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Posted: |
Dec 21, 2014 - 11:15 PM
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By: |
Amer Zahid
(Member)
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I completely agree. About half way through the track, there is that tremendous build up to the vocal performer's cresendo. I probably have listened to that piece fifty times already.
Glad to hear some positive feedback on this one. In fact a week ago I was listening to it again. The vocals on the score are ofcourse performed by my country renowned Qawali vocalist/ singer: Rahat Nusrat Fateh Ali khan who is also become a fast bollywood song crooner as well. Rahat was probably introduced to James Horner on this project by director Shahker Kapoor who employed Rahat's predecessor the legendary world music -Sufi Qawwali singer Nusrat Fateh Ali khan on THE BANDIT QUEEN [ soon to be on blu ray via Twilight Time label] who made an impact when his vocals was used the Peters Gabriels/Martin Scorcesse collaboration THE LAST TEMPTATION OF CHRIST. Rahat was already a protege of Nusrat having performed in his troupe for a long time and eventually took over his legacy after his death. Horner himself gushed over his collaboration with Rahat on the albums liner notes and and the two again collaborated with Mel Gibson's APOCALYPTO.
Filmtracks also highly praised the score and Rahats collboration:
Rahat Nusrat Fateh Ali Khan, cousin of the well known Qawwali performer Nusrat Fateh Ali Khan, provides vocals rich in the authenticity of the Qawwali culture that the British were attempting to dominate during their colonial wars. Still representing Sufi Muslims today, Khan's Qawwali music is a natural mix of poetry, chanting, and traditional song that will sound foreign to even today's Western audiences. Those who have voiced their opinions through the years that The Four Feathers is a predominantly themeless score are critically mistaken. Those who have voiced concerns that the score contains, once again, a substantial and hindering number of self-references from Horner's previous works are also mistaken in this case, if only because of the contrast that the Qawwali vocals offer. The score does feature several passages of straight Qawwali vocals that will sound frenetic, unorganized, and scattered to most audiences, with "Sniper!" a prime example. However, these passages by themselves only occupy about fifteen minutes of an eighty-minute album, and are often used in a duel with the Western brass in the same intended fashion as Maurice Jarre's famous Lawrence of Arabia. That is, in fact, how the album begins, with the Qawwali vocals in a quiet, but unmistakable battle with Horner's trademark brass. These instrumental entanglements continue in "To Abou Clea," and the enchanting "Ghost of Serenity" offers the ethnic elements almost alone. The explosive "Harry's Resignation" continues Horner's use of the snare drum in the same general rhythmic structures as heard in Glory, representing the British forces and their sense of honor. The snare contributes throughout the score as the symbol of both the methodical British advance and their bloated pride. Horner's integrated set of themes and strong bass string presence create accessible and often exciting action material, too. A powerhouse of 14 minutes in length, "A Coward No Longer" finishes the score with extended and fully orchestral performances of that romantic theme. Also important to note is the final confluence of the Qawwali vocals and the orchestra in that last track. Before the momentous, closing performance of the love theme, Horner combines the orchestra with Khan's voice into a perfectly lyrical accompaniment of each other, leaving the listener with a satisfying resolution (of sorts) to the musical battle that had progressed throughout the film. On album, the sound quality of the London recording is superb.
http://www.filmtracks.com/titles/four_feathers.html
http://en.wikipedia.org/wiki/Rahat_Fateh_Ali_Khan
http://www.rahatfatehalikhan.net/
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I know there are many who agree with you. I still find his most creative and engaging music to be during the '80-'91 years and never quite became the fan of the LEGENDS/BRAVEHEART/TITANIC trifecta that garnered Horner a new legion of admirers during '94-'97. But hey, that's okay! I like that his music has become a bit more spirited and flavorful after '98. Even though LEGEND OF ZORRO is a bit too much of a rehash as is the case with most Horner sequel scores, that final track, "The Train", is an action extravaganza! 
Rahat sounds better! but you may call him Khaaan!