Singer Kumar Sanu regrets not spending enough time with these music maestros; says he wishes he could have recorded more songs with them
Nikita Deb (HINDUSTAN TIMES; March 1, 2020)

One of the most popular and loved singers in Bollywood, Kumar Sanu ruled the ’90s with his music and songs. With superhits such as Yeh Kaali Kaali Aankhen (Baazigar; 1993), Tujhe Dekha Toh (Dilwale Dulhaniya Le Jayenge; 1995) and Aankh Marey (Tere Mere Sapne; 1996), to his credit, Sanu stills enjoys a sizeable fan following even though he doesn’t sing as many songs anymore. As the king of melody completes 30 years in the music industry, he says that even though there were times when things were “unpredictable”, he always had “faith in karma and music”. Excerpts from an interview:

You have completed 30 years in the industry. How has the journey been?
The journey was amazing with many ups and downs. At some points, it was quite unpredictable, but I had faith in karma and music. It always kept me together and down to earth. I never forgot my roots. My musical journey is something I can’t ask more from. It’s very satisfying as an artiste and most importantly, I’m still getting love from my fans all over the world, and that makes me feel a like complete artiste.

What are your biggest learnings and takeaways from this long period of being associated with Bollywood?
My biggest learning is to remain down to earth, no matter how successful I am. It’s natural to be thinking too much of yourself when you’re successful. But after you reach the peak of success, it’s only downhill from there. I just know that one should never get disappointed. Your time will come one day.

You have a world record for singing the most number of songs (28 tracks) in a single day. All things considered, are you content with all that you have achieved until now?
Yes of course. I’m quite happy with whatever I’ve achieved so far. God has given me much more than I asked for. Now, it’s time for me to give back to the society. That’s why I’m running free schools and doing whatever I can do on my own to give back to the less fortunate people who are part of my success. I guess, being happy is the key to success. I never let my personal grief overpower my art, and I’m the happiest person when I meet my fans. It feels like an award when I see their love for me in their eyes. What else I can ask for?

Do you have any regrets professionally?
My biggest regret is the death of Gulshan Kumar ji and Pancham da (R D Burman). I wanted to work more with them, spend time with them and it couldn’t happen. Sometimes, I miss them so much when I listen to their songs, and I feel the void that they left in the industry. I wish they were here.

You’re one of the most loved singers in the industry till date. Do you think singers today don’t enjoy the same popularity that you did?
In our time, luckily, there were limited singers because we had to sing live in one take to record the entire song, along with the musicians. One had to be very skilled to sing live at one go. That’s why there were only people who knew to sing properly. Nowadays, it’s easy to be a singer with technical tuning support and that’s the reason why there are more singers than we need in Bollywood. To put it simply, in my time, I used to sing five to six songs in one movie, now five to six singers sing one song and then one version is finalised. This experiment is good to get variations in the song, but popularity gets divided amongst all. That’s the only difference I can spot. There are many talented singers in the industry today, and they’re doing quite well.

How do you think the music industry has changed over the years?
Look, change is necessary. We can’t get stuck in time. We still hear melodious songs along with rap etc. It’s always good to accept new things. The only thing I don’t like is using abusive language in songs. It affects our young generation and it’s bad!

You still sing in movies and are also working in the independent space, what keeps you going even today?
Positivity is what still keeps me going even today. I feel happy when I’m in studio and singing live amongst my audiences. It’s their love which inspires me a lot to keep going.

What is your vision for the music industry?
There are many talented artistes in the industry and there’s a bigger scope than before. Everyone can get their chance at least once, to prove themselves which is very nice. Amazing music is being made and there are a variety of praiseworthy singers. It’s the best time for music industry today, and for all the kids out there. I hope for the best for music industry and send my love to the new talents.

The king of melody, singer Kumar Sanu says remixes are an opportunity for him to learn new styles of singing too, while giving him a chance to see how the industry functions today
Nikita Deb (HINDUSTAN TIMES; November 17, 2019)

Melody King of the ’90s, Kumar Sanu, became a household name after churning out innumerable hits throughout the decade. And now, years later, the singer has still not lost touch with his fans. He has always tried to do something new and even sang a verse in the remixed version of his superhit song, Aankh Maarey from Tere Mere Sapne (1996) in the 2018 hit, Simmba.

And now, in an attempt to try something new, Sanu has collaborated with “new-age” composers Meet Bros for a romantic single called Ishq Saaf. Sanu says it was a “great experience” to collaborate with the musical duo. “They are a very easy team to work with and most importantly, to sing a song with the new-age composers was a wonderful experience. I chose this song because I really liked the tune. Meet Bros had come to me with a few songs and asked me to choose one and requested me to sing it as well. So, I chose this song because it had melody in it. I also loved the lyrics, as it was a very lyrically powerful song,” he says.

With the trend of remaking old songs gaining momentum in the industry, Sanu, unlike a lot of his contemporaries, seems to be completely on board with the trend. “I think its a very good thing that my old songs are being remade. At least, that way, the new generation gets to know about those old gems. They also get to know about the people who were behind those songs. So, this is definitely a plus for all of us [yesteryear singers]. I just want to say that when such remakes are made, the lyrics and tune should not be changed. They can very well change the arrangement of those songs to suit the tastes of today’s generation, and also add stuff to make the songs sound better. The biggest positive of this trend is that people who didn’t know about the original singers and musicians of those tracks, are now aware of them. So, I completely agree with the trend of remakes,” says the singer, whose songs such as Aankh Marey (Tere Mere Sapne; 1996), Ek Ladki Ko Dekha To (1942: A Love Story), have been successfully remade.

Ask him if he would ever sing a remake and he says, “Why not? I find myself completely involved and in sync with this new trend of remakes. Making them or being part of them also gives us an opportunity to understand how things work in today’s industry, and how musicians function nowadays. I am also learning a new style of singing through these remakes, so that’s a very good thing for me.”

Sanu had given superhits such as Tere Dar Pe Sanam Hum Chale Aaye (Phir Teri Kahani Yaad Aayee; 1993), Chura Ke Dil Mera (Main Khiladi Tu Anari; 1994) and Tujhe Dekha To (Dilwale Dulhania Le Jayenge; 1995), among several others, back in the day, says that a lot has changed in the Bollywood music scene now, when compared to the ’90s. “There was a lot of melody used in songs those days. Even today, there are melodious songs being made, but at that time, the number of such songs were definitely more. That’s the reason why we [singers from the ’90s] get so many opportunities to do live concerts because people all over the world want to listen to those songs. But change is necessary and I am absolutely on board with these changes. However, I feel that if our songs today, are not powerful in terms of lyrics, their shelf lives become really small. So, we definitely need to pay more attention to what kind of lyrics we are writing today, because if the words of a song are bad, it affects the society. This is something that needs to be given a lot of thought,” says Sanu.

The singer also believes that today’s generation “really loves all the old songs”. “In all my live shows, I notice that the crowd is filled with people between the age groups of 18 to 30. They enjoy listening to those songs and some of their requests even leave me dumbfounded. So, I think the lack of melody which we saw in the last few years is being bridged again. This generation loves melody,” says Sanu.

Kumar Sanu on his daughters Shannon K and Anna
My daughters are extremely talented and are doing very well in the Western music industry. Whatever they are doing, they are doing on their own without the help of anyone else or me because nobody knows me in Hollywood. I have collaborated with them on one song and if I ever get the chance to do so again in the future, I will definitely do it. As far as their Bollywood careers are concerned, they are old enough now to make their own decisions. If they want to sing some songs here in Bollywood, they should do it. I will never have any objection to it. They are grown up now and if they want to sing in Bollywood I will be more than happy. There is nothing wrong in that.

Shannon K, who has penned a song based on her experience of being bullied, on the advice she got from father Kumar Sanu
Sonia Lulla (MID-DAY; December 3, 2018)

Shannon, you’ve spoken about being bullied to the point of wanting to give up a career in music. Did you discuss that with your father?
Shannon: During the time I faced depression, I thought making a career as a singer was a mistake. I felt I may have disappointed my father, because I lacked talent. Dad and I spoke about this for hours. He told me to keep working on my music. He said that if I was being hated, it implied I may have achieved something.
Kumar: It’s tougher to make your own place in the industry when your parent is a [prominent] figure, because comparisons are inevitable. People say star-kids don’t have talent, but they forget the struggle that the celebrity [parent] had endured [to become famous]. People think star-kids should be famous from day one, which is impossible, no matter how talented one is. It may seem easy to be the child of a famous parent, but unlike for a regular person, s/ he doesn’t get enough time to grow.

Shannon, there has been news about how you inflicted pain on yourself when enduring depression. How did you find the strength to fight and continue?
Shannon: It was hard for me to get back on my feet and continue to battle. I indulged in self-harm and simply wanted to be in hiding. I was in a dark place, one that felt like several years. Fortunately, my parents saved me from falling into a black hole. I wanted to write this song to help teenagers, and tell them how a single negative comment can ruin someone’s life. It didn’t matter who my dad was, I got bullied nonetheless.

Why was Sonu Nigam your first choice when searching for a collaborator?
Shannon: I’ve listened to his songs since childhood. He has always been my favourite. Dad too would shower praise on him, pointing out how versatile he is. Dad did not know that he was recording [for this song], because it happened when [Nigam] came to Los Angeles on a personal visit. I sent him the song, he loved it, and came on board.

It is said that Mr Sanu doesn’t interfere with his daughter’s career? Was that a decision you two mutually arrived at?
Kumar: [It’s true that] I didn’t help her with anything apart from financial support. In the future, I don’t want anyone to tell my kids that they became famous because of their father. For me, it’s important that she completes her education first. Then she can focus on her career. Shannon can never achieve what I have in Bollywood. Even if she [works in] Bollywood, she’ll barely be able to sing 100 songs in five years, because the competition is that much. If she wants to make a career in India, I won’t stop her, but I won’t support her either. Right now, she is handling her career independently, and if she seeks advice, I’m always there. This is also [ my equation] with my son, Jaan, who is also trying to make his place in the industry.
Shannon: Dad always says I should fight my own battles so that I can learn to stand up after falling. I have never forced him to help me. He had even denied a request to have me sing with him at a concert since he said I needed to be [better prepared] for the stage. But, he does everything a father could do, and I’m thankful for that since I don’t need to worry about my bread and butter.

What aspects of your father’s singing abilities appeals to you?
Shannon: I have been inspired by how he emotes. When singing, I try to be expressive, like he is. That is how his simplest renditions become soulful. Yet, we differ in one aspect. He believes, one should only sing melodious songs that involve no shouting, and I think I should try all types of genres.

What are your aspirations as a musician?
Shannon: I hope people can be inspired by my journey. I want to earn the love and blessings. I want to show those who hated me that I’ve achieved what I have, while they sat behind computer screens wasting their time writing vile comments. Also, I want to build a home for abandoned and orphaned children, like me ( Shannon is adopted).
Kumar: Shannon has the calibre to take after me and I pray she gets the right support, like I did when I was new to the industry. If she becomes a remarkable singer in Hollywood, I would be proud. Even if she can’t, I’ll still be proud of her decisions. She is a child, and may even choose to switch profession after college. I want her to only follow a few rules: Listen to your heart, don’t do anything wrong, and don’t take short cuts. She must remember, you cannot get more luck than [is destined] or get it before the time is right.

Soumya Vajpayee Tiwari (MID-DAY; July 13, 2017)

They last collaborated on Dum Laga Ke Haisha (2015) for Dard Karaara. But their success story dates back a couple of decades, when Anu Malik and Kumar Sanu's union yielded chartbusters like Baazigar O Baazigar, Yeh Kaali Kaali Aankhein (both Baazigar; 1993), Dil Mera Churaya Kyun (Akele Hum Akele Tum; 1995) and Raah Mein Unse Mulaqaat Ho Gayi (Vijaypath; 1994), among others.

Sanu says recording with Malik was “overwhelming”. “It’s a romantic number, which has a typical Anu Malik feel. Sadhna Sargam has sung it with me,” says the singer.

Was the recording experience different from how it used to be years ago? “I had a great time. But singing for Anu is always difficult, because he is particular about his music,” says Sanu, adding that unlike newer composers, Malik sticks to the old way of recording songs. “Back in the ’90s, we would record a track in one go. Anu still follows that method. These days, most composers record songs in parts, but he doesn’t follow that. Sadhana and I recorded the track without any retake,” says Sanu.

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

Veteran singer Kumar Sanu, who ruled the roost for around three decades, rues the lack of melody in music today. He talks to Deepali Dhingra about his album and future plans
Deepali Dhingra (MID-DAY; February 23, 2014)

Many years ago, when a young boy was trying to make his mark in music, he modelled his voice and singing style after the legendary Kishore Kumar. Little did he know that he, too, would soon become one of the most loved and cherished playback singers the Bollywood industry has ever seen.

Kumar Sanu, who self-admittedly copied Kishore Kumar’s style, truly came into his own when he sang for Aashiqui and the rest, as they say, is history. But even years later, Sanu says he finds inspiration in the way the legendary singer used to sing. Sanu has now come out with an album, Hum aur tum, as a tribute to his idol. Malaysian princess Almas Noor, who is a great fan of Sanu and a singer herself, has also sung a couple of tracks in the album.

“I have already received a good response from people who have heard the album and seen the music videos,” says Sanu. The singer, who in the 1990s and 2000s, sang some of the most melodious numbers including Ek Ladki Ko Dekha (1942 A Love Story), Tum Dil Ki Dhadkan Mein (Dhadkan), Jeeyein Toh Jeeyein Kaise (Saajan), had a lull in his career before he came back with Chhamak Challo Chail Chabeeli in Rowdy Rathore and a song in Bombay Talkies last year. Ask Sanu about this gap and he says it’s a phase that every artist goes through. “Artists such as Mohammed Rafi, Lata Mangeskhar, Mukesh, Asha Bhosle among others have all gone through this cycle of ups and downs and I’m glad even I went through that,” he says.

However, the singer who’s been in the industry for more than three decades, is disillusioned with the vulgarity in today’s music. “It makes me really sad to hear vulgar lyrics and to see the picturisation of the songs. The music made in the 1960s, ‘70s, ‘80s and ‘90s used to be about sending the right message through music. But now, it seems that art is polluting society,” says Sanu.

For somebody who’s name is synonymous with the beautiful music of Aashiqui, one can’t help ask him about his reaction to the music of Aashiqui 2. “I think the singers did a good job and there were at least two good songs, but if you listen to the album as a whole, you don’t see any versatility. And how will there be versatility?” he questions. “The music composers these days are controlled by producers and music companies. They don’t have the guts to come out and say that they want certain types of lyrics or music,” the musician answers the question himself.

Sanu is glad that he is doing the kind of music he wants to. “Even today, when people call me, they want me to sing melodious songs. That’s my victory,” he says. The singer, who is currently in London mixing for another private album, says he has enough projects on his hand. “I’m in the middle of making an album which will also see me singing in Spanish, along with some Hindi tracks,” he tells us. Sanu is hopeful that the industry will come back on track someday. “I will keep trying from my side, it’s up to the people to sit up and take notice,” he concludes.