Controversy Surrounding ‘Zor Ka Jhatka’

   The “Action Replayy” controversy seems to have got more convoluted what with both sides hurling allegations and counter-allegations at each other. Pritam has shown the difference in scanning and chalan of notes in his “Zor ka jhakta” and Kumar Bhabesh’s “Dehati laahi laahi” and how his song owes its roots in the folk elements of Assam. Though Pritam has claimed that the two songs don’t belong to the same “thaat”, Indian classical musicians say that both owe their origin to the “Bilawal thaat”. CT lends an ear to all those who have voiced their opinion regarding this controversy. 
    Iwould first like to point at the scanning of notes for “Zor ka jhakta” and “Dehati laahi laahi”. 
“Zor ka jhakta” — 
//-sa-sa sare gapa// padha dhapa gare rega// sasa -- -- sa-// sasa -- -- --// The scanning of notes for 
“Dehati laahi laahi” — 
//-sa saga gapa papa// padha dhapa paga gasa//sasa -- -- -- // 
The two songs do not belong to the same ‘thaat’. “ZKJ” has a ‘re’ note in prominent positions with its strong melodic characteristic which “DLL” does not have. The scanning of the songs are different. That gives a totally different melodic colour and attitude. The minor similarity in the landing note is a clear case of two songs being made from the same folk form. 
    — Pritam, composer of “ZKJ” 
    
    Iam a folk singer of Assam. Hence, I am aware of Rabha, Jikir, Jaari and Theonaam of Pal Naam. There 
are no influences of Rabha in “ZKJ”. One can find some flavour of Jikir and Jaari in the song’s antara. But the main tune of Pritamda’s song has been lifted from my songs. I will wait for my legal advisor, Pradip Das, to return from Delhi and suggest my next course of action. 
— Kumar Bhabesh, singer who accused Pritam of plagiarizing “ZKJ” from his “DLL” and “Ruksana” 
   






Sourse: TNN