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New page on Hits of A.R.Rehman

Topic started by S.kavitha (@ 207-172-75-135.s135.tnt3.man.va.dialup.rcn.com) on Wed Oct 6 21:03:42 EDT 1999.
All times in EST +10:30 for IST.

I have started a new homepage dedicated to A.R.Rehman, with good collections.

Sites for A.R.Rahman's Songs

S.Kavitha's Musical Moments of A.R.Rehman
AR Rahman's hits - has a good MP3 collection too.
Susi's new songs page
Vivek's ARR page
India FM and TeenStation - for hindi songs.

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• Old responses
  
• From: PRAKASH (@ 203.200.146.57) on: Mon Nov 18 05:17:08 EST 2002
  
  HI I AM prakash I WANT TO DOWNLOAD THE TUNE OF AIRTEL ON MY MOBILE {NOKIA} AS I DONT KNOW HOW TO DOWNLOAD IN FOR NET {PLEASE send ME the music OF SIR A.R.RAHMAN } PLEASE send tune to the number
  (98421 54744)
  
  
• From: Are Yaar (@ 203.197.141.186) on: Mon Nov 18 05:30:24 EST 2002
  
  Friday, November 8
  Hey what happened to you, Are u caught by the Virus ???
  
  http://lazygeek.blogspot.com/
  
  Hey!! Hey!! Enna aachu unakku [Hey, what happened to you] is the most talked about song in the Tamil world. A R Rahman coming back with his youthful tune and Vasundra Das rocking the teenagers world with her shakalaka voice in the movie Kadhal Virus. Similar song to the one in Nayak [Mudhalvan in Tamil], this has a hip-hop tune and in the lyrics the girl asking her guys to be of certain principles and qualities, many of them are youthful and some really useful.
  
  
  This is A R Rahman's come back music after Bombay Dreams because his music for Baba [Rajinikanth's latest movie] was criticized for lack of attention given to songs and background score. The movie also sports 5 more songs each of a different variety. TR Simbu, the latest addition to the youngster heroes in tamil has contributed a techno song to this movie called 'Bailamore'. 'Vaannila' by Srinivas and Karthik is the next best after 'Sonnalum' in the melodious mood rendered by Unnikrishnan and Harini. SP Balasubramanian with his evergreen voice also comes back after some time with a melodramatic 'Enthan Vaanin'.
  
  
  Kadhal Virus is the most expected movie with Kathir’s direction. His previous movies have been trendsetters like Idhayam[Heart], Kadhal Desam[World of Love] and Kadhalar Dinam[Valentines Day]. However it is a feast for A R Rahman lovers.
  
  scribbled by lazy geek | 1:19 PM
  
  
  
• From: sg (@ 64.3.235.58) on: Mon Nov 18 11:56:20 EST 2002
  
  AR Rahman's Top 10 songs
  
  http://www.thenisai.com/latest/rahman.htm
  
  
• From: Ashish PAdia (@ 203.197.231.179) on: Fri Nov 22 12:28:21 EST 2002
  
  A.r.rEHMAN mUSIC FOR aIRTEL
  
  
• From: Anon (@ 202.41.76.192) on: Mon Nov 25 02:49:53 EST 2002
  
  RahmanOnline is conducting a poll to determine which songs fans would like most to be perfomed in ARR's 2003 concert tours.
  
  All efforts are being made to make the results of the poll being conducted on RahmanOnline available to the organisers of ARR's forthcoming concerts. Please take the poll seriously and choose the 15 songs you want performed on stage.
  
  You can make multiple submissions of 15 songs ( in case you want to submit more than 15 or in different combinations)
  
  This is your opportunity to give feedback
  
  So go ahead and submit now
  
  http://www.rahmanonline.com
  
  
  
  
• From: x (@ 156.153.254.41) on: Mon Nov 25 03:37:36 EST 2002
  
  no ARR songs on stage please....
  
  
• From: grrr (@ 219.65.109.146) on: Mon Nov 25 10:12:40 EST 2002
  
  y?
  will not be able to turn it off?
  cant withstand jealousy?
  
  
• From: Thiru (@ 205.173.95.38) on: Tue Nov 26 15:03:59 EST 2002
  
  A pretty good article on ARR
  Tuning In
  
  Few have had the kind of success music director A.R. Rahman has become accustomed to. He now wants to 'push the limits', in India and abroad.
  Sheela Reddy
  
  For a driven man, Allah Rakha Rahman seems surprisingly restful. He looks, with his long tousled hair, his large, still eyes and hands and lips that move with the economy of the devout who keep the roza, more like a budding young pir with a cellphone than one of the world's top-selling musicians. At 36, he has overtaken the likes of Madonna and Britney Spears, won over Andrew Lloyd Webber, and worked with Michael Jackson and Jennifer Lopez. He has not slept in three days, he announces cheerfully as he opens the door to his hotel room, having just returned from a concert for President A.P.J. Abdul Kalam. When the president asked him to compose the music for his poem, The Song of Youth, to be played for him at Vigyan Bhavan on Children's Day, Rahman could hardly turn it down, even though he's flooded with work. "It was given just five days before and we had to work very hard to get something out."
  
  For Rahman, "working very hard" means staying up beyond the 18-hour schedule he normally keeps in his Chennai studio "where there are four-five different things happening at the same time—the strings thing happening upstairs, the voice thing downstairs, then lyrics moving in another room". No sooner is the score ready for one film, "the next director is ready for his background score. Then, after that, the songs are needed. After that, something else..."
  
  The hard work isn't writing the music—that's always been a song for Rahman since his first albums, Deen Isai Malai and Set Me Free, when he was just 21. "In 30 minutes I can come up with 6-7 tunes." The hard part is executing it—"administration, instruments, getting the right voice..it takes time". It can be a headache as well. "Sometimes the director may say, these are good tunes but we don't need this, we want this. That's when you get into trouble. Because they have a fixation for something, and you've got to deliver that."
  
  Working on Bombay Dreams, in comparison, was a breeze. "Basically what we'd do is take the lyrics Tom Max gave me, tune something and play it to Andrew, and then he'd react to it. We had some 6-7 sittings like that, and each time we'd do 4-5 tunes...and the core of the Bombay Dreams score came out of that." So impressed was Webber by the results that he now wants Rahman to write an opera. "Andrew says that's the style I should be looking at, even though I have made only commercial music." He erupts briefly into what sounds suspiciously like a giggle. "I don't even know how to spell opera, but he seems to think I can do it." Rahman may be a high school dropout, but he took to the demands of London studios like a pro. "They do things more systematically there," he says, "kind of accumulate everything and then do it."
  
  The experience has changed him, of course. On the streets of London he's now being recognised, his tracks are playing everywhere, in Buddha bars and on FM radio stations in France and Australia. The offers have been pouring in, but he is toying with only one: a world film, a musical—"I'll know the title and so on by February". More important, Rahman is now able to choose the kind of films at home "that gives me satisfaction and pushes you to the limit" and turn down those which he considers "waste" work. "I am beginning to do things in a very bigger way," he says simply. On the other hand, he is wary of getting too caught up with the West. "I don't want to go where I get caught under somebody's dictatorship or someone else's studio which tells me what to do."
  
  Ever since he set up his own studio, Panchathan Record Inn, right next to his Chennai home 13 years ago, Rahman has had a freedom that is rare for music composers. Acknowledged as India's best-equipped and state-of-the-art sound and recording studio, Panchathan is as desi as they come."If I want to hear the flute part of my composition, I call my flute player, Navin, and then he comes and plays something, and that's part of the interaction. If I want the guitar, somebody comes in, and so the writing process is very dependent on the players also. Not like over there, me alone sitting by my computer. Everything there is so expensive, and if you want to try out something you have to get it passed by so many people. Spontaneity is more over here."
  
  There is another, a much more personal reason why Rahman likes to live in Chennai: his two little girls. "If this is my studio," he says jabbing at the sofa with a long forefinger twice on the same spot, "this is my home. Just 30 seconds away. If I get blocked or whatever, I can come back home and spend time with my children. Go back. There is no travelling time." There was a time four years ago, when the older child, still a toddler, hid firmly behind her mother whenever Rahman approached her, unimpressed by either his fame or his pleas. No longer. "We are very close. She is now getting interested in singing. In fact, she wanted to sing for the president's concert, but we didn't let her." There is a rule in the Rahman household: they may live next door to his studio, but he never brings his work home. "We don't want any suggestions from within the family," he explains, "only objective opinions."
  
  For the past two years, therefore, Rahman has kept one foot firmly in Indian films while the other toed cautiously on Broadway or Hollywood. "This way I have a choice—I can take the cream of that and the cream of this." It has its perils though, as Rahman is discovering. To be a composer in the West "you have to be based there. If I am based in London I would be getting much more work than I'd be getting if I based myself in Madras. Unless you are very important, they don't chase you." A piquant situation for a composer who has India's top film directors and music companies lining up at his door with bagfuls of lucre, amounting, some say, to several crores a project. As he points out, "what we have going there is because of this. The whole charm of that is because of what I have been doing here for 10 years."
  
  And what we have going there, according to Rahman, is big. "Hindi film music has become quite the in thing now over there. There are so many Bollywood bars around; with projections of Shahrukh Khan and Aishwarya singing and dancing. Films like Lagaan and Monsoon Wedding doing very well on the international circuit has just added to the charm." In a way, although Rahman is too modest to boast, he is the Ravi Shankar of our times. "Two-three decades back, it was the music of people like Ravi Shankar, Zakir Hussain and L. Shankar that was popular in the West. They had ragas and complex rhythms. But I think what's happening now is that mainstream commercial music is getting very popular—bhangra and Hindi film music."
  
  Curious, isn't it, that a music that borrowed so heavily from western pop is now being exported back to them? "They are even sharper than us," he says".We may have borrowed certain things, but there are a whole lot of elements in the music." Rahman should know: in his early days, he worked not only with the likes of classical Indian musicians like Ustad Zakir Hussain and K. Vaidyanathan, but local rock bands as well. But still, according to him, Indian music has a long way to go. "We ought to push ourselves a little more, to go further—in sound, in production and in professionalism. You don't want to be inferior to anybody in the world, see? If you have to do something, you have to be better than them. Otherwise, don't do it. If you have to do it, you have to go further than what's already been there."
  
  This may sound like something any ambitious young man on the make would say, but Rahman insists he never plans for tomorrow."I feel every day and every moment is given by God. Nobody knows whether I'll be there tomorrow or next year, so better not have ideas about it." God, in fact, keeps cropping up in Rahman's conversation as naturally as if he were a close family friend. Or like his father, a music composer who died when Rahman was only 11, leaving the little boy to shoulder the family's many responsibilities, including earning a living and getting his two sisters married. His father's death led to another major change in his life: he converted to Islam, a faith he has steadily adhered to, saying his namaaz five times a day on a prayer mat that he spreads out in hotel rooms across the world. His religion, he says, makes him a free man. "It helps me to take success and failure in an equal manner, rather than by jumping with joy or brooding."
  
  So where does his maniacal drive come from if all he ever wants to do is, as he puts it, "chill out, just hang around, do nothing, listen to my favourite music—Bach, Mozart, Beethoven, the Carpenters, Carnatic, rock and fusion". It's not about him, he explains, it's the work. It comes and "sits on my head". "It's a cycle, see? Something comes out well, there is another something waiting. You want to say, 'I don't want anything, I want peace', but life hooks you up and once you take it, you don't want to mess it up. You want to save yourself from humiliation and you push yourself hard."
  
  
• From: aarthi manohar (@ 61.11.77.35) on: Wed Nov 27 06:28:24 EST 2002
  
  i would like to download AR RAHMAN's airtel music to my mobile.can u please send it to the number 98402 64020.
  thank you
  
  

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