Sitting in Deira’s Dubai Sheraton Hotel’s lobby, I amusedly watch Hariharan handling his fame with aplomb. There he is- willingly obliging the hotel- staff eager to pose with him for photographs, animatedly discussing the program details with the organizers, coolly handling an inquisitive press- reporter and still finding enough time to reply his intermittently ringing mobile phone. I wait patiently till he finishes the first interview and then seize my opportunity.

Sitting next to him, I tell him, “It’s a real pleasure to interview a real singer in an age of phonies!” I mean every word of that compliment and he is genuinely pleased. The ice is broken and soon we are chatting away on his career and his views on music. He speaks the typical Mumbai Mix language- a seamless fusion of English and Hindi and somewhat surprisingly, throws in even bits of Marathi. Often smiling, always willing to accept a counter-point and totally unassuming, Hariharan bowls me over!

The Making Of An Artist

“After making a dream debut with a National Award- nominated ghazal Ajeeb Saneha in the1977-film Gaman, you had to struggle a lot for further success. How important is struggle in making of an artist?” I start off with a serious question and he thoughtfully answers, “To be a creative singer with an own thought- process takes years. One has to create a niche, a style of his own. Today, thanks to increasing media exposure, many singers are catapulted to fame within no time and then, they are not ready to invest that much time or effort to create their original stamp. Struggle stirs a lot of emotions- passion, frustration, a growing understanding about life and a greater appreciation of success. Only when you come from grassroots level, your art acquires that true earthy fragrance.”

Talking about bout his eclectic singing styles ranging from Carnatic and Hindustani classical to Ghazal and Pop, Hariharan explains, “My whole family is so musically oriented that almost everyday we used to have a family mehfil. So the learning part was automatic. Even though my father taught Carnatic music in its purest form, he also admired Hindustani classical maestros like Amir Khan-saab and Bade Ghulam Ali- saab. We never differentiated music on a regional basis. It was just good music or bad music. So I never was tradition- bound in my musical tastes. Music should be soulful- that was my only concern.”

When I ask why did he become a Bachelor of Science, he sheepishly replies, “I wanted to become a doctor. So I studied zoology and chemistry. But it didn’t turn out that way.” “Thank God!”- I playfully exclaim and he breaks into a guffaw.

Jaidev – His Mentor:

Speaking about Jaidev- the genius composer who gave him his first break in films, Hariharan is effusive. “Jaidev-ji was my Guru, friend, philosopher and guide. He was the judge at the Sursingar Sansad singing competition, which I won and then, he took me under his wings as an assistant in films like Gharonda and Tumhare Liye. He advised me not to just become a playback singer but to rather be a performer. From him, I absorbed a lot about composing music. The way he musically treated the poetry was a marvel. He lived in a small one-room flat at Chrchgate but lived life king-size. What a man!”

Ghazals and Asha:

Looking back at his early career, Hariharan says, “After Gaman, I soon realized that I was not cut out for the real commercial grind of film music. Then, I changed my focus to ghazals, which were just becoming popular then.”

When I remind him that Aabshar- E- Ghazal- his superb ghazal album with Asha Bhosle was sponsored by a soap company, he smiles moodily and says, “What an album to be sponsored by a soap company! I was just twenty-seven. Then, I used to accompany Asha- ji in her live programs. She treated me like her son. Once we were traveling in her car and suddenly she said- ‘Hari, why don’t you compose a ghazal album for me?’ I thought that she was just joking but she made me do it. She literally absorbed every nuance of my tunes just by listening to the master cassette for a month and then, we did live recordings!”

Lata and Pancham:

Recounting his experiences with the elder Mangeshkar sister- Lata, he says, “I still remember that as Jaidev-ji’s assistant, I was giving the take- signs for Lata-ji’s Tumhein Dekhati Hoon in Tumhare Liye. I was so nervous, that my hands were trembling. She sang it so beautifully. Then, only after a decade I got opportunity to sing duets with her. She has a knack of judging the depth of any musician in a flash. Vishal Bhardwaj composed some nice, funky tunes like Chhai Chhappa Chhai and Kash for us. Lamhe’s Kabhie Main Kahoon was my first duet with Lata- ji.”

Coming to Lamhe, I recount that his melodious title- song Yeh Lamhe Yeh Pal was in fact, the beginning of his successful second innings in film music and that the song wasn’t initially included in the music cassette. Wallowed in nostalgia Hariharan says, “Yes, the music company never guessed that my song would become so popular and had not included it in the initially released cassettes. But by a popular demand, that song was included in subsequent releases.”

He laments not having worked more with R.D.Burman. He says, “Pancham-da had his favourite singers like Kishore Kumar, Amit Kumar and S.P.Balsubramaniam. I worked with him only in one album- Lambaai Chaudaai. He used to say, ‘Hari, don’t worry, tera time aayega!”

The Rahman- connection:

Right from the early Roja – Bombay days, Hariharan has been a regular in Rahman’s music. He shares a very special chemistry with the modern maestro. Hariharan acknowledges the fact and says, “Rahman has studied and understood my kind of music. Whenever he gets an opportunity for sentimental, classical songs, he makes me sing gems like Tu Hi Re, Thoda Thoda Pyar Chahiye, Kaliyon Si Palkein Hain and Nahi Saamne Tu.”

I try to challenge him by asking, “Don’t you feel that your songs for him are almost in the same meter? Agreed, they are all beautiful songs but they sound quite similar. Why don’t you try and convince him to create something different for you?” He thinks for a while and says, “You have a point. Let’s see- we will work out something new in the future.”

The pop icon:

Tracing the genesis of his pop- group Colonial cousins, he reminisces- “One day Lezz (Lesley Lewis) was strumming on his guitar and singing some western tune, I just joined him in Indian classical style and that spontaneous, informal jamming session led to creation of fusion songs like Sa- Ni- Dha- Pa- Ma- Ga Re- Sa. We succeeded in creating a new sound that appealed to modern audiences. Lezz and I are very close friends and soul-mates and that’s why this association is still going strong.”

About the delightful Marathi folksy touch in their latest hit Kaay Zaala, Hariharan says, “As Mumbai-ites, we both are fascinated by Marathi folk music. Other types of folk-styles, especially Punjabi, have been done to death. For a fresh sound, we used Marathi and it clicked big.” 

Then I ask him, “Is your ‘long mane of hair with a short beard’ kind of a look tailored for the MTV generation?” and he laughingly refutes the charge by saying, “Oh, no. That was even before my pop act. People used to call me a pony-tail singer before. Let’s say- my barber preferred that hair-style!”

Success in south:

In South Indian musical scene, Hariharan is a big draw. When asked to comment on audiences in South, he says, “Historically, in North, the music was limited to courtyards of Maharajas and was a taboo for commoners whereas in South, music started from temples and always had a pride of a place in every home. That’s why South Indian audiences are musically much more knowledgeable.”

He has also acted in a soon-to-be-released Tamil film. About that role he says, “In the film, I play a serious feminist and deliver some fiery speeches. For a debutante, I feel I have done a fair job.” 

Remixes and niche singing:

In his opinion, tastefully done remixes could revive the magic of old music but he agrees that it is not being done in reality. He defends his own remixes in the film Dil Vil Pyar Vyar by saying that it was a tribute to late R.D.Burman’s memory. He says, “I never tried to sing those songs like Kishore Kumar. It would have been impossible to imitate the great man. I sung it in my own way.”

When quizzed about his feelings towards pedestrian lyrics like Telephone Dhun Mein Hasnewali, he argues, “Life is not all that profound. You also need fun and frivolity. In such songs, I try to bring out the hidden naughty child in me.”

In the end, I ask him why a sane and sensible singer like him is shortchanging his talent by limiting himself to be a niche singer. He disarmingly answers, “May be it is my destiny. My aura is in my exclusivity as a sentimental singer. If I try to change that by singing many songs, maybe I will lose that aura. And as it is- sanity and sensibility have always been rare in this world!” His parting smile is worth a million words!