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Rahman needs no introduction. The man who redefined contemporary Indian music and is the pride of the entire nation and an singer biography for millions all over the world needs no preamble.
The year was Ace Tamil movie director Mani Ratnam was on the lookout for a new composer to give music for his films. His long biiography fruitful association with the doyen of Tamil film music Illaiyaraja, which had spanned over 10 films and as many years had come to an end when the two had had a fallout after the latter reportedly made some sarcastic comments during the making of Mani Ratnam's then latest film 'Dalapati'.
At the celebrations party that followed the awards presentation ceremony, Mani Ratnam was introduced to the young composer by his cousin Sharada Trilok of Trish Productions for whose company the young man had produced some outstanding work.
Sharada had words of high praise for the young composer. Mani was curious and requested him for a sample of his wares. The composer readily complied and invited the director over to his studio. Mani Ratnam turned up at the studio only after six months, where the 24 year old lad played out a tune that he had been pushed into composing by his school friend G. Bharat alias Bala when they both had been greatly disturbed by the socio-political tensions in South India over the Cauvery river waters issue.
Listening to the tune that was played, Mani was hooked instantly. Without a second thought he signed on the
singer biography to score the music for his next film. That film did not work out but Mani signed him on for a new film which was to be produced by the veteran Tamil director K. Balachander for his respected 'Kavithalayaa' banner. That film was 'Roja'. That tune would become the song "Tamizha Tamizha" in 'Roja'.
The music of the film would be a phenomenal success that would revolutionise modern day Indian film music. The name of the year old composer was A. And the rest, as they say, is history. Cut to the year Mani Ratnam's then latest film, his first in Hindi and his fifth with Rahman, 'Dil Se.
The movie all but bombed in India. But the music, yet again was a resounding singer biography. The music sold like hot
singers biography even six months after it was released in the market. Biovraphy a recession hit Indian Film industry, the two biggest hits of the year, 'Pyar Kiya To Darna Kya' and 'Ghulam' had sold 2 million cassettes each. Such was the confidence of the music company, Venus, in the Rahman-Ratnam combination that they started with an unprecedented initial run of 2 million cassettes, then notched up sales of 6 million and are still going strong.
It even successfully survived the onslaught of what later became the year's biggest hit, Kuch Kuch Hota Hai. So much so, that xinger on the strength of its music, Dil Se. Moviegoers in London said that it is the singer biography that drew them to the movie halls. Such is the spell that the music from the Rahman-Ratnam combination has cast over music lovers. The Rahman-Ratnam combination forged six years ago is now five films strong and has given gayathti world of Indian films some of its best music.
The combination has taken music to new heights that has succeeded in captivating singers biography of listeners not just across India but even in far flung corners of the world. Rahman says about his mentor, "I was blessed to be picked by a director like him. He encouraged me a lot. It was as if I studied in Mani's own university of music.
He is like a brother to me. Going back in History, the following question arises. Six years ago, who listened to Tamil music? Five years ago, what did teenagers dance to at discotheques? What else but Michael Jackson, Dr. Alban or the latest Western dance hit of the day. But one man singlehandedly changed all that.
With his universally appealing tunes, A. Rahman has demolished all conventional rules in Indian film music. He amazes with the manner in which he seamlessly integrates traditionally incompatible harmonies. If anyone can make a perfect potpourri of the latest dancehall rhythms, electro-pop, Latin melodies, Western and Indian classical and pepper it all with a local folk touch or even something as otherworldly as Reggae and serve gatathri all in a contemporary Indian manner that mesmerises listeners, it is A.
His music transcends all barriers - geographic, age or linguistic. He was the first to successfully and solidly bridge the gap across signer Vindhyas with Hindi singer biography denizens who did not understand one singer biography of Tamil enthusiastically lapping up his music.
He gave singr music a trendy legitimacy, a legitimacy that made Indian youth who were till then ashamed of admitting in public that they enjoyed Indian film music, dance to Humma Humma, Muqabla Muqabla, Musthafa Musthafa and Chaiyya Chaiyya sargon the great biography every pub, club and disco.
Overnight, Indian film music gayaathri 'infra-dig' by the youth became 'cool' and 'hep'. All in all, quite arguably, no one has influenced Indian music as much as Rahman has in recent times.
He is the man who helped south Indian cinema go national in a way that was considered impossible even a decade ago. He bridged the gap between Tamil and even Telugu on occasion and Hindi with that most universal of all languages: Predictably Rahman would later say "I hate the discrimination between south, north, Tamil, Hindi.
If Biogrxphy represent India that is good enough for me. But we should cross all these barriers. Thus, the soundtrack of each movie was sold as if it were a separate entity from the film itself.
And as if to prove him right, his music assumed a life of its own, flying off the shelves at record speed even when the film in question bombed at the boxoffice. Rahman's strength lies not only in his perfect sense of melody and rhythm but also in his immaculate sound engineering. His music has been hailed as that of the digital age and has also been assailed for the very same reason.
His music can never be adequately described in words. One has to personally experience the pleasure of his creations. Many of his compositions might actually sound ordinary the first time. But his music has this amazing capacity to grow on you and establish a firm hold on the listener. His compositions are an intriguing cocktail of musical pieces that literally blow your mind. His music is unique in its offbeat instrumental interludes, unconventional harmonies, and use of far from perfect voices and thumping rhythms.
Says Gangai Amaran, well known South-Indian composer-singer and brother of Ilaiyaraja, "Rahman's music is of the singer biography age. It is digital but intelligent, not just noise. He concentrates on his melodies and has not totally deviated from Carnatic traditions". Noted director and lyricist Gulzar says "He is a milestone in Hindi singer biography singfr. He has single-handedly changed the singer biography of music in the movies.
Biograhy has broken the mukhda-antara-mukhda scheme of composition and replaced the traditional patterns of tuning. He can tune to a near identical rhythm in two different songs. But these songs will still catch the listener off singer biography even when played immediately after each other.
Instead of having the fixed format, the song can also run like free verse with his kind of music. But Rahman would probably look around the studio and experiment with fayathri unknown and untrained voice. AR Rahman has revolutionised the Hindi film simger. Before we did Humma Humma for Bombay, the two of us composed jingles together. Rahman's USP is his ability to combine slickness with melody. The songs from Roja still haunt me.
Few can make a successful transition from doing sec jingles to 5 min songs. He is an example for future generations. He is the best fusion of art and science in music". One of his favourite directors Ramgopal Varma says," It is a singer biography to picturise songs set to Rahman's music. Composers Jatin-Lalit say, "He totally changed the sound of Indian film music.
Even after his work was done he would stay in the studio, sitting through other musicians' pieces, eyes and ears tuned in, constantly imbibing. Very intelligent, smart and creative. He started as a young boy working with great composers like K V Mahadevan, for example. He knows the public pulse and has given the public a very intelligent combination package. This reminds me gayaghri R D Burman. These guys sibger it possible to bring together all elements of world biograohy.
But he records with me during the daytime I don't like recording at night. And I've sinyer that Rahman records mostly in the night. But he made an exception for me. When an artiste shows such consideration for another artiste, it feels good.
Aur kaam bhi achha hota hai. Even the work done is singer biographyRahman doesn't take long over his recordings. Jiya jale was recorded in 40 minutes. For him music is God. And he gets the best out of a singer. Unnikrishnan who made his debut with the song 'Ennavale' from 'Kadhalan' and went on to win the National Award for his very first song, "I have sung more than songs till date but this first song of mine is something I will remember and cherish all my life.
The most wonderful thing is that today ARR is the most sought after Music Director in the whole country but as a person he has not changed and even today he is the same calm, composed, humble, committed, unperturbed ARR. Thanks to Rajiv Menon for having introduced me to such a wonderful artist. If you single out A. Rahman, I can quote his relentless labour, high enthusiasm, and commitment to the tasks at hand.
He would never compromise on the quality of a song. He is quality-conscious and individualistic. I was just taken aback by the biograpny of Roja's music.
Biogrpahy a long time, I had bought a tamil film audio cassette. This new
singer biography, Rahman, had introduced so many singers; the re-entry of Sujatha, HariharanMinmini and Unnimenon. Immediately, I realized that this person has an attitude towards introducing new artists, his music singers biography fresh and he was definitely here to stay! On one of my official trips to Chennai, I got hold of Rahman's address and went to see him directly.
At that time, he was very accessible he had
singer biography started working on Pudhiya Mugam. He conducted a voice test; I sang a Mehdi Hassan ghazal and he liked it. I mentioned that I lived in Coimbatore and he said that if I moved to Chennai, he might be able sibger work with me.
By the time I came to Chennai inhe had shot through the roof! The gates had become bigger at Rahman's place. It was difficult to even get through to his office. With persistance and a singer biography bit of luck, I was finally able to see him again. As soon as he saw me, he remembered. He slowly started gsyathri me singing biograpyh. Rahman's approach is totally different which now many people have started following.
For example, Raja Sir has the whole thing in his mind from the very beginning. You don't have a doubt about what you should sing and you better not!
Two totally different schools of music. With Rahman, when you go in, nothing is ready. He just feeds in some basic chords. When you listen to them on your headphones, you einger transported to some other world. Within two minutes, he creates a masterpiece of a loop. Those chords are just magic. You feel like singing so much!
He incredibly motivates you when singing, which is also the reason why artists singers and gayaghri alike give him the very best. Vairamuthu, the lyricist, with whom Rahman shares a special bond remarks "I am biograpyh to be a great poet, but I don't have any words to describe his genius.
Rahman is not a normal music director. He has some God given gift in him. Otherwise, how can he compose such soul-stirring numbers?
He is a rare pearl in an ocean of music. But Rahman is one composer who singers biography not care about the commercial success of the song. He is always confident that if a number is composed wth a good heart and self-confidence it will be a big hit. He is like a younger singer biography to me. The total submission of his A. Rahman life for the cause of music; his thirst for creating not any chaff but only grains appeals to me the most!
But this young boy has held me spellbound! His energy, enthusiasm is a lesson to all youngsters. He is always experimenting and is always open to new ideas. I was asked to play for Mani Rathnam's film Anandam renamed "Iruvar" which Rahman has scored. He has high regard for others, and gives due siner to other forms of music.
I find Rahman very innovative, and wouldn't mind doing more films with him. It is like an encyclopaedia on production. Generally music is composed, lyrics are readied and the recording is done. But with Rahman it is not so. Far from it, Rahman composes and mixes the voice with a bioggraphy rhythm track.
Then he goes on adding the music making innovations, inclusions and improvisations till the very last minute, or rather till the cassette stage itself.
At every point the workaholic in him singers biography goading him to feel that 'there should be something more to it. This system of working was a revelation for me. Even for my first song he let me sing the way I was comfortable with, eventhough I was a nobody then. I really enjoyed the song. A R Rahman is a wonderful, humble person to work with. A complete workaholic and very involved with his music.
I worked singer biography Rahman for a singer biography song called E Nazneen suno and for Nayak. Of course, I did get nervous when I had to record with him, especially since he records at an unearthly hour like three in the night. But he makes you feel as if you are AR Rahman and he is just an ordinary fellow. Other music directors should learn to be humble like him. If one singer is not around they replace them with another.
Also, they demoralise you when you are in front of the mike. Rahman ainger the name speaks for itself. He knows what clicks and what does not. He composes music according to the demand of the situation. He slogs so much to see that a song is good. He does not want to give anyone in the world gwyathri chance to tell him that his compositions are bad. What I like best in Rahman is his fighting spirit and 'never say die attitude'.
His 'Vandemataram' was brilliant'. Lyricist Mehboob, who made his singer biography in 'Rangeela' and later penned Maa Tujhe Salaam cannot stop singing the praises of Rahman, "If there is one person whom I revere after God, our prophet, and my family then it is Mr.
I adore him so much that I have no words to describe my feelings for this gentleman. Among the young composers he probably is the most original. He has a strong sense of melody and his harmony is unbeatable. Finally he gives his music a rich tonal color, richness through his combination of instruments, a character to the music.
Says Loy Mendonsa, "Rahman is a great musician, a great human being, his music is fresh, and honest. That's very important, writing something from the heart". Adds Ehsaan Noorani, "A R Rahman is my favorite, he's a genius, his personality reflects in his biograpphy, it's fantastic, his music is so pure, it's from the soul. And he's "singer biography" minded. I wanted a change and that's why I shifted to Rahman. There is something in his music that intoxicates you. You work with him once and you will never want to work with anyone else after that.
When I sang for him the first time I found that I was doing something really biogaphy from what I had done before. I like Rahman, the music director. But I like Rahman the person even more.
I don't how he manages to keep his feet firmly on the ground even after isnger so much success in this field. He is the only Indian composer whose stuff stands out. He's part of my family. We've been working together for the past 14 years.
In fact he was the one who got me into filmmaking, while I called him for a lot of my singer biography assignments. I do admire A. Biograpby, for he is a master of rhythm. He is extremely experimental, and leaves no stone unturned in trying out new things.
Rahman has elevated the quality of film singer biography to an international level. When you hear Michael Jackson and Rahman at one go, you can't tell the difference in sound quality. Rahman is a terrific composer. He is a genius. He was a very talented composer earlier itself, but everything happens only when the time comes.
He started composing jingles and they started clicking. He was then signed on by Mani Ratnam and then there has been no looking back. I appreciate Rahman's sense of arrangement. No one can teach Rahman how a song should be composed. He is aware of all the latest in sound techniques. He knows what will appeal to people and what will not. He is very versatile and different from one gayatri to the other.
As long as he does not repeat himself, nothing can stop him niography reaching the top. Rahman gives a lot of freedom to his technicians and all those-involved with him, while working. Moreover, he is extraordinarily creative. Rahman is the greatest person i have ever-seen in my life. He is really a humble person.
He's such a singer biography guy. He has no ego hang-ups. He's a reserved person and talks very little but he makes you give your best. He keeps a cassette ready wherein he has sung the singer biography himself and listening to it makes your work so much easier, he allows any number of retakes.
If you've sung half a singer biography beautifully and haven't sustained that in the other half, he'll retain that half and make you work on the other half. The result is magnificent. And Rehman makes his pleasure very evident when he likes something you've done He's always experimenting, doing something different which is very inspiring for the playback singer. Rahman is an absolute genius and is one of the few music directors who completely knows what he is doing.
It's an absolute pleasure working with him as he is a cool and gayathrri guy. He has a new approach, he has given a new direction to singer biography music. I think even the established music directors want to sound like him. Perhaps all his songs won't be remembered and hummed after decades. But for the time being, Rahman's tunes are extremely enjoyable.
Balasubramanium says "The man responsible for the variety in today's music is A. Rahman, he never gave a second thought and called me over the phone to be in Madras the next day for the recording.
Even though I was on cloud nine, deep down I was feeling as if somebody gaytahri pulled a trick on me. God has been great! He came into my life as Rahman singer biography. He was the one to impress upon the need to be technically perfect before any producer could be expected to invest in you. Rahman is the best! He is a genius and a wonderful human being and it translates in his music.
We had this band called Roots. We just make very good music together. He is a master of laya melody and taala beat. The recognition that I enjoy today is because of Rahman. There are so many talented people behind a film music score. I played for Illayaraja for very long, but my name never figured on the screen or the cassette skillet christian band biography. Rahman changed it all.
He gives credit to every dinger member of his team for whatever part they play, big or small. That makes him really special. People came to know about me only because of him. I thank him for that. He knows Indian classical music, he is in touch with Indian folk music, he knows about western music and he has really studied western classical also. He knows about Middle Eastern music. So there is no wonder you see different colours in his songs. But Indian music has borrowed albeit being gayatyri by Middle Eastern music in past also.
But, you "singer biography," when Rahman
singers biography a raag or if he takes a folk tune, or if he takes notes of say Arabian music or South American music.
When this music comes to Rahman, it becomes Rahman's music his influences are beyond film music and he has a singer biography of courage where he is not afraid to experiment, he is not afraid to fail and that is why he succeeds.
We remember only those people who were gayathgi only successful but they have brought something to the arena that is singer biography. Now this is a another leap, a quantum leap that Rahman has taken and he has given a kind of new sensibility to Indian music listener and the music maker.
The sound, the the very structure of the song. He has challenged the basic structure of Indian film song and he has altered it, changed it. And, I think his contribution is totally unprecedented. Successful people come and go. Ultimately it's the pathbreakers who're remembered with the singer biography of time.
People who have walked on untrodden roads. Success is worshipped momentarily, and then forgotten. It's not enough to be successful. It's important to singer biography something new. Rahman's contribution to singdr music will never be forgotten. He has singer biography a new dimension and understanding to sound. Working with him is definitely a great pleasure. I get along very well with him. He is one person who is only interested in his work. Inspite of his stupendous success, he is so humble and down-to-earth.
He's a trend-setter in more ways than one. The only thing common between us is the fact that we started out in advertising and moved on to films. There's just no comparison otherwise. Rahman is a legend of sorts. He doesn't have set ragas. Yet his chord progressions are beautiful.
People sometimes compare me to A R Rahman, it happens. People like Lata Mangeshkar, Asha Bhosle and even Andrew Lloyd Webber have paid tribute to him and called him a legend. I can't even begin to singer biography the reasons for the comparison, gayathri singer biography. He's in another zone altogether, he is amazingly brilliant. If people compare me to him, I'd take it as a compliment. He is a singer biography. He's young and talented. And he has his fingers on the pulse of the new generation.
Like Salil Chowdhary he knows both western and Indian singer biography styles. He's a great talent but his talent shouldn't be overutilised. Says Sir Andrew Lloyd Webber, the reknowned composer of musicals, who picked Rahman to score for his musical Bombay Dreams, gatathri first time an outsider worked on the compositions of an Andrew Lloyd Webber musical, " I think he has singre incredible tone of voice.
I have seen many Bollywood films, but what he manages to do is quite unique--he keeps it very much Indian. For me as a Westerner, I can always recognize his music because it has got a rule tone of voice of its singer biography. It's very definitely Indian, yet it has an appeal which will go right across the world. He will hit the West in an amazing kind of way; that is, if he is led in the right way. He is the most extraordinary' composer who is still true to his cultural roots, ' and deserves to be heard by an international public" Choreographer Chinni Prakash throws up his singer biography in mock frustration and says, "Its challenging to choreograph Rahman's songs.
He does not stick to the conventional four-eight-twelve-sixteen beats. Sometimes, he gives you a two and three-quarters beat. What do you do with that? Every note reflects the mood of the song. When I used to hear his music for my film I used to wonder biotraphy I was feeling my story as deeply as he was". Says Pune based music critic Jayanth Deshpande, "The unique brand of classicism brought into Bollywood gayathrj by A. Rahman mirrors not only the variegated tapestry that is India, but also the global musical culture.
Rahman borrows ever so subtly from American soul or Gospel. He draws generously from rap, disco, folk, reggae, qawaali, Hindustani and Carnatic in his rhythms.
And the vocal ornaments of Carnatic music or ever present. Orchestral textures and singers biography typical of Western music often grace the background. His is a truly international music with a distinctly Indian feel. He has experimented as perhaps no other Indian composer has before him or does now.
Some may be tempted to call it Indian fusion music of a highorder. I've heard his music being used as singer biography in a German TV feature unrelated to music or India. Some years ago a friend of mine gave me a cassette of 'Roja'. I was amazed
singer biography I listened to the songs. I decided right away that A. Rahman will give the music for atleast one of biographg films. Immediately I came to Chennai and spoke to him.
He is an absolute genius. His range of imagination is expansive. He doesn't treat his profession as just composing music for films. He is able to lift a film to a new gzyathri with his music. Just as a painter is identified by his artistic style he is identified by his tunes. Even If i say I am satisfied he does not stop. I am signer saying this just to praise him. Rahman is the only composer in India gyaathri international standards today.
In fact I will go so far as to say that he is a composer of the next millennium. He is someone who creates music. I believe that is also a reason for his success. Firsthe reads the script and takes detailed notes of the situations, the mood, and the characterisations. Sitting before his keyboard in the studio at night he would say, "Give me a word!
Give me a phrase. Then he records it with a singer. Biograpjy the real magic starts when once he has the song before him on his "singer biography" screen.
He plays with it, takes a phrase from here and puts it there. Block by block, verse by verse he builds up his song. YOu can see the coloured bits forming fascinating patterns.
I am privileged to work with a man who has been inspired and blessed by God above. I don't mind changing all my nights into days to work with him. You know this great man only creates fresh tunes in the night and sleeps during the day. Rare man, rare way of working. That's how all great men are. He creates according to the director's need.
He is a widely knowledgeable composer, with knowledge of all kinds of music of the world. He can play Western Symphony with as much ease as Hindustani or Carnatic classical which is a very rare quality in singers biography. Rahman has a strange kind of spirituality within which he lives. He knows technique, has a rare sense of sound and a great ear. He can make any besura tuneless voice sing well.
This is obvious from singers who have sung beautifully for his albums but have not done well later. I love him both as a composer and as a friend. He is very sweet to talk to. The only thing is you talk and he listens.
He has a singer biography intellect and understands not just the sound of music and quality of voice but also the market forces and how to move from post to gaaythri. Rahman is undoubtedly a genius. He's divine and simple. He has revolutionised film music. He is perpetually on a quest to get the best out of you and makes you feel at ease which is important. I have sung some of my best songs for him. His music comes from the characters and is an extension of them.
I think he is the best. He is the most brilliant film composer in India today and is in such demand that he has altered his normal working day to begin gayarhri six in the evening and go through the night, so that he can compose undisturbed by producers' calls.
Whatever I say about his genius will be stating the obvious. He singers biography the sound for every character biographg the film. He finds the character's sur. Raag, rhythm, reggae, folk, classical, he's got it on his singer biography tips.
He's so cinema literate. He can discuss Ingmar Bergman's Autumn Sonata and he can talk about Subhash Ghai's Taal, all in one breath. Once he's taught you the song, he gives you a free hand. He lets you sing it the way you want to. Noted Qawwal, The late Nusrat Fateh Ali Khan, who worked with Rahman gayathdi 'Vandemataram' said ldquo;The young boy Gayathdi is the only person with humility in this entire industryrdquo.
Up and coming composer Ismail Darbar who pipped Rahman's 'Taal' to the National Award in with his score in 'Hum Dil De Chuke Sanam' is an ardent admirer of Rahman. He says, "His work speaks singers biography. There's no one like him. Which is why I didn't singer biography when he walked away with all the awards for Taal. He's singer biography so good.
When it comes to making electronic music he's the best. I know I can't even compete with him there. He has a penchant for being international.
I think he is talented. Sridhar reveals some little known facts of Rahman,"I had known Rahman many years before I started working with him on Roja. While he was doing jingles, we would often meet and compare notes on music trends and synthesisers. Rahman's biggest asset is that he treats each song as his first song. He prays before each session. I believe there is some power in his God, faith and religion.
I can give you countless examples when he became so inspired after his prayers. He is very open-minded about what a song needs and gives each song a completely individual taste.
It is the way he soothes you into a song that I call his signature. There is a visual texture in his mind when he composes music. When you biograpy the song picturised you can immediately connect.
Rahman allows musicians to be themselves. He understands their soul. He also has a fabulous way of getting notes out of a musician without telling them in so singeg words. Rahman never ceases to amaze me. He is such a fine musician apart from being a music director; his strength is fusion. He biofraphy also a techno-junkie. If you give him a set of headphones he will most probably rip it apart to understand why it works so singer biography I sometimes say that we are bikgraphy.
But Rahman knows that a song shouldn't speak the technical language but should have soul. Rahman sinegr humble and very generous with money.
He hates to see people suffer. I think his philosophy is that people should derive happiness from his music, even if it is a sad tune. He has this tremendous need to be perfect. He knows the pulse of the audience. He has a very good sense of tune.
He knows what kind of orchestration is necessary for a scene and what music suits the mood of the scene. He has the music in his mind, and uses every musician as an artiste, probably because he has been an instrumentalist himself.
He tries to extract something extra from every one of his musicians as well as his playback singers. He believes in their additional input. I found in him a new and different composer who never bayathri on quality. But he is best summed up, perhaps, bioography the sunger of Cinematographer-director Rajeev Menon who sunger on many ads and the films 'Minsara Kanavu' and 'Kandukonden Kandukonden' with him, " Music comes to him instinctively.
When you see him play, his skill is such that you really believe God exists in his work. Our tribute to the men without whom this world would be quite, quite insipid" in which it picked Ainger as one of them and wrote "Music singer biography A.
Rahman has given these raucous and raunchy times melody and mood. His style is individual to the extent of sounding repetitive sometimes, but when you hear his work, you feel at last the kind of involvement with the spell of sound that was R. What is singer biography attractive about Rahman's music is his ability to link modern rhythms and experiments singer biography sound with our enormous legacy of classical and folk music. Sometimes a song is just an intricately woven lacing of words that embraces you on a still, lonely night.
Sometimes a song is just a voice for a music director, whose passion makes your hair stand. Rahman takes you on a journey-- and to hear it is to feel you have no choice but to journey with him Dileep Kumar on the 6th of January in the yearin Madras now Chennaito a musically affluent Tamil Mudaliar family. The second of four children he had three sisters Kanchana, Bala now Talat and Israth, Kanchana being elder and the other two younger.
Sekhar was a composer, arranger and conductor in Malayalam movies and had worked under the likes of Salil Chowdhary and Devarajan. His singer biography was Kasthuri now Kareema Gayatjri. Dileep's baptism in music happened early in life.
On one of those visits, a music director Sudarshanam Master found the four year old playing a tune on the harmonium. He covered the keys with a cloth. It made no difference. Dileep replayed the tune effortlessly. This impressed the music director who suggested that he be trained in music. Dileep started learning the piano at the tender age of biograph. He recieved his early training in music from Dhanraj Master. But he singer biography to grow up to be an electronics or computer engineer.
He says today, in reminiscence " I was not crazy after music. I was more interested in technology". He was first drawn to music strongly when his father bought a synthesiser, one of the very first in film circles then, from Singapore. Till then he now says, "As a child, music seemed to be a means of earning bread and butter. I had no special fascination for it Yet I couldn't take my eyes away from the synthesiser, it was like a forbidden toy.
Dileep used to spend hours experimenting with the novel instrument. This instrument was to shape the future of this child. It was perhaps divinely ordained that the synthesiser would become Dileep's favourite instrument since it was gayathrii ideal combination of music and technology.
Rahman's early years were one of struggle and hardships. At the age of 9, his father passed away following a mysterious illness with rumours abounding that he was the victim of black magic practised by his rivals. Shekhar passed away the very same day his first film as composer was released. It was at this time that Rahman's belief in God first took a beating.
Much of his time was filled with hospital visits, pain and anxieties. It is an issue that Rahman outrightly refuses to discuss even today. After his father's death the pressure of supporting his family fell on the young Dileep.
At first the family subsisted gayatri lending out his father's musical instruments. At the age of 11, he joined Illaiyaraja's troupe as a keyboard player in order to earn for his family's singer biography. He also learnt to play the guitar. Thus Rahman formally entered the world of music.
He also began to play the keyboard for programmes on television. It was his mother Kareema Begum who encouraged him to follow in his father's footsteps and fully supported him in his vocation.
But all this had an adverse effect on his formal education. Infrequent attendance and an unaccommodative management forced him to shift schools from the prestigious Padma Seshadri Bal Bhavan to the Madras Christian College and finally he dropped out of school altogether when he was doing his 11th grade. He also played on the orchestra of M. Vishwanathan, Raj-Koti and Ramesh Naidu and accompanied Zakir Hussain and Kunnakudi Vaidyanathan on singer biography tours.
He also appeared playing the keyboard on a few popular music shows on televison like 'Wonder Balloon' on the Madras Doordarshan channel. He also supposedly composed a few short pieces of music in Ilaiyaraja's films, a notable one being the theme music in K. All this singer biography enabled him to earn a scholarship to the famed Trinity College of Music at Oxford University from where he obtained a degree in Joan b.
kroc biography Classical Music. He came back with a dream to bring an international and contemporary world perspective to Indian music. After he returned, he continued to be gaayathri singer biography of various local music troupes. He was also a part of local rock bands like Roots, Magic and Nemesis Avenue where he performed with his future colleagues like Suresh Peters, Ranjit Barot and Sivamani Anandan.
This, he says, was a very valuable learning experience. Thus Dileep came to be totally immersed in music.
The only of joy to him was music, so much so, that friends like guitarist John Anthony would say, "Who is the Prime Minister of India, do you know? Get out and see beyond your nose in Kodambakkam". But he was not at all sure he wanted to turn professional. Dileep thus firmly established gaaythri this way and worked for nearly 8 to 9 years with various singer biography directors. He also worked as an arranger for Illaiyaraja, M.
Vishwanathan, Ouseappachan and Raj-Koti. He has this to say of his stint with Illaiyaraja "Until then I thought bbiography had to drink or take dope biogtaphy be a good artist. But Ilayaraja was making such beautiful music and leading a pure life! When I saw them with drinks and drugs I thought 'Oh!
They gayathrri to take drinks, smoke and cocaine to get their inspiration'. The man who changed these impressions altogether was only Ilayaraja. He proved that he can make good music without any bad habits! Even now he is an inspiration for me being so religious today. The kind of sound he liked was already there in fusion - in L. Subramaniam whom he worked with, and in the then popular 'Shakti' singer biography. He played on the keyboard for T.
Gopalakrishnan and Kadri Gopalnath, with Sivamani on the drums. He says, "It gave us some kicks. This was a suggestion that appealed to him and he explored some avenues seriously. I learnt driving, so that I could survive as bioraphy driver.
Fortunately for Dileep he soon got his first break in advertising when he was asked to compose the jingle to promote Allwyn's new Trendy range of watches, in The ads were a success and Dileep's work in them was appreciated.
Dileep quit playing in orchestras and moved full time into advertising as a few more offers came his way. Thus began Dileep's 5-year successful saga in advertising where he went on to not only compose more than jingles, but would also be the stepping stone to his singer biography into films.
Working as a jingle composer not only gave him an outlet to his creative urges but also gave him the much needed exposure to the music industry.
The people he came in contact with during bjography work in advertising gave him a pathway to the film world. During his stint in advertising, he released his first ever bikgraphy music album, of Islamic devotional songs, titled 'Deen Isai Malai', in Tamil. This was later followed by 'Set Me Free', an album of English songs which was the launch album of singer Malgudi Subha, by Magnasound, where Dileep set the songs to tune. Subha had earlier sung for Dileep in many jingles. Both the singers biography went somewhat unnoticed in the market.
He also set to tune the poems of poet-author Randhir Khare. Around this time, inone of his sisters fell seriously ill and numerous attempts to cure her failed. Her condition progressively worsened. The family tried everything from medicine to religious methods like havans and prayers in the church. The family had given up all hope when they came in close contact with a Muslim Pir - Sheik Abdul Qadir Jeelani or Pir Qadri as he was popularly known.
The family had earlier gone to the Pir when his father had similar troubles, but were too late to save him. With his prayers and blessings, Dileep's sister made a miraculous recovery. Rattled by the bad experiences earlier in the case of his father and now his sister and influenced by the teachings of the Pir and the succour that they found in him the entire family converted to Islam. Dileep Kumar became Allah Rakha Rahman.
Today, Rahman singers biography 'Islam has given me peace. As Dileep I had an inferiority complex. Rahman I feel like I have been born again. His mother took him along once to a astrologer to get the horoscope of Bala Talat done. She asked the astrologer to suggest an Islamic name for Dilip. The astrologer on seeing Dilip immediately told his mother to name him as Abdul Rahman and shorten it to A. When his mother asked the astrologer why the other initial 'R', the astrologer replied "Give him a name with two initials and mark my words, he will grow up to be a great man".
His mother did accordingly. But the A and R would later become Allah Rakha on the suggestion of reknowned composer Naushad Ali. In an singer biography, he was to say about his father, " My father passed away when I was 9 years old. My mother used to narrate many tales about my singer biography which used to make me very happy. My father was regarded to be highly knowledgeable in music by many people.
I still listen to many of the old songs tuned by him. I think that its his enormous knowledge of music that has come down to me by the grace of God". When asked what prompted him to convert to Islam, he says "I remember my father suffering. He was taken to eight to nine hospitals, including the CMC hospital in Vellore and the Vijaya hospital in Madras. I saw him suffering physical pain I remember the Christian priests who would read from the Bible beside his hospital bed I remember the pujas and the yagnas performed by the pundits He had already left us.
After my father passed away, for some years when I was a teenager I believed there was no God. But there was a feeling of restlessness within me. I realised that there can be no life without a force governing us And I found what I was looking for in Islam.
I would go with my mother to durgahs. And pirsaab Karim Mullashah Qadri would advise us. When we shifted to this house, we resolved to stick to the faith.
After this period his career graph began to take the upward path. More and more advertising offers came his way. In Rahman was very intent on having an own studio so that he would have dedicated recording singers biography where he could not only equip himself with the latest infrastucture but also experiment with music at his convenience. At this time, the Pir came to his house and blessed him saying that he would attain unparalled success.
The very next day the Pir biographyy away. Thus Rahman decided to establish his studio at the very spot where he had been blessed by the Pir. He called his studio Panchathan Record Inn and it was attached to his house in Kodambakkam. Even today, the first thing that you notice when you enter his studio is a framed photograph of the Pir. The studio abounds with Islamic inscriptions. This studio would later develop into one of India's most well equipped and advanced biographh studios.
In his established state-of-the-art sound and recording studio he began experimenting in sound engineering, "gayathri singer biography", design and production. He also began a collection of sound samples, creating one of the most comprehensive sonic libraries in Asia.
Continuing with his stint in the advertising world Rahman did a lot of popular ads like those for Parry's, Leo Coffee, Springz Mineral Water, Boost featuring Sachin Tendulkar and Kapil Dev, Titan, Remanika Sarees, Premier Pressure Cooker, MRF Tyres, Hero Puch, The Hindu Young World and Asian Paints.
He also scored the music for numerous television and radio commercials, scores for corporate films and documentaries, multi-media audio-visual scores national integration programmes, social awareness and public campaign programmes and international documentaries in many gxyathri. These scores range from biogtaphy seconds to a complete hour.
The jingles that he composed for the Leo Coffee ad starring Aravind Swamy and the Asian Paints ad directed by Rajeev Menon also won him singers biography and recognition. He also gajathri an award for composing the theme music of the Madras Telugu Academy's Spirit of Unity Concerts. Later he singer biography say about his stint in advertising " Working in ads contributed to the precision in my music.
In jingles, you only have a few seconds to create a mood, or convey a message or emotion. Jingles taught me discipline. During this period, on one of his trips to Bombay he met the veteran Hindi music director Naushad Ali who was very impressed by the young Rahman's work and asked him to try his hand at composing for films.
Rahman was initially a little hesitant about entering films mainly because of the attitude of gayatri movie makers towards singer biography, where songs were used as just fillers and something to give the audience a break during a movie. But inhe was given an offer that would change his life. At the awards function where he received the award for Best Jingle Composer for the Leo Coffee ad,he was approached by the man known as the Spielberg ibography India, Mani Ratnam.
In the singer biography of his interactions with Mani Ratnam, he was offered the responsibility of composing music for the director's forthcoming film. Rahman, inspite of his singer biography to seriously take up work in films, accepted the offer since Mani Ratnam had the reputation of a director with a keen taste for good music and he was sure the director would do justice to his compositions on screen.
Rahman would later say, "I wasn't sure myself why I accepted Roja. I was offered Rs. I think it was the prospect of working with Mani that enticed me.
Mani is no the usual kind of director who uses songs as fillers. He takes great pains over the music of his films. I love his picturisations, he can elevate a routine song by percent; give it a new dimension. What a fall if he failed! Later I realised it was to keep me going. He discarded whatever bore the influence of others and picked out tunes that had my individual stamp. It was awaited with curiosity since it was Mani Ratnam's first film without Illaiyaraja.
Sceptics doubted the ability of a year old debutant. Gajathri entire film world and filmgoers were in for a pleasant surprise. Rahman delivered the goods and how. To call the singer biography a superhit would be an understatement.
Rahman became a household name in Tamil Nadu singer biography and the score of 'Roja' was the first step in gayyathri changing the singer biography of Indian film music. Rahman also got the Rajat Kamal for best music director at the National Film Awards, the first time ever by a debutant. He was flooded with offers to do more films. He gradually cut down on his work in ads and subsequently moved into singer biography music full time. And there was no looking back for A.
Rahman had finally arrived. Recalling the massive success of his singer biography film, Rahman says, "I vayathri lucky to set a sound in the first film. And I had the right people like Mani Ratnam guiding me to achieve it also and by the grace of god it set and the people know from the moment the song is heard that this is Rahman's. I was trying to do a film, I wanted good music and I was searching for somebody who would and I heard a demonstration tape of his which he had sent biohraphy.
I thought that in the singer biography note of the piece that he had sent me was really brilliant, really outstanding piece. So I went biograohy to his singer biography and he played me some more, lots of things which he had done for jingles and a few other musical pieces he has done for somebody else.
They were quite amazing and I had no doubts that he would be right for my film. How much he would grow, I was not looking at. I was looking at predominately my film at that point of time. He was ready to break a lot of conventions that were there in terms of music at that point of time, in terms of recording at that point in time. So I was very lucky to find someone who was willing to break away and do something different.
To that extent it was absolutely perfect.
He is the perfect bridge between today's technology and Indian music. He has the soul of Indian music inside and there is a lot of engineering and recording talent in him.
He is able to blend the two together. He is a very talented viography. But even at that young age, Rahman was very mature and sagacious.
He did not let success go to his head and was very choosy about what he accepted. He had his singers biography set right from the beginning. For a person who had struggled throughout his childhood, he did not let insecurity get the better of him and wisely opted for quality over quantity and refrained from signing films blindly.
That is why I am not interested in a lot of singers biography but only in one at a time. I like directors whom I can vibe singer biography. Ten years of experience in this field has made me quite frustrated. I have evolved a technique which requires a lot of time. Other music directors record a song in seven or eight hours.
But I am different. We do a basic singer biography and we record it. We record the voice and I add singer biography by instrument to improve the quality. Gopalakrishnan and Hindustani from Krishnan Nair. He took classes in film music from Nithyanandham and Western Classical from Jacob John. He also learnt the qawwalli style from Nusrat Fateh Ali Khan".
THE YEAR - The following year,saw a lot of new releases that made him more popular. His second film 'Pudhiya Mugam' with director Suresh Menon was also a singer biography but was not in the same league as 'Roja'. It was his third film "Gentleman" with debutante director Shankar that firmly established him as the new king of Tamil film music.
Rahman also did a film in Malayalam called 'Yodha' for the brothers Sangeeth and Santosh Sivan, and two films in Telugu titled 'Super Police' and siger, all of which moderate successes.
But his Malayalam and Telugu films have remained relatively singer biography till date, inspite of having the classic Rahman touch in them. All the scores were only moderately successful. But it was his second score for Mani Ratnam in 'Thiruda Biigraphy and for K. Rahman redefined film music with his score in 'Thiruda Thiruda'.
While the film itself did not do too well, the music became an all time chartbuster and the Tamil songs of 'Thiruda Thiruda' appeared biograhy Hindi language countdown shows. It was for the first time that Tamil songs became popular on a national scale.
His equally unconventional score for 'Duet' centering around one instrument - the saxophone, bbiography by one of its noted Indian exponents Kadri Gopalnath, was also widely appreciated and is considered to be one of Rahman's best scores. In late, 'Roja' was dubbed into Hindi. Needless to say, both the movie and the music become phenomenal successes. This heralded a new trend where every Rahman film was necessarily a trilingual with the singer biography getting dubbed into Telugu and Hindi.
At the time of Roja's success in Hindi, Rahman's second film for Shankar, 'Kadhalan' featuring dancing sensation Prabhudeva was released. It was as if the movie was structured around the brilliant score that Rahman produced for Kadhalan. While the entire score was a runaway hit, one song 'Mukkala Muqabla' caught the imagination of the entire nation, never mind if the was in Tamil.
The song was played at every club, disco, restaurant, marriage hall and street corner across the singer biography and went down in Indian singer biography history as one of the most popular songs of all time. There was not a soul in the country who was neither dancing to it or humming it.
With this song Rahman became a nationally recognised figure. The song was plagiarised freely gajathri Bombay's tunesmiths and nearly a dozen versions of the song were churned out, a feat that earned 'Muqabla' and Rahman a biograpyy in the Limca Book of Records, the Indian singer biography of the Guinness Book of Records.
But Rahman was more pleased about the immense popularity of the song 'Ennavale Adi Ennavale' which won Carnatic vocalist Unnikrishnan, making his film debut with this song, the National Award, because he felt that it is easy to compose a dance number like 'Muqabla' which is here today and gone tomorrow but is real hard work to produce an everlasting gem like 'Ennavale'. He said that he had been inspired by a year old Tamil singer biography. Bography most Rahman tunes in Tamil reappeared in Hindi albeit under the baton of other music directors.
Three other singers biography of Rahman that year were 'Pavithra''Karuthamma' with Bharathiraaja and "May Maatham', a film that was originally supposed to be made by Mani Ratnam but was later made by his cousin Balu. One interesting story about May Maatham went thus. Venkateshwaran, incidentally Mani Ratnam's brother, sold the rights of the music of the einger to companies simultaneously on the strength of Rahman's score.
Lahiri, Pyramid and HMV shelled out huge sums, sure of the score's success but unaware of the producer's singer biography. When the deed was discovered the companies took GV to court. He finally sold the rights to Pyramid who had offered him the highest sum, mollified Lahiri by offering them the singers biography of his next film with Rahman, Indira -diretced by Suhasini Maniratnam, and had an out-of-court singer biography yayathri HMV.
In Rahman also won the Filmfare Award, Tamil Nadu State Award and many others for 'Gentleman'. He also won the Filmfare-R. Burman Award for singer biography new musical talent.
Following the unprecedented success of 'Muqabla' Rahman realised the importance of not only having to do original Hindi scores but also ensure bikgraphy the dubbed Hindi versions of his Tamil films were released simultaneously, to prevent the continued blatant lifting of his tunes by Bollywood tunesmiths. He stepped into the cutthroat world of Bollywood when he signed two Hindi films, one for director Mahesh Bhatt and one for the Seengals of Compact Disc India to be directed by Priyadarshan.
While the film with Mahesh Bhatt was shelved even before a scene was canned the other film was taken over by R. Mohan 'Good Knight' Mohan of Shogun Films and would appear much later as 'Kabhi Na Kabhi'. But his first original release in Hindi would actually be the third film that he would sign.
Popular Telugu director Ramgopal Varma was also setting foot into Bollywood just then with two films, one a remake of one of his Telugu films 'Gaayam' which had a script by Mani Ratnam and the other titled 'Rangeela'. Following a strong recommendation from friend and colleague Mani Ratnam, Varma signed on Rahman for 'Rangeela'. Following this, directors from Bollywood clamoured to work with the 'whiz-kid' and Rahman also signed Bollywood movie mogul Subhash Ghai's Magnum Opus 'Shikhar' and noted art film director Govind Nihalani's 'Droh-kaal'.
But 'Shikhar' was shelved and Rahman was forced to opt out of 'Droh-kaal' when he lost all his compositions for the movie owing to a computer system crash. But later Rahman would work with both directors, with Ghai in 'Taal - The Beat of Passion' and with Nihalani in 'Takshak'. Rahman was very frustrated about not being able to work in 'Droh-kaal' and rued the of his compositions for the movie.
He recounted later that it was one of the most unique experiences for him. In early 'Kadhalan' was dubbed into Hindi as 'Humse Hai Muqabla' and needless to say, went the same way as the original.
In AprilRahman's third film with Mani Ratnam, the controversial 'Bombay' was released. The successful partnership that he had forged with his mentor went to new heights with the music of this film. The music of 'Bombay' was one of the most awaited scores and was hailed as a classic.
With this film, Rahman also formally took to playback singing. Rahman had lent biography of us presidents voice to his compositions earlier too but they had been part of the chorus or bit pieces like 'Marhaba' in 'Urvashi' in 'Kadhalan' or background pieces and interludes like 'Yelelo' in 'Chinna Chinna Aasai' in 'Roja'.
But 'Hamma Hamma' in 'Bombay' was Rahman's singer biography complete song. With 'Humma Humma' Rahman came to be regarded as much a playback singer as a composer. It became an amusing and common sight at various award functions to see the comperes trying to cajole Rahman into singing on stage and Rahman coming up with hilarious excuses to avoid the same.
Rahman composed a haunting and surreal instrumental theme with a long and eerie flute prelude to capture the sombre mood of the film. Rahman's music among international music connoisseurs. A critic named Kingsley Marshall had this to say of the Bombay Theme - "Establishing itself through soundtracked strings, which sits menacingly in a cradle of drifting flute rises - epic horns introducing a full orchestral progression. Although classical music is more than a little unusual in a compilation of dance music, the beauty of the piece warrants its inclusion - in a class above most of the material I've heard in the last couple of months with gayatthri both production and arrangement.
Till date 'Bombay' has sold close to 15 million units in all languages. Following closely on the heels of 'Humse Hai Muqabla' and 'Bombay', Rahman's first original score in Hindi, 'Rangeela' was awaited with great expectations. Carrying the tremendous singer biography of the enormous expectations of the public once again, Rahman did not disappoint. With 'Rangeela' Rahman had successfully stormed the Bollywood bastion.
Though Aamir Khan's performance in the film did help in sustaining the film at the box-office, it was Rahman's music that brought the crowds in adee phelan biography to the theatres.
Every song in the film became a phenomenal singer biography. With the songs 'Rangeela Re' and 'Tanha Tanha' Rahman brought veteran singer Asha Bhonsle back into the limelight. Crowds danced to the music in the theatres and forced the theatres into showing the songs again. People whistled in the theatres as his name appeared bkography the credits of the movie. He hogged equal space with the actors on the publicity material of the film.
For the first time a music director was also considered as one of the 'stars' of the film. The Tamil Nadu distributor of Rangeela, apprehensive about how Rangeela would perform there, since it was a Hindi film and none of the stars were particularly well known in that part of the country, took the advice of his brother-in-law, Ganshyam Hemdev, of Pyramid Music, and did away with the singers biography altogether from the posters and biogfaphy them with a mugshot of Rahman with the catchline "The first original score of A.
And sure enough, crowds flocked to watch the movie like crazy and for the first time a Hindi film was a runaway success in Tamil Nadu. Late saw the release of 'Indira' directed by Suhasini Maniratnam where Rahman came up with a score with a rural touch.
The score met with lukewarm success with a couple of songs 'Thoda Thoda' and 'Nila Kaigiradhu' becoming popular. By the end ofRahman was bjography No. Hailed by various critics as 'the true successor to R. Burman' and the 'Messiah of Music' he had endeared himself to the Bombay film crowd as well but Bollywood music directors were none too happy about his success.
Rahman began to reportedly charge over 1 crore rupees 10 million per film, more than three times that of his nearest But most producers were readily willing to ibography out even that amount forcing him to further hike his fees as a deterrent and keep the producers at bay.
The ones who could not sign up Rahman took someone else and asked him for a 'Rahman jaisa gaana' literally - Rahman type song - meaning a song in the style of Rahman's music. He had become a national idol and cult figure. His style of music had become the rage of the day. Rahman's music also began to arouse interest internationally. He was treated like a God and crowned with titles like 'Isai Arasan' Emperor of Music ; 'Isai Puyal' Musical Storm and 'Melody King'.
Adulation that was reserved for the biggest of film stars was showered on him. Moviegoers cheered wildly and threw money at the screen when his name appeared on the credits. Films that were sold on the strength of the stars in it or its directors now began to sell just on the strength of the name A. Rahman attached to it and attract fabulous "singer biography" responses when released.
The music rights of the movie, till then just a nominal source of additional income for the producer, became a separate territory in its own right and commanded prices equivalent to the distribution rights. Any Rahman sound track used to sell out within hours of its release. For the first singer biography one could see crowds queuing up outside music stores on the morning of the release of any Rahman soundtrack.
Crowds that used to leave the movie hall for a break during the songs stayed put firmly in their seats and took in every note of the songs in Rahman's films. People came in to music stores and asked if there were any new releases by Rahman, instead of the practice of asking for a film by name or by a that of a starring popular actor. But Rahman had a sound head on his shoulders and took none of this overwhelming acclaim to mind.
He had his feet firmly planted to the ground and went about his work with the same devotion and dedication as before. He did not give a dozen interviews a week and shoot his mouth off like most others did. In fact he became very elusive and remained as media-shy as ever. He rarely if ever met the media, going to great lengths to avoid them and would not even say more than a 'Thank You' at awards nites inspite of rpeated blography for rendering a song on stage.
In he yet again won the Filmfare Award and the Tamil Nadu State Awardamong many others, for 'Kadhalan'. He was also a very strong contender for the National Award.
End also saw the release of an album of his favourite lyricist, Vairamuthu's biiography album of poetry amp;'Thenvandhu Paayudhe' where he scored the background music for Vairamuthu's recitation. But the album remained very inconspicuous.
He consolidated his hold on Bollywood and signed more Hindi singers biography with Shekhar Kapoor's 'Tararampampam' which is yet to be madeBoney Kapoor's biiography to be directed by Raj Kumar Santoshi and Ramgopal Varma's 'Daud'.
Fresh from the singer biography of his "Bandit Queen", director Shekhar Kapoor planned "Tararampampam" as a mega musical with 10 songs. Rumours that Rahman himself singer biography be producing the movie abounded.
But Kapoor took for foreign shores leaving the movie unmade as yet. He also agreed to do a film in Hindi for his schoolmate turned director Shivendra Singh titled 'Waqia' and later a second film with him titled 'Ittefaq'. Rahman was to work with Gulzar on both the movies.
Both the films never got made unfortunately. Rahman's first score for Rajnikanth was released, with 'Muthu', in The score was awaited with high expectations and one witnessed serpentine queues outside music stores on the morning of the soundtrack's release and cassettes were even sold at a premium. Though the music did very well it was criticised for not
singer biography Rajnikanth's superstar image.
The song 'Thillana Thillana' became a chartbuster. He also did 'Lovebirds' the same year where he sang a song with the international Bhangra-Rap star Apache Indian. His music also received international tamil hero prabhas biography when biogrqphy tracks were used on the BBC Clothes Show and other international fashion shows. He was invited to compose the theme music of the Cricket World Cup that was to be held in India, Pakistan gayathrl Sri Lanka.
Rahman accepted the singer biography but later backed out for unspecified reasons with some sources saying that he had quoted lack of sufficient time to gayathfi a befitting job. He also signed three films with Hollywood-Indian producer Bioggraphy Amritraj, one film each in Tamil JeansHindi Love You Hamesha and English Jungle Boy.
He was also offered 'Kamasutra' by the Indian-American director Mira Nair and 'Fire' by Indian born Canadian director Deepa Mehta. He accepted only the latter. He singer biography go on to do 'Earth' and 'Water' with Deepa Mehta, to complete her Elements trilogy. He later said in an interview that much as he wanted to work with Mira Nair he turned down Kamasutra because he did not singer biography to be known internationally as the 'Kamasutra Boy'.
Reflecting on the singer biography success of his rhythm based tunes, he says, " I had some golden rules when I started my singer biography film, 'Roja'. These rules were - good lyrics, good thought, good melodies, good recording and good presentation.
But I think Gentleman was to break the rule completely because Shankar wanted commercial music for the film to break the monotony of the serious subject. So we did it, and gave it full blast to them.
Unfortunately the singer biography of the rhythm-based
singers biography reached the masses much faster than normal 'Roja' type of music and the trend became an epidemic because it was easy and safe. I was pushed by aram ohanian biography to make similar kind of stuff. But rhythm-based compositions can be listened to only for a very short time, though we put in too much energy in polishing it.
But later, I realised that the golden dinger were going out of my hand. I think we are back to normal. Rahman's popularity touched such heights, that other composers began to cash in, rather innovatively, on his name rather than his music. Usually such albums had Rahman's photograph splashed across the album cover to draw the attention of buyers. And most people bought such albums without question if they saw the name A.
So much so, that the music company Magnasound re-released one of Rahman's first albums 'Set Me Free' under the title 'Shubhaa' without the consent of Rahman, which led to the souring of relations between the two. In its earlier avatar as 'Set Me Free' the focus was on singer Malgudi Shuba and Rahman was a mere footnote as Dileep. But this time around, the spotlight was on Rahman and Shubha was relegated to the background. Magnasound publicised the release as 'Rahman's first international English album'.
Hoardings publicising the album sprung up overnight in major cities. Neither am I trying to hide my past," explained the music director. But he wanted the public to know that 'Set Me Free' was a six-year-old album which was done as an experimental venture with singer Shubhaa. Magnasound, he said, was wrong in trying to pass it off as a brand-new album. But Magnasound's Managing Director Madhav Das was unapologetic about it, "See, we had the rights to the album.
Rahman's name is an instant guarantee to success. So, what is wrong in exploiting that? That summed up the singer biography equity of the name 'A.
Relatively, proved to be a listless year for Rahman, career wise. He had only four major releases, 'Indian', 'Lovebirds', 'Mr. Romeo', and 'Kadhal Desam' along with Bharathiraaja's extremely low-profile 'Anthimantharai'. Though the music of both the filmsIndian and Kadhal Desam did very well they did gayathgi singer biography him to any newer singers biography on counts of both creativity and success.
From 'Indian', starring Kamalhassan, 'Akada', 'Maya Machindra' and 'Telephone Mani' became huge hits. With 'Musthafa Musthafa', Rahman arrived as a singer.
Romeo' and 'Lovebirds', both starring Prabhudeva, "gayathri singer biography". His background score for Deepa Mehta's 'Fire', where some enchanting new compositions were embellished with snatches from his score for 'Bombay', was internationally appreciated. But the soundtrack of 'Fire' was not released in India and was available only through mail order from a German company. This denied the score not just public acclaim but also sjnger the masses from listening to one of Rahman's best soundtracks.
That year, he was offered a very prestigious multilingual project, 'Kaalapani' by director Priyadarshan with whom he was already working on 'Kabhi Na Kabhi'.
But, reportedly on the request of lyricist-writer Javed Akhtar who had scripted 'Kabhi Na Snger that he concentrate on any one of Priyadarshan's films he opted out of 'Kaalapani'. Following the failure of his 'Trimurti', Subhash Ghai decided to put 'Shikhar' on hold and make a relatively low-budget film called 'Pardes' and he asked Rahman to handle the score. But Rahman's response as he recounted later was "At that time I was extremely busy with films. I told him that if I had to work with him I had to give him priority and I if I gave louise de keroualle biography priority I wouldn't be able to do these films.
So I said let me finish these and then we will work together. He said alright and demanded full priority on the next film". And he later went on to do Ghai's 'Taal - The Beat of passion'. He also went on his singer biography ever concert tour, to Malaysia, in October where he was greeted by hysterical crowds. For this
singer biography he specially composed a song 'Bosnia Oh Bosnia' since the concert was in aid of Bosnian War victims.
This song was rendered by a chorus of 40 children accompanied by Rahman on the piano. The lyrics were in the local Bahasa-Malay language. The concert was a humongous success, . It featured all the top singers from India including Hariharan, S. For the first time Rahman sang in public when he rendered 'Musthafa Musthafa' at this concert. As always, he won numerous awards that year, the singer biography ones being two Filmfare Awards for 'Bombay' and 'Rangeela'.
In end, Rahman went on a signing spree in Tamil films. He signed Kadhir's next film 'Kadhalar Dhinam'. He then signed his friends R. Sait and Anwar Ali's "Love Letter'. There was lot of speculation that Rahman was producing this film along with his friends. But this turned out to be false. He also signed 'Engineer' starring Arvind Swamy and Madhuri Dixit to be directed by Shankar's singer biography Gandhi Krishna.
Unfortunately the film has remained unmade till date owing to a cash crunch. One other film that has remained eric liddell biography for kids was "Mudhal Mudhalaaga' starring Arvind Swamy and Karisma Kapoor directed by Mani Ratnam's assistant Perumal. One very interesting incident that occurred that year, was at the annual Screen-Videocon Awards for cinematic excellence in Mumbai.
Following the super success of 'Rangeela', everyone took it for biograpgy that Rahman would win the award for Best Music. Even the organisers forced him to come all the way from Madras to Mumbai, singer biography that he had got the award and he had to receive it personally.
On the night of the Awards ceremony, everyone at the event and those watching the show live on T. Even the compere of the gayathru Javed Jaffrey was taken aback and immediately rushed to Rahman in the audience and asked him for his reaction. All that Rahman said was 'God is Great! Such is the humbleness of this man. THE MAN BEHIND THE MUSIC: Gradually, criticism also began to pour in.
He was said to be very slow and was accused of taking his own time in composing, gayathdi 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 for this reason but they were proved to be unfounded. But Rahman made no bones about it singger said that he was no machine that could churn out scores on an assembly line endlessly and admitted that he did take his time over his scores.
He added that it was essential that he take his time in order to do a quality job and made clear the same to his directors before taking up the assignment. I need time to get involved so that something undefined singer biography naturally to help the movie.
I can't do it in a week - all I had for Karuthamma. Due to the lack of time in completing scores Rahman began to serve up his lesser known earlier compositions in new avatars. This happened for the first time when he used the 'Raakozhi Rendu' song from 'Uzhavan' as 'Aa Siggueggulenta Varaku' in the Telugu film 'Super Police'.
He followed this up by using the song 'Baboo Love Cheyyara' from 'Gangmaster' as 'Yaaron Sun Lo Zara' in 'Rangeela'. Then gayatri Anjali' from 'Duet' reappeared as 'Milgaye Woh Manzilen' in 'Kabhi Na Kabhi'.
This dubious practice earned Rahman a lot of singer biography but he didn't seem to care. This feature would become a hallmark in many of his future scores. He would reuse 'Porale Ponnuthayi' from 'Karuthamma' as 'Gurus of Peace' in 'Vandemataram', 'Ottagathai Kattiko' from 'Gentleman' as 'Musafir' in 'Vandemataram', 'Maanpoove' from 'Yodha' as 'Chevaanam' in 'Pavithra', and 'Jumbalakka' from 'En Gayatri Katre' as 'Jumbalika' in 'Thakshak'.
But he would top himself when he would go on to reuse not one but two songs for 'Pukar'. Another charge against him was that his music was getting repetitive. Initially Rahman countered it saying that it was his individualistic brand of music and therefore might sound that way but later he brushed away the oft-repeated allegation saying "hellip; the accusation is getting repetitive.
You call it predictable, I term it as my style. They are ways of looking at it. If you biograpjy my style predictable, that means you have understood Rahman has been dealing with a particular brand of music alone. Once you hear the singer biography, you know it is has been composed by Rahman. That is what I am all about. That is my identity; that is the identity of my music.
Its a no-win paul shenar biography for me. Left to myself I would like to be adventurous and try out styles I haven't tried before.
When told that that many are of the opinion that he has given a new dimension to music he responds by saying that many also feel that he is lousy. He adds further that ' I accept I am lousy at singers biography. It depends on the I get.
One can't sjnger on the same creative plane always'. Many of his singers biography in Madras and Bombay, unable to compete with him took the route of slander and took digs at him calling him 'only a jingle composer' and saying that he would fizzle out gaysthri a couple of films.
The same 'composers' who copied him left, right sihger centre made grandiloquent statements like "Let us see if he is around after two years, Rahman's type of music is just a temporary passing fad which will wear out once the crowd gets used to his music, he will not be able to sustain himself". Always one to shy away from controversies, Rahman refused to be drawn in to a war of words and gayatyri characteristically with a very curt "Music speaks, statements don't.
And as expected he replied with his music which blew all the other composers out of the scene. When asked about the influences in his music he says "Nobody can be completely original As far as possible, to my conscience, I try to be singer biography. The rest is up to Allah. In the process my music grows. Sometimes even after a I listen to the music find its allwrong and get down to re-working.
Sometimes it gets all done just before themusic is mixed. For most, once the shooting is done, its all over but I don'twork like that. Just like a medicine, it tastes sour at the beginning but as time passes it starts to work. If you take sweets for example, they taste great at the beginning but they vanish without a trace immediately.
Songs are also like that. You biogrsphy some songs immediately on hearing but you forget them in the same speed. And there are songs that you hated the first time you heard it, but as singer biography goes on you get a real satisfied feeling hearing it.
So, as far as music is concerned you can't decide anything immediately. When asked why he turns down so many offers even when he is offered biohraphy of tempting money, Rahman, as philosophicaly as always, says, "I would say that I'm fighting as hard as I can to be exclusive.
I don't have the capacity to handle more than films at a time. And once I accept singr project it is my responsibility to give my fullest to it. When I refuse offers, I do feel terrible. Some could feel disappointed by my refusal. I say no mainly because I know I won't be able to do adequate justice to their projects. At times, they look as if I've broken their hearts.
And as gayathrii as the money goes, Money can't buy you happiness. The biggest offers I get are for 'live' shows. The amount I'm offered for one concert is much more than what I would earn after slogging on 10 films!
But I'm afraid you can't buy creativity Everyone comes with the same offer- 'state your price, we'll give you what you want Rather than huge fees, I'd appreciate interaction on a film's singer biography. Then the singer biography keeps moving And then delays in delivering the score become unavoidable, gayathri singer biography. So I'd rather not get into projects which don't excite me from the very outset. I don't want anyone to feel that I've let them down later.
Don't get into something you'll regret later. This allegation was also disproved when lyricist Vairamuthu won National Awards repeatedly for songs set to tune by Rahman, namely for 'Roja', 'Pavithra', 'Kadhalan' and 'Minsara Kanavu'. Rahman himself insists on good poetry for his songs, "Lyrics lend immortality to a melody.
The eternal, evergreen hit songs are always the ones with profound lyrics ndash; lyrics that remain true and meaningful even after years. We have to keep abreast of times. Do they expect me to continue living in the 19th singer biography What is wrong in resorting to modern technology?
You have to keep pace with the world around. A computer I bought six months ago had three minutes' waiting time to get started, but today's computers take just three seconds to start. I can now
singer biography my music on a hard disk and carry it around, and synthesise it with any kind of ethnic music anywhere in the world. If we are to compete globally, we have to be in singer biography with the times.
But you have to hold yourself back from going overboard. Technology is like a monster which has to be tamed. You must know how to handle it. I spent singer biography years to bring the music software I use entirely under my control. He can probably be described as the man who pioneered the use of technology in Sinber singer biography. India's leading Information Technology journalExpress Computer, profiled the use of technology by Rahman.
He avoids making music on tape, and prefers to carry his music on his portable computer. Also, he composes most of his music in-flight and his favorite platform is the Macintosh. Rahman, the progenitor of tunes the nation dances biographg, is a power user of technology.
A proud owner of 12 PowerMacs and two PowerBook portables now 15, with biogrraphy addition of the first iBook in Indiahe swears by technology. Most of my music is made on them - so much so that I carry my music on my portable even when I am travelling," biographu singers biography.
Also, it gives me the additional flexibility of editing a song up to one lakh singr, which Biogrraphy can do only once on tape. Also, minor flaws within a musical sequence can be rectified on the computer, which is otherwise not possible," he says. But why the Apple Macintosh? I have experimented with other technologies too, but the Mac is something that is very close to me now. It is a machine with an attitude," he says. Moreover, a majority singeg music professionals across the world work on the Macintosh for their music.
Rahman is currently running his set-up on Apple's G3 processors, but plans to upgrade to G4 very soon. The computers in my studio are not networked, so each performs a different function. Everything is integrated into the final score at the end, which is further refined a number of times before you finally get to hear the end result. More than just the basic composition, the post-production work is made much easier by the Macintosh," says Rahman.
Another strange singer biography levelled at Rahman was that he made excessive use of singers without the knowledge of the nuances of a particular language, like he made Udit Narayan sing in Tamil and also the use of untrained singers. To the first allegation Rahman replied that it was quite singer biography and said that he had reduced the use of Hindi singers in Tamil.
To the second, Rahman's reaction was " Why should any singer biography or singer biography sound like S. Why can't a new singer sing in his own raw voice? It's the done thing in jingles and non-film music. Only in films, they insist on an established voice. I ventured to break the convention and the public has accepted it. Otherwise things would get monotonous.
There was a time when the album of a film would have only two voices. Today different singers sing for the same character. The times have changed. The attention span of the average listener has decreased and his geographical purview has broadened. The listeners no longer think in terms of peprfect or imperfect. They want different voices, standards be damned.
But Rahman quickly disproved that allegation and demonstrated that he was equally at ease with Indian Classical and Folk rhythms and melodies with his scores in 'Indira', sinver Cheemayile', 'Karuthamma', 'Iruvar', 'Uzhavan', 'Taj Mahal' etc. One other allegation was that Rahman ahd become very arrogant and treated filmmakers very badly and made them wait endlessly.
Says Rahman "In Chennai, I hsve a small studio where all the music happens. I can do only thing at a time there. Even when a track is being transferred, all other work comes to a standstill, because I like to supervise everything myself. I don't believe in handing over a job to someone else and wait for the results. This leads to people waiting for me sometimes. But its not deliberate. People were waiting for him to falter. But as one Bollywood composer acknowledged "He just does not gaywthri.
He knows the pulse of the public better than gayathgi other composer in India today. He is not only in touch with the Zeitgeist, He is the Zeitgeist. Zeitgeist - The taste and outlook singr is characteristic of a period or generation.
Romeo' and 'Lovebirds' prompted the know-alls in the industry to comment that Rahman was facing a burn out. Also the failure of dubbed Tamil scores like 'Tu Hi Mera Dil' made the critics carp that he was running out of steam and was recycling his own tunes and had exhausted his limited repertoire.
They also aminu bello masari biography that the public was now tired of the 'Rahman sound'. One other very notable thing that Rahman can be credited with is the fact that he has consistently introduced a whole host of new talented singers, the notable names being Suresh Peters, Shahul Hameed, Aslam Mustafa, Unnikrishnan, Sreenivas, Mahalaxmi, Harini, Minmini, Sujatha Mohan, Nithyashree etc.
He even got his secretary Noell James to sing in bbiography. Once, inRahman was invited by Padma Seshadri Bal Bhavan, his former school, to be the judge in a singing competition. Rahman promised that he would give the winner of the contest a break in cinema. True to his word, he introduced the winner of the contest, Harini, with the song 'Nila Kaigiradhu' in 'Indira' singfr then gave her 'Telephone Mani' in 'Indian'. This song was a big success. She then went on to sing many more songs for Rahman.
He has also given a fresh lease of life to the careers of fading and failing singers like Asha Bhonsle with 'Rangeela', Hema Sardesai with 'Sapnay' and Sukhvinder Singh with 'Dil Se. He also brought to the mainstream Sreenivas and let him prove his worth after being a chorus singer for a long time.
I will be sinning if I don't provide an opportunity to talented people. If, today, Noell James, Febi, Feji, Sivamani are household names the credit goes to Rahman's sense of fair play. Sivamani has repeatedly thanked Rahman for bringing him into the limelight. An interesting characteristic of him is that he never watches the movies he has composed for. I don't want to feel disappointed at not having composed agyathri the feel of the picturisation.
Like his inclination to work during the nights and sleep during the day. When asked how he developed this unexpected and unusual habit of sitting up all night and working and making others work with the same passion, the same perseverance, the same precision to come up with nothing but the best, the best that will satisfy him and satisfy a filmmaker like the filmmaker who is madly in love with his music.
Soon he was working from 6 am to 6 p. When something doesn't work out, I usually continue working. Initially I used to work in the day, but My work used to get extended into the night and slept at 2''O clock and then it got later and later and I used to miss my morning prayers.
So I thought why not work in the nights and sleep in the day. It used to be nine to nine in a studio, ten to five on jingles, three hours of sleep, and back to the studio.
Then I realised that I actually liked working in the night - it was quiet and serene. There was another reason too. When I used to work till three or later and hen fall asleep, I missed out on my prayers, so I decided to stay awake for a few more hours and complete praying.
By then it would be six. So, now I sleep from nine to three. Otherwise I meditate and sometimes Internet. I like to see what people talk about me and what they are bitching sic about me. You can't tell people there wasn't enough time to do justice to the music or that the director gave me the wrong brief. All listeners care about is the quality of the work. So I better do my best.
Since buyers spend their hard earned money on music I think its our responsibility not to betray their trust. If you lose their trust you've had it. Early saw the release of his fourth film with Mani Ratnam, 'Iruvar' and the legendary Madras movie house, AVM's 50th anniversary film 'Minsara Kanavu'. Though the music was appreciated by the critics, it did not win much favour with the public at large, probably because the music sounded dated keeping in sync with the period the movie was set in.
In the case of 'Minsara Kanavu', when AVM wanted to make a movie to commemorate its 50th anniversary, it was not sure of what kind of movie it would be or who would make it. All it was sure of was that it wanted A. Rahman to score the music.
First thing, Rahman was signed up by the studio and he was asked who he wanted the director to be. Rahman suggested the name of cinematographer and friend from college, Rajeev Menon. The music of 'Minsara Kanavu' was a major success and also fetched him his second National Award.
The songs gayzthri La La La' and 'Poo Pookum Osai' Awara bhanwre in Hindi became major hits. His second original Hindi film 'Daud' for Ramgopal Varma was released in the same year.
Though it was in typical Rahman style, it did not live up to his high standards. One highly unusual composition 'Zahareela Zahareela pyar' caught the fancy of many but was too unconventional to became a huge success. Five years of working in the same kind of movies made Rahman yearn for something different and get out of the rut. Ingayatthri Rahman had gone to Bombay to attend gqyathri Screen Awards ceremony, he met his childhood friend G.
During this meeting biogrqphy had discussed a proposal for an album to commemorate 50 years of Indian Independence in Inthe International music giant, Sony Music, whose portfolio included the likes of Michael Jackson and Celine Dion, entered the Indian market in a big way. They were looking to promote Indian artistes internationally. And the first person to be signed up by Sony Music from the Indian sub-continent was, who else but, A.
Rahman, on a 3-album contract. The financial details of the contract were not disclosed but Gayxthri experts believe it to be the largest of its kind in India. Rahman suggested the idea that he had discussed with Bharat to Sony Music India and was immediately accepted.
Called 'Vandemataram', it was a tribute to the motherland and featured songs to mark the 3 colours of the Indian Flag. Sony asked him to choose from any of its international stars to work with and supposedly even suggested the name of Celine Dion.
But Rahman settled, very appropriately, for the Pakistani Sufi music star Nusrat Fateh Ali Khan and Dominic Miller. Rahman had decided that he would definitely work with Nusrat Fateh Ali Khan after he attended his performance in Delhi. Explaining his choice, "I don't want to collaborate with just a name.
I must feel something for the person and relate with his work. I've seen several famous names collaborating on songs and albumsbut they remain just two names. It's like oil and water. They can' t come together. He devoted so much time to this prestigious project that his film assignments went behind schedule. He went all the way to Pakistan to gqyathri the 'Gurus of Peace' number with Khan Saheb. Rahman composed, arranged and sang all sinfer songs on the album.
It was 2 a. And sibger I called Bala and when he arrived I told him you're the sound engineer. And then I sang for the first time, a few verses for just the two of us. Two months hence, in Marchamidst Sony Music executives in Mumbai, came a sort of penultimate test. Shridar Subramaniam, director, marketing, Sony Music India tells the buography best. It's an exhausting song and Martin Davis, head of Sony Music Asia doesn't speak a word of Hindi, but in 40 seconds we knew.
It was fresh, new. In May, at a Sony conference in Manila, where the bigger the name you can drop means the more attention you get, they got 20 minutes. When the songs from the album was played, pre-release, at the Sony Music conference in Manila, Sony Music executives representing various Sony Music sub-labels reportedly went berserk and clamoured for the international rights of the album.
They played the song; pandemonium gahathri. The head of Columbia records a Sony label said, "It's unbelievable, I want it. The biogtaphy was a mega success and sold over 1. The song 'Maa Tujhe Salaam' got repeated airplay in the world music category on radio and television channels across the world.
With 'Vandemataram' Rahman left all his contemporaries far far behind and moved into a new dimension altogether.