![]() The initial cues for Rang De Basanti were written in a week because Prasoon (Joshi) and I instantly connected. “Each lyricist brings his own brand of inspiration. He explains that’s why he was happy doing Raanjhanaa, “I played with UP folk tunes and utilised tabla, dholak and shehnai, in essence bringing in the Benarasi essence which had been missing from film music of late.” He reiterates the importance of getting on the same page as the lyricist. You can do different stuff but not always. ![]() Ajay-Atul have it, especially in their Marathi songs as in Apsara. The bread and butter songs.” RD Burman’s off-the-beaten-track approach balanced out the uniformity shown by other composers in ’70s and ’80s. Like something Laxminkant-Pyarelal employed or what Nadeem-Shravan did. “They have their own sound, I like what they do but it’s also important to have that classic film melody in your repertoire. It’s lovely to see the younger generation coming up with great stuff.” He’s said to have inspired a revolution among the younger lot and an Amit Trivedi or a Sneha Khanwilkar can be said to be offshoots of the ARR movement. “I hope it’s not true as a sense of competition always puts you on your feet. I wouldn’t be able to achieve so much without them.”I tell him he enjoys a sort of reverence among composers, in that he’s gone beyond envy. Skype also keeps you in sync with people across the globe. “I can listen to a recording via videoconferencing and tweak it from 15,000 kilometers. He says he finds it difficult to multitask, though paradoxically technology has made it easier than before. I recently refused a movie because they were giving me just three months for the music.” People have this perception when they come to me that I can do things in a jiffy, which I can’t. Because things can go wrong and you need to go back to the drawing board and straighten things out. I’m particular that the voice should have a strong character,” he says adding, “It’s important to have time when you experiment with new voices. “There are so many fresh voices that you don’t know who’s singing what. He admits his passion for new voices but admits that the scene is cluttered now. Rahman says both the singers have the ability to light up a piece. Then arranger Clinton Cerejo, whom we don’t hear in Mumbai films, has sung some memorable songs for him down South. ![]() One remembers him using Bosnian singer Alma Ferovic, whom he discovered while composing the musical adaptation of Lord Of The Rings in Rockstar. Rahman does have a yen for new, untried voices. Another fresh voice Shewta Pandit, who has been singing in his shows, is introduced too. His favourite song from Highway is Implosive silence sung by newbie Jonita Gandhi. My version is for the promotional video and perhaps the end credits.” They sang it beautifully and captured the soul of the lyrics. “So we recorded it in their voices for the version in the film. The MTV guys showed me the segment and I immediately contacted Imtiaz.” The song initially was just in his voice but sounded, ‘a bit aggressive’ for the film. And once you start respecting something you absorb it easily.” The film’s version of Pathaka guddi has been sung by folk sensation Nooran Sisters (Jyoti and Sultana). That’s one of the reasons I like singing in other languages, listening to other languages. “Some people have this thing about who is superior, who is inferior. He says he doesn’t believe in the North-South divide. Admirably, he’s hit the spots in this Punjabi song. ![]() He comes up with great imagery,” he says. Ask him about how he got the diction down pat and he reveals, “Irshad explained the lyrics and made sure I was saying them right too.
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