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MUSIC REVIEW: Why Jodhaa works  What makes Jodhaa's music worthwhile is that
it showcases a rich culture  Abhishek Mande | Buzz18
 Last updated : Jan 24, 2008
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 An argument that a traditionalist recently put forth about Bollywood film
music was that it does not work without visuals. It wasn't something one
could refute because very often the hamming of a song's video on channels
makes it a 'chartbuster'.

However a sneak peek into the songs of *Jodhaa Akbar* at its launch recently
had a completely opposite effect. For a change, the music seemed so good
that the picturisation somehow couldn't keep up.

That's AR Rahman for you. For a brief while after *Taal*, Rahman had begun
to sound quite predictable. But it was in *Lagaan* that we found him
delivering songs that were not necessarily in his 'trademark style'.

It is interesting to note that music director has teamed up yet again with
the *Lagaan* director and this time too he belts out a fairly interesting
line-up of songs. The question however is whether Ashu can match his vision
to Rahman's.

Nevertheless, the seven-track album has five songs with two instrumental
pieces. While the instrumental version of *Jashn-E-Bahaaraa* seems quite
justified, it is somehow redundant to have a similar version of a sufi song
– *Khwaja mere Khwaja*.

Of course some critics would argue that music is just as important an aspect
of Sufism as lyrics (Remember Kabir's *dohas* may be all about words, but
Nanak preferred to reach God through music).

Nonetheless after hearing Rahman's rendition of this song and listening to
its lyrics (Kashif) you cannot help but wish the instrumental version away.

It is after quite some time that one enjoys Rahman singing one of his own
compositions. This is the only track, for which the music director lends his
voice in this album. From among the rest too, the only 'established
mainstream' singer is Sonu Nigam who sings *Inn lamhon ke daaman mein* along
with Madhushree.
Yet the album holds its own with the opening track, *Azeem-o-shaan
Shahenshah* – a tribute to the Mughal Emperor and *Jashn-e-bahaaraa* – a
soft romantic ballad. While Rahman embellishes the first track in an
almost-operatic fashion, the second one has minimal instruments with the
melody ruling supreme.

This is a trend that the maestro seems to have been taken in by. Take *Rang
De Basanti* for instance. As a colleague pointed out, while it did have *Masti
ki pathshala*, on the other hand there also was *Luka chuppi*.

Coming back to *Jodhaa…*, the one song that stands out as a sore thumb
however is *Mann Mohanaa*. The sufi theme that runs through most of the
album somehow abruptly gets cut off with this track. It's almost as if *Mann
Mohanaa* was added as an afterthought.

Historical film music often borders on being patriotic (think *Mangal Pandey
*, or even *Lagaan* for that matter). Partly because of its subject matter,
*Jodhaa Akbar* strays away from all of this. Its music therefore showcases a
culture… a culture that the Emperor had so carefully and meticulously built
and preserved.

So what's the verdict? We'd say go ahead and buy the music of *Jodhaa Akbar*.
It also comes in elaborate packing and along with a bonus DVD. But at Rs 160
it's a little on the expensive side. Think about it. If you don't mind that
big a hole in the pocket, what the hell!

*Rating:* 3/5

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