A.R. Rahman, Jodhaa-Akbar soundtrack. [image: new jodhaa]<http://www.cave17.com/wp-content/uploads/2008/05/new-jodhaa.jpg>
A.R. Rahman is probably the most respected active composer of film music in India. I have read reviews where he is likened to Mozart, and I think the comparison is quite apt — no other *filmi* composer dreams up such ornately lovely melodies, no one else has the same sense of epic sweep, and no one else has the brass audacity to write orchestral works outside the confines of Bollywood. Plus, like Mozart, he's clearly the most popular in his field — since his first soundtrack in 1992, Rahman has sold more than 300 million records around the world, making him one of the top 25 best-selling musical artists in modern history. (He just, by the way, turned 42 years old. We were born in the same year. Hate that guy.) I first came across his music in one of the first Bollywood movies I ever saw, still one of my favorite films of all time: *Lagaan*. You know, the 3.5-hour movie about colonialism, cricket, culture clash, and Aamir Khan's abdominal muscles? Well, if you haven't seen it yet, you need to. Rahman sets up brilliant number after brilliant number all through this excellent film — especially "Ghanan Ghanan,"<http://www.youtube.com/watch?v=diRLmaC2vZo>where the drought-stricken villagers see the rainclouds coming at last and launch into intricately choreographed dance and song…well, like something not quite as good as a green citrus fruit, it's sublime. *Jodhaa-Akbar* is a "true" historical romance between a Muslim prince (Akbar) who married a Hindu princess (Jodhaa). More importantly, it is an excuse for Aishwarya Rai to moon around looking beautiful, for Hrithik Roshan to go around being studly, and for Ashutosh Gowariker to spend tons of money on another excellent costume drama. Mostly, though, it is an excellent excuse for a soundtrack. The opener, "Azeem-O-Shann Shahenshah," is haunting and rousing and lyrical all at the same time. Martial cadences rule it throughout, but the approach is always slightly just a little more progressive than anyone else in the biz, the women's theme is adorable, and the returning horn theme is chill-inducing when you know it's coming. I could go on and on here but instead, hey, listen to it and watch it for yourself<http://video.google.com/videoplay?docid=-1726151260422336298&q=jodhaa+akbar&ei=Bkw-SI2VIZP8rQL4p6iSBA> . Rahman loves to slow things down, but next-up love theme "Jashn-E-Bahaaraa" refuses to lay down and die with its tempo — the slow burn could cook a goose, and says volumes; plus you know he loves it because he sings it himself, with a functional and soaring tenor. "Khwaja Mere Khwaja" is long and drone-focused, with a whole lot of twists and turns in its melodic line. (Also: slightly dull, but it's supposed to be an emerging slowdrone.) No such bummers for "Inn Lamhon Ke Daaman Mein," which turns from achingly stately into a big dancey thing, and then back again. "Mann Mohanna" makes the orchestra fight against the flue, which is always a great trick. And the last two songs are instrumental versions of earlier tracks, only redone slightly to make them awesomer. It's grand, like "classical" music, but it's got a pulse, like pop, and incorporates influences from all over, like world music. (On *Rang da Basanti*, from a couple of years ago, Rahman even incorporated hip-hop and bhangra into larger pieces that actually made sense.) It's genius, all right…and he's got two apparently even more impressive soundtracks dropping in the next couple of months. This was written by Matt Cibula. Posted on Thursday, May 29, 2008, at 7:06 am. Filed under Music <http://www.cave17.com/?cat=3>. Bookmark the permalink<http://www.cave17.com/?p=156>. Follow comments here with the RSS feed<http://www.cave17.com/?feed=rss2&p=156>. Post a comment <http://www.cave17.com/?p=156#respond> or leave a trackback<http://www.cave17.com/wp-trackback.php?p=156>. http://www.cave17.com/?p=156 -- regards, Vithur HELP EVER; HURT NEVER; LOVE ALL; SERVE ALL
