The interview which appears below, was originally published on the Marathi Magazine - Sakaal Deepavali in November 2001. ©The rights to this material are reserved to the owner. If you have any concerns or comments, please send an email to info@rahmaniac.com.
You always experiment when composing for films, which has given you an identity. How do you feel about going on this somewhat different path?
ARR: We see older people talking about old songs and their melodies, but the younger generation is not as attracted to them. I felt that they wanted something new, in addition to the melody. So I wanted to do something that would appeal to both generations. Maybe it’s because of these experiments that my songs might be liked by people of different strata.
Who do you think has influenced your music?
ARR: I can’t pinpoint just one person. I’ve worked with various music directors and commercial producers, including Illaya Raja and MS Vishwanathan, as well as L Shankar and Nusrat Fateh Ali Khan. All of these people had different ideas and expectations, and I had the chance to learn from them. I consider myself lucky.
They say that a musician’s personality is reflected in their music. What is your opinion on this?
ARR: Having worked with different people, I have learned various styles of music. I was influenced by fusion music while working with the band “Roots,” and I used it a lot at the beginning, but I didn’t get trapped in it. I didn’t want to be confined to one thing and wanted to try classical, folk music, and qawwali. This must have reflected in my music in the past 2-3 years and will continue to do so.
Sometimes you use instruments in unorthodox ways, creating different sounds and beats. Can you tell me more about this?
ARR: I sometimes do this to create a natural feel. Anything in excess can be boring.
Music directors of the past have made use of Western music, like the song “Ina Mina Dika” which is based on Western style. Despite this, those songs became popular and are still remembered. Based on this, what do you do to ensure that your songs are also remembered for a long time? What do you find in the music directors of the past that you would like to incorporate?
ARR: I think good lyrics and melody never die. Their influence is felt forever. But if I were to incorporate things from the past music directors, I would be accused of copying. Whether it’s Naushad, R.D. Burman, or Madan Mohan, these are all great musicians. We can never beat them. Times change, but the soul of music remains the same. To maintain that, there has to be original music. I remember around 12-13 years ago, after the song “Tere Mere Beech Mein” became a hit, most songs were made in the “Shivaranjani” raag. Although those songs became popular, after a certain point they became boring.
What kind of music do you like?
ARR: I don’t listen to any particular kind of music. I listen to anything that I like. In fact, I don’t get much tranquility to listen to music. I do sometimes when I’m traveling.
What is your way of composing songs? Do you make the tunes before the lyrics or vice versa?
ARR: Many of my songs have been made with the lyrics coming first. I think a better tune is made because of the lyrics. But nowadays, everyone wants to listen to the tunes first. If two people have good understanding, it doesn’t matter what comes first. In these times of “fast” songs, you can’t make lyrics first. In such cases, the tunes have to be composed first. But for “melody” songs, the lyrics are important. For example, 90 percent of the songs of “Taal” were made having lyrics first. But it was the opposite in case of “Dil Se”.
You are known for being very precise in accepting movies. When a producer or director comes to you, what is your process for accepting them?
ARR: The director tells me the script first, and about the songs in brief, about how the pace of the movie will be handled. I listen to this calmly. If I like the script and the director is enthusiastic about it, then I consider accepting the offer. Enthusiastic people always seek to do different things, and if someone comes to me with this intention, then I feel like accepting it. If the director, lyricist, and the music director have the same kind of interest, the product will turn out well.
What kind of compromises do you have to make while composing for commercial Hindi cinema?
ARR: The director has certain expectations, taking into account the changing times and the likes and dislikes of the audience. They want something in a three-minute song that will keep the audience interested. So generally slow songs are rejected. They fear that the audience will leave because of slow songs. Nowadays, many people like to listen to the tune first. Only if they like it do things proceed. You learn the techniques of commercial films as you compose for them.
In such cases, how much importance do you give to your personal satisfaction?
ARR: I think personal satisfaction is a very important factor. If you think that you are doing something only for others, it cannot be good. First you have to satisfy your mind, and only then can you satisfy others. This is the most important factor in composing good music.
If one looks at your journey from “Roja” to “Lagaan,” you’ve always tried to do something different. 3-4 years back, it was alleged that your music always sounded the same, but that’s not the case anymore. Folk music has been used a lot in “Dil Se,” “Taal,” and “Lagaan.” Did you make this change because you felt the need or was it inevitable?
ARR: It’s true that I was accused of sounding the same, but I’ve changed my style now. I avoid repeating and always try to do something different. I had used a North Indian style in “Taal.” When a film becomes a hit, there are demands for the same kind of music. But now I do not entertain such demands. I understand that if I compose the same kind of music, I’ll be finished.
You use a lot of modern technology. Do you use this because it is the need of the hour?
ARR: It’s true that I use modern instruments for music, but it’s just an instrument. No machine does anything on its own. The person behind it is important. If modern technology is used properly, it is beneficial. Otherwise, it creates just noise.
Music lovers have noticed the change in your style, and it has become popular. A recent example is “Lagaan.” What did you feel as an music director after listening to the script of “Lagaan”?
ARR: I was excited after reading the script of “Lagaan.” I had done a lot of films but this seemed to be totally different. There were traditional Indian values in it. I took a fancy to them. Then we started working on it in a systematic manner. The tunes were composed first, and Javed Akhtar wrote the lyrics. We did all this as if we were possessed.
What do you think was the reason for “Lagaan” being a success?
ARR: We were apprehensive in the beginning whether the music of a different kind on a different subject would click. But still, we had the urge to do something different. Some people said that a particular kind of music would not work in the north, or classical music wouldn’t click. But still, we dared to experiment and it became successful. “Lagaan” erased all notions. We used a lot of classical and folk music and ethnic instruments. There were a lot of things in this that would relate to Indianness (mother, son, friend, etc.). Besides this, the project was of international standards. I think this is the reason that this film has become successful abroad.
You use new singers more than established ones. What is the reason behind this?
ARR: I use new voices about half the time. I think if a female singer has extraordinary talent, her voice should be used. If we give a different shape to their voice, it can be used very well.
You also sing.
ARR: I rarely sing. I was anxious earlier about my voice. But that anxiety vanished after listening to Nusrat Fateh Ali Khan. I was amazed by his voice. I sing sometimes just to give it a try. You need a different kind of ability to sing. You need “riyaaz.”
You have worked with internationally acclaimed Andrew Lloyd Webber and Shekhar Kapur.
ARR: Yeah, that was a wonderful experience. You tend to feel that while working on an international arena, you need to do something new. But they expect just what you are currently doing. They project your music in a different way. If different people come together and their talents mix well, then the results are majestic.
Which films are you currently working on?
ARR: Half are of parallel cinema types and half are commercial. This includes films by Shyam Benegal, Tanvir Ahmed, Khalid Mohammed, Atul Agnihotri, Jhamu Sugandh, Vasu Bhagnani, Bharatbala, etc. I’m also learning Urdu currently. I can understand words better because of this. I’m working on hundred-year-old gazals. I hope this experiment becomes successful. Let’s see…
What do you think is the meaning of music? And are you satisfied with what you have achieved till now?
ARR: I think you don’t achieve anything in the music field. Music is like a journey. You keep on crossing steps one by one. When you stop at a step, it means that you are exhausted. So I feel music is like a search. You have to continue the search, and you find new splendor out of it. This is a never-ending action.
