The interview which appears below, was originally published on Mid Day in February 2003. ©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.
The Mozart from Madras in his black high-heeled boots and wavering hair will take to stage tonight with a magic wand in hand, in his first ever concert in Mumbai. We caught up with the little genius rehearsing at the Andheri Sports Complex last midnight, for a buzzer round of questions as the songs from Lagaan buzzed in the background.
The shy genius from the South the world got to know in 1992 now seems comfortable doing music videos, massive stage shows and now commercials.
Have you as a person changed drastically in recent times?
All my life I had spent in the studio, never seen the stage part of music. The past two years in London has changed me a lot, in terms of presenting things and setting an attitude. People come to see me as a performer and I cant afford to hide in a corner.
Youve mentioned how music demands, Vacuum a clutter less mind for creation. Has travelling back and forth in recent past destroyed your peaceful, cozy oyster at Kadambakkam (studio) and maybe disturbed that spiritual contact with music?
You could say so in a way. But I dont compose everyday. My film projects, which are fewer, are spaced out. And travelling is also learning. Andrew (Lloyd Webber) for instance manages his business and music and still maintains his sanity. I wont go so far, but its been a learning process. Currently, I am going to tour the US and UAE and then Ill be back to my shell.
Are you satisfied with the response that Bombay Dreams received as a soundtrack, though many of them were not too charitable?
I think what was ground breaking with Bombay Dreams was that in a typical British environment, our sound was echoing. When I meet people on flights, thats what they seem excited about. Yes, first few days of the musical, the advance collections were poor. But gradually when it picked up, it surpassed our expectations. We were shocked.
Last year, youd spoken about a couple of Hollywood projects in the pipeline with Sony Music. Have they (or any other international offers) reached fruition yet?
I am doing a Chinese film produced by Columbia Pictures that will start May-June. And then I am writing music for London-based pop artiste Karen David for BMG. And then there might be an orchestral album.
Are you comfortable with English lyrics in your music?
It was a revelation for me, actually. Taal Se Taal Mila turned into Loves Never Easy! I never knew it could work.
What about Mumbai film soundtracks in the pipeline?
I am doing an album for Khalid Mohammeds film, based on 18th century ghazals. And then with Husain saabs (M F Husain) film Meenakshi. The film Mangal Pandey, Subhash Ghais, Atul Aghnihotri and Ahmed Khans projects. And Rakesh Mehras English film (laughs).
Thats a lot of films, contrary to what you asserted.
Ya, but Ive been working on them over a period of time.
When you have to produce too many tracks, there is a tendency to rehash your own tunes in subsequent projects. Roop Suhana Lagta Hai (Gentleman) and Dil Hua Hai Deewana (Bombay) is an example that comes to mind. Is the criticism accurate?
Anu Malik was credited for the Gentleman song (laughs). But you are right; in the beginning there was a lot of such influence in my music. But now a lot many doors have opened for me in the past few years of exposure, working with London and Madras Philharmonic orchestra. For instance, in Shyam Benegals Subhash Chandra Bose, there is more of a Bengali touch in the music and at the same time the movie travels to Burma and Germany.
Another constant complaint by hacks is that of Rahmans music being predictable. It was mostly around 96. After Dil Se and Taal, very few were left to complain. Also, I did fewer films Zubeidaa, Lagaan, Saathiya What about the play-list for tonights show?
Thats always the difficult part. You have to balance out with what the audiences, the singers and I want.
