The interview which appears below, was originally published on Sunday Indian in November 2008. ©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 started with a whole new genre of music. Were you ever doubtful if it would work or get appreciated?
I was never doubtful as I was enjoying my association with the finest director (Mani Ratnam) of India. And if he liked it, I didn’t care if the others liked it or not, so I was making music from that point of view. He always encouraged me to come up with something different and original.
Which was the first instrument you picked up?
I started out with music when I was six and harmonium was the first instrument that I picked up. Music was not part of my family so I became serious about it only when I turned 18. It was not like it was my father’s business that I had to inherit, but other than that I simply enjoyed it.
Where do you derive your inspiration from?
It’s the boredom; the feeling that people have heard it and why do I need to give this to them again. So you decide to take a risk. And when you take a risk, that’s the thing what people like. I feel the daily inspiration comes only if you become a listener more than a composer. You have to be an appreciator, if you cut that out, then you aren’t left with much.
Which do you happen to enjoy more – live performance or composing?
All. (grins)
What do you think about music makers who claim their music is only inspired and not copied?
Sometimes it is inevitable… Like in the west, they have people who analyze the music after it comes out, and I think we should have something similar too. They could very well go ‘oh, this song is too close to that one’, but it is difficult because when something comes in your heart, at times it could be similar to something but you say, let me not stop before it goes out and we can decide later if it’s good or not. There is so much content everywhere and inherent, maybe that phrase could end up sounding familiar but you know the intent of the whole composition. And not just inspiration, sometimes it’s just commonality. For e.g., if I tune into a raga called Hemant, I’ll go to the same note that has been used but that’s the law of that particular raga, so it’s confusing.
How do you rate contemporary music vis-à-vis that of yesteryears?
There are a lot of good things and a lot of things that are blurred and less passionate, but there are a lot of factors. Music is sometimes judged by the music company, producer or director. But I feel if people want to create music and they feel straightjacketed, then they should come up with an album of their own expressions. Now the possibility of doing that is higher.
What do you have to say about remixes?
There are some good remixes too, but the original composers have to be credited in a proper way.
Where do you think India stands in the world music scene today?
India is already standing… and proudly so, because each state has got its own tradition and expertise that is still undiscovered. I feel proud of the fact that Ustad Bade Ghulam Ali Khan, Pandit Kumar Gandharva have done stuff that cannot be repeated.
What is the difference between the international music scene and the Indian scene in terms of the technicalities and the audiences?
The whole working system is different; stage is different, sound is different, films are different, but the common language is of course the music. So, working with Danny Boyle made me feel that we are all on the same platform; ears that select the music have to be the same.
Do you think India needs to come up with an artist on the lines of a Michael Jackson or a Bryan Adams?
With so much money and promotion, anything can be done, I think. It’s a great idea to have different artists in various genres coming up with something new.
How was your experience when you worked with Andrew Lloyd Webber and Craig Armstrong?
My state of mind is very different when I go abroad. I get confused and wonder why I’m here; why do they want me… The Golden Age was a very good experience and Bombay Dreams was very different again.
Which country’s music do you think still remains undiscovered?
So many actually. I was a jury in one of the competitions in Kazakhstan. Artists from Romania, Uzbekistan, and Indonesia were there – each one of them had their own feel. That experience actually changed me and I used some of the artists in my concerts. The amazing thing is that I gave a Tamil song in this movie called Thiruda Thiruda and these two girls memorized the whole thing and sang in a different language with full attitude.
Why is it that India still hasn’t accepted any of its native bands wholeheartedly?
Basically, there is a fear in people that this is not our culture. We keep questioning it but young people wear their hair stuff. We need to convince ourselves that this is good – the bands as well as the audiences. It’s very important to take that step and struggle through. The confidence level is not there; there is this apologetic quality: “We are a rock band from India, we are really sorry but we are.” (laughs) It has to be “We are a rock band of the world and we happen to be from India” – that has to be the attitude.
