U DESCRIBED THE ALBUM AND THEN THE SONG SO WELL.....U REALLY KNOW WHEN TO USE WHICH WORDS... I CAN ONLY EXPRESS BY SINGING AND DANCING I COULD SEE ALL MY EMOTIONS WELL DESCRIBED BY U I FEEL THE SAME FOR THIS ALBUM AND THE NUMBER. "KHWAJA" LEAVES ME DANCING IN CIRCLES.... JUST AS IN THE MOVIE [MESMERRISED....ENCHANTED IN DEVOTION] MANMOHANA LEAVES ME PINING FOR THE ALMIGHTY AND MAKES MY SOUL SURRENDER FULLY. THANX A LOT FOR THIS MAIL AND THANX A MILLION AND MORE TO ARR FOR RECONNECTING ME TO LORD.
NILIMA On Fri, 04 Apr 2008 Vithur wrote : >There are few Rahman albums which have been as consolidated, mature and as >well-made as this one. Of the several songs in the album, I like two songs >much, and one of them intensely. One of the songs which I like in this album >is Khwaja Mere Khwaja, which is a Sufi number rendered immaculately by >Rahman in his own voice (the veteran director is really putting his voice to >the test a lot more these days, which is nice to see) and rendered to the >sound of harmoniums, clapping and a lilting, rhythmic, periodic base (as is >typical of Islamic music). > >The song that I really have my kudos saved up for, is *Manmohana*. >Atmospheric, mysterious, deep and reflecting a sense of separation and >sadness, this number more than ever exemplifies why Rahman is a great artist >equally with numbers based on classical tunes and ragas and rapidly >approaching his proficiency in rendering westernized tunes to mass >audiences. There are so many great things about this song, that it makes me >want to list them down, so here I go: > > 1. *Bela Shende's voice. *Excellent effort, reaching very high pitches > that only a very well trained female voice can achieve. Great vocals > throughout the song, but particularly in the alapanas, where the choicest > parts of Sindhu Bhairavi seem to have been cherry-picked and rendered to > create an atmosphere of perfection, mystery and ennui. > 2. *The mysterious flute.* Just another of the aspects of the song > which create an atmosphere of mystery,Rahman's use of the flute here is > exemplary. > 3. *The rhythm synthesizer *(presumably)*. *Rahman and synthesizer > music usually go hand-in-hand. What stands out in this song is the level of > complementarity that has been achieved between the flute, the vocals and > the > onset and fade of the deep rhythms. > >If I were to list one part of the song which could have been better, I would >say that it could have been ended on a better note (literally). The song >starts off opulently and trails off nonchalantly, which alludes to certain >moods. Sadly the ending of the song doesn't maintain the atmosphere created >by the rest of it, or transcend to another style or terminate it gracefully >- it just whittles away, and that's the only thing about this song which >could have been better. Even here, Bela Shende's voice stands out. However, >the ending could have been more ornamented, perhaps with the tabla beats >coming through until the end. > >I tried playing this song on my guitar (as I try with nearly every song I >like these days) and managed to get parts of the song right, even though I >cannot admit that a guitar rendition would do justice to the elaborate >mental landscapes created by the song. I enjoyed playing the song of course, >but not as much as I enjoyed listening to it or humming it. Anyhow, there's >always room for improvement with the guitar, and tomorrow's another day, so >to speak. > >To wind up, I'd say that these are two songs that will be on my play list >for some time now. >http://philramble.wordpress.com/2008/04/04/jodha-akbars-music/ > >-- >regards, >Vithur > >Whatever God wants to give, no one can deny; Whatever God wants to deny, no >one can give. Be happy always
