But would we have ever known about him, or even the sitar itself, had it not been for the Beatles in 1960s going all guru-India, George Harrison learning to play a bit and then incorporating sitar into a few songs? Probably not.
To take nothing away from Shankar’s obvious skills as a virtuoso sitar player, but I would bet that back then and ever since there were a dozen or more sitar players just as good. Harrison more than likely heard the sitar while tripping on acid and asked the maharishi, “Hey, Sexy Sadie, who’s the best sitar player in India?”
A few paisley-clad photo ops later with Ravi imparting his wisdom to the mystical Beatle, and George Martin had no choice but to allow the sound into “Norwegian Wood,” “Love You To,” and “Within You Without You.”
As a relatively ghetto-ized ethnic instrument, the sitar is perhaps not unlike the Highland pipe. In the 1960s and ’70s the sitar might have been heard on obscure folk LPs, but it was not part of the mainstream until the Beatles attracted millions of people to embrace it.
Maybe the pipes are waiting for a similar big break. What if the biggest pop act of today decided to make a serious pitch towards the pipes? What if Coldplay or U2 or the “Gangnam Style” dude sought out the greatest piper and hung out with him in the Highlands, surrounded by media, dressed in tartan, committed to making several songs that featured the GHB?
Imagine Stuart Liddell or Roddy MacLeod or Willie McCallum tripping with the Edge or Chris Martin or PSY beside the MacCrimmon Cairn as they diligently worked together on the scale and G-gracenotes, and then produced several massive hits that brought the pipes into worldwide acceptance as a “serious” instrument.
The pipes have been used in pop music, in one-off ways. But the pipes haven’t been an ongoing part of really big pop music, not in a Beatles/Harrison manner, with a champion for the sound, becoming synonymous with the instrument, played seriously and respectfully.
Sometimes an instrument just needs a big break.