Raju Singhs’ emotionally enriching melodies and background scores have enchanted us for over three decades. A music creator equally at home with electronic and acoustic music and across mediums, he has given us chartbusters like Soniyo and enhanced the emotional quotient of several blockbuster films. It was great to have a long-winding chat with the maestro for Khanak where he opens up about his consistency and longevity while coming up with peerless wisdom for young musicians.
Que: You belong to a musical family and your father Charanjit Singh is acknowledged as the pioneer of Indian electronic music. How did this atmosphere shape your learning?
Ans: I can definitely say that all my musical learnings are deeply rooted in whatever I learnt from my father and through being soaked in music and music instruments at our family music shop. My father Late Charanjit Singh, was ahead of his times and would master every new musical instrument and move on to another. It is perhaps his genes that fast-tracked my musical pursuits.I had a clear idea of the original sound of most musical instruments due to the time I spent in the shop.
Que: You started off as a session’s musician when barely out of school. How was that experience?
Ans: It was both fulfilling and also an eye-opener. Fulfilling because in my first recording Lata ji was the singer and I was playing guitar with the top industry musicians and an eye-opener because I learnt that I had a lot to learn and that this was just the beginning. I used to imagine winning accolades from seniors when alone. This phase under Uttam Singh Ji continued for 3 years after which I decided to venture out on the advice of well-meaning seniors who told me that it was the best way to progress. After a short lull I was back in action as word of my availability spread in the music industry.
Que: Tell us about your Association with Pancham da a.k.a R.D Burman
Ans: Pancham Da had seen me as a child accompanying my father to the recordings. The first recording with him was at Film Center and I played the base guitar. I spotted a Cadbury Chocolate on my chair. I turned and told Pancham da that I was no longer a kid. He playfully told me that I’d always be a kid for him. On a somber note he mentioned that my father had introduced the Bass Guitar to him, especially in the manner it could be a part of Indian melodies. He told me to enjoy the melody I was playing. Thankfully, he loved my part and I was soon a part of his regular orchestra. He told me to bring over my electric and acoustic guitar to the music room at Film Center as he’d need me to play any of them for the future recordings. This meant that he had liked my playing and would be a part of his team. I also travelled with him to the UK and South Africa and later became a part of his core team. This remains a memorable part of my musical journey.
I went on to work with all the top music composers of the day including the upcoming Anand Milind, Viju Shah and veterans like Kalyanji-Anandji, Lakshmikant-Pyarelal. In fact, I was thrilled to bits when Pyarelalji choose me to play a sole piece.
Que: What was the first independent album you got?
Ans: A London based musical troupe; The Bhujangi Group, was performing in Mumbai. I was jamming with them and a few shows later Trilochan Singh, the head of the group asked me if I could compose music for a singer from his village. I jumped at the offer and teamed up with Aadesh Shrivtastav and the best musicians to record 20 songs. Months later, Trilochan Singh sent us a bunch of paper cuttings and the rave reviews the album received. The album was a super hit in the UK. Malkit Singh became a star sensation with this release.
Que: You’ve been a prolific Television Show Composer. How did you get into television composing?
Ans: It was with Dekh Bhai Dekh directed by Anand Mahendroo that I got my first break for a television show. The title song “Is Rang Badalti Duniya Mein Kya Tera Kai Kya Mera Hain Dekh Bhai Dekh” became a sensation. I had not pitched for the assignment as a composer. In fact, I’d initially played on the track as a musician and later went on to arrange the music on the track. This proved to be my calling card for future work that came in droves. Filmi chakkar, Boogie Woogie, Jassi Jaisi Koi Nahin, CID, Aahat, followed. I believe work begets work and I stand witness to the philosophy.
Que: Can you tell us about the making of your album with Javed Akhtar Alka Yagnik Tum Yaad Aaye?
Ans: Amit Khanna of Plus Music and Javed Akhtar came out with the idea that we should do something that no one else is doing to stand out in the deluge of music albums of the day. The idea was to do something trendsetting and different. Nostalgia, we decided, was a strong emotion among most Indians and the album could be about unrequited love. So that was it. It was a great working process as we alternated between the lyrics and tune first. It was a fun challenge and the result was the success of the album which was loved by all. I believe a memorable tune works both ways. Whether the lyrics came first or the melody, hardly matters eventually.
Que: Your music is a beautiful fusion between contemporary and classical. How much do classical Raagas go into your creation?
Ans: I have learnt basic Ragdhari from a very early age, but the influence of composers like RD Burman and Madan Mohan is also deep rooted. Knowing the notation of the Raag is enough for me to create on those lines. I can take off from there.
Que: You’ve maintained an ideal balance between electronic and acoustic music without one overwhelming the other. How have you managed this balance?
Ans: I would say that my working with Pancham da has been a learning curve and influence. I am thoroughly aware about which instrument will sound fake in its electronic Avatar. I drew this line when it came to my scores. I use electronic music only till the point it sounds real. I’ve used instruments like Sarangi and flute in my work knowing that only the acoustic version will appeal to the music lover.
Que: What change do you see in the recording studios and the approach towards the making of a song over the years?
Ans: The difference in the approach to work is palpable…like two wholly different eras. Earlier, when we entered the studio there was clarity in everything we were to do in the studio. We also had an imaginary vision of how the song would shape up. There was very little confusion about that. Later with multiple tracks ruling the modern era, there is constant change in the output. I can say that these changes happen right till the mixed master is readied. Contemporary music also has brought in experimentation. Composers and also singers try to add their two bits till the last minute. The clarity is missing but again the field has become more accommodating and open
Que: You’ve always been a solo artist composing, arranging your music unlike most other composer’s that work in teams. How’ve you stayed relevant over the years?
Ans: Over the years as a musician I have listened and imbibed a lot of music from various sources. Every artists output is a convergence of all that you soak in and your inherent creative energy. I have realized that reinventing myself as a composer was very important.
It is with this objective in mind that I have alternated between doing television, advertising, albums, films. This I believe has helped me stay current and ready to take on new challenges.
Que: Your background music score is monumental. Tell us about this prolific work you have done?
Ans: I have scored the background for over a 150 feature films. My work in the last 10 years has mainly been background scoring. I find it challenging and greatly rewarding because unlike in the earlier days when background scores were about matching an old film soundtrack there’s need to involve oneself fully in the creative process. This change happened with the arrival of Dolby sound and Dolby theatres. Producers could no longer get away with the earlier compromises because the format had changed. I was keen and excited to take up this new musical mission of creating background score as it came back into prominence. In a BG score the voice is replaced by instruments and the challenge is to enhance the emotional quotient of the scene that has already been shot. There remains a thin line between enhancing and jarring a scene. I found this stimulating and got thoroughly involved in the activity.
Que: With songs almost disappearing from films, where do you see film music going today?
Ans: There are many reasons for this change as I see it one of the chief reasons is that we have adapted the Hollywood style of film making which does not make songs a part of the film in most cases. Also, the fact that several composers are doing one film means that there is very limited scope for the composer to establish their individuality. There are designated specialists in a genre and that is the modern method of film music composing.
Que: What would be your advice to upcoming composer and musicians?
Ans: I would like to tell youngsters that they should go with the flow and should never lose confidence in their ability. There are times when self-doubt creeps in but one has to rise above that. Taking sabbaticals, alternating between mediums, is also one of the antidotes to stagnation. I would also like to add that most creators feel miserable about asking for work which they consider humiliating. I believe there is nothing wrong in presenting your interest to the producer or filmmaker and telling them about your skill set and your readiness to be a part of the project.
Que: What about your current projects?
Ans: I am currently involved in the background score of two Punjabi films and a mainstream commercial Hindi film helmed by David Dhawan and have also got back into song production.
Vibhav Narasimha Rao