:):):):):):):):):):):):):):):):):):):):):):)!!!!!!!!
--- In [email protected], Vithur <[EMAIL PROTECTED]> 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 >
