Lyricist Sameer Slams ‘Bad Recreations’, Condemns “Dilbar” But Praises “Tu Meri Zindagi….”

A fresh controversy in Bollywood has once again brought attention to the growing problem of recreated songs and credit disputes. Recently, Trimurti Films filed a lawsuit against B62 Studios, accusing them of using the popular song Oye Oye without proper permission in Dhurandhar: The Revenge. This issue has sparked a wider debate in the film music industry where original creators often feel ignored.

Amid this, veteran lyricist Sameer Anjaan spoke openly in an interview about how composers and music labels are increasingly sidelining original lyricists when songs are recreated. He shared his recent experience of writing a new version of Tu Meri Zindagi Hai from Aashiqui for Anurag Basu’s upcoming film starring Kartik Aaryan and Sreeleela.

Sameer explained that he believes original lyricists should be given the chance to rewrite their own songs. For this project, the music was composed by Pritam and sung by Vishal Mishra. He hopes this approach sets a better example for the industry.

However, he admitted that rewriting his own song was not easy. He had to keep the main hook (mukhra) the same while changing the rest of the lyrics (antara) to fit a new story, characters and direction. He believes listeners will notice the difference and appreciate the effort.

His past experiences with recreated songs, though, have been disappointing. He recalled how he was not allowed to write the recreated version of Dilbar for Satyameva Jayate. Instead, the song was written by Shabbir Ahmed and Ikka. Sameer strongly felt that the original lyricist should not be replaced so easily and that such decisions are unfair.

He also pointed out other examples where original writers were ignored. He questioned why Javed Akhtar was not asked to write the recreated title track of Ek Ladki Ko Dekha Toh Aisa Laga. Similarly, he wondered why he himself was not approached to rewrite Ankhiyon Se Goli Mare for Pati Patni Aur Woh.

Despite these frustrations, Sameer praised the team of Bhool Bhulaiyaa 3 for including him. He wrote Mere Dholna 3.0, which was sung by Sonu Nigam. He had also written the original Ami Je Tomar. According to him, the new version maintained the same class and quality as the original, unlike a previous version written by someone else, which he felt did not meet expectations.

Sameer also raised concerns about how music companies operate today. He believes many labels prefer working with new writers instead of experienced ones, even though the latter helped build their success. He questioned why some companies, despite having young talent for years, have not consistently delivered hit songs.

In his view, this trend of ignoring original creators and producing weak recreations is damaging the quality of music. He feels that respecting experienced lyricists and involving them in recreations can lead to better results and preserve the soul of the original songs.

Overall, Sameer’s comments highlight a growing concern in Bollywood, whether the industry is valuing creativity and experience or simply chasing trends at the cost of quality.

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