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Ayutha Ezhuthu By A.R.Rahman

Topic started by dinesh (@ 210.186.42.195) on Thu Nov 20 23:13:59 EST 2003.
All times in EST +10:30 for IST.

6 Songs : Mind Blowing!!
Source :HinduTimes

http://www.hindustantimes.com/news/181_465617,00110003.htm

Simply mind-blowing

November 20

Ajay Devgan and Vivek Oberoi can’t stop raving about the songs of Mani Ratnam’s Yuva. “A.R. Rahman and Mani Sir and dynamite together,” says Vivek on the sets of Indra Kumar and Ashok Thakeria’s Masti, and adds, “The six songs Rahman has recorded for the film are mind-blowing.”

Ajay Devgan, his co-star in Yuva and Masti, uses the same words to describe them. Incidentally, when the film was launched earlier this year, Mani Ratnam had decided not to have a single song in it.

Vivek also feels that Abhishek Bachchan’s is the best role and best performance in the film. “That guy’s career will take off in a big way after Yuva,” predicts Vivek.

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Responses:

• Old responses
  
• From: STONE COLD (@ 210.186.79.4) on: Mon Apr 26 21:56:19 EDT 2004
  
  MUST READ FOR ALL RAHMAN FANS!!!
  
  TIME MAGAZINE ARTICLE ON RAHMAN
  
  Behind the Music A.R. Rahman, Asia's most successful composer, is
  making the leap from Bollywood to Broadway
  
  Monday, Apr. 26, 2004 Dawn is breaking over a crowded neighborhood
  in Madras, and the murmur of early-morning prayers is dispersing the
  stillness of the night. A solitary light shines from the ground
  floor of a three-story house. Inside, a lone, curly-haired figure
  sits at a vast mixing desk, fingers skating across the controls.
  A.R. Rahman's work is almost finished. For as long as he can
  remember, Asia's most successful composer has slept through the
  noise of the day and composed in the silence of the night. And the
  past eight hours have been especially productive: Rahman has
  completed six songs, four remixes, and the background music for a
  movie.
  
  It isn't just Rahman's phenomenal productivity that's so dazzling,
  but the quality—and success—of the work he's turning out. In 14
  years, the 38-year-old has written music for more than 50 movies.
  And in an industry where the soundtrack is often considered more
  important than the plot, his scores have broken all records—more
  than 100 million of his cassettes and CDs have been sold. These
  days, he's so sought after that even Bollywood's deepest pockets are
  finding it hard to sign Rahman. Last year, he composed the martial
  score for Chinese director He Ping's Warriors of Heaven and Earth.
  This week, Andrew Lloyd Webber's musical Bombay Dreams, for which
  Rahman wrote the music, transfers from London's West End to
  Broadway. And Rahman is currently writing songs for another big-
  budget West End production, a musical version of The Lord of the
  Rings. These projects are forcing Rahman out of his usual milieu. He
  says he knew nothing about Western musicals until he wrote Bombay
  Dreams and initially didn't even like the two Lord of the Rings
  movies that he watched before agreeing to do the project, saying he
  found them "too dark." But Rahman doesn't want to restrict himself
  to what he knows and loves. "This is not Bollywood," he says. "I'm
  not cashing in on what I have already been doing.".
  
  
  
• From: STONE COLD (@ 210.186.79.4) on: Mon Apr 26 21:57:00 EDT 2004
  
  India's film industry is the most prolific in the world, with about
  1,000 movies made each year (compared with Hollywood's 750), and
  they attract a global audience of 3.6 billion—a billion more than
  their American cousins. But until recently, Bollywood's talents were
  considered too foreign to make the jump to Europe or America. A
  handful of Indian directors and actors are escaping that mold, and
  now Rahman is breaking out too. The composer has long been a musical
  magpie, borrowing freely from an array of traditions: South Asian,
  Sufi, Irish folk, rock, reggae, even ragtime. And the outside world
  is discovering that beneath the tabla and synthesized sitar, his
  music isn't strictly subcontinental. "The sound of Middle Earth has
  to be a unique sound," says West End producer Kevin Wallace, who
  chose Rahman to score The Lord of the Rings. "And Rahman is a great
  classical composer who has also absorbed different cultures to
  produce searingly beautiful melodies. Once you have heard his
  melodies, you can't forget them."
  
  Raised in a lower middle-class family in Madras, Rahman (whose real
  name is A.S. Dileep Kumar) grew up listening to his father's tiny
  but unusually diverse record collection, consisting of just three,
  wholly different LPs—one from China, one from Latin America, and the
  third by American country balladeer Jim Reeves. Rahman's Hindu
  family was also devoted to a local Muslim pir, or saint, who was a
  Sufi dervish. Sufis share the same devotion to Allah as other
  strands of Islam, but none of the rigid stoicism. Instead, Sufis
  believe the way to God is through vehement, ecstatic self-
  expression. With such a teacher, Rahman says he can't remember a
  time when music, and mysticism, wasn't his life.
  
  Rahman's father died when he was nine, leaving the youngster to
  spend much of his adolescence hauling his violin around local
  recording studios in a dismal attempt to support his
  family. "Whenever I think of that time," he says, "I think of
  failure." (He hasn't forgotten those hand-to-mouth days: unlike many
  of his peers, Rahman pays his musicians on time and refuses to
  recycle earlier recordings, instead ordering fresh takes—and thereby
  creating more jobs—with each new score.) His big break came in 1992,
  when Madras-based director Mani Ratnam wanted a new sound for Roja,
  a film set in violence-ridden Kashmir. Kumar took the commission
  with one, unusual condition: he wanted to be credited using the
  Muslim name Allah Rakha Rahman. When Roja's soundtrack became a
  runaway success, A.R. Rahman was born.
  
  Rahman worked with Ratnam on two more movies but by then was already
  trying to cope with a flood of offers from Bombay, capital of the
  Hindi film industry. Lloyd Webber heard of him three years ago while
  dining with Bombay-based director Shekhar Kapur (Elizabeth and
  Bandit Queen) to discuss a screen version of The Phantom of the
  Opera. Kapur played a selection of Indian movie music to break the
  ice. According to Rahman, "Andrew would stop every now and then and
  ask, 'Who is this composer?' And every time he did that, it was me."
  Kapur called Rahman to say that Lloyd Webber wanted to work with
  him. "It just happened," says Rahman, still somewhat bewildered at
  the series of events that led to his involvement in Bombay
  Dreams. "I thought Shekhar was pulling my leg."
  
  Rahman's future projects include the film 1857: The Rising, a big-
  budget historical epic based on the Sepoy Mutiny and starring Aamir
  Khan and British actor Toby Stephens. Ratnam has also booked the
  composer for his latest production Yuva, which is set to be released
  later this year. Hollywood, too, has beckoned. Rahman won't reveal
  who has made offers, but says he turned them down, mainly out of
  trepidation. "Things work in a different way there," he says. "Even
  big composers get changed. I don't want to be in that mess."
  
  He even admits to being terrified by the Lord of the Rings job, but
  producer Wallace is confident that Rahman will come through. "It is
  very clear to me he knows how to take direction and briefing," he
  says. "He responds to story, he responds to character, and he knows
  the music has to enhance the drama."
  
  Although Rahman's music has made him rich and famous, he remains
  something of a Sufi ascetic. He wears handloom shirts and jeans
  (though he admits to owning "suits and things" for special
  occasions), and drives a modest Toyota Qualis because "I don't need
  anything else." Gesturing at his studio, stuffed with the latest
  mixers and synthesizers, he says: "This is my BMW." He shares his
  house in Madras with his wife, his three children and his mother,
  who still handles his finances; Rahman asks her for money whenever
  he is short. "I like to be a musafir [vagrant] without any baggage,"
  he says. Unlike other artists steering themselves on a predetermined
  career path, Rahman is a strong believer in taking a backseat. "Life
  is a journey, but I don't hold the steering wheel," he
  says. "Somebody else is controlling it. I just handle each day as it
  comes." Each day, maybe. But come the night, as the world is
  beginning to hear for itself, it's very much A.R. Rahman at the
  controls.
  
  
  
  
  
  
  
  
  
  
• From: aishwarya (@ 202.156.2.123) on: Mon Apr 26 22:53:01 EDT 2004
  
  wow...thanx for that article...
  
  
• From: F e r r a r i (@ 202.56.254.13) on: Mon Apr 26 23:52:41 EDT 2004
  
  Nice article. Thanks
  
  
• From: Dandanaka (@ 66.135.184.42) on: Mon Apr 26 23:57:00 EDT 2004
  
  Stone cold....do u know which edition it came in?
  
  i see another article on him, on the latest time magazine (may 04 2004 edition)
  
  
• From: STONE COLD (@ 210.186.78.116) on: Tue Apr 27 01:29:42 EDT 2004
  
  sorry don't know....i got it from yahoo group
  
  
  
  
• From: Thamizhan (@ 61.1.201.99) on: Tue Apr 27 04:17:55 EDT 2004
  
  It was awesome man...thanx for reaping some content from Yahoo groups and putting it here.
  Can you give the exact link of Time magazine's ariticle?
  
  
• From: STONE COLD (@ 210.186.79.178) on: Tue Apr 27 06:21:05 EDT 2004
  
  no link provided
  
  
• From: STONE COLD (@ 210.186.79.178) on: Tue Apr 27 06:26:16 EDT 2004
  
  thamizhan,
  sorry,there's no link provided.
  
  
  guys,
  check out Aayitha Ezhuthu pathetic review by a dying Ilaiyaraja fan
  
  http://www.hindu.com/mp/2004/04/26/stories/2004042601750300.htm
  
  another review....but this time its a good one.
  http://www.hinduonnet.com/thehindu/mp/2004/04/08/stories/2004040801280400.htm
  
  
  
  
  
• From: STONE COLD (@ 210.186.79.178) on: Tue Apr 27 06:27:25 EDT 2004
  
  the comparison with Uyirin Uyire is too much!!
  
  

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