The Year of the Mozart from Madras

2008 has truly been a year of Rahman (and if I may add here, in total contrast, 2008 has not been a year for Ratan Tata). For Rahman, the year started with the intimate music of Jodhaa-Akbar, and ended with the indulging music of Gajini. And mind you, Rahman had no less success throughout the year, with music for movies, such as Yuvvraaj and Jaane Tu Ya Jaane Na, a huge hit. Clearly, Rahman has replenished the ink of his seal on Bollywood, and no wonder, has compelled all directors to sing to the tunes of “No body can dance in front of me salla.”

            But, for me the greatest achievement of 2008 for Rahman has come in the form of Golden Globe nomination for Best Original Score for Danny Boyle's upcoming film Slumdog Millionaire. The Golden Globe nomination proves that Rahman’s music really doesn’t have any boundaries, however, in retrospect one may argue that Rahman’s music has always connected to a global audience, with successes like Elizabeth, and Bombay Dreams.

            All be it, this time it is a bit different. The music of Slumdog has startled the global audience, with critics acknowledging that the music is global with no inspiration of Bollywoodism, this despite some of the tracks being overwhelmed with Hindi rhymes. The “globalism” of Rahman’s music may be acknowledged by considering the fact that M.I.A (real name Mathangi 'Maya' Arulpragasam); a famous UK based pop singer of Indian origin has made her way out with Rahman with her UK No.1 track, the Paper Planes, included in this album.

 And mind you, those who have had a chance of listening to Slumdog’s Music, which is slated to release in India in January next year, will agree that Rahman has indeed created a masterpiece. The music has the usual “Rahman kick” with his trademark pulsating background scores mixed with superb experimentation.

This time, the experimentation performed by Rahman is captivating. Rahman has displayed brilliance by including some unusual (but common) sounds. Moreover, he has been brilliant in fusing Indian classical overtures with cool western beats. For example, the best track in the album for me “Mausam & Escape” exemplifies Rahman's fusing brilliance. The track starts with a brilliant note on the Sitar, then moves to a fusion of beats therewith, and concludes with a duet of beats and violin. 

However, after listenting to such experimentation, one may ponder that will Sumdog’s music satisfy the taste of Indian listeners? I believe, Rahman this time has created a music of global genre, and he should be rest assured that the Indian listeners are matured enough to accept and appreciate it.