Roshmila Bhattacharya (MUMBAI MIRROR; October 20, 2018)

October 16, 1998… That was the day Karan Johar made his directorial debut with Kuch Kuch Hota Hai, a film that took off in a Riverdale High-kind of campus before moving into the real world. Shah Rukh Khan playing a reel life father for the first time to an eight-year-old matchmaker who is determined to reunite Rahul with his unacknowledged first love, Anjali (Kajol). The buddy romance arrived on Diwali, coming up against the combined might of David Dhawan, Govinda and Amitabh Bachchan’s Bade Miyan Chhote Miyan. It went on to become one of Hindi cinema’s biggest grossers, sweeping up several awards along the way, including two National Awards, for Best Film for Providing Wholesome Entertainment and Best Playback (Female). The latter went to Alka Yagnik for the title track.

Flashbacking to her special moment two decades later, Alka says emotionally, “It was my second National Award after Hum Hain Rahi Pyar Ke’s 'Ghunghat Ke Aad Se Dilbar Ka'. I was pleasantly surprised when I got the news because while it’s a lovely song and very popular, I hadn’t expected to bag the coveted national honour for it.”

She admits that the first time she heard the lyrics, she found the words, “Kuch Kuch Hota Hai”, slightly odd and actually asked, ‘Yeh kaisa gaana hai?’ It was only after the film’s release that she realised what an apt title it was. The title track went on to become a milestone in her career and she’s asked to sing it at every concert in every part of the world. “Even this year, during Navratri and Durga Puja concerts around the city, this evergreen track featured prominently in the playlist,” she smiles, adding that while the National Award ceremony is not the kind of function where one breaks into a song, she was requested to hum a line while being felicitated by the President. “It was a proud moment for my family and me. I missed my father who would always say I was headed for the National Award but by the time I won it, he had passed away,” she says.

Alka brightens up as she recalls the excitement, energy and enthusiasm of the young team lead by Karan and his composer duo. “Jatin-Lalit worked very hard on this composition which had a lot of variations. They wanted me to sing it with certain nuances which I followed. The vibe in the studio was great and Udit ji (co-singer Udit Naryan) was cracking jokes in between,” the singer reminisces.

While the title track is undoubtedly the highlight of this album, she contributed other hit numbers, from “Koi Mil Gaya” with its 14-line mukhda to “Yeh Ladki Hai Deewani” which started onscreen as a tiff between Rahul and Anjali and went on to become a “complete package”, with the lyrics, melody, rendition and performances in perfect sync. Then there is “Sajan ji Ghar Aaye” which marked Salman Khan’s introduction in a memorable special appearance and to date is a favourite with baraatis at weddings. “Since Udit ji and I had been singing all the other songs, I was surprised when I learnt that this duet was with Kumar Sanu ji. I was told it would be picturised on another actor, I had no idea that actor was Salman!” says Alka.

She was equally bemused while recording Gandhi ji’s oft-sung bhajan, “Raghupati Raghav”, wondering how they would incorporate it. “When I saw the film, I was blown over by the way it established how Tina (Rani Mukerji) who had been studying at the Oxford University, hadn’t forgotten her roots. Even today, it’s a favourite with NRIs who like the way I render it,” Alka adds.

Another surprise is the number of requests she gets for “Tujhe Yaad Na Meri Aayee”. Lalit had once revealed that the heart-wrenching melody was inspired by a Punjabi folk song and had moved the late lyricist Anand Bakshi to tears when the brothers had played it for Yash Chopra during a music session for Dilwale Dulhania Le Jayenge. “Karan, who was present at that sitting, remembered it and asked us to play it for him. Yash Johar ji and his wife Hiroo ji loved it as much and that’s how 'Tujhe Yaad Na Meri Aayee' came to be a part of the film.”

Kuch kuch aise hi hota hai aur bees saal baad bhi yaad reh jati hai.

Alka Yagnik tells the story behind the yesteryear hit to interviewer Neeti Mohan
Soumya Vajpayee Tiwari (MID-DAY; July 9, 2018)

While Neeti Mohan is in awe of her senior, Alka Yagnik, the veteran is all praise for the young star and how newer singers are confident about their skills. As they settle for an interview peppered with music at a Juhu five-star, they walk each other through their musical journeys. Edited excerpts from the tete-a-tete:

Neeti to Alka

You redefined how singers carry themselves. Before you, few female singers would pay attention to dressing.
I am fond of good clothes and accessories, and I like to dress up. Earlier, for almost 15 years, my life was limited to home and studio. I would record five songs daily, and do stage shows occasionally. Later, when I started getting a little more time for myself, main apne shauk poore karne lagi.

At stage shows earlier, singers were only expected to perform well, with little attention paid to their dressing. But today, the spotlight is also on your appearance when you perform live.
Earlier, media was not so active and you wouldn't be clicked wherever you went. I did several shows with Kalyanji-Anandji and Laxmikant-Pyarelal. They taught me how to conduct myself on stage. Gradually, I started speaking to the audience. Back then, so much importance was not given to outfits, background dancers and presentation. I was a shy person. I could let go of my inhibitions only when I was in front of the mic. Now, I am a changed person on stage. I make the audience laugh.

(Mohan adds)
I experience something similar when I perform live — mere andar ki diva unleash ho jaati hai.

Do you feel singers are also actors?
Absolutely! Performing arts are always connected. You have to be an actor to be a good singer. When I sing a song, the actor in me comes out as I emote for the track. Actors also have a singer in them. Unless they have an idea of rhythm and sur,how will they dance to a song?

You said you would record five songs daily. How did you take care of your voice?
I had tonsillitis since childhood. My doctor suggested not to get it operated as my tonal quality would change. So, I had to live with tonsillitis attacks. The good thing was that the more I would sing, meri awaz utni hi khulti thi. Some artistes get tired after singing a couple of songs, but my voice used to blossom.

Do you remember recording a song with a bad voice?
When I had to record Ek Do Teen [Tezaab, 1988], I could barely talk. The song required strong throw, and we didn't have technical help those days. Mehboob Studio was filled with musicians that day — there was a 45-member chorus and around 100 instrumentalists. I told Laxmiji [of Laxmikant-Pyarelal] that I was not in a state to sing. He said, “Aap socho hi mat uske baare mein, aur bas gaao.” Though we had to finish recording before 12 am, we hadn't had a single take till 11.30 pm because balancing all the instruments was taking long. Finally, when it was all set up, Laxmiji said, “Alkaji, sing a rough version today. We will dub your voice again.” I belted out the number in one go. But that dubbing never happened. He was so happy with the song that he said, “Agar aapko lagta hai is gaane mein aapka gala kharab hai, to aap mera har gaana kharab gale se gaao.”

I read that when Osama Bin Laden's Abbottabad house was raided in 2011, hundreds of your song recordings were found.
Somebody had told me when this was reported. I felt weird. I think maybe he too had an artiste inside him (laughs).

Have you ever thought of teaching music?
Music cannot be taught. Either you are a singer or you're not. I always guide singers who need help. Over the years, I've done so many reality shows, and the participants often send me their works or come over to my home for suggestions.


Alka to Neeti

Do you plan to get married?
It has been on my mind of late. I hope to get into a relationship now.

(Yagnik adds)
I feel artistes should not get married. An artiste's life is erratic and most of them are moody. In such cases, the partner has a tough time adjusting to his/her moods and schedules. Even Ashaji [Bhosle] often says kalakaaron ko shaadi nahin karni chahiye.

(Mohan)
I have been in a relationship with my music and career. I am so busy that I don't have time for a guy in my life.

(Yagnik)
I got married early and my daughter [Syesha Kapoor] was born within a year. It was around the same time that Ek Do Teen and Qayamat Se Qayamat Tak (1988) released, and my career took off. I used to feel guilty that I wasn't able to devote time to my husband and her.

What kind of songs are your forte?
I don't know my forte yet. As a kid, I used to sing a lot of Hindustani classical songs and bhajans. When I went to a boarding school in Pilani, Rajasthan, I learnt folk music. I was there for seven years and would hear local women sing Marwari songs.

Did you always want to become a singer?
As a kid, I loved being on stage - be it acting, singing or dancing. I could never pick one, so I would often be in a fix. We used to have an hour-long extracurricular class daily. My dramatics, music and dance teachers would fight over me for their respective sessions. I struggled to figure out what I enjoyed the most. Eventually, I realised that when I sing, I get to do all three things - sing, dance and act - together. That's when I decided to participate in a singing reality show. I recently performed with A R Rahman sir in Kochi. I sang Jiya Jale Jaan Jale live and put up a Bharatanatyam act for it. It was fulfilling.

The Tridev of '90s playback get together to ruminate on what made the good decade of Hindi film music last beyond its time
Soumya Vajpayee Tiwari (MID-DAY; June 23, 2017)

It's tough to get the three together. Alka Yagnik, Kumar Sanu and Udit Narayan can't seem to get their diaries to be kind to each other. On a day when Yagnik is free, Sanu is in London. We are hoping the logistical nightmare has less do with starry egos and more with being busy two decades after hitting the high notes of celebrityhood.

The trio that ruled Hindi film playback in the 1990s continues to be sought after, whether as singers, guests on television reality shows or as the brand that sells tickets at musical tours abroad. They put all doubt to rest when they come together ahead of mid-day's anniversary edition, to say, "competition tha, but it was always healthy".

Before your lot became the stars of playback, Lata Mangeshkar, Asha Bhosle and Kishore Kumar had ruled the scene. Did you ever imagine that you'd break into the industry, and own it in the manner you did?
Udit Narayan (UN): The era of Rafi saab, Kishore saab, Manna Dey, Mukeshji and Mahendra Kapoor was legendary. I grew up listening to their songs. Their works were like textbooks for me. Back then, it was tough to break into the scene, and make an identity. In fact, getting to a music producer was the most difficult thing. Composers would rarely (be willing) to listen to a new voice. It would take five years to even reach a composer's studio and get his attention.
Alka Yagnik (AY): At that time, there were no reality shows that would get you heard and recognised. It happened one step at a time. And suddenly, I realised that I was singing and recording a whole lot of songs. Ours was not overnight stardom.
Kumar Sanu (KS): I used to sing at a hotel when I first arrived in Mumbai, and I spent all the money I earned on recording songs which I would share with composers. When I managed to break in, Udit Narayan, Abhijeet Bhattacharya, Vinod Rathod, Sudesh Bhosle and Amit Kumar were already around and doing well. They were following Kishore da's style; even I was doing the same. But when I got the opportunity to sing for Aashiqui (1990), I tried to create an identity of my own.

Other than a few noteworthy semi-classical songs and ghazals, the '80s were lacklustre. How did things turn?
AY: It ('80s) was the decade of action films, so music took a backseat. The films had a music score, but that's because no Hindi film released without songs. The phase of romantic films firmly established itself with Aashiqui, and was chased by several other musically rich films.
UN: I'd say Qayamat Se Qayamat Tak changed the game in 1988. Composers like Anand-Milind, Jatin-Lalit, Nadeem-Shravan, Viju Shah and Uttam Singh were instrumental in changing the Bollywood music game. Melody became king. The songs weren't defined by reasoning, ki yeh gaana kyun ban raha hai? The songs complemented the script. That's why they worked, and are still remembered. Mohra's Tu Cheez Badi Hai Mast Mast (1994) still features on playlists.
KS: I wouldn't hesitate to say that the 1990s were the best decade for music and melody in the history of Bollywood music. Earlier, Rafi saab or Lataji would record one or two songs in a week. In the '90s, four films released every week. All of them did well musically. Because the music did well, 300 movies managed to release every year. Music was the hero/heroine of a film. If there were 11 songs in a movie, all of them would do well. The writers and composers back then were magical.
AY: It was also a good fit. We happened to have the sort of voices required at the time. Had we come in today, we would have been wasted.

You would have experienced the orchestra recordings of the '90s.
AY: Yes, initially, we recorded live. But even when we dubbed, we sang the entire antara or mukhda in one go. We couldn't dub a single line. Ek Do Teen for Tezaab (1988) was recorded live with a 40-member chorus and instrumentalists. There, we sang the whole song in one go. Agar kisi ne bhi galti ki — musicians, recordists, singers or even the chorus — we had to sing it all over again. So many people had to get it right, and together!
KS: The mental strength of a singer was put to test. The grandeur and effort shone through in the songs.
UN: The technical understanding of everyone involved was important. Everyone complemented each other. Recordings would last over two days. It was stressful, but we'd look forward to seeing everyone.

Was the competition always healthy?
AY: We — Uditji, Sanuji, Kavitaji [Kavita Krishnamurthy] — would all record together and try to sing better than the rest. That improved the quality of music. These days, the female singer doesn't know who the male singer on the track is. Earlier, an album had an identity because if Uditji was singing for one actor, he would sing all the songs for the star in that film.

If you had to list the taskmasters of the '90s, which composers come to mind?
UN: I had to be careful while working with Laxmikant–Pyarelal, Kalyanji-Anandji and RD Burman saab. Anand-Milind would expect me to sing the way they had composed the song. They didn't like improvisation. But Viju Shah loved experimenting. Nadeem and Shravan were also flexible, but upto a point.
AY: Jatin-Lalit were particular about every note. They wanted what they wanted. The challenge for us was to mould (ourselves) to match the composer's style. It was good to hear them say, "Aap humare liye best gaati hain."
KS: Anu Malik wouldn't allow a singer to dominate the music. I was singing a lot at that time and whenever I'd record the first line, his reaction would be, "Chhee chhee… Sanu, kitna besura gaya. Kya hua tumhe aaj? Koi problem?" That was his style. When the song was done, he'd invariably say, "Bahut achha gaaya." Jatin-Lalit didn't allow improvisation, unlike Bappi Lahiri. Nadeem, too, was accommodating. Shravan would say, "Ek baar phir se kara lete hain, Nadeem," and he'd respond with, "Na, usne jo kar diya woh final hai," and leave the studio. After every recording, when I entered the balancing room, Nadeem would shower money on me.

Favourite song by 'the other'
Sanu
Favourite Alka-Udit song: Gazab Ka Hai Din (Qayamat Se Qayamat Tak)

Alka
Favourite Sanu song: Mera Chand Mujhe Aaya Hai Nazar (Yeh Hai Mumbai Meri Jaan)
Favourite Udit song: Ae Ajnabee Tu Bhi Kabhi (Dil Se)

Udit
Favourite Alka-Sanu song: Chura Ke Dil Mera Goriya Chali (Main Khiladi Tu Anari), Baazigar O Baazigar (Baazigar) and Ghunghat Ki Aad Se (Hum Hain Rahi Pyar Ke)

A '90s song you wished you hadn't sung
Alka: Meri Pant Bhi Sexy (Dulaara; 1994)
Sanu: Din Mein Leti Hai, Raat Mein Leti Hai (Amaanat; 1994)
Udit: None, I am happy with all the songs I sang

The '90s hero/heroine your voice best suited
Alka: Madhuri Dixit and Juhi Chawla
Sanu: Ajay Devgn, Akshay Kumar, Shah Rukh Khan
Udit: Aamir Khan, Shah Rukh Khan, Salman Khan, Akshay Kumar and Anil Kapoor

She was the queen of playback singing in the 90s. And Alka Yagnik says she is happy to record songs that suit her even now
Noyon Parasara (BOMBAY TIMES; January 15, 2016)

Alka Yagnik's comeback song Agar Tum Saath Ho in Tamasha is simple yet melodius
Tanvi Trivedi (BOMBAY TIMES; November 20, 2015)