He does better in Sindhu Maa, where the modest lyrics merely support a sweeping, beauty of a melody. It is a disappointing turn by the veteran lyricist, who has had memorable partnerships with Rahman in the past. Javed Akhtar’s lyrics, however, seem to confuse between simple and simplistic with lines like Jo bhi yaha aata hai, sunte hai woh kho jaata hai. Its amazing how from something that sounds borderline frivolous, it transforms into something haunting and dramatic in an instant. Arijit Singh, whose style of delivery sounds a little too modern in certain places initially, hits the sweet spot when it reaches higher notes. The song comes on its own around the halfway mark. But there’s a lot to like if one can make peace with these.
We have heard the quasi African alaap in Rahman’s voice too many times. The almost hilarious Mohenjo Mohenjo refrain and the tribal jungle chants-too unimaginative, flat by Rahman’s standards-could be off-putting. Like the paean to Emperor Akbar, the song celebrates the great civilization marked by rousing percussions and choruses. It is the album equivalent of Azeem-o-Shaan-Shahenshah from Jodhaa Akbar (2008)-the last time director Ashutosh Gowariker and Rahman came together after Swades (2004) and Lagaan (2001). This is best reflected in the first song Mohenjo Mohenjo. Mohenjo Daro is the kind of album that is easy to dismiss after the first couple of listens-except one instantly likable track.
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