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A.R.Rahman (Fan Club) (Page 80)

Sudha_rn Goldie
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Posted: 16 May 2006 at 9:19am | IP Logged
we will ask others suggestions & we wll make a decision abt it..
I think Swetha has a plan to edit the 1st page...but i dunno how can she do it?


Sudha_rn Goldie
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Posted: 16 May 2006 at 9:27am | IP Logged

Friends, i found it on Wikipedia,
here is the link:
http://en.wikipedia.org/wiki/A_R_Rahman


A. R. Rahman
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Allah Rakha Rahman (Tamil: ?.???.????&a mp;# 3006;??; born on January 6, 1967 as A.S. Dileep Kumar in Chennai, India) is a hugely popular Indian film music composer. He is a native Tamilian. He made his debut in 1992 with Mani Ratnam's Tamil movie, Roja (Rose), which was subsequently dubbed into many languages. Ram Gopal Verma's Rangeela (Colorful) (1995) was the first Hindi movie to have Rahman as the music director. He is a recipient of the Padma Shri.


Early years

Rahman is the only son of R. K. Sekhar, who was a composer, arranger and conductor for Malayalam films. His father died when Rahman was nine years old, and his family used to rent out musical equipment to make ends meet, something they found very difficult. During those hard times, a Sufi (Muslim) saint helped them spiritually. This led Dileep to convert to Islam, changing his name to Allah Rakha Rahman.

At the age of 11, Rahman joined the troupe of Indian composer Ilayaraja as a keyboardist. He later played on the orchestra of M.S. Vishwanathan and Ramesh Naidu, and accompanied Zakir Hussain and Kunnakudi Vaidyanathan on world tours. The experience allowed him to obtain a scholarship to the Trinity College at Oxford University, where he received a degree in Western classical music.

Music career

In 1991, Rahman began his own studio (attached to his house), called the Panchathan Record Inn. He initially composed music for use in advertisements, the title music on popular Indian Television channels and music in documentaries, among other projects. Rahman was, at first, hesitant about composing music for the Indian film industry primarily because most film makers at the time used songs as "fillers" - a means by which the audience was given a break from the movie's plot. In 1991 he was approached by film director Mani Ratnam, who offered Rahman the job as composer of music for his upcoming film Roja, at a price of Rs. 25,000. Rahman accepted, and the movie's superhit debut made him a household name in Tamil Nadu virtually overnight and led Rahman to receive the Rajat Kamal award for best music director at the Indian National Film Awards, the first time ever by a debutant. Rahman has since then gone on to win the award 3 more times (for Minsaara Kanavu (Electric Dreams, Tamil) in 1997, Lagaan (Tax, Hindi) in 2002 and Kannathil Muthamittal (A Peck on the Cheek, Tamil) in 2003), the most ever by any composer.

When Rahman arrived onto the Indian music scene with his first film Roja, the music industry in India was going through a crisis with the retirement of older music composers and the lack of innovation in Indian film music. Roja was a massive hit, and Rahman followed it up with a number of other extremely popular films, including Bombay, Rangeela, Dil Se and Taal . The huge sales of these albums prompted movie producers to take film music more seriously.

Another point worth noting is that while Ilayaraaja brought western music in Indian Instruments, A.R.Rahman pioneered the art of composing Indian classical Carnatic and Hindustani music and using western Instruments to play those tunes.

Rahman's work is also unique in the fact that his collaborations with a few movie directors have always resulted in hugely successful albums. In particular, he has worked with Mani Ratnam on eight movies (until 2004) (see list of movies by Mani Ratnam featuring A R Rahman), all of which have been musical superhits. Also notable is his collaboration with the director S. Shankar (Gentleman, Kadhalan, Indian, Jeans, Mudhalvan, Nayak and Boys).

He made an album Vande Mataram (1996) on India's national song. Recently, he also came up with an album called Jana gana mana, a huge conglomeration of performances by all the leading exponents/artists of Indian classical music.

His latest work includes Mani Ratnams's Yuva, Meenaxi: Tale of 3 Cities, Bose - The Forgotten Hero, Swades, Mangal Pandey - The Rising and Rang De Basanti. He is currently working on Mani Ratnam's next venture Guru, and on one of Shyam Benegal's most expensive ventures, undisclosed so far, which is set for release in the spring of 2006.


International accolades

Andrew Lloyd Webber, a well known composer of musicals, was impressed with Rahman's unique style and therefore hired him to compose his maiden stage production Bombay Dreams (2002). This play was well received in England and opened him up to new vistas in Hollywood. Furthermore, Rahman, along with the Finnish folk music band Vrttin, composed the music for The Lord of the Rings musical, which opened in Toronto on March 23, 2006.

Rahman received more international attention with this article in the TIME magazine. Rahman's first movie album "Roja" was listed in TIME magazine's TOP 10 Movie Soundtracks of all time; source. According to BBC Rahman is reported to have sold 100 million records world-wide.

In 2000, Rahman's annual income was estimated to be around $4 million from worldwide endorsements and royalties dating back to Roja (1992). According to Rediff.com, rights for his Tamil album Kandukondain Kandukondain (2000) were sold for an astonishing record sum of Rs. 22 million. This record still remains unbeaten six years hence.

In addition to influencing western audiences, Rahman also impressed eastern audiences with his music so much that he was tapped by Chinese director He Ping to provide music for the Chinese film Warriors of Heaven and Earth in 2003 IMDB. The music of this film was very much appreciated in Asia and in India.
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Awards and nominations

A.R. Rahman has won the following awards:

    * National Film Awards (India)
           o 1993 - National Film Award for Best Music Direction - Roja
           o 1997 - National Film Award for Best Music Direction - Minsaara Kanavu
           o 2002 - National Film Award for Best Music Direction - Lagaan
           o 2003 - National Film Award for Best Music Direction - Kannathil Muthamittal

    * Filmfare Awards (India)
           o 1995 - Filmfare Best Music Director Award - Rangeela
           o 1998 - Filmfare Best Music Director Award - Dil Se
           o 1999 - Filmfare Best Music Director Award - Taal
           o 2001 - Filmfare Best Music Director Award - Lagaan
           o 2002 - Filmfare Best Music Director Award - Saathiya
           o 2002 - Filmfare Best Background Music Director Award - The Legend of Bhagat Singh
           o 2004 - Filmfare Best Background Music Director Award - Swades

    * Zee Cine Awards (India)
           o 2000 - Zee Cine Award Best Music Director - Taal
           o 2002 - Zee Cine Award Best Music Director - Lagaan

    * 9 South Indian Filmfare Awards
    * 6 Times Tamil Nadu State Film Awards

A.R. Rahman has been nominated for the following awards:

    * Laurence Olivier Awards (UK)
           o 2003 - Laurence Olivier Theatre Award for Best New Musical - Bombay Dreams


Partial discography
[edit]

Films
YEAR      Tamil      Telugu      Hindi      Malayalam      Marathi      English      Mandarin
1992      Roja      Roja      Roja (1994)      Roja      Roja           
1992      Ashokan (1993)      Yoddha (1995)      Dharam Yodha (1993)      Yodha                 
1993      Uzhavan                                 
1993      Thiruda Thiruda      Donga Donga      Chor Chor (1996)                      
1993      Pudhiya Mugam      Padmavyuham      Vishwa Vidhatha (1997)                      
1993      Gentleman      Gentleman                            
1994      Vandicholai Chinnaraasu      Bobili Paparayudu                            
1994      Super Police      Super Police      Khel Khiladi Ka (1996)                      
1994      Pudhiya Mannargal                                 
1994      Pavithra                                 
1994      May Madham      Hridayaanjali (1999)                            
1994      Kizhakku Cheemayile      Palnati Pourusham                            
1994      Karuththamma      Vanitha/Osey Krishnamma                            
1994      Kadhalan      Premikudu (1995)      Humse Hai Muqabla                      
1994      Duet      Duet      Tu Hi Mera Dil                      
1995      Indira      Indira      Priyanka                      
1995      Bombay      Bombay      Bombay                      
1994      Manitha Manitha      Gang Master                            
1995      Rangeela      Rangeli      Rangeela                      
1995      Muthu      Muthu (1995)      Muthu Maharaja (2001)                      
1996      Love Birds      Love Birds      Love Birds                      
1996      Indian      Bharateeyudu      Hindustani                      
1996      Kadhal Desam      Prema Desam      Duniya Dilwalon Ki                      
1996                 Fire                 Fire      
1996      Mr Romeo      Mr Romeo      Mr Romeo (1997)                      
1996      Anthimantharai                                 
1997      Minsara Kanavu      Merupu Kalalu      Sapnay                      
1997      Iruvar      Iddaru                            
1997      Ottam (non-film)      50-50      Daud: Fun On The Run                      
1997      Ratchagan      Rakshakudu                            
1997      Mona Lisa            Kabhi Na Kabhi                      
1997                 Vishwa Vidhaata                      
1998      Jeans      Jeans      Jeans                      
1998      Uyire      Prematho..      Dil Se..                      
1998                 1947/Earth                      
1998                 Doli Saja Ke Rakhna                      
1999      En Swasa Kaatre      Premante Pranamistha                            
1999      Jodi      Jodi                            
1999      Padaiyappa      Narasimha                            
1999      Taalam            Taal                      
1999                 Thakshak                      
1999      Kadhalar Dhinam      Premikula Roju      Dil Hi Dil Mein                      
1999                 Pukar                      
1999      Sangamam                                 
1999      Taj Mahal                                 
1999      Mudhalvan      Oke Okkadu      Nayak                      
2000      Alai Payuthey      Sakhi      Sathiya 2002                      
2000      Kandukondain Kandukondain      Priyuralu Pilichindi                            
2000      Rhythm      Rhythm/Jeevithamma Chirunavva                            
2000      Thenali      Tenali                            
2000                 Zubeidaa                      
2001                 One 2 Ka 4                      
2001                 Love You Hamesha                      
2001      Star                                 
2001                 Lagaan                      
2001      Parthale Paravasam      Paravasam                            
2001                 Nayak                      
2001      Alli Arjuna                                 
2002      Kannathil Muthamittal      Amrutha                            
2002                 The Legend of Bhagat Singh                      
2002      Baba      Baba                            
2002      Kadhal Virus                                 
2002                 Saathiya                      
2003      Udhaya                                 
2003      Parasuram      Police Kartavyam                            
2003      Boys      Boys                            
2003                                       Warriors of Heaven and Earth
2003      Enakku 20 Unakku 18      Nee Manasu Naaku Telusu                            
2003      Kangalal Kaidhu Sei                                 
2003                 Tehzeeb                      
2004                 Lakeer                      
2004                 Meenaxi - A Tale of 3 Cities                      
2004      Aayitha Ezhuthu      Yuva      Yuva                      
2004      New      Naani                            
2004                 Dil Ne Jise Apna Kahaa (3 out of 8 songs)                      
2004      Desam            Swades                      
2004                 Kisna - The Warrior Poet (6 out of 16 tracks)                      
2005                 Netaji Subhas Chandra Bose: The Forgotten Hero                      
2005                 The Rising - Ballad of Mangal Pandey                      
2005      Anbe Aaruyire (Ah Aah/Best Friend)                                 
2005                 Water                      
2006                 Rang De Basanti                      
2006      God Father                                 
2006                                  Provoked      
2006      Sivaji: The Boss      Sivaji: The Boss (2006)                            
2006      Jillunu Oru Kaadhal      Nuvvu Nennu Prema (2006)                            
2006      Dasavatharam                                 
2006                 Akbar-Jodha                      
2006                 London Dreams                      
2006      Guru (2006)      Guru (2006)      Guru                      
2006            Satyagrahi                            
2006      Sakkarakatti                                 



    * The films Nayak (2001, Hindi) and Saathiya (2002, Hindi) were remakes of the films Mudhalvan (1999, Tamil) and Alai Payuthey (2000, Tamil), respectively. The soundtracks were reused with changes and additional songs.

    * A. R. Rahman has also composed the score for the film Warriors of Heaven and Earth/Tian di ying xiong (2003, Mandarin)

    * He has contributed one song to Fiza (1999, Hindi).

    * The soundtracks of the films Roja (1992) and Gentleman (1993), were also released as instrumental versions.

The following films had soundtracks reused from previous albums:

    * Vishwa Vidhaata (1997, Hindi) from Pudhiya Mugam (1993, Tamil)
    * Jodi (1999, Tamil) from Doli Saja Ke Rakhna (1999, Hindi), with 3 new songs added
    * Love You Hamesha (2001, Hindi) from May Madham (1994, Tamil)
    * Star (2001, Tamil) from Thakshak (1999, Hindi - 3 songs) and 1947/Earth (1998, Hindi - 1 song), with 1 new song added
    * Thakshak (1999, Hindi) from En Swaasa Kaatre (1999, Tamil) 1 song (Jumbalaka), with changes in vocals and instrumentation
    * Pukar (1999, Hindi) from En Swaasa Kaatre (1999, Tamil) 1 song ('Kay Sera Sera' from 'Nayagara'), with changes in vocals and instrumentation
    * Song "Dekho Na" from movie Swades (2004, Hindi) reused from the song "Baba Kichchu Tha" from movie Baba (2002, Tamil) with different vocals and instrumentation

The soundtrack of Nicolas Cage's Lord Of War (2005), features the instrumental piece "Bombay Theme" from the Tamil film Bombay, directed by Mani Ratnam.

The soundtrack of Spike Lee's Inside Man (2006), features the song "Chaiyya Chaiyya" from the Hindi film Dil Se, directed by Mani Ratnam.
[edit]

Non-film

    * Return of the Thief of Baghdad (Yet to be released) (2003)
    * Deen Isai Maalai (1989) as AS Dilip Kumar
    * Set Me Free (1991)
    * Vande Mataram (1997)
    * Jana Gana Mana (2000)
    * Bombay Dreams (2002) (Musical)
    * Ignited Minds (2003) (Unreleased but performed in live concert)
    * Raga's Dance (2004) (for Vanessa Mae's album called Choreography)
    * Pray for me, Brother (2005) (UN Theme song for poverty alleviation mission) (Unreleased but performed in live concerts)
    * Banyan Theme (2006) (Theme song for stage musical Netru, Indru, Naalai in aid of The Banyan, unreleased)
    * The Lord of the Rings musical (2006) (Stage Production/Musical)


Edited by Sudha_rn - 16 May 2006 at 9:31am
dayita Goldie
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Posted: 16 May 2006 at 9:37am | IP Logged
Thanks for the article Sudha,The thread is running againIts our responsibility to keep it active.
dayita Goldie
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Posted: 16 May 2006 at 9:40am | IP Logged
Okay Sudha,we will decide together.
dayita Goldie
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Posted: 16 May 2006 at 10:05am | IP Logged

Interview: Sound of Rahman

Rajeev Masand
CNN-IBN
Posted Sunday , May 07, 2006 at 21:29 Updated Sunday , May 07, 2006 at 21:51
 

He is considered India's most respected musicians. He has been credited with giving Indian film music a global, a more original, more unique sound. He is also one of the highest selling artists in the world, having sold more than 50 million albums in Tamil, Telugu, Hindi and English. He has also made a very successful crossover to the West, while his roots, his first love, continues to be Indian music. He is A R Rahman.

In an exclusive interview with CNN-IBN's Entertainment Editor Rajeev Masand, A R Rahman talks about Rang De Basanti, his music and some of his outstanding works.

Rajeev Masand: The most obvious question first: Where did the dreadlocks go?

A R Rahman: I went for Haj, so I had to get them off. Or you can say, to washed my sins, I got my hair chopped off.

Rajeev Masand:That was your most marked characteristic. Do you miss them?

A R Rahman: I know, but my wife likes me better now.

Rajeev Masand:Rang De Basanti, your most recent work, is a film which really marked a milestone. Isn't it? Apart from the fact that it has great music and it's a great album, it is one of those rare soundtracks where the theme is blended perfectly with the music. Your earlier work Bombay and Taal were also examples of that. Do you agree?

A R Rahman: Yes, I think so. The process with Rang De Basanti started when Rakeysh (Rakeysh Om Prakash Mehra, the film's director) told me the story, which had freedom fighters in it. I was working on Legend of Bhagat Singh with Santoshji at that time. So, I said that I would not do another film like this. Of course Rang De Basanti happened four years later.

When I started on this film last year, what we decided to do was not to have anything which is preachy and going to bring people down. We wanted to go abstract and go counter-point, like people and children are dying there and we have a happy soundtrack, which is Ru Ba Ru and going to the light and there is more positivity rather than going along with the film.

In fact, everything is in opposites -- like the song Khalbali, which has the word 'ziddi (stubborn)', and it came because of the tune. And then the way after the song was recorded, which Rakeysh used in the film, when Bhagat Singh refuses to take any food and becomes 'ziddi'. Now that is the stroke of a genius. And that's how things should be done, more interactively, not by having a per se idea and defining it. If you want to break and go on to the next level, you need to take a chance. Sometimes, it works out this way. And in this film, it all worked out, I guess.

Rajeev Masand: One of my favourite songs in Rang De Basanti soundtrack is Lukka Chhupi. I have read a fair bit of criticism about the song, largely perhaps because it is a collaboration with Lata Mangeshkar. I could be wrong, but I guess the reason should have been Lata Mangeshkar. The song is really a mother's call and a mother's song.

A R Rahman: See, the song was not designed to be in the film at all. I was doing the film and I was doing Ru Ba Ru and Khalbali and Pathshaala. I felt it was all upbeat and modern. What was the film about? It is about a call of a mother. It is how the characters in the film change. I was actually hearing a song from Born On The Fourth Of July soundtrack and there is a song, which goes this way: 'Where have you been my blue-eyed son'.

I thought why not do a similar song for the film. It is very abstract, it takes the inner feeling of the film into a soundtrack. So I was telling Zaria, and Rakeysh was saying, "Mmm... OK." And Prasoon, of course, said it won't work. We then came up with Lukka Chhupi. I said why don't we have an answer for the mother who calls. And in a way, I was trying to do a duet with Lata Mangeshkar, which I had wanted to do for a long time, because whenever I had approached, it never happened. The plan got cancelled for almost six times, until it finally happened.

So, in which scene will this song fit in is the next question, right? When we tried to spot the scenes, it fitted exactly with Waheedaji and the death. But then the reverberation of the song is within the film and outside the film also. So, I feel doing a song is taking me from the clich' of situation which films have. And working outside it and then fitting it in. So all these things fitted in.

 
TALKING MUSIC: India's most respected musician AR Rahman talks about his music and more.

Rajeev Masand: You have just signed up as world ambassador for World Space. This is not the first time that you have endorsed a brand. How long does it take or how do you decide as to what is it that you want to get attached to and don't ?

A R Rahman: I probably was the first one to get the radio of World Space. I just wanted to check it out first. I was really impressed with the variety and the manner World Space had put up their advertisements. I did not know that here was a policy of not having any hassle in it, which is brilliant. I remember 20 years back, I used to go all the way to Bangalore to pick up my favourite music, and here we have everything on the touch-move-button --jazz, classical, pop. So when they ask me, I said: "Yes, let's do it!"

Rajeev Masand:You were in Toronto recently for the opening of the Lord Of The Rings musical. Tell me, was that a daunting task, for doing a score for that? Especially, because the comparisons between the musical and Lord Of The Rings film series were almost inevitable and especially because those films have gone on to become cult films.

A R Rahman: I think people very well know what is possible on stage and what is not. In films, you can add a lot of special effects and get away with. But to do something like this on stage is an incredible task. We have to give it to them the way they produce it and direct it and how they have put up this whole thing. It was a big gamble and they have succeeded in it. And being a part of it is a nice feeling.

Rajeev Masand: You have composed music for a musical before, including Bombay Dreams. Was Bombay Dreams perhaps a little easier, especially because you were familiar with the milieu. It was a story of a boy who wants to become an actor in Bollywood?

A R Rahman: One more thing is Bombay Dreams is a musical, which was written around the music of life. So we already knew that Ayesha was going to be in it. Taal's music was going to be in it. The music was written around it. But here it was vice-versa, we have script and the successful movies and they said do not derive inspiration from the movies. No music should come out of the movie, but it should be original from the book. So this is more difficult, this is really difficult. And I worked with Bartana, who is from Finland. Ultimately, when the music was put together, you could only see the scene and the episode there and get excited rather than trying to research which music is whose and cannot find that out.

Rajeev Masand: Your music is quite a rage among Chinese filmmakers. Your score in Warriors of Heaven and Earth became immensely popular. You have apparently been getting lots of offers from Chinese filmmakers. Is that true?

A R Rahman: Yes, there were a couple of offers which came in, but then I was busy on this side.

Rajeev Masand: Is it difficult doing a Chinese score? What's the challenge there?

A R Rahman: The challenge for me was not just doing a Chinese film. It was about the Silk Route, the Turkish and the Russian influence, and all those stuff. Working of the film was really good. For the first time, I got to work with the Prague Orchestra and the orchestral experience was really something.

Rajeev Masand:Which you used again in Mangal Pandey…

A R Rahman: Yes.

Rajeev Masand:If I ask you to pick your most under-rated film score out of 1947 Earth, The Legend of Bhagat Singh, Bose... which one do you think had the most under-rated score which could have perhaps done well, but didn't ?

A R Rahman: I want every film score I do to do well. But some don't, because there are a lot of actors involved. Yet, it adds to the repertoire because someday people might listen to it in a different frame of mind. Like when I did Mani Ratnam's Iruvar, I literally had a person asking me why did I do a score which looked so old-fashioned. He didn't know that it was a period film. There are so many elements and when people come to know about them, then after a year they buy the same music.

Rajeev Masand: You are dodging the question. Which is that one score that you were disappointed with, perhaps because of its failure?

A R Rahman: Yes, sometimes you get disappointed, but then its not just you, it's the entire team that gets disappointed because it did not succeed. Bose, I know that most people wouldn't have listened to it at all. Most people won't be having a cassette or a CD of it. I hope it gets released soon as I have heard it was finally getting released some time (soon). I hope that gets done.

Rajeev Masand: Have you ever been embarrassed by the way a song has been filmed?

A R Rahman: Yes, a lot of times. But, I guess the people are intelligent enough now to know all that, what is personal and what is not, and what is done for the movie.

Rajeev Masand: You won't take any names?

A R Rahman: No.

Rajeev Masand: We know that Mani Ratnam has been an influence and a mentor. While you were doing ad films, he offered you Roja and most of your best work has been with him. Tell us as to what kind of relationship do you share with him. Is it something apart from just the director-composer relationship? Are you two friends? Do you hang out outside the studio?

A R Rahman: We don't hang out much (laughs). What is really a relationship? A relationship means the first good experiences, like first love and you always remember that. He picked up the best out of my work and said, "This is you." He was the first one who gave me a good work. For us, it's been a challenge to cross each thing from Bombay to Iruvar. Whenever we sit, we don't talk about old things, rather we try sharing a new frequency to create the same magic again.

Rajeev Masand: Your score for Roja was ranked by the Time magazine as one of the 10 best scores in the world. How do you look back at it now, since so many years have passed since Roja? Is that flattering?

A R Rahman: Yes, it's quite flattering. It's a small world, isn't it? You see Inside Man using Chhaiyyan Chhaiyyan, Lord of War using Bombay theme.

Rajeev Masand:Do you think Roja is your best work?

A R Rahman: It's probably my first good work. Like I said about Mani Ratnam, who gave me my first good work. It brings back all those memories. It gave me the urge to go further and maintain quality work, crossing over to the North Indian audience with the film, lyrics which were never imagined before.

Rajeev Masand:Chhaiyyan Chhaiyyan is one song that you've always been remembered for. People continue to love this one song. It was used in Bombay Dreams, in Hollywood films, Spike Lee's Inside Man… Do you ever feel like telling people to get over with it and look at your new work? Do you ever feel that it is a like a double-edged sword?

A R Rahman: It was very strange how Chhaiyyan Chhaiyyan was done. I wanted a Punjabi singer for Chhaiyyan Chhaiyyan, while I had Nusrat's voice in my head. I asked my friend Brijbhushan in Bombay if he knew anybody like that. He suggested me three names. Finally he said 'Mr Singh' will be coming in.

I had expected somebody with a turban . That's when Sukhwinder Singh landed in Chennai. He was working on Govind Nihlani's Thakshak and I asked him if he knew any Sufi lyrics because his voice has that Sufi touch. He said, "Yes, I know this." We went to a room and then did Chhaiyyan Chhaiyyan. It was lying there for one year. I wanted to use it for my album Vande Mataram, but it didn't fit in. Then Mani asked me if I had a tune for his next film. I said something is ready and he immediately liked it. Then Gulzar sahib wrote the lyrics. It was first Thaiyan Thaiyan and then it was changed to Chhaiyyan Chhaiyyan. At that time, I realised that it had the potential. The intention of doing this song was not to make it into a film song. It had that Sufi aspect.

Rajeev Masand: Gulzar sahib once said, "A R Rahman's greatest achievement is that he didn't mess around with my lyrics." Is that something you like to elaborate on?

A R Rahman: Yes, I do. And where is the need to mess around with the lyrics when somebody writes them so perfectly?

Rajeev Masand:You have often confessed that you are not so familiar with Hindi.

A R Rahman: (Laughs) Yes, I can't talk but my vocabulary is better than what it used to be. I have been learning Urdu. I can't talk but I can read now and I can understand most of the vocabulary. The thing about words, certain words give you a sound and meaning, if you get the right kind of balance, the song becomes a hit and everybody takes pride in it.

 

Rajeev Masand:So many actors, especially in Hindi films, have been singing their own songs and you have said that it is good for actors to know how to sing so that they can act as if they are singing themselves.

A R Rahman: Yes, like in the West, actors never practise to use someone else's voice. Nicole Kidman used her own voice in Moulin Rouge. I think that should happen in India too. It will be good if actors learn music because it will make our industry more credible. It will be good if these things could happen simultaneously.

Rajeev Masand: Let me put you in a tough situation. What do you think of Aamir, Shah Rukh or Amitabh, who've been singing their own songs? What do you think of them as singers?

A R Rahman: I think they are intelligent enough to choose songs, which go along their own voice. You can't expect classical songs being sung by kind of actors like Shah Rukh. They don't want to torture people like that.

Rajeev Masand:You said some of your songs were composed in two days while some of them took up to 45 days. How do you know when a song is ready?

A R Rahman: It's based on one's instinct. Sometimes, when you overwork on something you go back and sometimes abruptness is the best.

Rajeev Masand: Over the years, you've sung many songs yourself. Like, Ye jo des hai mera, in Swades, Chale Chalo from Lagaan, or Ru Ba Ru from Rang De Basanti. How do you know when a song requires your own voice?

A R Rahman: Sometimes I've worked from the scratch using my own voice. Like in Dil Se, Mani said why don't you sing it in your own voice. Or when I did Ye Jo Des…Ashutosh Gowarikar suggested that I should be singing this song. Initially, I was supposed to sing Ek Taara but it didn't match Shah Rukh's voice.

Rajeev Masand: Has it ever happened that you recorded a song in your voice and the director told you that someone could have sung this better? Sukhwinder Singh or Shankar Mahadevan? Has it ever happened to you?

A R Rahman: I would be the first one to suggest such a thing (laughs). The last thing I want to do is put my voice in a song. There are so many lovely singers out there and I would love to get their contribution in my music.

Rajeev Masand:You daughters are learning music as well. In fact, they are on the soundtrack of Mangal Pandey...

A R Rahman: They are getting trained, but they have not been singing so much. It's just to give them a choice that they can take up music if they want to.

Rajeev Masand:So in many ways, it's like a legacy you want to give them.

A R Rahman: Yes. That's true.

Rajeev Masand: Talking about Mangal Pandey, apparently you've still not been paid entirely for your work in the film. Does that upset you since the actor and the producer of the film have gone on record saying that the movie was highly successful. Not only did they recover the entire investment in the first week, but that they made a lot of money.

A R Rahman: That's a very delicate question. Mr Bedi came the day an article on it was published. He promised me that everything will be settled sometime in July. I didn't want to go the legal way. He is a nice man and I trust his word. Besides, everybody has been watching everything. All these things were not intentional I guess.

Rajeev Masand: Please tell us what do you like to do when you are not working? What kind of a husband are you? What kind of a father are you?

A R Rahman: Good question (laughs). I think you should be asking this to my wife and children. My mother, my kids are very supportive of me. They always know what I'm going through. I also try to play my role as best as I can within the limitations of my schedule.

Rajeev Masand: Let's hope you have lots of time for them. Let's also hope we can see lots of interesting work from you in India and outside it. Thank you very much.

 


Edited by dayita - 16 May 2006 at 10:10am
dayita Goldie
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dayita

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Posted: 16 May 2006 at 10:14am | IP Logged
R Rahman in support of Maestro
May 01, 2006
A R Rahman
You cannot miss A.R. Rahman at an event. There is always the customary adrenalin-charged atmosphere when he walks in although the guy himself is cool as cucumber. He attended the launch of Sakkarakkatti. What is special about this film is that it would be a collaboration between two second-generation film folks. K. Bhagyaraj's son, Shantanu, makes his debut as hero while the director is Prabu, son of noted producer Thanu. Kalaippuli Thanu is the producer. Talking about his association with the project, ARR said that he had known both Bhagyaraj and Thanu and was excited to be part of the project.
Asked why he did not do many films in Tamil of late, he said that the banner and the director were the most important criteria. He worked with people with whom he shared a good vibe. He was quite happy to be doing Jillendru oru kadhal, Sivaji and Sakkarakkatti. All the three were very special to him.

On the international front, he would be doing the sequel for Shekar Kapur's Oscar-winning Elizabeth. He was planning to start work on his religious album which would be produced and marketed by KM Music.

Asked to comment on the Tiruvachagam controversy, he vehemently claimed that it was simply ridiculous to blame Raja. He had heard the symphony and it bore the stamp of Raja's genius.

That's Rahman for you. Humble and respectful of seniors.
dayita Goldie
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Posts: 1896

Posted: 16 May 2006 at 10:18am | IP Logged

AR Rahman - The journey of a genius

Divya Khanna
 
He is India's favourite music director, a reluctant youth icon and one of the highest selling artists of the world. Once criticised for his predictable style, the man has long overcome the phase and manages to surprise his fans with a varied palate of musical offerings. Almost every album he comes up with now is refreshingly unique.

From the satin, soulful rhythms of Roja to the very foot-tapping, uber-cool patriotic beats of Rang De Basanti, he has made a nation swing to his tunes all along his journey to the Numero Uno spot.

Whatever his style or influence, one thing is for sure: Allah Rakha Rahman rarely, if ever, disappoints. Be it signature tunes for Airtel or ad jingle for Titan watches, Rahman has managed to catch the imagination of everyone from eight to 80.

A R Rahman was born as A Sekhar Dileep Kumar to a Tamil family on January 6, 1966. His father worked as a music arranger for Malayalam films. At the age of nine his father died and his family began renting musical equipment to make ends meet.

It was during those tough times that a Muslim Sufi saint took young Dileep under his tutelage and converted him to Islam - hence the name Allah Rakha Rahman. It's perhaps this spiritual connection that manifests itself as subtle Sufi influences in popular Rahman numbers like Main Albeli (Zubeidaa) and Piya Haaji Ali (Fiza).

At 11, Rahman joined legendary Indian composer Ilayaraja's troupe as a keyboardist. He later joined the orchestra of popular musicians, including M S Vishwanathan and tabla maestro Zakir Hussain, on world tours. The exposure helped him to obtain a scholarship to the Trinity College at Oxford University, Britain, where he received a degree in Western classical music.

But Rahman's big date with cinema came in 1991. Ace Tamil movie director Mani Ratnam was on the lookout for a new composer for his films. At an awards function, he chanced upon the 24-year-old who received the award for the best ad jingle for Leo Coffee brand.
Hooked to his music, Mani Ratnam signed him for Tamil film Roja (Rose) released in 1992 and later dubbed into several languages. The soundtracks of the Hindi version became an instant hit and catapulted him to big league.

That was 14 years ago. Since then, Rahman has brought to Indian cinema a whole new genre of music. But criticism, too, began to pour in. Rahman was criticised for taking his own time in composing music, something that reportedly forced Mani Ratnam to drop a song from Bombay to release the already delayed film on time.

Rumours were rife that Mani Ratnam had dropped him from his next project, too, but they were proved to be unfounded. Rahman, however, made no bones about it and said that he was "no machine that could churn out scores on an assembly line endlessly". The misunderstandings were soon resolved and Rahman-Ratnam duo has worked wonders.

"What is really a relationship? A relationship means the first good experiences, like first love and you always remember that. He picked up the best out of my work and said, 'This is you'. He was the first one who gave me a good work. For us, it's been a challenge to cross each thing from Bombay to Iruvar," Rahman says about Mani Ratnam in an interview to CNN-IBN.

His compositions are absorbing, a deliberate yet careful blend of digital instruments and traditional sounds like flute, mridangam and natural sounds. His Choti Si Aasha in the film Roja, with its blend of traditional tune and distinct reggae beats, went on to be a cult hit.

His latest Rang De Basanti is an exuberant mix of jingoist bhangra pop with a hint of sufiana influence.

So, how does Rahman manage to accomplish this? It's no doubt a master at work, infusing modern technology into music and some brilliant orchestration.

With no inhibitions and restricted by no one genre or style, Rahman experiments with everything - Indian classical, Western classical, and fusion too.
"Sometimes I've worked from the scratch using my own voice. Like in Dil Se, Mani said why don't you sing it in your own voice. Or when I did Ye Jo Des. Ashutosh Gowarikar suggested that I should be singing this song. Initially, I was supposed to sing Ek Taara but it didn't match Shah Rukh's voice," Rahman says.

In 2000, Rahman's annual income was estimated to be around $4 million from worldwide endorsements and royalties dating back to Roja (1992). His Tamil album Kandukondain Kandukondain was sold for a record sum of Rs 22 lakh. The record remains unbeaten.

With Rang De Basanti being the current rage among the youth of the country, Rahman continues to lead Bollywood's music brigade.

Fourteen years and many chartbusters later, Rahman shows no sign of slowing down. In fact, he has begun living life in the fast lane and is taking up more projects than ever before.

The Rahman fans are obviously not complaining. He's here to stay, so just let the music play!
http://www.ibnlive.com/features/rahman/1.php
dayita Goldie
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Joined: 01 May 2006
Posts: 1896

Posted: 16 May 2006 at 10:21am | IP Logged
Rahman's famous Hindi albums
    Roja 1992 Rangeela 1995 Saathiya 2002 Lagaan 2001 Zubeidaa 2001 Taal 1999 Dil Se 1998 Rang de basanti 2006 The Rising: Mangal Pandey 2005 Swades 2004 Bombay 1995 Vande Maatram 1996 Bombay Dreams 2002
  1. Lord of the Rings 2006

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