A: I'd say that's 100 per cent true for everyone. You are only a channel. But the channel is not consistent. Constantly, you have to be in a pure state, and then you find the music comes to you naturally. You can learn music, you can learn technology. But beyond all that, music is a spiritual experience.

Q: How do you attain this pure state? Through prayer?

A: Prayer, yes. Definitely. And you also have to remain in a vacuum... by completely uncluttering your mind.

Q: How can you create the vacuum amid various demands, meetings, phone calls?

A: The vacuum is not a physical one. All this could be happening to you physically but your mind could still be in a vacuum. Of course, I would like to spend much more time in this state than I currently do.

Q: How would you describe your sound of music? You know, I'd hear youngsters say they don't like film music. They couldn't identify with film music. Nor did the elders who'd keep talking nostalgically of marvellous melodies and lyrics of the bygone days. I wanted to create something that would appeal to both the generations. A young new sound. I was influenced by the fusion sound of a band called Roots. I played on that band with Shiva Mani, Raja, John Anthony and Jojo. We gave just one live performance at the IIT.

Q: But it is said you pay scant regard to lyrics and that you are more preoccupied with rhythm.

A: You must have heard that in Mumbai. With dubbed lyrics, you are bound to get that feeling. Dubbing Hindi lyrics over a Tamil song is so artificial, so put-on. It's like serving South Indian food in a North Indian style. It's neither here nor there. At the same time, dubbing has been a mixed blessing; it has given me much wider exposure. A subject like Roja found empathy even among audiences in North India. So did Bombay. But Jeans, which is a superhit in the South, hasn't struck a chord in the North. I think Mani Ratnam was right in not dubbing Iruvar.

Q: When you were accused of being repetitive, you retorted by saying that the accusations were getting repetitive. But don't you think you've been slotted as a certain type of composer?

A: I began with Roja, which had a lot of feeling in it, it was very innovative. Two films later, I did Gentleman and (the song) Chiku buku raile was a huge hit. With that song, I was slotted as a rhythm machine. Producers wanted something like that because it had worked and seemed like a sureshot hit. Everyone wanted to go through the tried and tested route. Yet, I tried to be honest to my craft.

Q: So how did you break away?

A: With offbeat films like Fire, Andimandrai which I think had music with soul. And Vande Mataram.

Q: Yes, Vande Mataram. In Maa tujhe salaam, you once say Amma tujhe salaam. Were you singing to your mother?

A:Yes. The entire song was pure and full of respect. While the scale was national, it needed the intimacy, the feeling that you are saying it to your mother.

Q: You collaborated with Nusrat Fateh Ali Khan on Gurus of Peace. Given a choice, who would you collaborate with today?

Q: I don't want to collaborate with just a name. I must feel something for the person and relate with his work. I've seen several famous names collaborating on songs and albums, but they remain just two names. There's no chemistry. It's like oil and water. They can't come together.

Q: Which musicians have influenced your work?

A: There are so many. When I used to do ad jingles, there was Leslie Lewis, Rajit Barot. Then there's L. Subramaniam, L. Shankar, Viji Menon, Dave Grusin... actually there are so many it's impossible to name all of them. But you know, I was always more inclined to do background scores than songs.

Q: How do you keep in touch with the latest trends in music? Or don't you make a conscious attempt?

A:I don't make a conscious attempt. The producers, the directors who come to me get stuff with them and say this is what people are listening to. Or if I compose something close to what somebody else has already done, they point it out. (Laughs) The producers do the research.

Q: Do you normally hear a film's script or do you go straight into the song situation?

A: Earlier I wouldn't bother. I used to trust the director. Because I felt it was his film and he was in control. At times, what I considered a bad scene was salvaged by good execution. But at times, good scenes were ruined by bad execution. These days, however, I get into the script, especially with the newcomers. Because I'm a part of the film whether it clicks or flops.

Q: When and where do you listen to music?

A: In the car. Or when I'm out of town, I see the V-Channel stuff at the hotel. I usually avoid listening to music while I'm working because it can get distracting. It can spoil the natural rhythm of work.

Q: What is it like working with Mani Ratnam?

A: Mani Ratnam is where I started. My attitude to work is influenced by Mani. He is like a brother and a teacher rolled into one.

Q: What was it like working with Asha Bhosle?

A: What can I say? She's a legend. Her voice is so young, so naughty. She's constantly improvising.

Q: You encourage improvising?

A: Absolutely. My recordings are very non-linear. Each track is taken solo. The artistes and musicians can keep improvising till the space on the hard disk runs out.

Q: You keep improvising with sound as well?

A: All the time. I keep trying new instruments. I've used a dobro guitar for Dil Se. I used a blues guitar in Mustafa mustafa. For Telephone telephone, I used an ooud, which is like a mandolin.

Q: If you can change one thing about the film industry what would it be?

A: I'd try and impress upon people that you can never say one system will work forever. What works for one film may not work for another. All you can do is strive for honesty in your work. I'm trying not to get into a set pattern. Earlier, I would insist on working only from my studio. But now I record in Mumbai, London, I just take my portable multi-track system with me.

Q: Have you ever seen youngsters dance to your tracks at a disco?

A: I've never been to a disco.

Q: How do you feel when you hear your music playing in cars, cabs, rickshaws, wedding mandaps?

A: I feel responsible. (Laughs) I feel, am I spoiling everyone? When I think of how crazy people are about films, I wonder if films, sometimes, are obstructing the progress of life. There's so much to do. Then I feel, people work so hard that they need a break.

Q: Do you enjoy singing?

A:Yes, very much. I even sing out tunes to my musicians.

Q: Why don't you sing more often?

A: It's a different discipline. You have to do a lot of riyaaz. I need to do a lot more of that.

Q: Does your daughter listen to your music?

A: Yeah, yeah. These days she keeps asking us to play Chhaiyan chhaiyan from Dil Se.

Q: Do you sing to her?

A: (Blushes.)

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