It's a curious combination. A great emperor and a spirited princess. He's Mughal, she's Rajput and it's the 16th century. A politically motivated alliance brings the two together as man and wife. Battles form a backdrop and budding romance the core of this seemingly -- if promos are any indication -- fragile love story.

Ashutosh Gowariker changes genre yet again after exploring triumph of spirit in Lagaan [Images] and an NRI-mind's nationalism in Swades [Images] with his lavish costume drama about historical figures Jalaluddin Mohammad Akbar and Jodhaa Bai.

The super hot pair of Dhoom 2 [Images] -- Hrithik Roshan and Aishwarya Rai slip into royal shoes to delve into a new side of their chemistry in Gowariker's eagerly anticipated film, Jodhaa Akbar. As in the case of Lagaan and Swades, for his latest too, the filmmaker repeats the successful music director-lyricist team of A R Rahman and Javed Akhtar.

Also read: Ash and Hrithik's post Valentine tryst!

To find out how the final product turns out, read on:

The palpable energy and marching dynamism in the Rahman-helmed regal grandeur and Javed Akhtar's salutations of the heroic Mughal Emperor is both bewitching and befitting in Azeem-O-Shaan Shahenshah. And while the clarion sound that features intermittently through the track, is a fond reminder of the Lagaan instrumental -- Once Upon A Time In India, the charged chorus and melodic alaap ensure a triumphant opening into the soundtrack.

The knife-on-butter quality to Javed Ali's ultra smooth and sharp vocals lends Jashn-E-Bahaara an exquisite edge. As always, Rahman waves his musical wand to infuse enticing proportions of magic and beats, enhancing Javed Akhtar's poetry, which eloquently waxes on the charming uncertainty and growing anxiety of a blooming romance. Its instant appeal is likely to evoke a spontaneous singer in many of us. Consider the flute-based instrumental of Jashn-E-Bahaara a karaoke-friendly answer to your prayers.

A Rahman soundtrack wouldn't be dubbed complete without the man wielding the microphone as well. And so the maestro puts up a spectacular show in the Sufi symphony, Khwaja Mere Khwaja. The high-pitched reverence and pulsating devotion in Rahman's plea (penned by Kashif) perfectly syncs with the blazing graph of this feverish creation. An Oboe-themed instrumental of the same has a riveting impact on both -- soul and senses.

Sonu Nigam [Images] and Madhushree's ethereal rendition of In Lamhon Ke Daaman Mein shifts its tone from a gentle love song to a dramatic chorus whilst celebrating the intimate union of its titular protagonists.

Even as the leisured pace is most beguiling, the additional roaring of vocals breaks the momentum and mood of this otherwise winsome duet.

Following the tradition of fervent prayer offerings as seen in the last two Gowarikar films -- O Palaanhare (Lagaan) and Pal Pal Hai Bhari (Swades). Here too, despondency and anxiety looms large in the essence and Bela Shende-voiced implorations of Mann Mohanaa. As opposed to the aforementioned pieces, this one, with its linear outline and noticeable monotony, falls pale in comparison.

Having said that, Jodhaa Akbar deserves a round of applause for its faithful adherence to melody, vibrant lyrics and musical detailing. At the same time, Rahman and his visionary sensibilities make their presence felt by and large in every note and rhythm. And that's what makes the soundtrack of this history-inspired romance a musical conquest.

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