To make his dream come true, he worked as a carwash, bell boy, dishwasher, and sweeper, too. When he felt he was missing his parents and returned to Kolkata, it was too late because none of them were alive. He returned to Mumbai, the vague city of opportunities, as he calls it, and worked hard to start his career as a choir singer. For fifteen years, he waited for his hard work to pay. One day, he got an invitation from T-Series Music Company of India and he was asked to fill in the voice of Kishore Kumar’s versions.
During this time, he was offered to sing to the song of veteran music composer Ranjit Gajmer. It was then when he sang for Chopel’s “Saino.” He again recorded his voice in Mumbai to another composition of Gajmer’s for the film “Chino’s” Batasaile Udaai Lagyo Maya Mero, which was hugely popular then. Since then, there was no looking back in Kumar Kanchha’s musical career.
Having sung for more than seven dozen Nepali films, Kanchha came to Nepal for the first time two decades ago when he was invited by music composer Nhyoo Bjaracharya. He also sang for maestros like Gopal Yonjan, Shakti Ballav, and Narayan Gopal, and has worked with almost all the music directors of Nepal.
After living with his family for many years in Mumbai, Kumar Kanchha, 52, is back in Kathmandu to sing for Alok Shree’s upcoming album that mainly has lyrics penned by political figures like former prime minister Lokendra Bahadur Chand, and secretary at Ministry of Water Resources, Shanker Prasad Koirala. He will also be singing for a few Nepali films before returning to Mumbai.
In a tête-à-tête with Republica, Kanchha opened up his emotional sides, his attachment to Nepal, Nepali music, and more.
After eight years, you’re back in town. Are you willing to work for Nepali music industry for long now?
I’m here only to sing in Alok Shree’s upcoming album. I’ll be back in Mumbai soon. But I have many plans in Nepal. I’m planning to come up with the second edition of my popular album “Goreto,” which had a remix song Jindagiko Ke Bhara Chha Ra? I’ll also be singing for a few films.
Were you into Bollywood’s playback singing during these many years?
Bollywood is too big, and playback singing is not the only genre one has to fit in. I did sing for a few films a decade ago. For now, I’m busy singing Bhojpuri and Punjabi songs. I sing in 20 different languages.
You’ve worked with big names of Nepali music industry. What difference do you see in their kind of music and the ones being composed now?
There’s nothing to compare at all. The music compositions of Gopal Yonjan and Narayan Gopal live forever. No one like these two will ever be born in Nepal. I still remember that time when it used to take almost a month to complete one track. Today, an album is completed within a day. What more can you expect? When people have no time to even sit and relax for a few seconds, why would they bother to work hard for songs? It’s not that we can’t come up with wonderful compositions and touching lyrics, it’s just that we don’t want to. After all, it’s a fast-food generation.
You mean to say you don’t like the music compositions created these days?
Not all, but remixing songs aren’t always beneficial. Even we used to remix songs but without destroying the aesthetical values of the number. Now it’s all rap and hip-hop in between the lyrics, and too much of thighs and cleavage exposing. Do something that suits you. Even I can sing songs of Michael Jackson. But does that suit me? If you want to put English lines in Nepali lyrics, then sing it in such a way that you amaze people in the West. Else, don’t try something that’s not your cup of tea.
And do you know about the musical formula in Nepal? To make your song a hit overnight, you either have to sing such a song that’ll make you cry and cry or it has to be something that can make you go dancing all around. Take for example my two songs Kalko Pani Rakshi Ganayo and Prit Bina Yobanma. Both of them are super hits.
What about the songs in Nepali films? Why aren’t they popular as they used to be during the time of “Saino” and “Chino”?
It’s because filmmakers don’t understand what it takes to make songs for movies. Earlier, it used to be orchestras played together in ensembles, in a huge studio and with so much of research. Now, it’s a world of computers and technology. Music isn’t created through instruments now, it’s manufactured by computers.
Everyone is good in talking here. Nobody wants to work. You’re much experienced. But you’ll also go back soon. So who’s going to bring the difference to Nepali music industry?
Very true, it’s all big in conversation here. But it’s not a one man’s job to bring revolution overnight. We must work together. On my part, I’ll soon be back in Nepal because I’m so much in love with this country. My dream to become a singer came true, and now I have another dream to accomplish. I dream to give Nepali music a worldwide recognition. If A.R. Rahman can bring Oscars for India, why can’t we?
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