Mangal Pandey- Signs of saturation, yet a sign off in style

A.R.Rahman has had it with period films. I heard on one of the news channels that he has decided to stop working on them. So self-admittedly Mangal Pandey is going to be his last period film for quite some time and if this is the kind of work he does when he has had enough, then he should have enough more often! Now this album is not without the tell-tale signs of saturation, some minor indications as to why the man wants to stop, but it is still a sign off in style. I started hearing the songs emerging from the shadow of TIS and my initial reaction was whether I would have to denounce one of God’s creations. But after Al Maddath Maulah and Mangal Mangal, I am really and totally hooked.

Obviously, the centerpiece of the album is Mangal Mangal, which has three versions. You can’t exactly call them versions; the first two are sort of trailers for the grand finale. The percussion is overwhelming- cow bells, dhols, dhumris and add to that Kailash Kher’s earthy, throaty vocals and the result is magic. The Athma version seems to be the song that signals the break of the mutiny- if you note the ominous echoing drum beat, the cymbal crash followed by a war cry and Javed Akthar’s lyrics are awesome- Dhanya hai Bhaag har us mata ke jo aisa beta paye and Phansee tho lagti sirf than ko, kaun sapnon ko phansee lagaye. They can hang our bodies, but who can hang our dreams? Sounds as good even when transalated…

I have been bitten by the Sufi bug, and been bitten real bad and Al Maddath Maulah which I would call Zikr’s(Bose) twin is an absolute treat. While the latter had a dominant stand alone voice supported by a chanting chorus, the vice-versa is the case with the former. The voices blend in beautiful harmony which makes you sway in sync and when Rahman cries out Maula, you can’t help but put up your arms and bow in respect! Now, I am all eager to hear him do a tamil Sufi number.

Main Vari Vari,the mujra is exquisite and the effect is as though the entire Zakir Hussain family decided to have a Tabla fest. Kavita Krishnamoorthy is spectacular as always. However it is given a run for its money by Rasiya, a song that I think is fabulous and also surprisingly anachronistic. Rahman has always made a conscious attempt to get the appropriate feel for a period film both in his choice of instruments as well as tunes. But this song, especially the Mmmmm bits and Richa’s vocals sounded sort of new age to me.

Takey Takey which rehashes the Bhangra beat of Pagdi..(Legend of Bhagat Singh), is slowly likeable. But the biggest disappointment of the album is Holi Re which is sub-standard to say the least. If Rahman had a reason to think he had reached a period film creative block, then his must be it. Unimaginative, crassy rhythm, and a quarter-anna worth tune, this song does not belong in the album.

Now the one thing that bothers me is why Rahman, who took the pains of using such exotic instruments as the Dilruba, Oud and Kora(I am typing the last two from the credits, swear I don’t know what they are), wants to stick to contemporary music with his electronic gadgets for company. Beats me, especially when he is doing such a God-level job. Probably I heard wrong...really hope I did.