Himesh-SRK-MKMMHR-SRK2

This ought to be one of the cutest n sweetest smiles of Himesh ever. In top right, there is a round disco light which looks like moon...jaise ke, peeche chaand hai aur aage do sitaare.

In a career spanning well over a decade, Himesh Reshammiya has never ever worked with the Baadshah of Bollywood and King Khan SRK.

The first instance is where SRK featured in a promotional music video for Silsilay at da request of its producer who was also his close friend.

The song was Jab Jab Dil Mile:

But that wasn't really SRK lip singing to Himesh's vocals.

The second instance he came close is when he asked Karan Johar to score for Kabhi Alvida Na Kehna, but he opted to stick with his preferred choice SEL. He also sang his version of da title song on Koffee with Karan.

However, if not on da big screen, Himesh and SRK created a historic / epic moment in MKMM.

SRK and Karan Johar have a great sense of Humor, and they both provided some light hearted moments as a prelude to what was supposed to be an intensly fought competition.

SRK says 'lekin badmaashi mein, Himesh mere jaisa hai...from 0.21 to 0.25, and quickly hops by his side and says 'me Himesh ki team me hu * 2' from 0.54 to 0.57 like a naughty jovial kid, and then he gets sarcastic and says 'mera kya hai, meri cricket team itna haari hai, mera bhaut dil hai ke me kisi jeetne waali team me chala jau, so please mujhe apni team me lelo yaar, please from 1.25 to 1.33, and says 'may the best man win, and the man singer we have is Himesh, so we win this'  from 1.53 to 2.00

But the decision of whose sides they would support was already pre planned because the melodies were prepared well in advance accordingly, as such extended medleys cannot be rendered to near perfection at such a short ad hoc notice.

The most notable aspect of Himesh's singing is how is gives these songs his own Sufi Rwak touch.

Himesh's line, BEKARA (awesome profound twist) RIIIIII (awesome prolonged abrupt emphasis ending leave) at 0.03 to 0.07, JAGE-EEEEE (awesome sooth feel) from 0.10 to 0.12 DIL KO-OOOOO (prolonged) OOOO (profound twist) from 0.18 to 0.21, LAGE-EEEEE (awesome sooth feel) from 0.24 to 0.26 is his trademark Sufi Rwak antic.

His typical free flowing hand wave moments from 0.16 to 0.24 like a rapidly rising and falling stock market graph.

Basicaly he pours his heart out with his eyes closed are renders soulful croons, with emphasis on line, APNA DIL ME (goes inner soul searching) from 0.27 to 0.30

Himeshji becomes an innocent dhokla boy (like in da pre ABA era) from 0.47 to 0.51 whereby woh basically masoomiyaat, imaandaari aur shidat se gaate hai.

SRK joins in from 0.33 to 0.43 and makes proceedings nostalgic.

As Satish Kaushik once said in SAREGAMAPA during promotion of KARZZZZ, that 'Himesh woh ghoda hai joh bina injection ke bhi dor tha hai'.

So his natural aggression which comes default to him takes over from 1.22 to 1.24 as he turns around and gets all siked up, whereby there is a sudden rush of adrenaline to make da viewer feel da jazba.

Also, the rift between fellow composers Himesh and Shankar as reported by the media wasn't true as Himesh always held respect for Shankar, and refers him as ShankarJI from 1.25 to 1.27, and sportingly acknlowledges his great composition.

SRK does his thing from 1.48 to 2.14 in his trademark Ra.One pose.

Happy-go-jolly Karan Johar, being his usual self re-assures Shreya from 2.33 to 2.37

As Himesh steps forward and takes centre stage from 0.57 to 1.17, SRK and his team members clap for him in support.

Raja Hassan's lines, (HISTORY vocals that strike a chord) from 2.50 to 3.01 as his voice adds that desi authentic touch which is close to the 'mitti ki khushbu'.

Shreya Goshal is framed at 3.11 but then she sways her neck out of formality from 3.12 to 3.13 as if she is enjoying it and also to hide her concern. She is a great singer who has given countless hits with Himesh in da post ABA era.

Once again, Himesh - the master of prolonged twists-n-turns can't help himself, can he!

He again gives his Sufi Rwak andaaz to a tyipcal Indian number and sings with intense stressful vocals in the same LOVE U UNCONDITIONALLY (AHISTA AHISTA) mode.

Himesh's lines, AAYE - AAEE (TERRIFIC profound emphasis twist) from 3.42 to 3.43 & 3.53 to 3.54 typical Sufi Rwak antic!

Himesh's lines, AB TOH MERA DIL JAAGE NA SOTA HAI (fulltu high pitched intense stressful vocals) from 4.01 to 4.06, whereby the required effort is depicted by Shaan's facial expressions from 4.04 to 4.06

Shreya gets an avoid as she stands up thinking that Himesh is calling her on da stage but he instead asks Karan Kohar as the song was from his blockbuster klassik.

Himesh always interacts with his live audience, and he asks them from 4.49 to 4.51, kya aap mera saath denge? and finishes off his lines from 4.53 onwards with an emotional konnekt.

Bottomline

Himesh gave DO DIL MIL RAHE HAIN (prolonged emphasis twists-n-turns, sudden abrupt ending leave n trademark sooth feel) and TUM PAAS AAYE (fulltu high pitched intense stressful vocals with profound emphasis twists ) which were both desi Indian numbers, his distinct trademark Sufi Rwak singing stamp and rendered them in his own Sufiana andaaz, and shared warm vibes with SRK as he did his thing whereby da audience came alive and well to da party, whereby da interactions formed an emotional konnekt.

Wonder what Sallu Mia made of this close bond between Himesh n SRK as they are having a Khan war, but anyways, Himesh later rwaked it too with Salman Bhai in Bodyguard whereby he threw fulltu attitude in da intro song Aaya Re Aaya Bodyguard.

 

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