That’s why sub-standard singers can get away with playback singing. She doesn’t quite take to the fact that technology can tune a ‘besura’ voice.
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“What does this trial and error mean?” she retorts adding that she’d never comply with such a scenario. just like fast food!” She’s also aware of the trend where six to seven singers are made to sing one particular song out of which one version is retained. You listen to it, you dance on it, you forget it. Also, the intrinsic value of a song has diminished. So it’s difficult to carve your identity. She credits her husband for understanding the demands of her profession.Ĭoming to the current music scenario she rues the fact that singers today have a short shelf-life. In between, we had separated for about four-five years but we got back,” she clears the air.
But we’ve stuck together because there’s a strong basic bond. Somewhere, the communication gap creeps in. If you don’t live together, you don’t grow together. “People say you’re on a constant honeymoon. It was tough to keep the marriage going though we meet off and on.” She views her unconventional marriage with humour. But we couldn’t let go of each other,” she confides adding, “So far, we’ve survived the negatives of staying apart. It’s been a difficult marriage to hold on to. “Our marriage can be summed up in the U2 song Can’t live with or without you. The conversation veers to her long-distance marriage with Shillong-based Neeraj Kapoor, distributor of Mohan Meakin Breweries in the North-East. And while singing this song with Kishoreda, I almost choked!” she recalls. One song she remembers being emotionally moved while recording was Babul ka ghar chhod ke from Daata (1989) composed by Kalyanji-Anandji.
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I was self-analytical, self critical… Even if today a song of mine is playing on radio, and I find something wrong with it, I ask the driver to switch the station,” she remarks humbly. I didn’t bother who was doing what, saying what… I was a homebody and only too happy to return home after work.” Her competition, she says, was with herself. Like I’d rehearse a song only to know that a senior singer had eventually sung it.” Never being the ‘over ambitious kind’, it didn’t leave her perturbed. One of my contemporaries played very dirty politics with me. Struggle she may not have experienced but rivalry she definitely did. I was brought up like a princess,” she avers. And there was no quest for survival either. But I was fortunate to find my niche,” she claims. “I came in at a time when Lata didi and Ashaji (Bhosle) were ruling. She rates the time as her golden period too - when her tracks for Qayamat Se Qayamat Tak, Tezaab, Hum Hain Rahi Pyaar Ke, Saajan, Raja Hindustani among others went on to be superhits. The late ’80s and ’90s saw a revival in romance where melody was king with the surge of musicians like Nadeem-Shravan, Jatin-Lalit, Anu Malik, Anand-Milind and others.
And mind you, in her days there was no technological enhancement,” she points out. But I went on to complete my studies.” Alka maintains that Lata can have no ‘successor’. She blessed me and said, ‘Padhai mat chodna!’ Though a bright student, I hated studies. She was recording Main tujhse milne aayee from Heera for Kalyanji-Anandji. “I met Didi for the first at Film Centre in Mumbai. She recalls the time when she first met the legendary singer who she believed was a ‘fairy’ dwelling in a surreal world. Raina beeti jaaye (Parichay), Ajeeb dastan hai (Dil Apna Preet Parai) were my favourites,” she gushes. “When girls played with dolls, I’d be stuck to the radio. She traces her fascination for Lata Mangeshkar since then. I was laidback and dreamy,” says Alka who as a child sang on All India Radio in Kolkata.
Left to myself, I wouldn’t have come this far. She credits her father Dharmendra Shankar and mother and classical singer Shubha Yajnik (the original spelling of the surname) for having reached so far.
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