Nayyar's controversies

How did you transform Asha Bhosle into such a versatile singer? Wasn’t she heavily influenced by Geeta Dutt in her early career?

“Hundred percent right! Asha was introduced to me by lyricist P.L.Santoshi at the time of Chham Chhama Chaam – my second movie. At that time, she was not only influenced by Geeta but she was also under heavy (inferiority) complex of Lata. As if she was torn between their styles. What I did was to give her confidence and to help her come out of that complex. This process started from the time of Naya Daur. To Asha’s credit, it must be said that she never shied away from practice. In fact, she would be the one who would ask me for more rehearsals even if I felt she was singing the song well. I can proudly claim that more than S.D. Burman, more than R.D.Burman, more than anybody else, it is O.P.Nayyar who has really moulded her voice. Unfortunately today she refuses to acknowledge that fact!”

Now the eternal question. Why didn’t you ever use Lata’s voice in your music? Wasn’t she supposed to have come for the Aasman song that was finally sung by Raj Kumari? In Harish Bhimani’s book on Lata, she claims to have been held up by rain and being not able to come for the recording.



“It’s all humbug! I never ever summoned her for any of my songs. I needed a powerful, full throated, sensuous voice and she had this thin, thread-like voice, which was not at all suitable for my music. Another thing is about my inspiration coming from beauty. Lata with her plain, ordinary looks never could inspire me as a composer!

At the same time, let me say this once and for all and remember I am swearing this on my food– even though I never ever worked with Lata, I still consider her as the Number 1 singer in India. Asha tried hard to take her place but could never achieve that. Lata was just supreme, a God given voice! Her work with almost any composer – be it Madan Mohan, Roshan, S.D. Burman or Shankar- Jaikishan was exemplary. Just imagine Madan Mohan’s ghazals being sung by Shamshad or anyone else. They wouldn’t have reached the same artistic height as they did with Lata’s voice.

We had cordial relations but still I remained suspicious about her. I remember, once she called me for lunch and I was first watching what she was eating and then eating the same thing after her!

Once she said to me, “These film- songs are becoming so predictable. Just by listening to the Mukhda, you can predict the Antara.” I said, “Lata bai, you may say this about other composers but this O.P. Nayyar challenges you now to predict his song’s Antara after listening to its Mukhda.” After that challenge, she simply vanished from there!”

You also rejected Madhya Pradesh Government’s Lata Mangeshkar Award.

“You see Beta, that award was worth cash 1 lac rupees, all tax-free and remember- I was in dire straits those days, having been separated from my family. Still I rejected that award on three counts – one, it was a crooner’s award given to a composer; two- I had never worked with Lata and three- I don’t believe in instituting awards in living person’s name! I stood up for my principles- that’s all!”

In spite of your long-standing partnership with Mohammed Rafi, how come you two separated in the late sixties?

Throughout my career, I have been famous for my punctuality. Rafi had given me a time for recording a song from Saawan Ki Ghata. The musicians were all set. Rafi came late for that recording and said, “Sorry, I was stuck up in Shankar- Jaikishan’s recording.” I said, “You had given me the time by your choice. So I gather, you have time for Shankar- Jaikishan and not for O.P. Nayyar. Now onwards, O.P.Nayyar will not have time for Rafi.” I cancelled the recording in front of shell shocked musicians and told the accountant to charge the expenses for the cancelled session to my account!

After three years, Rafi came to my house crying like a baby. I also broke down. Both of us touched each other’s feet. I said, “Rafi, by coming here today you proved that you are much greater than O.P. You could overcome your ego. I could not!”

What about Mahendra Kapoor?

“I used him as replacement for Rafi. I used to call him Çharan Das for he used to touch feet of practically any Tom, Dick and Harry. I found this extra- humility phony. He might have sung quite a few good songs for me but just listen to Do Ustaad title track to know how off-key he could be! Purposely I kept that Besuraa singing so that one day, I could show him how bad he could be!”

You Used Manna Dey with Rafi for Tu Hai Mera Prem Devta.

“Well, Rafi was far too superior to Manna Dey there! Manna Dey would take around four- five takes to get it right.”

You even once made Kishore sing in Rafi’s voice.

“Yes, in Raagini for the classical song Man Mora Baawra, I made Rafi give playback for Kishore Kumar. I was annoyed with Kishore’s tomfoolery during the recordings and wanted to teach him a lesson. Kishore – who was the hero of the film, then went and complained to his brother Ashok Kumar – who was also the producer but Ashok refused to interfere with my decision.