Music lovers in India can be broadly divided into two groups. One likes A.R. Rahman’s music and the other loves it. And it’s not without a reason. Like a magician, in the past decade, Rahman has churned out superhits that have cut across regional and language barriers.
Back in Chennai after nearly two years of hectic traveling for his international assignments, including Bombay Dreams, he looks visibly pleased that many of his projects, which were stuck in the cans are now being released. At his studio-cum- residence, with daughters Khadija and Rahima playing nearby and trying to grab his attention, the maestro spoke to this website’s newspaper about his music, international projects, and other plans.
Recently we saw you in the Airtel advertisements. Are you planning to take modeling seriously?
(Laughs) No. Basically, the main reason I did the Airtel campaign was that I wanted to connect with people again and put to rest rumors that I am going to settle abroad. Also, I felt that the campaign’s concept suited me as I was not forced to sell anything. It was just me doing what I normally do.
What is the response to Kadhal Virus?
It’s too early to say. The album was released only last week, but I have got some emails from the US and other places saying that they liked the songs. However, I think it will take some time to get a clear picture.
Are you satisfied with your work in the superstar’s Baba?
Within the given time limit and challenges, I think my compositions for Baba tried to serve the movie. Also, there were two more extra songs in the movie, which we could not include in the cassette. Those who saw the movie liked those additional songs, especially the rap. I feel that if they had been included, the album would have been more complete.
You have always said that a new universal sound exists. Do you think that view still holds good?
There is music that appeals to everyone. But when everyone tries to do the same thing it becomes confusing and exclusivity is lost. Also, the sound should match the subject. We can’t have villagers suddenly bursting into a Spanish song. But unfortunately, that’s been the recent trend.
Have you ever felt the need to reinvent yourself?
I have felt the need to reinvent myself after every film. Because the moment a musician shows signs of favoritism for a particular raag or instrument, then his compositions begin to sound repetitive. Also, it irritates the ears to hear the same thing again. But sometimes it’s inevitable, we have to use a particular raag to get a particular feel, even if it has been used before.
Why didn’t you use tunes from your earlier movies like Roja or Puthiya Mugam for Bombay Dreams?
My earlier tunes were melodic. Since Andrew Lloyd Webber wanted tunes that were commercial, we used the later ones. In fact, it was only with Shankar’s Gentleman that I began composing commercial tunes. When I started out, I didn’t want to compose commercial tunes as I had been playing such tunes for other music directors and was tired of them. But Gentleman demanded such tunes. However, some commercial tunes have their limitations as they have a very short life. Whereas you can listen to something like Roja even now.
How do you feel when Andrew Lloyd Webber compared you to Paul McCartney?
I think for a composer of Andrew Lloyd Webber’s caliber it’s very kind of him to say such things.
Can you tell us something about the new state-of-the-art studio you are building?
That’s my gamble in life. Whatever I earn, I put into my equipment and studio. The idea started in 1997 when there was no surround sound or other advanced recording facilities in Chennai. I was in a dilemma as to whether I should go ahead with my plans or not. One day I decided to go ahead. However, there are still some structural complications, which we hope to sort out soon.
Why are you composing for so many historicals?
I think it’s because historicals give me the opportunity to compose melodies. It’s almost like escapism to the earlier days of film music, when music had a poetic quality to it rather than the mostly dance-oriented pieces we compose now.
Why aren’t you singing much these days?
I am singing a number in the forthcoming film Saathiya. But as a composer, I feel I should be objective and realize that only certain songs will sound nice if I sing them. Also, when I do an album, which I plan to do (with Sony Music), I want my voice to sound exclusive and fresh.
Are all the songs in Saathiya remixed from Alaipayuthey?
No, almost 40 percent of the songs are new.
What are the future projects you look forward to?
I am doing Subhash Ghai’s new film. Besides that, there is Shankar’s Boys, Parthiban’s Yelelo, and S J Suryah’s New. There is one more international project, which will be announced soon. It’s a Hollywood production but the subject is not restricted to the US. It’s a world movie.
Do you read messages posted by your fans on websites?
Yes, I do read the messages when I find the time. However, on one of the websites it is wrongly mentioned that my family embraced Islam after my sister fell ill. It is not so. We embraced Islam following my father’s illness.
If you were to compose Roja today, would you do it differently?
It’s a difficult question, but Roja is one film in which I have never felt that I should have done anything differently. There are lots of other films which I thought could have been done differently. Then again, music is God-given. I don’t think anything less or more is possible.
Has it become more difficult to satisfy your fans these days because of their rising expectations?
It’s good that they expect more from me. Most often we don’t push ourselves enough. But when people demand more, we work harder and do better. Like for Kadhal Virus if the fans like the new things that I have tried out in the film, then it will encourage me to be more innovative.
Do you ever get scared that one day you may lose all your fame?
I believe that each moment of my life is a challenge given to me by God. It’s the will of God guiding me. This way I start from scratch every time. For instance, even in the case of Bombay Dreams, I almost said no to it as I was under a lot of pressure. But by the grace of God, I accepted it and am glad for having done so. For every celebrity, fame is a momentary thing.
Do you have any childhood friends?
I have many director friends, but no one whom I can call my childhood friend. Because my life has always been a journey with no permanent friends.
Do you play any sports?
Music (laughs). Usually, when I come out of the studio I am almost exhausted physically and mentally. After that, I want to crash out or spend my time in spiritual pursuits, rather than do physical exercise and get more tired.
What do you think of the new generation of music directors in the Tamil industry?
I think most of them are very challenging and come up with some extraordinary stuff. As for moving in a different direction while keeping the authenticity of the 1950s and 60s, I don’t think that’s happening. I think what has improved extraordinarily is music production and recording. Substance-wise, we still have miles to go.
How do you feel when people compare Harris Jayaraj’s music to yours?
Very flattering! I think it’s inevitable that comparisons will take place because I have been here for 10 years. I am happy that Vidyasagar is now getting the recognition he deserves, as it was long overdue for him. Do you know we studied music together? We had joined together for Dhanraj’s master’s classes in Mylapore.
Is there any recent album you liked a lot?
I liked Devdas, especially the production part. It’s ethnic and different.
Why do you think Tamil Nadu has so many talented music directors?
I think it’s because Chennai was the center for art until a few years ago. So we were influenced by the best of Malayalam, Telugu, Kannada, and Tamil. I feel really sad that the others (Malayalam, Telugu, and Kannada) have split from us and gone their own ways. It’s going to take time for them to get to where we all started off from. (Pauses) We could have been like another Hollywood, but now it’s difficult!
Most Tamil musicians are deeply religious. Do you think religion helps a composer create better music?
For me, spirituality helps me to empty my ego and become non-existent. So, I feel whatever I compose comes from God. It’s a different feeling, I don’t know how to express it in words. Also, when you are religious it helps keep your mind focused.
Has Yelelo been shelved?
No, it has not been shelved. But Parthiban was busy with some of his assignments and I was busy with mine. It’s a classic project, so it can take time.
Is it true that former chief minister Karunanidhi has written the lyrics for a song in Yelelo?
Yes, he has written the lyrics for a Pongal song.
Are you frustrated that many of your films have been shelved?
Yes, in the last two years alone, around nine projects have been shelved. But thankfully they are being released now. Even in Tamil, if you take the good ones like Kadhal Virus and Udaya, they were not released due to various reasons. They are coming out now, and the timing is also perfect as I was not physically here for the past two years.
Will the music of Udaya (starring Vijay) ever be released?
Yes, we just finished the CD master.
Is there anything you would like to change about yourself?
Everybody has complexes. And I started out with mine. It’s like the colors. There’s a little bit of green, red, or blue in every color. It’s only the percentage that varies. If I lack in something, God has given me a little extra in something else.
Is it true that Viva has recorded a song for you?
Yes, for a film to be directed by Ahmed Khan.
