The article which appears below, was originally published on Shajis Blog in February 2009. ©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.
In Kerala, musical groups are called ‘Ganamela’ groups. Malayalam musical groups have a unique characteristic. Many of their songs are in Hindi, Tamil, and old Malayalam. Some of Kerala’s immortal songs have been continuously performed on almost every stage for generations.
One such song is ‘Chotta Muthal Sudala Vare’ from the movie ‘Pazhasiraja’, sung by Yesudas. This song, which has been sung for the past forty years, is one of Yesudas’s most famous early compositions. It’s a rare creation with a deep melancholic melody and nuanced violin arrangements.
The song is typically introduced with the prelude, “Next comes the amazing patriotic song ‘Chotta Muthal Sudala Vare’, composed by the late Shri R.K. Shekhar.” This was actually Shekhar’s first film song, released in 1964 – two years before A.R. Rahman was born!
During Christmas, church groups in Kerala would go door-to-door singing devotional songs. These songs were not related to Christian choral music traditions. They were devotional songs composed in the style of film music from that era. In the early seventies, Father Oonugal, a Catholic priest, was famous for writing lyrics for such songs. He even released a music album with new compositions for some of his songs.
A popular song at the time was set to the melody of the film song ‘Vaikkathu Ashtami Naalaril’, with lyrics titled ‘Bethlehemil Raavil’. Composed in a Carnatic music style by Dhakshinamoorthy, the song was rearranged in a Western music style for the Christian music album.
Sung by Vani Jayaram, the song became immensely popular among Kerala Christians and remains a classic Christmas song to this day. In the album’s introductory note, the priest had praised R.K. Shekhar, who arranged the music.
Recently, I was traveling in a car with a famous Malayalam director who considered himself an expert in old Malayalam songs. He believed that only a Malayali could truly understand the soul of Malayalam music, with Devarajan Master being his ideal music composer.
While a song by Sushila, ‘Pallavi Mathram Paranju Thannu’ from the film Pattabhishekam (1974), was playing, he listened and sang along. After the song ended, he emotionally asked, “Who else can compose music understanding the depth of Malayalam like Master?”
I respectfully replied that it was actually a song composed by the Tamil musician R.K. Shekhar!
R.K. Shekhar worked on music for only 22 films in Malayalam, but he worked as a music coordinator and performer for over a hundred films. He composed many hit songs and was reportedly the behind-the-scenes talent for many famous music composers’ successful tracks.
With deep knowledge of Western and Indian musical traditions, Shekhar worked as a music arranger for legends like Devarajan, Thakshinamoorthy, A.T. Ummar, and M.K. Arjunan. During films like Chalil Chouthri Chemmeen, he worked as the music director for Salil Chowdhury.
In the early days, when Ilayaraja was playing combo organ and guitar for Salil Chowdhury and Devarajan’s songs, R.K. Shekhar was his music director.
Personal Background
Born near Chennai in Kilannur, R.K. Shekhar was the son of Rajagopal Bhagavathar, a renowned Harikatha artist. His full name was Rajagopal Kulasekharan. He started his career as an electrical worker in the Tamil Nadu government but quickly entered the Malayalam film music industry as an assistant.
Most of his musical skills were self-learned. He learned the nuances of Carnatic music from Thakshinamoorthy. He had exceptional skill in harmony. Artists like S.D. Burman recognized his talents and invited him to work in Hindi films.
After working with Devarajan and Thakshinamoorthy for many years, Shekhar entered Malayalam cinema as a music composer with the film ‘Pazhasiraja’, composing music for ten songs. Apart from ‘Chotta Muthal’, other notable songs included the melancholic ‘Siragattru Veenoru Kocchu Thumbi’ and the famous lullaby ‘Mutte Vava Vo’.
At 31, Shekhar married 17-year-old Kasthoori. Their wedding was in Tirupathi, and they lived in Chennai. Their first child was Kanjana, followed by their only son Dilip, and two other children, Bala and Rekha.
Technological Innovation and New Voices
R.K. Shekhar had a unique talent for identifying new instrumental sounds. He would frequently travel to Singapore to explore emerging musical technologies. He was among the first to introduce early synthesizers to South Indian music, such as Uni Vox and Clavioline, which were previously only available in international music groups.
Shekhar introduced numerous singers to Malayalam music. Brahmanandan, who had a distinctively unique voice and emotional singing style, was one such artist who hadn’t received many opportunities. Shekhar gave him a significant song ‘Thamarapoo Nannichu’ in the film ‘Taxi Car’.
During an era when introducing new voices was hesitant, Shekhar introduced many new singers including Sathanandan, Sudha Varma, Gopalakrishnan, Soman, Ponkunnam Ravi, Jayalakshmi, Kasthuri Sankar, Manoharan, Ambili, and Jayashree. Although most didn’t achieve significant fame later, Shekhar was committed to introducing and supporting new musical talents.
Musical Compositions and Legacy
R.K. Shekhar composed music for approximately 110 songs in Malayalam. Many of these became immortal, memorable melodies. Some standout tracks include:
- ‘Ashada Masam’ (Singer: Vani Jayaram)
- ‘Pathirappuovonnu (Singers: Kamukkar Purushothaman/P. Susheela)
- ‘Ippozho Sukham Appozho’ (Singer: Yesudas)
- ‘Manivarnan Illatha Vrindavanam’ (Singers: Jayachandran/P. Susheela)
- ‘Raagangal Paavangal’ (Singers: Yesudas/P. Susheela)
- ‘Sumangala Thira Raathri’ (Singer: Yesudas)
- ‘Vellithen Kinnam’ (Singer: Jayachandran)
- ‘Jenma Bandangal’ (Singer: Yesudas)
His last film was ‘Chottanikara Amma’ in 1976.
Shekhar was music-obsessed and workaholic. He would work day and night on song rehearsals, music arrangement, and recordings, often surviving on just tea and dry bread, occasionally napping in recording studios. As a result, he developed a severe stomach ailment.
Bedridden in various hospitals, his assistants would stand and collect musical notations from him. In 1977, at the age of 42, Shekhar passed away. The song ‘Manasu Manasindre Kadhil’ from ‘Chottanikara Amma’ continues to mesmerize Kerala to this day. He passed away on the same day the film was released.
Interestingly, rumors circulated that his music industry rivals had performed black magic against him! His son Dilip was just eleven years old at the time.
The Rise of A.R. Rahman
Born on January 6, 1966, Dilip is now globally known as A.R. Rahman. His most significant childhood memory is accompanying his father to recording studios.
Rahman recalled, “My most inspiring memories are of my father. I remember directors waiting on our home’s veranda. He would simultaneously work on eight or nine films – composing for one, arranging music for another, conducting music for yet another. I believe he died from excessive work.”
Many who Shekhar helped still tell Rahman how supportive and opportunity-giving his father was.
In another moment, Rahman said, “My mother told me a lot about my father. Listening to those stories always brings me joy. My father was considered highly skilled in music. I still listen to his old songs. I believe the small portion of his musical genius that I’ve received is by divine grace.”
Young Dilip received initial musical training from his father. Growing up in a home filled with musical instruments, his genius must have found its expression. When Dilip was four, a music teacher named Sudharsanam was so impressed by his harmonica playing that he reportedly wrapped the keys in a cloth. The child confidently played the melody again, showcasing his natural talent.
Shekhar reportedly told him, “Throughout my life, I’ve always been second. Through my son, I will one day achieve victory.”
Contrary to expectations, Dilip wasn’t initially interested in pursuing music. He wanted to be an electrical engineer. “At that time, I wasn’t passionate about music. I was more interested in technology. As a child, I saw music only as a way to earn food – it was my father’s daily work. I didn’t have any special interest in it,” he said.
Musical Awakening
Dilip’s musical interest grew around the electronic musical instruments his father had purchased, such as Uni Vox and Clavioline. During those times, electronic musical instruments were extremely rare in Indian music.
“I couldn’t take my eyes off these instruments. They seemed like forbidden, rare toys to me,” Dilip said. He spent most of his days playing with these instruments, which ultimately shaped his future.
In his early years, Dilip traveled with his seriously ill father between hospitals. His father’s premature death profoundly impacted him. At just twelve years old, he was forced to take responsibility for supporting his family.
When Shekhar passed away, the family’s meager earnings had been exhausted in medical treatments. They were compelled to rent out the electronic instruments Shekhar had collected. Dilip went along with these instruments, playing them when necessary.
Dilip worked hard from a very young age. From thirteen, he worked as a background instrumentalist for various musical groups. This period served as an excellent training ground for him.
Later, he participated in top Chennai music groups like Roots, Magic, and Nemesis Avenue. He performed with musicians like Ranjit Barot and Sivamani. He played keyboard in Ilayaraja’s stage music group and had also performed in M.S. Vishwanathan’s ensemble.
He toured internationally with artists like Zakir Hussain and Kunakkudi Vaidyanathan. Gradually, he began immersing himself completely in music, making it his sole source of joy. Consequently, his education suffered. After changing multiple schools, he eventually dropped out before completing his studies.
His mother encouraged him to continue in his father’s musical path. Working under Vijay Manuel, who was Ilayaraja’s top keyboard expert at the time, Dilip worked as a music arranger in films like ‘Punnagai Mannan’. In those songs, we can now recognize A.R. Rahman’s unique musical signature.
Professional Breakthrough
Dilip’s first major individual recognition came in 1987 with an advertising jingle for Alvin Trendy watches. He transitioned from live performances to becoming a full-time advertising music composer. Within five years, he had composed music for 300 advertisements.
His advertising music compositions became legendary. He created memorable jingles for brands like Paris, Leo Coffee, Boost, Titan, Premier Pressure Cooker, MRF Tyres, The Hindu, and Asian Paints.
He also composed title music for channels like Asianet. “Composing for advertisements taught me precision in music. We’re given just a few seconds to create a mood and convey a message. Advertising music taught me musical discipline,” he later said.
During this period, he released his first music album, a collection of Islamic devotional songs called ‘Deen Isai Malai’.
During challenging times, Dilip found solace in Islamic faith. In 1988, when his sister was critically ill with the same disease that had taken his father, a Muslim Sufi peer named Sheikh Abdul Qadir Jilani was said to have miraculously saved her.
Following this incident, the entire family converted to Islam. Initially named Abdul Rahman, he later changed it to Allah Rakka Rahman – the abbreviated form being A.R. Rahman.
Regarding his religious conversion, Rahman said, “I watched my father suffering from illness. He was treated in seven or eight hospitals, at Vellore CMC Hospital and later Vijaya Hospital. He experienced unbearable pain. I saw Christian priests praying for him in the hospital. Continuous prayers were performed at home. But my father died. For some time after that, I thought there was no God. But there was always a restlessness within me. I later realized that without a fundamental power managing our lives, life itself is impossible. I found this truth in Islam. Following the teachings of the Peer Sahib, I began visiting dargahs with my mother. We became firm believers in Islamic faith.”
His mother Karima Begum also converted. His sisters changed their names to Raihana, Talat, and Israt. “Islam and Sufi belief gave me peace and mental strength. When I was Dilip, I had various inferiority complexes and mental challenges. I feel like I was reborn as A.R. Rahman…”
Entry into Film Music
About his entry into film music, A.R. Rahman said, “I don’t know why I accepted the ‘Roja’ film opportunity. I was offered 25,000 rupees. I would earn that back in just three days of advertising jingles. Working with Mani Ratnam might have attracted me. He’s someone who puts immense effort into the music of his films. His visual treatment greatly fascinates me. He would elevate even an ordinary melody four-fold through his visuals and give it new dimensions. He rejected melodies resembling other composers’ styles and selected only those that highlighted my unique style.”
Contrary to popular belief, A.R. Rahman’s first released film was not ‘Roja’, but the Malayalam film ‘Yoddha’ starring Mohanlal. The film was released in early 1992. It featured an authentic Kerala folk song ‘Padakali Sandi Sanghili’, which became immensely popular in the style of a military folk song. In my opinion, the melodious ‘Maambove’ was the best song in the film. It later appeared in Tamil as ‘Chevvanam’ in the film ‘Pavithra’.
‘Roja’ was released in August 1992. Its music was highly anticipated, primarily because it was Mani Ratnam’s first film after separating from Ilayaraja. Many were skeptical about the capabilities of this 25-year-old music composer. At that time, a generation had formed that believed Tamil music meant only Ilayaraja.
However, within just a few days of the film’s release, A.R. Rahman became the talk of Tamil Nadu. Those songs marked the beginning of a new musical era. That year, they won almost all major awards with significant commercial success. A.R. Rahman became the first Indian music composer to win a national award for his debut film!
Musical Innovations
There’s no need to discuss A.R. Rahman’s achievements – they are evident before our eyes. His music has faced many criticisms: excessive technological sophistication, over-modernization, excessive Western influence, repetitive attempts, soulless instrumental music, and above all, accusations of plagiarism. These were criticisms faced by all pioneers who paved new paths.
What cannot be denied is that he brought a revolution to Indian film music through unique sound precision in every song. His mastery in composing simple, melodious tunes and the careful effort to bring out the best from each singer are crucial.
Rahman’s genius lies not just in his melodic compositions and extraordinary rhythmic sense, but also in his sound engineering expertise. Many of his songs might seem ordinary at first hearing but reveal increasing nuances with repeated listening – a characteristic typical of his era when limited recording equipment meant songs needed to be captivating from the first listen.
In today’s world of ubiquitous CDs and radio channels, we repeatedly hear songs. Many songs that initially captivate us quickly become irritating. Rahman’s songs, in contrast, seem to take on new forms with each listening through innovative instrumental interludes, unconventional musical harmonies, subtly changing rhythmic structures, and creatively recorded voices.
Rahman revolutionized Indian film music. He became the first Indian film music composer to gain global recognition. He has collaborated with international musicians like Nusrat Fateh Ali Khan, Michael Jackson, and Andrew Lloyd Webber.
Today, there are no musical geniuses who don’t want to work with A.R. Rahman. There are no actors reluctant to sing his songs. Musicians from various genres like Nusrat Fateh Ali Khan, Michael Jackson, Andrew Lloyd Webber, Deep Forest, Zakir Hussain, Dominic Miller, David Byrne, Ustad Sultan Khan, and Pandit Vishwa Mohan Bhatt have worked with him.
The small recording studio Rahman started in 1989, ‘Panchatan Record Inn’, is now a state-of-the-art facility and India’s premier recording studio.
Continuing Innovation
Rahman continues to introduce new voices. “Even imperfections in the voice while singing can add a natural beauty to music,” he said. He broke the notion that only trained voices were suitable for singing. His own voice reflects this philosophy.
In songs like ‘Humma Humma’ and ‘Mustafa Mustafa’, his voice captures the enthusiasm of an untrained young man. Songs like ‘Dil Se Re’ and ‘Vellai Pookal’ are emotionally powerful when sung in his voice.
It’s also worth remembering that Rahman brought many Carnatic music artists into film music.
Personal Life
Rahman’s wife is Saira Banu. They have two daughters, Khadija and Rehima, and a son named Khwaja Muhammad Rumi Rahman. His sisters occasionally perform with him on stage. Raihana is also a music composer. Raihana’s son, G.V. Prakash, became a music composer through the film ‘Veyil’.
The comparison between R.K. Shekhar and A.R. Rahman is remarkable. Overall, A.R. Rahman seems like a direct continuation of R.K. Shekhar. Both were experimenters who creatively blended different musical styles, sought perfect sound precision, were interested in new sound technologies, and were committed to introducing new voices.
Like Shekhar, Rahman has a foundational interest in electrical engineering, which transformed into a passion for electronic musical instruments. Like Shekhar, Rahman transcends the boundaries of his language and culture, existing in a unique musical space.
Where Shekhar faced limitations, Rahman achieved unbelievable success. It almost seems as if Rahman’s emergence was the fulfillment of Shekhar’s ambitious musical dreams.
