HE describes his last three scores for Swades, Kisna and Netaji Subhash Chandra Bose: The Forgotten Hero as a giant leap. ‘‘They weren’t 50 per cent samplers,’’ says AR Rahman, ‘‘They were 80-90 per cent raag-based, and I got a chance to grow. The Czech film orchestra (in Bose) was also one such instance.’’
His latest compositions for yet another epic Mangal Pandey: The Rising take time to work their magic. Mangal Mangal doesn’t leave you as elated as the Lagaan numbers did, though singer Kailash Kher loses himself in the track, reaching some unknown place within himself. ‘‘It’s a mix of an abhang (devotional song) and an aalhaa, and it changes colour through the film,’’ says director Ketan Mehta.
An aalhaa is a folk-style rendition (popular in Uttar Pradesh, Madhya Pradesh and Rajasthan), traditionally used to rouse the warrior spirit. ‘‘The song plays the role of a sutradhaar (narrator) and appears at various points of the film,’’ explains lyricist Javed Akhtar. So, there are three variations (there were four to start with). Our favourite is the Aatma version, with Sukhwinder Singh and Kher.
Main Vari Vari is a superb mujra, with a jhalak of Bombay’s Kehna Hai Kya, and Kavita Krishnamurthy has never sounded sweeter. ‘‘We were struggling with this mujra based on a thumri,’’ says Mehta of his favourite pick. The Chennai-based composer says the change in the lyrics proved challenging. ‘‘Initially, Main Vari Vari was Mujhe Maro Maro, Mujhe Maro Na,’’ he says. ‘‘Since Devdas had Maar Daala, I suggested the lyrics be changed.’’
The much talked about Holi Re, with Aamir Khan’s vocals, has good pickup, the usual festive euphoria and meanders into a ’60s strain in the line Rang ki hai ghata, man jhoom utha.
The sexy, Spanish-flavoured Rasiya brings in Richa Sharma whose vocals throw up an image of a voluptuous village belle. The percussion and string section bring back the sound of Chanda Re from Sapnay.
Al Maddath Maula is another experiment (a la Zikr in Bose). Rahman has an affinity to Sufi and spiritual numbers and, not surprisingly, he sings for this one too.
None of these might eventually be commercial hits. ‘‘In a way, it does affect me,’’ admits Rahman. ‘‘I know people feel the void due to the lack of fast-paced shows.’’
Why haven’t we heard another album of chartbusters like, say, a Taal, a Rangeela or even a Yuva from the biggest name in Indian music? “There are two young films coming up,’’ he says, listing director Rajiv Menon and scriptwriter Abbas Tyrewala’s upcoming ventures. And adds that Rang De Basanti also has some peppy tunes.
Mangal Pandey is a curiosity pick or an album for Rahman fans—the masses may not rise to the occasion this time around.
But there’s good news for those who love it. Look out for a CD of the film’s background music, due out next month. ‘‘For Bose, we had it all in one,’’ says Rahman. ‘‘It was all mixed up like sambhar.’’