A.R.Rahman (Fan Club)-Part2 - Page 49

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Originally posted by: Jaseeka

I will try everything to fullfill her last wish!!!

Thanx badi to inform us!!

Thanks so much for your support and I appreciate it very much. 😊

Thanks Badi .. count me in as well .. I am gonna help this reach to 150th page as well ..

A.R. Rahman, The Music Genius, in fact A.S. Dilip Kumar, was born in a family of music with his father K.A.Sekhar, renowned music director in South India composing music for films in the early childhood of A.R. Rahman.

After the death of his father, A.S Dilip Kumar, renamed himself as A.R. Rahman for his strong faith in ISLAM, began playing key boards at the age of 9. At the age of 11, he was giving accompaniment for under the likes of "IlayaRaja", "M.S.Vishwanathan" and "Ramesh Naidu". The guide lines given to him by these great music directors and the knowledge in music he gained through working with these music composers placed A.R. Rahman in a right place at times of difficulty.

Through all the hardships he faced, he managed to qualify for the scholarship in Trinity Music College Of London. Afterwards, he returned to India with a dream of bringing an international and contemporary world perspective to Indian Music. He put up a state of the art sound and recording studio and began experimenting in sound engineering, sound design and sound production by a collection of sounds creating one of the most comprehensive sonic libraries in ASIA.

A.R. Rahman had to start his career as a commercial music director composing jingles for ad campaigns that include leading Indian Corporations as "Parry's", "Tata", "Titan" and others for six years until when, at a party, he was, quite unexpectedly, previleged to be introduced to one of the best directors in India, Mani Ratnam who had given him a chance in his movie that launched A.R. Rahman's debut and amazingly shot him to the limelight.

In a music world dominated filmi scores, A.R. Rahman has scored about a dozen hit films in a span of eight years, whose audio sales crossed 2.5 million units. The first movie, "ROJA" fetched A.R. Rahman the "National Film Award" in 1992 and thrust him on to the top place. In 5 years since, he scored music for a lot of block buster films namely - "Pudhiya Mugam", "Gentleman", "Kizhaku Seemalyilae", "Duet", "KADALAN", "Bombay", "May", "Madbam", "Indian", "Mutbu Kadal Desam","Love Birds", "Jeans", "Oke Okkadu", etc,.

In 1995, his sound track for "Bombay" crossed sales of 5 million units signalling A.R. Rahman's arrival as the "King of Indian Pop" with sales of more than 40 million albums over a period of three years. Today, A.R. Rahman is the heart throb of the music world and all time great music directors in the field. He, in "ROJA" proved that the traditional tunes too could touch the hearts. And songs as "Thiruda Thiruda", "Gentleman", "Rangeela", "Kaghal Desam" and "Minsara Kanavu" established him as a prodigy.

A.R. Rahman, being very much religious and totally dedicated to his craft, has a great love for music of different traditions. "Bach", "Beethoven", "Mozart", "Reggae", "Rock" and "Carnatic" music are his first priorities. His inspirational, infectious numbers won him a lot of praise in India. The Tamil movie "Minsara Kanavu" earned him the award for "Best Music" in May '97. He has been honoured with a "Rajat Kamal Award" for "Best Music Director", "The FilmFare Award", "Cinema Express Award", "Telugu Academy Puraskar Award" for the year 1992-94, "Bommala Nagi Reddy Award", "Sumu Award", "Rajiv Gandhi Award" and etc,.

A.R. Rahman has been hailed as a music genius by world artists including "Nusrat Fateh Ali Khan", with whom he performs a duet in his first pop album, Vande Mataram. He is involved in projects with "Zakir Hussain", "David Byrne", "Talvin Singh" and "Apache Indian". Internationally too, A.R. Rahman has remarkable recognition that "David Byrne" was so impressed and asked him to take part in a few sessions for his new project. Personally, A.R. Rahman has a passion to sing in the filmi tracks. Vande Mataram, his first pop album is the first to showcase him as a singer and his ambition to place his sound track on the world music stage. A concert was held in "Kaula Lampur" in Oct 1965 where he performed in front of a crowd of 45000.

As an individual personality, A.R. Rahman leads an extremely devote religious life and credits all his musical inspiration to ALLAH. He comes across to say, " music speaks, statements don't and none can completely be original because the notes are already there: from the notes we form a rag and from rag a tune. It's the methodology. As far as i can, to my conscience, I try to be original. The rest is upto ALLAH". As A.R. Rahman takes his new project, Vande Mataram, to the world, he reflects on his immense popularity on the sub-continent and the globe as he says, "music is international - only cultures are different". A.R. Rahman, 30 years now, has still a long way to go ahead.

http://celebs.ceeby.com/directors/ARRahman.cfm

Here are some futher music of him (in films):

Aezhumalai vs Chita (2007) (in production)
Rockstar (2007) (announced)
Lajjo (2007) (announced)
Chamki Chameli (2006) (pre-production)
Jaane Tu Ya Jaane Na (2007) (pre-production)
Jodha-Akbar (2007) (pre-production)
London Dreams (2007) (pre-production)
Satyagrahi (2007) (filming)
Sakkarakatti (2007) (filming)
The Golden Age (2007) (post-production)
Guru (2006/I) (post-production)
Shivaji: The Boss (2006) (post-production)
Yahan Ke Hum Sikander (2006) (completed)

Originally posted by: A.S.P.I.R.E

Thanks Badi .. count me in as well .. I am gonna help this reach to 150th page as well ..

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Music Review

A Yash Raj Films presentation. A Mani Ratnam creation. An

A. R. Rahman musical. After seeing these lines flash across the screen during Saathiya's trailer, I was certain that the soundtrack for the film would be something to look out for. My anticipation built further when I learned that Gulzar was writing the lyrics. Alas, my anticipation ends - sadly however, with a bit of disappointment. When the above mentioned names are involved in a project, the results are expected to be spectacular. However, Saathiya's music doesn't belong in that league. It's hard to believe that the individuals (Ratnam, Gulzar, and Rahman) who were behind the best Hindi film soundtrack made during the last five years (Dil Se..) are also the creators of these songs. Sonu Nigam's syrupy sweet vocals do wonders for the title track. Gulzar's lyrics are a breath of fresh air and he seems to be in fine form here. Rahman has created a very soft and soothing number, and Shaad Ali seems to have done justice to it by picturising it beautifully as it's evident from the trailers. Chhalka Chhalka Re, sung by Richa Sharma, Mahalaxmi, Vaishali, and Shoma, is also one of the better numbers of the album. The song starts off slow and the pace picks up slightly as it moves on, and the transition is a highlight. Adnan Sami sings for Rahman for the first time in Aye Udi Udi Udi. Sami goes overboard with his rendition and sounds overly energetic at times. He needs to remember the difference between singing for pop albums and soundtracks. A singer like Sonu Nigam may have made a better choice. O Humdum Suniyo Re is sung by Kay Kay, Shaan, Kunaal, and Pravin Mani. It's really hard to distinguish between the singers in this song, mainly due to the fact that the song doesn't have many lines. It can be best described as a theme song, and definitely one of the few highlights of this album. However, the idiotic rap piece (do they celebrate Halloween in India?) does hamper the quality of the song. Mangalayam is the second (and shorter) version of the song and more preferable over the former. In today's world of Hindi film music Gulzar is probably the only lyricist (along with maybe Javed Akhtar) who can do full justice to a Sufi style/Urdu based song. Precisely that's what he's done in Mera Yaar Mila De. Rahman takes the mike himself this time, which turns out to be a big mistake. Though Rahman has sung nicely before, here his uneasiness with Hindi/Urdu pronunciations is evident - and that significantly affects the quality of the song. Sadhna Sargam is seldom heard these days. Hearing her in Chupke Se and Naina Milaaike is a welcome change from the numerous Alka Yagnik numbers we're so often subjected to. Both songs are pleasant and Sargam does a fine job with them. The chorus (Murtuza and Qadir) in the former are a definite plus for the number, Madhushree also joins Sargam in the latter. Asha Bhosle and Karthik sing the finale Chori Pe Chori. The fast paced song did have potential to be one of the better songs of the album. However, the unwanted and inane rap pieces just made me want to reach for the "next" button. I have never been in favor of using English words in Hindi film songs for the obvious reasons. This song is a good example of what kind of damage can be done to a potentially listenable song with "wannabe" elements.

Saathiya had potential to perhaps be the best soundtrack of the year, which it certainly isn't. However, it must be mentioned that Saathiya is still a decent album. Being an ardent A. R. Rahman fan however, I must say that it's not normal to associate the word decent with a maestro like Rahman.

http://www.planetbollywood.com/displayReview.php?id=04280603 2204

Music Review

When he debuted in 1993 and reinvented the sound of Indian film music with "Muqabla", "Urvashi", and "Humma Humma", the media christened him, the "Music Storm". In a recent interview, Allah Rakha Rahman spoke about the growth of technology in the music field, admitting that in today's times, it would be extremely easy for him or any other composer to create the kind of music that made him a phenomenon. As a result of creative reinvention, one has seen Rahman experimenting with his sound in recent years, seeking out and working with directors who have the ability to challenge him: Ashutosh Gowarikar (Lagaan, Swades), Mani Ratnam (Peck on the Cheek, Yuva), M.F. Hussain (Meenaxi), He Peng (Warriors of Heaven and Earth) and Sanjay Leela Bhansali (the upcoming Bajirao Mastani). Commercially favorable, chartbusting rhythms have given way to artistic, classy melodies, eclectic sounds, and diverse orchestral arrangements recorded with philharmonics world over.

Shyam Benegal's mammoth-budget, historical war-epic, "Bose - The Forgotten Hero" in a way, completes Rahman's transition from a music director to a maestro. "Bose" obviously is not a conventional, six-track filmi soundtrack, but rather a 20-track album with 7 vocals and 13 tracks from the film's score that immaculately express the mood and scale of the film. Rahman opens the CD with his own vocals in Aazaadi, destined to go down as one of the finest patriotic songs ever written. Rahman's singing brings back the passion of his very own Maa Tujhe Salaam. The orchestration this time is grander and far more sophisticated, with Chennai's Western Choir adding a larger than life, feverous touch to it. Javed Akhtar's poetry captures a man's excitement at finding out that he is not alone in his struggle for freedom. A classic. Vijay Prakash and the Mumbai Film Choir take over the second track in an inspiring marching song, Kadam Kadam Badhaye Jaa. The brasses of Rahman's orchestra sound themselves in all their glory, adding an epic feel to Javedsaab's description of the road to freedom. The Mumbai Film Choir returns for Hum Dilli Dilli Jaayenge, another marching number about Netaji's leadership and the quest to march the armies to Delhi. Rahman controls the thematic consistency in this number by using the tune of Kadam Kadam as his bass track. Instantly catchy and very inspiring. Ekla Chalo begins with a soft Bengali prelude by Nachiketa Chakraborty. It's mesmerizing tone sets up the mood blending Sonu Nigam's soothing vocals. Javedsaab elevates his lyricism to new heights through this call for unity. Ditto for Des Ki Mitti about Subhash Chandra Bose reminiscing about his land. Once again, Sonu Nigam shines with his hypnotic rendition. These numbers will grow on you as you delve deeper into Javed Akhtar's masterful poetry. Rahman returns to singing with Rafi, Rakeeb, and Sahukar Ali in Zikr. Listen deeper and this call to Allah asking for forgiveness, peace, and unity with send you into a trance. The powerful vocals carry more of a chant than a tune, and are set to a steady rhythm of membranophonic percussion. The lyrical plea may take a few listenings to understand in its entirety due to the chaste use of Urdu, but this is a very powerful track. Ghoomparani is the last of the lyrical tracks in the album, sung by Sapna Mukherjee and Satyanarayan Mishra. A mother's lullaby for her child, the lyrics speak of great dreams she foresees for her son. A soft, melodious number with addictive interludes in Bengali. The thematic score section of the CD begins aptly with the Durga Puja Rhythm, a traditional piece with heavy percussions and shehnais. Diversely different from any of Rahman's earlier thematic pieces, this one oozes with spirit and energy. Netaji Theme showcases Rahman reinventing himself to reach alternate dimensions as a composer. The signature strings and choir retreat into the background, creating a warm ambience for the flute to lead, impeccably supported by the clarinet. The theme repeats towards the end of the CD in a slightly different version led this time through string solos. The "Mozart of Madras" at his best. The two Afghanistan Themes carry an eerie, epic-scaled feel, with pronounced percussion and razzy vocals. The Arabic style strings drive the piece with a keen Middle-Eastern flavor. Stunning vocals in the shorter, second theme exemplify vintage Rahman. Hitler Theme is an uneasy piece with short orchestral bursts, with a heavy dose of strings and timpani crescendos. As any piece of music trying to create an aura of Hitler's Germany would be, this too is a discomforting composition in the minor key. The two tracks titled Emilie Theme 1 and 2 are soothingly resonant western classical pieces. A stunning blend of violin solos backed by French horns and clarinets, these compositions and orchestrations would make any composer proud. War Theme and U-Boat Theme as the titles suggest, are pieces of the score for what could presumably be war sequences in the film. Rahman liberally plays with his brasses and timpanis as the strings help alternate the pacing of the piece between victory and tragedy. The orchestral versions of Kadam Kadam Badhayeja and Mere Desh Ki Mitti are not merely instrumental versions of their originals but rather orchestral interpretations that vary quite significantly. Short and sweet. The CD closes with Rahman's orchestral rendition of the national anthem, Jana Gana Mana. Undoubtedly, the finest version of the national anthem ever presented, this one is grand with heavily complex arrangements. Don't be surprised if this is the version that is used henceforth to represent Jana Gana Mana in its instrumental form at least. Spectacular.

"Bose - The Forgotten Hero" is one of A.R. Rahman's and Javed Akhtar's finest creations. It's lack of mainstream compatibility and item numbers may hinder it from topping tabloid music charts, but that is barely a price to pay for having the distinction of creating musical storytelling of such high caliber. With three creative geniuses (A.R. Rahman, Javed Akhtar, and Shyam Benegal) at work, this quality soundtrack promises a very exciting movie to watch out for.

Music Review

In todays Hindi music industry creativity is lacking. Nadeem-Shravan, Anand Milind and Anu Malik lack it the most. A.R. Rahman proves that he doesnt belong in this category, as he comes around again in Mani Ratnams Bombay. Although having the same style as his previous accomplishment, Roja, the songs are distinctly different. Three of the songs have parts that sound like "Rukmani Rukmani", from Roja. But the rest of these songs completely change.

The standouts in this album are "Ek Ho Gaye Hum Aur Tum" sung by Remo Fernandes, a hit in India, and "Tu Hi Re" beautifully rendered by Hariharan and Kavita Krishnamurthy. The first of these sounded like it could sound like "Rukmani" later in the song, but it turned into rap/middle eastern music with tabla in the background. Fernandes is great; he has no trouble in singing this fun song. The latter of the two songs, "Tu Hi Re", is completely the opposite. Hariharan renders the song beautifully and Kavita aids him with the normal nasal but greatly improved voice. This song is slightly similar to Rojas "Yeh Hassen Vadiyan" but, again, distinctly different. "Kehna Hi Kya", sung by Chitra, has a confusing Qawali beat that A.R. Rahman uses creatively, the music has the familiar dholak (from "Rukmani"), used as this beat. Chitra is her normal self, with extra voice-control, but she is not as great as her Roja hits. "Kucchi Kucchi Rakkamma" and "Kuch Bhi Na Socho" are sung by Udit Naryan, Kavita Krishnamurthy, G.V. Prakash, and Shardha, and Pallavi, Anupama, Shuba, Noell and Srinivas, respectively. You might think that the songs are a copy of "Rukmani Rukmani" at the beginning, but the first of the two changes to the sort of slow way, and the second adds a phrase to the chorus. In "Kucchi Kucchi Rakkamma", Udit sings with ease, Kavita sings with a convincing style, but the other two (children) are a little annoying, although I expect that some people may feel that they are "cute". The chorus is very similar (almost the same) for "Kuch Bhi Na Socho", with the children, so I had the same reaction to them as "Kucchi Kucchi Rakkamma". The music and beat in this song are better than "Kucchi Kucchi Rakkamma" but the singers didnt impress me as much. The 'Theme of Bombay', which is excellently done by A.R. Rahman, is just music. The music consisted of a flute, (wow what a flute!), bells, a constant ting in the background, and Kitaro-type sound effects. (Kitaro is a composer who creates relaxation music). Also there is a slow orchestra in the latter part of this song, making a nice relaxing finish to the music.

Overall, the songs are slightly similar to 'Roja', but vary. Bombay was a big shot for A.R. Rahman as he reached the "numero uno" position in the music industry, which was once occupied by Anu Malik, who is now declining quickly.

http://www.planetbollywood.com/displayReview.php?id=04210602 0210

Music Review

Dil Ne Jise Apnaa Kaha is one film I have been looking forward to. Why? Because it stars Salman Khan, Preity Zinta and Bhumika Chawla. Moreover, the music credits go to the recently popular Himesh Reshamiya and the musical genius A.R. Rahman. Of course, it is one of the most awaited films of the year. All the stars are riding high with recent releases. So, is the music good? Lets take a look, in order of the best tracks.

The soundtrack begins on a high note with the nostalgic title track Dil Ne Jise Apnaa Kaha. The tune is very simple and sweet, but you are instantly reminded of a semi-romantic tune from the 60s or 70s. Singing by Sujata Trivedi fooled me for a second because I was expecting Alka to step in, but she does an excellent job. A.R. Rahman is in top form keeping the guitar beats in the background and meshing different instruments together. Kamaal Khan also makes an adequate appearance on the track. Go Balle Balle is the highlight of the album. Yes, I am a sucker for the Hindi-Punjabi hip-hop song. You know the song is incomplete without seeing the choreography. The song is a teaser and will be enjoyed even more when its seen in the movie. The singing by both K.K. and Alisha Chinoy is good and should be appealed by all dancing maniacs. Jaane Bahara will have you pushing rewind, guaranteed. It is refreshing to see different singers infuse life to a song, where we would typically hear more familiar voices. Sadhna Sargam and Kammal Khan do a great job staying in tune with the melody. There is also an Instrumental – Dil Ne Jise Apnaa Kaha, but created by Himesh. It is different than the actual title track, which makes it for a good listen. Yeh Dil To Mila Hai will take a few listens before getting used to. Sonu Nigam and Alka Yagnik complement each other well, but it is a slow and refreshing number by Himesh. You'll either like it, or forward it. Meri Nas Nas Mein Tum Ho is typical romantic tune sung by Udit Narayan and Alka Yagnik. Just average for me! Zindagi Dua Hai sung by Madhushree, Gayatri, Kartik, Pamela Jain and Raquib seems like a situational song. The lyrics are interesting, but again, its not for everyone, because its sounds a little like someone preaching about loving life. Frankly, Kal Ho Naa Ho title track remains the best song on this topic. Bindiya Chamakne Lagi is a typical wedding song picturized in the promos with Bhumika and Salman. Alka Yagnik tries to save the song, but because we've heard this type of "shaadi" tune before, you will feel as if the song is getting tedious on the ears. Moreover, Udit Narayan sounds bored singing the song, but that could just be part of Salman's character, who has lost his love, Preity. But, I was disappointed with the end result. A little boring!

Frankly, thinking that Himesh and Rahman could mix something as good as Dil Se or Tere Naam will remain a dream. This should be in your collection because this year has not been the greatest in music. This album is a little above average, but still worth listening to once in a while.

http://www.planetbollywood.com/displayReview.php?id=04210603 1248