Rekha Bharadwaj: We are caterers of mediocrity

Rekha Bharadwaj. Pic/Sameer Markande

As she chronicles the goings-on in the Bollywood music industry, Rekha Bharadwaj sprinkles this conversation by drawing examples of artistes and films, spanning decades. Her fine observation skills and deep understanding of cinema trends are made evident, even though she isn't one to go to town when critiquing the industry. Set to serenade fans on an upcoming episode of MTV Unplugged, Bharadwaj talks to mid-day about the reason behind the increasing gap in the quality of music being churned out in and out of the film industry.

Edited excerpts from the interview:

There is a lot of talent in the independent music scene. Why do you think that quality arguably isn't translating to Bollywood music?
[Independent music] platforms still have a long way to go [before they can become popular]. Abroad, an artiste first releases an album, then the song is picked up for a film. But, songs are an integral part of our films, [and hence] we have incorporated film songs [on this platform too], to meet the demand. We are, primarily, a melodramatic society, and caterers of mediocrity. A majority of our population appreciates mediocrity, and that's why it exists in films and fine arts. Also, since crores are invested in films, certain requirements must be met. Today, the film business is a three-day affair, governed by collections from Friday through Sunday. Few are [driven] by a creative pursuit. The independent music genre has come to the fore after 20 years. I struggled for 11 years to release the album that was to launch me. There's a lot that we have to do to put up the quality [of music] that we desire. Rural audience won't appreciate sophisticated music. They would prefer folk music, while the youngsters would, maybe, choose noisy tunes. Remixes too are horribly executed. They are derogatory to the original classic.

How do you suggest that can change?
Artistes should be more concerned about content, [which comprises] language, diction and musicality. The younger musicians must educate themselves about our musical heritage. Also, [a lot depends on] aesthetics. I've sung many item songs, and am proud of all of them, including Namak Ishq Ka, and Ghagra. When Gulzar sa'ab writes a naughty, raunchy song, you will still find it aesthetically appealing. Aesthetics must be maintained in the lyrics, composition and rendition.

Is the industry receptive of singers with unique voices, like your own?
After Namak Ishq Ka, a lot has changed. The younger lot of composers have a background in Western music, and are hence open to experimenting with all sort of voices. Jagga Jasoos, for instance, had so many new voices, and a beautiful range of singing. Also, pronunciation must be paid heed to. For example, in Bombay Velvet, all the songs were nice. Some singers, like Neeti Mohan, paid attention to diction. When singing in Urdu, one should be certain to pronounce correctly. Neeti was, while a few others weren't. When the diction is correct, 60 per cent of your job as a singer is done. Unfortunately, even lyricist don't care if their words are being pronounced right. We pay heed to accents and pronunciation when singing English numbers. But, Hindi songs are tackled with carelessness.

You've often spoken positively about the influence of Western music in India. Why is that so?
This is something that was even evident in old music. In fact, earlier, Catholic musicians from Goa formed a major part of our industry. If you listen to older melodies, like Madan Mohan's Khelo Na Mere Dil Se, you'll notice that the introductory music will not reveal the melody that comes in later. The music arrangers then were classically trained in Western music, and also understood Indian nuances. The young generation is talented since they are exposed to all genres. But, there's a thin line between good and bad influences.

How does a platform like MTV Unplugged benefit the industry?
When a song is composed for a film, it's based on situations. Here, we're not bound by demands. I've recreated Darling [for the show], and used a brass section. There are two originals too, one of them being an Amrita Pritam poem.

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