*It has been six years since you sang Ringa Ringa for Slumdog Millionaire, collaborating with the Mozart of Madras. What was it like singing for him again?*
It is always great to work with AR Rahman. I've sung for him in Taal, Lagaan, Zubeidaa, The Legend of Bhagat Singh, Swades, Yuvvraaj, Ada... A Way of Life and Slumdog Millionaire in the past. This track from The Hundred Foot Journey is a sweet number. Rahman's extreme humility, simplicity and purity of heart, in spite of him being world-famous, make it delightful to work with him. As for the 'international' label, I know a lot is being made of the fact that this is an Indo-French film (smiles). It is amazing how labels can get attention in India. I don't think like that.
*Is that because you've already sung 20,000 plus songs, which got you two National Awards and hundreds of others?*
My best work, I always believe, is ahead. It's great to be loved and see my songs become hits but recognition and awards only signal the need to do better. Allowing them to go to your head would be disastrous.
*Why don't we hear you sing more often?*
Why do you think? Tell me where are the songs, composers, song-situations and even films which inspire one's best. I don't want to be part of the noise. I've always sung melodious numbers etched in people's minds for years. When all one can hear is noise, repeated words and a beat, it's tough to make sense of compositions masquerading as songs.
*You are singing in other languages?*
The work in regional music is still not as beset with dirty politics and crass commercialisation. And the compositions try to use your voice to its best. Which is why you will find me singing in Bengali, Tamil, Gujarati, Kutchi, Sindhi and Marathi.
*So where is the problem?*
Today's music in films seems less melodious. Rhythm, tempo and beat seem to overwhelm instead of music. It's like everyone wants to just create a din instead of music. New singers come out every single day. Their songs have such a short shelf-life that sometimes you blink and they're gone. Rarely do you see a spark. Of course, one sees sensation with suggestive and often scandalously offensive lyrics which leave little to the imagination.
*You've had your share of controversy...*
I know you're talking about my song in Khalnayak. When I look back I feel like it was a case of much ado over nothing. Look at some of the lyrics and videos of today. When you compare it with the songs of the likes of Honey Singh, 'Choli ke peeche' comes across as benign.
*Many feel it is better to have more voices around.*
I know it was expected that the chaste, virtuous heroine would sing in a thin high-pitched voice and that's changing. Today you have the heroine too singing in husky and even gruff voices. If it works, it works. So that's fine. The problem is when the heroine sings three songs in three different voices. Songs today are being created for situations like an item song, a romantic song and so on. Singers are chosen accordingly without a thought to character. Sometimes a song is recorded in four-five different voices and it's then decided whose voice will be retained in the final version.
*Which are some of the voices around that you like?*
I have been a great fan of Lataji and Kishore Kumar since I was five. I'd sit next to my mother, a trained classical singer, and sing along. It wasn't classical music but Lataji's songs which influenced me even as a child in Kolkata. I like Shreya Ghoshal, Sunidhi Chauhan, Shaan, Sonu Nigam and several other voices. Each of them has their unique strength. But they've been around for long. I like some new voices but don't even know their names.
Many feel your youngsters are giving you a run for your money...
In our times, new singers were weighed against Lataji. When I read things like a Sunidhi Chauhan or Shreya Ghosal giving me competition, I laugh, just like Lataji must have when we were compared with her. Comparing newcomers with established artistes shows a lack of a sense of proportion. Who are these ignoramuses? If they knew anything about music, they wouldn't say these things.
*Your contemporaries like Kavita Krishnamurthy are doing classical music concerts. Why haven't you done anything like this?*
You know I'm quite laidback. I always dreamt of getting married, having children, living in a nice little house and being a homemaker. Singing just came along. Even when 'Mere angne mein' became a hit, I didn't see stars. Only after Qayamat Se Qayamat Tak and Tezaab, did I become serious about a career. So there's a definite lack of drive. I have done albums like soulful compositions by Nida Fazli. I'm open to trying creative experiments like fusion or jamming with a band or something. But this can only happen if someone approaches me.
Kavita's marriage to the legend L. Subramaniam has helped. She got exposed to a different genre and a different audience.
*Over the past 30 years, you've sung under composers with varied styles. Whose compositions have challenged you the most?*
Laxmikant-Pyarelal are such an institution to learn from. Each antara completely different in the long songs. We'd have a day of rehearsals, followed by live recordings with HUGE ensemble orchestras. When I began, I'd sing softly and Laxmiji would shout at me to throw my voice. That cultivated what recordists now call a powerful voice. In fact, I'm made to step back from the mike while singing.
*You are doing many live shows...*
Yes. I travel almost every month for concerts both across the country and abroad. This keeps me busy. Despite the gaggle of new voices, it is always nice to know that there is still an audience out there which wants to go back to the melodious past and hear my songs.
InterviewLifestyleYogesh PawarDNAMumbaiJust Before MondayAlka YagnikFilmssingersongAR Rahmanclassical musicKishore KumarLaxmikant-Pyarelalshreya ghoshalSonu NigamSunidhi ChauhanSunday, 17 August 2014 - 6:20am
Alka Yagnik has sung for Helen Miller-Om Puri starrer The Hundred Foot Journey
dnai.in/cjTU1 Reported by DNA 5 hours ago.
It is always great to work with AR Rahman. I've sung for him in Taal, Lagaan, Zubeidaa, The Legend of Bhagat Singh, Swades, Yuvvraaj, Ada... A Way of Life and Slumdog Millionaire in the past. This track from The Hundred Foot Journey is a sweet number. Rahman's extreme humility, simplicity and purity of heart, in spite of him being world-famous, make it delightful to work with him. As for the 'international' label, I know a lot is being made of the fact that this is an Indo-French film (smiles). It is amazing how labels can get attention in India. I don't think like that.
*Is that because you've already sung 20,000 plus songs, which got you two National Awards and hundreds of others?*
My best work, I always believe, is ahead. It's great to be loved and see my songs become hits but recognition and awards only signal the need to do better. Allowing them to go to your head would be disastrous.
*Why don't we hear you sing more often?*
Why do you think? Tell me where are the songs, composers, song-situations and even films which inspire one's best. I don't want to be part of the noise. I've always sung melodious numbers etched in people's minds for years. When all one can hear is noise, repeated words and a beat, it's tough to make sense of compositions masquerading as songs.
*You are singing in other languages?*
The work in regional music is still not as beset with dirty politics and crass commercialisation. And the compositions try to use your voice to its best. Which is why you will find me singing in Bengali, Tamil, Gujarati, Kutchi, Sindhi and Marathi.
*So where is the problem?*
Today's music in films seems less melodious. Rhythm, tempo and beat seem to overwhelm instead of music. It's like everyone wants to just create a din instead of music. New singers come out every single day. Their songs have such a short shelf-life that sometimes you blink and they're gone. Rarely do you see a spark. Of course, one sees sensation with suggestive and often scandalously offensive lyrics which leave little to the imagination.
*You've had your share of controversy...*
I know you're talking about my song in Khalnayak. When I look back I feel like it was a case of much ado over nothing. Look at some of the lyrics and videos of today. When you compare it with the songs of the likes of Honey Singh, 'Choli ke peeche' comes across as benign.
*Many feel it is better to have more voices around.*
I know it was expected that the chaste, virtuous heroine would sing in a thin high-pitched voice and that's changing. Today you have the heroine too singing in husky and even gruff voices. If it works, it works. So that's fine. The problem is when the heroine sings three songs in three different voices. Songs today are being created for situations like an item song, a romantic song and so on. Singers are chosen accordingly without a thought to character. Sometimes a song is recorded in four-five different voices and it's then decided whose voice will be retained in the final version.
*Which are some of the voices around that you like?*
I have been a great fan of Lataji and Kishore Kumar since I was five. I'd sit next to my mother, a trained classical singer, and sing along. It wasn't classical music but Lataji's songs which influenced me even as a child in Kolkata. I like Shreya Ghoshal, Sunidhi Chauhan, Shaan, Sonu Nigam and several other voices. Each of them has their unique strength. But they've been around for long. I like some new voices but don't even know their names.
Many feel your youngsters are giving you a run for your money...
In our times, new singers were weighed against Lataji. When I read things like a Sunidhi Chauhan or Shreya Ghosal giving me competition, I laugh, just like Lataji must have when we were compared with her. Comparing newcomers with established artistes shows a lack of a sense of proportion. Who are these ignoramuses? If they knew anything about music, they wouldn't say these things.
*Your contemporaries like Kavita Krishnamurthy are doing classical music concerts. Why haven't you done anything like this?*
You know I'm quite laidback. I always dreamt of getting married, having children, living in a nice little house and being a homemaker. Singing just came along. Even when 'Mere angne mein' became a hit, I didn't see stars. Only after Qayamat Se Qayamat Tak and Tezaab, did I become serious about a career. So there's a definite lack of drive. I have done albums like soulful compositions by Nida Fazli. I'm open to trying creative experiments like fusion or jamming with a band or something. But this can only happen if someone approaches me.
Kavita's marriage to the legend L. Subramaniam has helped. She got exposed to a different genre and a different audience.
*Over the past 30 years, you've sung under composers with varied styles. Whose compositions have challenged you the most?*
Laxmikant-Pyarelal are such an institution to learn from. Each antara completely different in the long songs. We'd have a day of rehearsals, followed by live recordings with HUGE ensemble orchestras. When I began, I'd sing softly and Laxmiji would shout at me to throw my voice. That cultivated what recordists now call a powerful voice. In fact, I'm made to step back from the mike while singing.
*You are doing many live shows...*
Yes. I travel almost every month for concerts both across the country and abroad. This keeps me busy. Despite the gaggle of new voices, it is always nice to know that there is still an audience out there which wants to go back to the melodious past and hear my songs.
InterviewLifestyleYogesh PawarDNAMumbaiJust Before MondayAlka YagnikFilmssingersongAR Rahmanclassical musicKishore KumarLaxmikant-Pyarelalshreya ghoshalSonu NigamSunidhi ChauhanSunday, 17 August 2014 - 6:20am
Alka Yagnik has sung for Helen Miller-Om Puri starrer The Hundred Foot Journey
dnai.in/cjTU1 Reported by DNA 5 hours ago.