A Quote by Arjun Janya

There is a regular format for songs in commercial films, such as a hero introduction song, but in 'Premier Padmini,' the songs and the background score aid the script. — © Arjun Janya
There is a regular format for songs in commercial films, such as a hero introduction song, but in 'Premier Padmini,' the songs and the background score aid the script.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
While there is a typical introduction song for the hero, there are songs that represent each phase of the characters' journey.
I'm not as religious as some people about "the album." To be honest, that was a product of a format. You had vinyl, and you could fit five songs on each side, and that's 45 minutes. You had A-side songs and B-side songs; I always loved the first song on side B. And there's nothing wrong with that. Prog albums of the 70s adapted to that format very much. But not all musicians want to create 45 minutes of music that has to be listened to in chronological order.
My songs aren't bubble gum pop dance songs and I don't have background dancers on every single song.
That's what is so great about being able to record a 13-song album. You can do a very eclectic group of songs. You do have some almost pop songs in there, but you do have your traditional country, story songs. You have your ballads, your happy songs, your sad songs, your love songs, and your feisty songs.
Moreover, if a song is a hit, film makers come to us with requests to score similar tracks. In the process, commercial songs sometimes sound repetitive.
In Kannada cinema, the introduction song for the hero is normally, as we call it, a massy commercial number.
Here's some free advice; like the folkies of yore, you need to be not just a writer of songs, you need to be a lover of songs, a listener of songs and a collector of songs. If you hear a song in a club that knocks you out or you hear an old recording of a great song you never knew existed, it does not diminish you to record it; it actually exalts you because you have brought a great song from obscurity to the ear of the public.
Getting to do 'December Songs' in a cabaret-style format was so interesting because it's like a one-woman song cycle that actually tells a story. It feels like a theatrical experience more than a cabaret because I didn't talk in between. We went from one song to the next, nine songs in a row - bam - I told the story in half an hour.
I was immersed in popular songs of the time, of the '30s and '40s. I was writing songs, making fun of the attitudes of those songs, in the musical style of the songs themselves; love songs, folk songs, marches, football.
Making a record? You've got to have the song, then you create a record. I think it's the same with a live performance. If the material is strong, you're already 90% there. I always tell young people it's all about the music, the songs. Work on the songs, work on the songs, work on the songs.
Certain songs by hearing the rhythm, it tells you that is either a love song or you might be heartbroken or the songs give you the vibes and you just know that certain songs are militant that you have to write.
The performance of a music director should be judged in a holistic manner, which includes songs as well as background score.
Some directors ask for a hero introduction number, a duet and a fast number towards the climax. Most of the times, these songs only hinder the story.
It costs $2,500 to purchase a song and I know from experience that I like to score with songs.
A song is a song. But there are some songs, ah, some songs are the greatest. The Beatles song 'Yesterday.' Listen to the lyrics.
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