Sandeep Chowta scores background for OSO
September 8, 2007 6:56:13 PM IST
Joginder Tuteja, Bollywood Trade News Network
While Vishal-Shekhar are much in news for their soon to be released soundtrack of OM SHANTI OM, there is a latest piece of information as per which Sandeep Chowta has been roped in to create the film’s background score.
After making a splash with his background score for SATYA, he went on to do well in films like VAASTAV, DHADKAN and ASOKA too. Later he got busy in his international assignments due to which he wasn’t seen or heard much in the Bollywood circuits.
Now with his big comeback in OM SHANTI OM, one keenly looks forward to what he has in the offering for this Farah Khan film. For a film which traverses decades and showcases the Bollywood of 70s as well as the current times, one expects Chowta to create something fascinating that goes with the narrative.
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Sambaba 8 September 2007
04:09:04 pm
Just LOVE Sandeep’s BGM in Satya! Not so much in other movies but he is one of the best in BGM in India!
rohitkarnbatra 8 September 2007
05:46:19 pm
Company’s BGM was great too! Also Gang…
I wonder what the hell RGV is doing with Amar Mohile…!
Qalandar 8 September 2007
07:28:06 pm
agree rohit: haven’t seen Aag, but based on Sarkar, Mohile makes noise, not music.
Sambaba: Sandeep Chowta had some good music on the Boom soundtrack too (though the standout here was of course Talvin Singh’s stuff).
HAL 8 September 2007
09:05:58 pm
Off-track: I came across Talvin Singh of late, when I chanced upon Cafe del mar compilation album(which also has Bombay BGM in one of those volumes). Only Two tracks, but got hooked to ‘em. Now, I got my hands on few more works of his, really love it.
Qalandar 8 September 2007
09:22:47 pm
HAL: I hope you have heard his album “Ha”; in particular, the track “It’s Not Over” is my favorite Talvin Singh track…
Aside: The Bombay instrumental is also included on the compilation CD “Anokha”, showcasing the work of several artistes who got their start at London’s Anokha club apparently…the influence of R.D. Burman (see “Pyar karne waale” from Shaan for a musical strain that recurs in Talvin’s work) and ARR may be discerned in Talvin’s work (and in general in the work of the Asian Underground), and it’s great to see him take the legacy and develop it in a more ambient music sort of direction, often with wistfully evocative fragments of traditional Indian vocals and musical passages (testimony to Talvin’s own classical studies)…