It’s obvious that she is following Madam M’s style, but that trademark punch of the prima donna is missing. Here is a sweet, thin, high-pitched voice, but the singing is superficial. Sonu Nigam excels in the pleasant but ordinary creation, In lamhon ke daaman mein-never heard him sound as sexy as he does in this love song.īela Shende does a Lata Mangeshkar in Mann Mohanaa.
Rahman himself has fabulously sung Khwaja mere Khwaja, a peppy hummable qawwali number. Having sung for the big boss of Indian cinema music, these singers can surely hope for a bright future. The silver lining is the use of several new voices such as Bela Shende, Madhushree, Javed Ali, Mohammed Aslam and Bony Chakravarthy.
Any song from this film could easily be used in any modern-era film situation. How about some unadulterated Dhrupad? Or just the form of music that Mian Tansen sang for Akbar? Rahman’s sense of aesthetics is good, and his presentation and packaging styles are benchmarking Indian music standards, but this music does not fit a period film. Simply put: Couldn’t the songs have been more Indian? This epic could have done without the predominant Western arrangement, Turkish and Japanese drums, keyboards, et cetera.
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