Such a MAN.
I owe him my life.
An Idol. God personified.
A R Rahman. I often indulge myself in a thought that how many miles long the procession line will be when he will die. His all fans will go fanatic. He has made us उपकृत. You go to heaven when listen his songs. May god grant him life of hundreds of working years so that he would shower this dulcets upon all कानसेन.
Such a use of Mishra Raagas, Beats, Local Folk Tunes (as good as SD, but I will post some other day on SD whome I literally adore ).
Remenber his Banjar hai sab Banjar ha?? (one from Saathiya) Mera yaar mila de.
You actually feel yourself scuffling through all thoughts, feel helpless. Such a sad thing gets over you and at the same time the need to meet her. To get her. Without that what is this life? I have to get her. See what I have become without her. My condition!! I am nothing without her. I must find her. Without her, whole life is worthless. (Such feelings you have only in one song. Song – Sham-e-gam ki kasam, Voice – Talat and music by Khayyam. Film Footpath, 1952)
Whatever mood you may be in before listening this song you become restless. I am calling her many times but she is not coming back. Not even looking back. But at the end when she comes… And music stops at a point. I am not talking about ‘point’ of time. I am talking about ‘point’ at which music stops. As if it is letting you fall down from precipice of emotions.
So basically what I mean by this is his songs are never ‘Flat’. They are concave-convex. There are always sensitive undulations. For that you need to create Drama. For which you have to be able to imagine Orchestra. Creating such a drama is not a child’s play.
And Orchestra… He is master of that. Orchestra. Gradually ascending speed and emotions. Keeping the beats constant and escalating emotions as it proceeds to an end is a thing that everyone must experience. He has used voices of masters like Lata and Asha as well as new voices according his need. Use of such voice does not create any need to manipulate the taal. Thats the most fine thing. Because Hindi film industry has seen many maestros who after being successful found them helpless without particular artist. We have C Ramchandra ( Baadshaha of hindi melody, many of us dont know that he was Marathi, Ramchandra Chitalkar ) who was unable to direct the music without Lata. Same was the case for O.P. with Asha. Both of them are masters. And here comes the greatness of ARR. He is a bit different. He is still the same. Insearch of voice for the song. Not is search of music for a particular voice. Ability. And moreover, confidence.
He literally goes form gaon to gaon. He goes to many melas and jatras. Looking for tunes. Looking for new voice. So he has not bound himself in the walls. And neither his music. See all the categories he has worked on till date. Aghast…!!!
And he is on ground.
He was born Hindu. But then got trapped in such a predicament, you may call it checkered fate ,he became Alla Rakha Rahman. I find a strange resemblanc. Tansen who is considered to be the greatest Hindustani Classical Music composer till date too was born Ramtanu Pandey. And then became मीयां तानसेन.
But India has always been like this for centuries.
(No conclusions drawn, No offense meant)
