With AI, it's harder to judge the authenticity of a singer: Kavita Krishnamurti

Time of India

6 days ago

In 1971, Bollywood playback singer Kavita Krishnamurti began her musical journey with composer Hemant Kumar, alongside the iconic Lata Mangeshkar. Fast forward to November 2024, she lent her voice to The Sabarmati Report, adding another milestone to her career spanning over five decades.
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With over 23,000 songs to her credit, she's worked with Salil Chowdhury, Laxmikant–Pyarelal, RD Burman, OP Nayyar, Naushad, AR Rahman and others.
In a candid conversation at her Andheri home, she spoke about her journey, the changing music industry, the impact of technology, AI and more.
Excerpts…
You have been a part of the music industry for over five decades, do you remember the experience of recording you first film song?
I began doing concerts with HemantaDa (Hemanta Mukherjee) while still in college.
One day, he called me to Rajkamal studio, saying, 'Chole esho at 10 am, don't go to college tomorrow.' Sitting with his harmonium, he taught me four lines of Shokhi Bhabona Kahare Bole—a beautiful song. I had no idea why, until the door opened and Lata Ji walked in. I don't know how I didn't faint! HemantaDa, who called her Lata, said, 'You'll sing four lines with her.
(Lata r shathe charte line gaite hobe)'. During the final rehearsal, standing beside her, I completely forgot my lines.
I was so mesmerized that I lost track of my cue! Hemanta Da reminded me, 'Now we're going for a take—don't forget your lines. Lata is a perfectionist, one take okay.' We did two takes, and I finally sang. That was my first film song, Shriman Prithviraj (1972). And my first lucky mascot was Lata Ji.
What do you feel about the evolution of the music industry from the era of live orchestras to the digital age, and how it impacted you as a playback singer?
I consider myself very lucky to have witnessed and worked with legendary artists while also collaborating with younger composers like Jatin-Lalit, Anu Malik, Nadeem-Shravan, Anand-Milind, and AR Rahman.
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I started in the '70s when playback singing was done with a full orchestra—one mistake meant redoing the entire song. Music directors had an incredible ear; Pyare Bhai could pinpoint a single violinist in a 30-piece orchestra playing the wrong note.
He'd say: You (His name) sitting in the third row, the fifth violinist, you were told C major, but you are playing C minor. Correct that note.' That was the precision of that era.
Today, everything is computerized. I slowly adapted to these changes, but by 2004, when technology completely took over, I found myself stepping back.
With advancements in technology and AI today, what are your concerns about the use of artificial intelligence in music?
It's difficult for the common listener to distinguish between a naturally skilled singer and one enhanced by pitch correction and AI. Musicians can recognize true artistry, but for the average person, technology has blurred the lines.
With AI refining sur and even creating harkats, the authenticity of a singer is harder to judge. While AI is a breakthrough in medicine, its role in music raises concerns and AI in music is a question mark for me, as it opens the door to potential misuse.
However, at the same time, technology is good too. I'm not so young now and for me, to think that I can sing one line and take a breath, and then sing the next line, really helps.
Earlier, I would record entire songs in one go, but now recording line by line, with breaks in between has become a habit and makes the process easier.
You'd mentioned a poignant encounter with the legendary Geeta Dutt. What struck you the most?
Guru Dutt's youngest brother, Vijay Padukone, was my Rakhi brother. He introduced me to advertising jingles while I was a student in St Xaviers. I first met Geeta Dutt at a studio in Worli during my debut jingle recording.
As the door opened, I was struck by her beauty and presence. I touched her feet and sat down. She was recording a butter commercial in Hindi and Bengali that I had to sing in Tamil. Her voice was pure magic.
Though she was in the twilight of her career, facing personal loss and financial struggles, her aura remained intact. She barely spoke, just said, 'Bhalo theko'. At that time, she was famous but had no money—yet nothing could take away her personality or her gift for singing.
For me, Lata Ji and Asha Ji are the greatest singers I've ever met, but there are songs that only Geeta Dutt could have sung. Waqt Ne Kiya Kya Haseen Sitam—I don't think even Lata Ji or Asha Ji could have delivered it the way she did.
You've sung for some of the biggest music directors. Tell us about a few of your favourite songs.
That's tough! But if I had to choose, I'd say Hawa Hawai, Dil Ne Kaha Chupke Se, and my songs from Hum Dil De Chuke Sanam. I love the ones I did with Rahman, like Tu Hi Re, Dheeme Dheeme, Kay Sera Sera. Maar Daala from Devdas is a favorite too, along with the title track of Hum Dil De Chuke Sanam and Hamesha Tumko Chaha from Devdas. Yeh sab mujhe bahut pasand hai.