I think ARR should be applauded for using musical restraint and focus on melody. Just because he's not heavy on rhythms or drowning the songs in instrumentation doesn't mean he's not up to his own standards. Oh well, it's the guy's opinion. I also disagree that Khwaja sounds "technoish", although I see where he's coming from with the piano loop backdrop. To me, that's hardly technoish, but in fact, adds a drone, meditative sound to the song.
Same catch 22 for ARR. Either "he's too repetitive" or "he's not up to his own standards". --- In arrahmanfans@yahoogroups.com, Gopal Srinivasan <[EMAIL PROTECTED]> wrote: > > -Good but not great > By Aparajita Ghosh > > > Composing for a period film in present times is no easy task. One has > to walk the tight rope and balance the musical moods of the era bygone > with the present taste of music buffs, which, unfortunately, is heavily > inclined towards anything techno and rap. > > AR Rahman walks the > thin line. His compositions in ¡Jodhaa Akbar¢ have a mere glimpse of > what would have been the musical culture in Mughal times. And it also > attempts to cater to the present popular tastes. This way, the music > album of ¡Jodhaa Akbar¢ ends up neither here nor there. The > compositions are good, but they are not great. > > Azeem-O-Shaan Shahenshah > is a powerful song hailing the Mughal emperor Akbar. The number, sung > by Mohammed Aslam and Bonnie Chakraborty, is heavy on beats and has a > pleasing orchestra in the background. Rahman shows his musical wizardry > with sounds that create images of rattling swords and chains. Also > unmistakable in the song is the theme melody of ¡Lagaan¢ that plays a > number of times. > > Jashn-e-Bahara could have been a much > better song had Rahman chosen a better singer than Javed Ali, who > surely sings the right notes with skill, but doesn¢t have much emotive > appeal in his bland vocals. Still, the song, set on an Arabic tempo, > carries Rahman¢s subtle magic. The tender notes of rubaab, mandolin and > santoor form the backdrop of this soft romantic track, set to poetic > lyrics by Javed Akhtar. > > However, the Jashn-e-Bahara instrumental version on flute is a delight to the ears. > > AR Rahman is back to what he does best in Khwaja Mere Khwaja, > a sufi qawwali with a dash of techno touch. The song, an ode to Khwaja > Moinuddin Chisti of Ajmer, has Rahman himself wielding the microphone > and jarring the senses of a listener with his emotive and evocative > vocals. Though the song relies liberally on tabla and harmonium, the > techno flavour ruins the purity of this devotional track. > > The > instrumental version of this song takes you by surprise. How Rahman > keeps the same melody but changes its timing and structure just > slightly to suit the Oboe and accompanying orchestra shows his command > as a composer. > > In Lamhon Ke Daaman Mein is a lilting > track about the gradual passing of intimate moments. Sonu Nigam and > Madhushree¢s impressive singing adds to this slow-paced song a > mellowness that is broken by raucous chorus. Javed Akhtar¢s words paint > the imagery of two lovers sharing their most special moments together. > It is a song that makes an impression only after repeated hearing. > > Mann Mohanna > is a devotional track addressed to lord Krishna. Supported by tabla and > heavy orchestration, this song, sung by Bela Shinde, is a plea to the > lord from a despondent woman. > > All in all, the songs of Jodhaa Akbar are below the usual standard of a genius like AR Rahman. > > Rating: **1/2 > > http://www.apunkachoice.com/music/alb138/ >
