It goes without saying that the hype and expectation surrounding Ashutosh Gowariker’s epic, Jodhaa Akbar, is almost sky high. The film’s promos have rightly gone on to whet one’s appetite for the feast to come. The music of the film, composed by A R Rahman, who is royalty where music composers are concerned, in tandem with lyricist Javed Akhtar, has succeeded in taking the baton further in arousing and creating a sense of awe and majesty about the film. The stamp of royalty is more than evident as one goes through the music of the film. And there is no place for anything frivolous here.

Rahman sets the tone with the very first number of the album, Azeem-O-Shaan Shahenshah sung by Mohammad Aslam and Bonnie Chakraborty. It is a rousing paean in praise of the Emperor and Akhtar’s lyrics capture the mood wonderfully--- Azeem-O-Shaan Shahenshah, Farmaa-Ravaan, Hamesha Hamesha Salaamat Rahe, Tera Ho Kya Bayaan. There is a kind of gravity to the lyrics which does full justice to the mood and intent of the song. Coupled with music which conveys the sense of grandeur, this number captures the epic feel of the film. The singers have it all laid out for them and they do full justice to the number.

The second number, Jashn-e-Bahaaraa sung by Javed Ali is a much more private number in tone, but its language is just as impressive as the first number. The poet conveys the insecurity and anxiety that grips lovers, an emotion that afflicts emperor and commoner alike. Rahman’s music does full justice to the emotion, with music that is full of dignity and restraint.

The true gem in this album one feels is the ‘sufiana’ number ‘Khwaja Mere Khwaja,’ sung by Rahman. It is not the typical filmi sufiana number that one has grown accustomed to hearing. History tells us about Emperor Akbar’s great faith in the Sufi saint Salim Chishti, and this number reveals a true communion with the Almighty with its rare combination of purity and devotion. One cannot think of any other voice but that of Rahman’s which has that in it to form a bridge with the Almighty. The album also carries an instrumental version of this song as well and the magic is evident here too. Even without the support of Rahman’s vocals, the piece has a ‘therav’ and an unusual calmness to it. By far, the most moving number of the album.

‘In Lamhon Ke Daaman Mein’ shows a shift from the realm of the purely spiritual to a different call of the spirit, that of romantic love. Sonu Nigam and Madhushree come together for this utterly romantic number, which is quite dramatic in the manner in which it has been composed. The first shift in tone takes place when the female voice makes its entrance. The tone becomes even more intimate with the male voice making its entry at the end. The chorus in the background adds to the dramatic effect of the song. The three distinct shifts in the song almost parallel the progression of love and longing. Rahman punctuates the shifts wonderfully with a subtle change in the music and the mode of rendition. Sonu is a seasoned singer, and in company with the mellifluous Madhushree, captures the underlying tension of the song.

Set against the purely sufiana number is an exquisite bhajan number, ‘Mann Mohana’, another offering of love to the divine. The number seems to set against a stormy and tumultuous background and comes as a voice in the darkness. Bela Shende gives a masterly rendition to the number, maintaining the delicate balance between the divine and the human.

Jodhaa Akbar is definitely not your run-of the-mill film and its music has a quality of exclusivity to it. It is everything that one would expect from a film of its grandeur and scale. The meticulous choice of words by Javed Akhtar and the masterly touch imparted by Rahman’s music all go on to make it a true connoisseur’s delight. It has a beauty which is akin to classic Greek art, with its balance of emotion and restrain. Truly a royal treat!