An equal music Last Word: By Jitesh Pillaai Filmfare, June 26-July 9, 2008
In the heart of a recording room, a bass sound is produced. Almost inaudible, it slowly increases in volume. Out of nowhere, a voice calls out, the volume of the bass increases, a drumbeat starts, a couple of more instruments mixed in, the song Kaadhal Rojave (Roja) picks up momentum and resonates in living rooms, on radios, at tea stalls and various corners throughout the country. A star is born and the shining has just begun. The year is 1991 (sic) and Allah Rakha Rahman has cut his first hit film album, casually starting a revolution that would go on to reinvent the world of Indian film music. Around the time he emerged, an industry was at the crossroads. Further north, the T-Series backed sound bank was producing chartbusters in much the same mould as the hit music of the '80s. The melodies of the'70s were making few sporadic appearances. The great Panchamda wasn't belting those immortal numbers as often. Further, South, the golden age of Illayaraja was coming to an end. The melodious voices of trained Carnatic music singers were being ground on similar beats. And, most important, across the country, good music was not making the leap to greatness. One man started to change that, by defying convention and pushing the limits into worlds that few knew existed, fewer had attempted to enter and none had thus far managed to penetrate. Armed with a qualification in Western music, adept at playing a plethora of instruments and hits zinging out from his brain, A.R.Rahman answered a nation's call and with Roja, led the way for a lifetime of composers to follow. A list of great compositions would be an injustice, because most of what he's produced might get there. There was work to be done and he did it. State and regional boundaries needed to be crossed and he did. Rangeela was expected to be something different and it did more. It redefined Hindi film music. The nation beckoned and he created his special Vande Mataram album. The world invited and he accepted the offer with open arms. Global compositions, Andrew Lloyd Webber partnerships, international audiences made Rahman a true global mover and also put him on the list of the largest selling artists of all time. It is said that he experiments with everything - new voices, new instruments, new medleys, new themes, new technologies and new music. I believe that at no time did he think he was experimenting and I think he knew. When he got Ashaji (Bhonsle) to record without music for Rangeela, he knew. When he put an unknown voice in front of the microphone for a big production, he listened to the voice, not the face or the name and he knew. When he put up his hand to combine with the great Lataji (Mangeshkar) in Jiya jale (Dil Se..) and Lukka Chhuppi (Rang De Basanti), he knew. And that is the evidence of sheer genius. Even if I'm unable to predict where Indian and perhaps global music will be 20 years down, one cosntant factor is going to be this diminutive talent with a stature that few have reached in this realm - he defines where the industry goes. Play it again, Rahman.
