KAILASH KHER tells JYOTHI VENKATESH there is no longer the need for mautajgiri for singers and actors as far as films are concerned
What is Kailasa Chaandan Mein all about?
I have come up with the album Kailsa Chaandan Mein after a long gap of two and a half years. It is about Kailas in heavenly moonlight that is what Chaandan means. It is an album with accent on romance. I have experimented a lot on this album. Till today, we always used to employ the popular form of writing with instruments. For the first time, I and my partners Paresh and Naresh thought of using instruments which are going extinct.
Is it true that you have experimented with this album?
We do not want instruments like Vichitraveena, Rudraveena, Tasha, Kartal Chimta etc to become just a part of history. Of course, the path was not a bed of roses and we had to contend with a lot of opposition, even from the music company but we persisted and insisted on going ahead with our experimentation. Someone or the other ought to light the flame of revolution. Isn’t it?
In what way is your album different from the others in the market?
Most of the other albums have shallow feelings. Hasratsaab and Majroohsaab set the trend, which most of the lyricists are now following by writing lines like husn ki tareef. We try to be different from all the others. I write, sing and make the dhun, while Naresh and Paresh think of the right sound to match the mood. We Kailash-Paresh-Naresh are a team like Shankar -Ehsaan -Loy. We take a tempo, select a key. Like any other human being, we three also have our own share of arguments and differences of opinion but the end result is nothing but excellence because there is no room for ego amongst us.
Why have you not thought of coming up with a ghazal album?
I do not get carried away by the prevailing market trends. Instead of coming up with a ghazal album, because that is what sells today, we have come up with a non filmi pop album which has a sufi influence, for the simple reason that I do not sing ghazals. I feel that ghazals have a different kind of tehrao and requires a different kind of composition. More than gaayki, you need to know chaste Urdu if you want to master ghazals.
You seem to be too choosy when it comes to singing songs for films. Why?
I want to concentrate on quality than on quantity. The reason I do not sing every other song that you hear in every other film is not because I do not get the offers, but because I want to concentrate on quality. If I start singing every song that is offered to me today, I would definitely start sounding very monotonous and people will get bored. It has happened with some other playback singers whose names I would not like to mention for obvious reasons.
How many films do you have as a music director now?
After, I made my debut as a music director with Dasvidaniyah. I have up my sleeves a few assignments as a music director. Among the films for which I am composing music are, Rishton Ki Machine, Allah Ke Bande and a film for Warner Brothers with Akshay Khanna as the leading man.
Which are your forthcoming films as a singer?
I have sung a jugalbandhi with Sukhwinder Swingh for Vishal Bharadwaj in his film Kaminaay. I have sung different kinds of numbers for films like Rang Rasiya, Radio (for Himesh Reshammiya), Qurbaan and Prayer for The Rain (for music directors Salim-Sulaimaan) which is based on the Bhopal gas tragedy.
Which is more challenging for you–singing or composing music?
As a music director, I have the freedom when I am composing songs for my basic non filmi albums whereas when I compose songs for films, I have no other alternative but to keep in mind the situation and follow the mood of the actors. I am of the opinion that definitely there is far more challenge when you are given the task of composing music for a film than a basic album.
Weren’t you scared that music directors would stop asking you to sing when you became a music director yourself?
Times have changed. Today if you have the requisite talent, people will respect it and help you let it come to the fore. Shankar Mahadevan who himself is a very good singer asked me to sing a number for Salaam E Ishq for which he had composed the music, while Vishal Bharadwaj is asking composers Vishal-Shekhar to sing for his film. I would not be exaggerating if I were to state that this is a Ramraj as far as sangeet is concerned.
In what way do you think music has changed in films over the years?
Over the years, the format of music has definitely changed. Nowadays there is no need for every song to be in sync or on the lips of the hero, or for that matter the heroine. There is no longer the need for mautajgiri for playback singers and actors, like it used to be at one time when Kishoreda used to sing all the numbers which were shot on Dev Anand or Rafisaab used to sing all the numbers for Shammi Kapoor or for that matter Mahendra Kapoor used to sing for Manoj Kumar. Remember I had sung for Aamir Khan for the film Mangal Pandey?
– Sampurn Media