music and Virgin Music. As the labels multiplied so did the consumer base and retail outlets.

In cities like Mumbai, the once-definitive music shops were forced to contend for a share of consumer loyalty and value add-on-driven stores which offered more than just music, they provided the frill benefits like in-store live shows, guest appearances by visiting International artistes, and a place to hang out, etc.

Much of this augmentation of the music industry was because of the focal shift in showbiz from just films to live shows and concerts. A new breed of icons emerged – the faceless playback singer was thrown in front of the footlights, and yes, for the new talent on the playback scene image too played a vital role. The new pop icons, the new divas had to be personae-plus and from being a mere extension of the film industry the music industry spawned the private albums segment. All this and music channels too, enhanced the making of music into a sound business.

This writer’s personal recap of the music industry as we know it today is somewhat linked with the emergence of Hariharan as we know him today. Magnasound, a fledgling label, was presenting a South Indian singer called Hariharan to the media. He was the veritable left shoe on the right foot — he a South Indian and scion of Carnatic musicians treading into ghazal territory till then dominated by the north Indians.

But unlike so many other entrants into the music scene then, Hariharan has not only stayed on, but is now one of India’s better known voices, all thanks to his tayyari and persistence. His career hiccups were stalled, when A. R. Rahaman entrusted him with the title track from Roja and on more, Tu Hi Re. His collaboration with Leslie Lewis in the mid-90s culminated in the Colonial Cousins and once again Hariharan proved his mastery over his medium – fusing the classical carnatic style with the poppish groove.

Hariharan’s latest album Kaash continues to validate the singer’s presence as a musician, and as a singer. While most singers who write their own music often showcase their talent as singers (even at the risk of sacrificing their musicianship as writers), Hariharan has so far managed to strike a precarious, but correct balance between Hariharan the composer and Hariharan the singer. That’s why Kaash is an album, which warrants repeat listening.

Over the years, many classical musicians have been subjects for documentary films; the likes of Ustad Amjad Ali Khan was chronicled on celluloid by a filmmaker no less than Gulzar. But films on music as an art form have more or less eluded filmmakers, unless the subject is on a gharana, a raga or a genre of music. Hence, recently Arun Khopkar’s showing of two short films on Indian music – Rasikapriya and Lokapriya aroused sufficient curiosity.

Rasikapriya deals with the evolution Hindustani classical music, while Lokapriya traces the emergence of the more popular music form, the film songs. Rasikapriya opens with natural sounds and evolves into a historic chronicle of civilisation through music. The latter film sets off with the raag Bhairav that is visually denoted by Khopkar with caves and stones.

Sing to the tune of Livin’ La Vida Loca by Ricky Martin He’s in a Virar Local,/Destination Goregaon. Right hand’s holding Mid-Day,/With left he’s hanging on... Pushed in at Dadar station,/Got a few blows on his mouth. Crushed beyond recognition,/Wallet’s been taken out... CHORUS: Upside, inside out/Livin’ the Virar local. They’ll push and pull you out,/Livin’ the Virar local. And who’s gonna tell them no?/You try and they’ll make you choe-a Livin’ the Virar local./Hey.../Livin’ the Virar local. Wake up... in Borivli,/Oh ****, missed Goregaon. And now, he’s feeling silly,/Because, he’s in Naigoan... Livin’ the Virar local./Hey... Livin’ the Virar local./Hey... Livin’ the Virar local.

The Malhar is obviously imaged by waterfalls, going on to images of Fatehpur Sikri, which is symbolic of the confluence of cultures and which Hindustani classical music evolved into – a convergence of styles in Emperor Akbar’s court. Ending with Gwalior and Tansen’s tomb. Visuals of musicians intercut with imagery. After this viewing, one couldn’t help but recall a Disney animation film Fantasia that takes viewers on a memorable trip down the annals of western classical music. The animation attracted children viewers and familiarised them with the classics and music appreciation without the dangers of boredom whatsoever. And in India too we have a wealth of talent for animation.

Hindi film songs are the earliest ventures into fusion music, for the 60s saw Hindi film music losing its indigenous flavour to the more poppish western beats. So for the next film, Lokapriya, Khopkar interviews four music directors beginning with veteran music director Naushadsaheb who still retains the indigenous flavour, hence signifying the last of the original musicians.

The others were Viju Shah and Taufique Qureshi. Khopkar ran the risk of obvious association images, i.e. the songs as they were picturised then. And since these songs are heard usually concurrent to other activity, Khopkar used streetside scenes as visual backups. These were intercut with the interviews. The soundtrack ran through like a medley of the best Hindi film music, which culminated befittingly to the strains of A. R Rahman. Lokapriya is obviously the more watchable film of the two.

However, both films have been financed by the Ministry for External Affairs and in that they serve the purpose of promoting India. And of course, they will do the rounds of the festivals for short films and documentaries. J.P. Dutta’s Refugee is not going to mean trumps to only Abhishek Bachchan. The release and popularity of the album augurs well for both Anu Malik and Sonu Nigam, the latter has sung all but two tracks. Sonu Nigam changes his voice to match occasion with taking a nasal high pitch for a quawwali, and a more lively voice for a pop.

This writer’s personal favourite is an album Sonu had done some years ago with Raju Singh – Koi Baat Nahin, each track replete with romanticism. Sonu has the adaptability of voice, though it comes nowhere close to that which Mohammed Rafi had, but only time will tell if he can even be considered a fringe successor to the legendary singer that Rafisahab was.

In the meanwhile, the success of Refugee has taken young Nigam on a signing spree and his career as a playback singer to reckon with is taking off. But Sonu runs the risk of indiscriminate signing. As we said earlier the other beneficiary from Refugee’s album sales is Anu Malik. From what we hear, his music has found favour with none other than Subhash Ghai and Raj Kumar Santoshi; the former now without Rahman post-Taal is putting the past behind for Anu Malik’s talent. For once, Anu is letting his music do the talking.

Now here’s a little humour in music which was emailed to this columnist by friend, an Indian musician abroad….. LIVIN’ THE VIRAR LOCAL.

Piroj Wadia