An ambitious tribute initiative designed to carry the musical legacy of legendary rock maestro Ayub Bachchu to younger generations has run into severe criticism from devotees, following the release of a controversial cover version of one of his signature ballads. Centred on a commemorative twenty-track compilation titled Uttoradhikar (Legacy), the project brought together contemporary musicians and bands to craft modern reinterpretations of Bachchu’s seminal catalogue. Proceeds from the release were planned to support the construction of a dedicated Ayub Bachchu museum, yet the creative execution of the material has sparked a bitter debate across the country’s musical landscape.
The album rollout began on 16 August to coincide with the birth anniversary of the late guitarist and vocalist, leading with a rendition of “Rupali Guitar” by Bappa Mazumder. While seven tracks from the project have reached digital platforms, listener reception soured almost immediately upon the release of “Ghumonto Shohore”, performed and arranged by music producer Adit Rahman. The track diverged substantially from the original version recorded by Bachchu’s trailblazing rock outfit LRB (Love Runs Blind), featuring altered vocal cadence, modernised instrumentation, and a modified melodic rhythm.
Audiences reacted swiftly across social media and streaming channels, expressing frustration that the remake compromised the raw, evocative ethos of the classic piece. Dedicated fans accused the producers of distorting a cultural staple, with several demanding the immediate withdrawal of the video from YouTube and warning of potential legal recourse should it remain accessible. Online forums were inundated with sharp critiques, with listeners remarking that the soul of the track had been compromised in pursuit of stylistic reinvention.
The artistic friction also resonated among active members of the music fraternity. Artiste Molla Babu, who had shared a well-received acoustic version of Bachchu’s “Koshto Kake Bole” around the same commemorative period, offered a nuanced appraisal of the situation. While praising the underlying intention of the Uttoradhikar initiative, he pointed out that covers of iconic tracks require an inherent reverence for their origins. He noted that while the production might succeed as an independent original composition, it fell short of capturing the nostalgic appeal intrinsic to Ayub Bachchu’s work.
As the controversy intensified, questions arose regarding the role of guitarist Abdullah Al Masud, Bachchu’s long-time bandmate in LRB and the general secretary of the Ayub Bachchu Foundation. Masud, who has been centrally involved in archival and preservation efforts since Bachchu’s death in October 2018, issued a comprehensive statement clarifying that he held no association with the project. He stressed that he was not consulted on artistic or operational choices related to Uttoradhikar, adding that his enduring commitment is to protect the late musician’s creations from any compromise in quality or artistic standing.
