The interview which appears below, was originally published on Music India Online in November 2006. ©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.
A.R. Rahman has been a busy man, and getting him for an interview is a Herculean task. There have been lots of things happening at his front, like his decision not to work with Shah Rukh Khan and composing music for Mani Ratnam’s `Guru’. In this chat with him, we unveil an exclusive on his music for Guru.
Why did you decide not to work with Shah Rukh Khan?
We were supposed to work together on his film `Om Shanti Om’. I wanted to get the publishing rights of the film but was refused. However, that doesn’t mean that we’re not working in the future. I don’t keep hard feelings for anybody in the business. Shah Rukh is a sharp entrepreneur and a smart producer, but I think in this case, he was misled.
As the concept of music publishing is new in India, the advisors didn’t understand thoroughly what it meant. It is all about having some rights to the music for myself so that I can use it for myself anytime in the future. Music rights will not collapse, so it is necessary to own them. In India, the awareness is growing slowly, and Aamir Khan is giving me the music publishing rights for his next film.
Why did you decide on Bappi Lahiri for the song Ek Lo Ek Muft in Guru?
This was the first tune that I made for the film, and it was ready more than three months ago. I had in mind to make Abhishek Bachchan sing the song. Somehow it didn’t work out. I was in a problem, as it was a special song and I wanted it to sound fresh. It was then that, at some award function, I saw Bappida singing a song and was applauded.
I got in touch with him, and he came to Chennai. I should say he is immensely talented. The song is quite long and has lots of words, and he amazingly completed singing the entire song in just two hours. The song has a catchy tune, and I’m sure after the film’s release, it’ll be more popular.”
Who are the other singers you’ve roped in for the songs?
Chinmayee is a very popular singer and has won awards in Tamil Nadu. Here she is singing with me for Tere Bina. I believe this is one of the most haunting tracks. She did surprise me by changing her voice into huskier tones. Shreya Ghoshal’s voice has grown with time, and I’ve always liked it. She sings `Barso Re’ and does full justice to it.
Mayya Mayya is quite an unconventional number. How did you compose it?
I heard a man saying mayya, mayya on hajj. He was selling water and saying it in Arabic. The music just hooked me, and I decided that I would make a mix of Arabic, Turkish, and Indian music one day, and that is how the track came into being. For the song, I roped in singer Maryem Toller, who lives in Toronto and sings in a band but is from Yemen. I recorded her part of the song when I was there last year on the stage musical.
Any special reason for dedicating the song Tere Bina to Nusrat Fateh Ali Khan?
I listened to one of Nusrat Saab’s softest songs called Sajna Tera Bina while I started composing for Guru. I was very much inspired by the simple and beautiful song and started composing Tere Bina. As I generally write six or seven mukhdas and many variations, the song was initially 25 minutes long.
I gave Mani sir the choice of Ay Hairathe, but he felt that it was too heavy a number to be at the start. He wanted to use Tere Bina. The song was recorded brilliantly in the voice of Qadir Khan. But Mani sir was adamant about having me on the song. I didn’t want to hurt Qadir, but Mani sir was like either you sing it, or it won’t be there. I came out with excuses like I was fasting and didn’t have the energy to sing it. But he was ready to wait.
How did Aye Hairathe with Hariharan happen?
I loved listening to Amir Khusroo’s `Yeh Sharbati Ashiqui’, but most parts of the song were in Persian. Gulzar Saab wrote the lyrics inspired by Amir Khusroo. I rate this song as one of my best in collaboration with Gulzar. I wanted Hariharan to sing the song. It is the kind of song Mohammad Rafi would have sung due to its traditional kind of melody infused with lots of feelings. But Hariharan made it sound modern and was amazing. Later Alka Yagnik joins him for the romantic and fun song.
In Deepa Mehta’s Water, the song `Chan Chan’ composed by you has bagged an Oscar nomination. Are you working with her in her period drama The Exclusion?
Deepa would be very disappointed if I didn’t compose music for her new film. We have a very good association. I have no idea when she is going to start the film. If my schedule suits the film I would surely like to work with her. We’ve hardly discussed anything about the project.
What are the works that you’re currently doing?
I have done some work for The Golden Age along with another composer. This is something novel for me, but I’m very excited about it. Back home, I’ve started composing for Ashutosh Gowariker’s Akbar-Jodha. The song will reflect the age and the romance between the lead pair. Also, there is lots of work in hand as The Lord of the Rings is getting ready to open in London.
