hey CHORD.i m not getting the words for how to thank
yougiving such a fantastic review for boss's JA..and
that with all the raaga detailsthank you so much
--- In arrahmanfans@yahoogroups.com, Chord [EMAIL PROTECTED] wrote:
I have been waiting for what seems like eons to finally listen to
the
music of Jodha Akbar. From the very beginning when I first heard
of
the project, being a period film with Ashutosh as director, I
surmised and hoped that Rahman's best would be tapped once more. I
honestly feel that Rahman's best was not tapped in his recent Hindi
or Tamil efforts, but that is another debate (not that I don't
enjoy
his latest offerings). I have been very vocal about JA recently,
not
only because of all the delays (I needed to vent!), but also due to
cautious excitement in believing that something very special was
about to be delivered by our Boss. Like with all ARR albums, this
album has yet to fully absorb itself within my psyche as it's just
in
its infancy of release. Here are my opinions on each track as I
have
formed until now, possibly subject to some modification over time,
but likely to stick at its core
1) Azeem O Shaan - Song spells grandeur and pomp. Like the loopy,
punchy rhythm with some variations in between. Incredible use of
drums, percussion as Shivamani has outdone himself. Of particular
amazement if use of the the Japanese sword sound and rhythms in the
second interlude. That is so awesome. I like the chorus overdubs
too.
However, I found the track overall a bit musically dry with
little
musical interludes and emphasis more on rhythm, which may be
appropriate for the film situation. My least favorite track
relatively. (7/10)
2) Jashne Bahaar - Love the use of the Oud throughout this
beautifully crafted and melodically simple track. Simple, but
brilliant and heartwarming melody rendered to perfection by Javed
Ali, who has sung his best song to date with this in all
probability. I like his strong, clear voice a lot and he sings
with
good emotional strength. Love the intense Santoor flurry at the
end
of the first musical interlude preceded by a melodically beautiful
Oud solo. Rahman has used beautiful synth warm pads with soft
strings to create a texturally delicious aural backdrop and
soundscape to the song with his vintage trademark of delicate chord
sequences. 8/10
3) Khwaja Mere Khwaja - Wah! Kya Baat Hai Rahman Saab!!! I have
never heard Rahman sing in such pure classical form during his
frequent alaaps. Though we have heard him run away with sargams in
other tracks, he has delved into the heavier side of classical
singing with this piece de resistance of a track. The song builds
so
beautifully beginning with harmonium and alaap, transitioning to
the
chordal piano loop, eventually to tabla with madham khayal (medium
tempo) to drut khayal (fast tempo at the end). Love the claps on
the
downbeat rhythms. Last but not least, what an amazing musical
interlude as Rahman changes raagas from Alaya Bilawal to Kalingda
with use of what sounds like a flute and oboe combined. Gives the
interlude a strong middle eastern, moghul flavor. Rahman uses the
same interlude melody overlayed during the song's final stanzas
with
amazing harmonization that only a musical genius can accomplish.
Mindblowing track sung with great passion and devotional love.
(10/10)
4) In Lamhon Ke - Such a dynamic track, unusual in structure
without
sounding too experimental. Incredible singing by Sonu and
Madhushree
with breath-taking melodies. Arrangement wise, there is too much
going on for me to get into detail here. There are so many
beautiful
ornamental touches throughout the song with flute and santoor
weaving
in and out to create one of the most beautiful aural tapestries.
The
first interlude is mindblowing with heavy chorus rendering fast
taranas in raaga Desh followed by a heavy and dramatic antara with
raaga Kirwani following a crescending melodic contour with eventual
denuvement back to the main melodic theme. I wish the sitar piece
in
the second interlude was longer and more elaborated as it just
teased
a bit before Madhushree joins. She sings her part with such
sweetness and smoothness with incredible melodic lilt. (9/10)
5)Man Mohanna - When I first heard that there was going to be a
Bhajan, I was very happy as I loved the previous two Bhajans from
Lagaan and Swades. This track totally blew me away with its
intense
devotional rendering by Bela Shende and heavy classical style of
singing which is performed to perfection in raaga Mishra Bhairavi.
I've said before that I'm a sucker for semi classical forms of
music
and to me, nobody does it better today than Rahman in film
compositions. The instrumental interludes with flute and strings
create some of the
