Milan Luthria who made his directorial debut on 19 February, 1999 with Kachche Dhaage revealed a music sense as evolved as his father, the great Raj Khosla. Raj Khosla’s film of the same name Kachche Dhaage in 1973 had Laxmikant-Pyarelal’s smash-hit songs ‘Hai hai ek ladka mujhko khat likhta hai’, ‘Kachche dhaage ke saath jisse bandh diya jaye’, ‘Mere bachpan tu jaa’, kZara se agar bewafa hum na hote’ and kJa re ja oh diwane’, all sung by Lataji.
26 years later, in Milan Luthria’s Kachche Dhaage, Lataji sang for Nusrat Fateh Ali Khan for the first and last time. The song, ‘Oopar Khuda Aasman Neeche’ was originally sung by Nusrat Saab himself as an independent song.
Milan wanted the song in his debut film, and he wanted Lataji to sing it. Lataji was nearly 70 when she sang the impossibly high notes of the sublime number. It was recorded on 15 August 1998, a year after Nusrat Saab passed away.
Lataji and I had a conversation hours after the recording. And she spoke of the impossibly high, masculine notes of ‘Oopar Khuda’.
There were a lot of dips and curves in the composition, more suited to Nusrat Saab. Lataji had a tough time negotiating the utar-chadao at her age. This is not the first time she was asked to sing such high notes. Shankar-Jaikishan did the same in ‘Ehsaan tera hoga mujhpar’ (Junglee) and ‘Aji roothkar abb kaahaan jayiyega’(Aarzoo) when she was much younger. Both were recorded in the voice of Mohammad Rafi and then force-fitted to accommodate Lataji’s virtuosity.
But just listen to how gracefully Lataji negotiates the steep climbs and falls of Nusrat Fateh Ali Khan’s ‘Oopar Khuda’ at 70. She also had the sweet-toned ‘Bandh lifafa dil mera’ and ‘Dil Pardesi ho gaya’ with Kumar Sanu in Kachche Dhaage.
Subhash K Jha’s Conversation With Lataji On Her Virtual Collaboration With Nusrat Fateh Ali Khan that took place just hours after the song was recorded in 1998.
You’ve just recorded a song composed by Nusrat Fateh Ali Khan. Do you regret not having worked with him during his lifetime?
I met him twice. Once, I invited him over to my house. I also went over to listen to the songs he had conceived for a film. He said those songs were for me. But there was some tension in Mumbai at that time and the recordings were cancelled. He wouldn’t be there in person for his song recordings. His assistant, Amar Haldipur, would be there.
What was it like recording a Nusrat Fateh Ali Khan composition after he’s no more?
The songs in Kachche Dhaage were very difficult. He would compose songs that had a great deal of utar-chadhao. There was no space for breathing; the lines would merge seamlessly into other lines. Such concert-oriented compositions are more suitable for a male voice. They were a little awkward for me. If he was present during the recording, I’m sure he’d have taken care of the situation. I regret not working with him during his lifetime. When he came to my house, he asked for the harmonium after dinner and played a whole lot of songs for me. He said he wanted me to sing for three or four non-film albums. He has left behind some tunes. But we don’t know how to go about using them.
This year, you sang for Twinkle Khanna in Jab Pyaar Kisise Hota Hai. Twenty-five years ago, you sang for her mother, Dimple Kapadia’s debut in Bobby. I’ve a feeling you’ll be singing for Dimple’s granddaughter after we’re all gone?
(Laughs) Then who’ll listen to my songs? I don’t remember if I’ve sung for Shobhana Samarth, but I’ve sung for Nutan, Tanu, and Kajol. You’ll be surprised, but recently I saw an old film on television located in the Arabian desert. I was surprised to see myself singing for Ruby Myers (Sulochana)! I didn’t even know the song. But I said, chalo if I’ve sung for her as well, to bahut badi baat hai. When I was a child, I used to run off to see her films.
How do you feel when you hear your own songs?
I always find faults with my singing. If I don’t like what I’ve sung, I put my fingers in my ears and run away.
You know what the renowned classical singer Bade Ghulam Ali Khan said about you, don’t you (“Kambakht, kabhi besura gaati hi nahin hai!”)?
(Laughs shyly) Yeh unka badappan tha. He was a very great singer. I truly admire him. Believe me, I always find faults in my singing. Once, Kishore Kumar told me that if he ever heard people listening to his songs, he would start speaking loudly to distract their attention. He would continue to talk loudly till the weak spots in his song were over. If one doesn’t like one’s own song, there’s turmoil within oneself. If I’m not satisfied with a song I’ve recorded, I can’t sleep that night.
Which songs haven’t you been satisfied with?
Offhand, I can’t recall any. But there are songs which the music composers and listeners have liked. But I’ve felt that I didn’t do full justice to them.
Which songs have you been satisfied with in recent years?
Hundred percent satisfied? The songs of Lekin and Maachis. Yesterday, I was listening to ‘Geela geela pani’ from Satya. I felt I’ve sung it well. And I was satisfied with ‘Arrey re arrey’ in Dil To Pagal Hai. But I feel I didn’t do complete justice to the title song of Dil To Pagal Hai.
I recently heard you singing ‘Maati maati re’ in Vinay Shukla’s Godmother. Do you ever get emotionally involved with the lyrics that touch your own life?
I do get completely involved with the lyrics. I don’t know if emotions
creep in subconsciously. But I do take care to find out about the story situation and the character for whom I’m singing.
Salil Chowdhury once said you fainted while listening to an emotional Bengali song that he sang for you?
Yes, that incident actually happened.
