ShortcutRomeo3

Music Review Analysis of Himesh Reshammiya's album Shortcut Romeo (2013).

Pe Pe Pe

It is a total bindaas song with full of masti n madness. As a composer, Himesh shows yet another compositional style, and his Sufi Rwak voice is back.

The song begins with funky guitar theme piece in unplugged mode.

The rhythmic peppy beats kick in from 0.07 onwards.

Himesh’s croons on the core mujhda hook PE PE PE PE are full of masti and bindaasgiri.

Himesh’s line, DHAK *5 (OFF-DA-HOOK arrogant sooth feel vocals) from 0.37 to 0.39 & 0.44 to 0.46, MAR * 5 (OFF-DA-HOOK arrogant sooth feel vocals) from 0.41 to 0.42 & 0.49 to 0.50

The tune at 0.48 & 0.51 catches the listeners pulse.

Off-da-hook drum hits from 0.56 to 0.58 in unplugged mode give great intermittent effect.

Nice lyric, MEIN SHOLA, TU COCA COLA which rhymes n has a meaning, mein shola (i am hawt) tu coca cola (u r chilled out).

Between mukhda & 1st stanza, feel good guitar piece plays from 1.13 to 1.27, along with an Arabian touch from 1.28 to 1.35

1st stanza

Off-da-hook drum hits from 1.35 to 1.37 kick start the stanza.

The composition pattern of stanza is free flowing.

Himesh’s line, MERA JIYA (OFF-DA-HOOK sooth feel) from 1.41 to 1.42

Himesh’s line, ME THARRA TU WINE, ME TERA TU MINE (OFF-DA-HOOK middle octave singing) from 1.42 to 1.46 is the best tune in the staza.

The tune at 1.53 & 2.01 gives sahi desired effect to Himesh’s vocals.

Between 1st & 2nd stanza, quick piano flicks from 2.34 to 2.40 representative as if Tom – the cat is having a Samba dance with his girlfriend in a Caribbean Cabana beach party, followed by wicked quick shehnayi piece from 2.41 to 2.47, followed by funky guitar theme piece.

2nd stanza

Off-da-hook drum hits from 2.55 to 2.57 kick start the stanza.

The composition pattern of stanza is free flowing.

Himesh’s line, ME 24 TU GHANTA, ME X-MAS TU SANTA (OFF-DA-HOOK middle octave singing) from 3.03 to 3.06 is the best tune in the staza, with awesome innovative lyrics that rhyme.

Himesh’s line, MERA JIYA (sung with feel good naughtiness) from 3.09 to 3.10

The tune at 3.14 & 3.22 gives sahi desired effect to Himesh’s vocals.

The song ends with an Arabian tune in unplugged mode.

Highlights of this song:

1. Himesh’s Sufi Rwak vocals, but as opposed to being the usual default intense, they are feel good and have more Indian-ness to them.

2. Underlying peppy rhythmic beats.

3. Funky guitar theme piece, off-da-hook intermittent drum hits, Arabian tune and intermittent key flicks that give sahi desired effect.

4. Piano piece and wicked shehnayi piece in between 2nd stanza gap.

Khali Salaam Dua

The song begins with a likeable piano piece in unplugged mode until 0.07

The catchy mesmerizing violin piece joins in from 0.08 along with underlying beats which are comprised of gentle peppy repetitive finger snaps/clicks and light piano flicks, hence keeping a minimalistic arrangement that gives a nostalgic touch.

Mohit Chauhan is the ideal singer for singing this classy track.

The composition pattern is free flowing.

Mohit’s line, CHAAHAT MEIN * 4 (repetitive echo effect) from 0.47 to 0.49 was similarly used in Himesh’s line, JODIYA * 4 (awesome repetitive echo effect) from 2.18 to 2.20 in TERIYAAN MERIYAAN from KAJRAARE.

The start-stop gap at 0.50 gives sahi desired effect.

Mohit’s lines until 1.03 are the build up, followed by the the core mukhda line KHAALI SALAAM DUA MULAQALON MEIN, CHEHRE KI RANGAT BADAL RAHI HAI TERI SAUBAT MEIN *2 which is well structured and catchy.

Between mukhda & 1st stanza, the mesmerizing violin theme piece is back.

1st stanza

The composition pattern from 1.57 to 2.13 is free flowing, simple n effective.

Mohit’s line, JAANE KHUDA from 2.13 to 2.15 was similar to the tune of Udit's line, MUKHKO-OO from 1.49 to 1.50 in KABHI NA SUKOON AAYA from KOI AAP SA.

Between 1st & 2nd stanza, the mesmerizing violin piece in unplugged mode makes proceedings further nostalgic.

2nd stanza

The composition pattern from 3.34 to 3.49 is free flowing, simple n effective.

Mohit’s line, JAANE KHUDA from 3.50 to 3.52 was similar to the tune of Udit's line, MUKHKO-OO from 1.49 to 1.50 in KABHI NA SUKOON AAYA from KOI AAP SA.

Highlights of this song:

1. Mohit Chauhan’s smooth-n-silky vocals.

2. Underlying beats comprised of gentle peppy repetitive finger snaps/clicks and light piano flicks.

3. Mesmerizing violin theme piece used intermittently throughout.

4. Piano piece in unplugged mode at start.

Ishq Gangster

The bazz sound at the beginning reminds the listener of the similar tune used at start in EK KALSA from FOOL N FINAL.

The rhythmic beat with a hard hit pattern kicks in from 0.19 onwards.

The song has a Rock flavor.

A funky retro tune piece from 0.29 to 0.47 builds up the song.

The combo of Himesh Reshammiya and Vineet Singh do their thing in their high pitched zone.

The lyrics, CHAAKU CHURIYAAN CHALWAAYE are LOL.

Off-da-hook heavy drum hit pattern from 1.15 to 1.16 gives sahi desired effect.

In between mukhda & 1st stanza, a vibrant live wire techno tune plays along with acoustic bazz guitar from 1.26 to 1.36 in unplugged mode, followed by underlying rhythmic beats and funky retro theme piece from 1.37 to 1.55

1st stanza

The composition pattern is simple and free flowing, whereby lyrics are of gang bang stuff on da streets.

The tune of line, TABAAHI from 2.18 to 2.20 is similar to Himesh's line DILDAAR VE from 0.23 to 0.26 in ANKH VICH CHEHRA from APNE.

In between 1st & 2nd stanza, another funky retro tune plays 2.52 to 3.02, followed by a wicked tune piece from 3.02 in 3.10 unplugged mode with intermittent heavy raw thump effect depicting heavy footsteps.

2nd stanza

The composition pattern is simple and free flowing, whereby lyrics are of gang bang stuff on da streets.

The tune of line, LADAAYI from 3.34 to 3.37 is similar to Himesh's line DILDAAR VE from 0.23 to 0.26 in ANKH VICH CHEHRA from APNE.

Highlights of this song:

1. The combo of Himesh Reshammiya and Vineet Singh’s high pitched vocals.

2. Underlying laidback rhythmic beat with a hard hit pattern, funky retro theme piece, wicked tune piece and Pistol gunshot effect.

3. Off-da-hook heavy drum hit pattern.

4. Vibrant live wire techno tune along with acoustic bazz guitar in between 1st stanza gap.

Shortcut Romeo

This ‘new age’ song begins with a cult flute piece in unplugged mode, with quick wicked skip effect from 0.05 to 0.06 & 0.10 to 0.11

The underlying beat that kicks in from 0.11 onwards has an OFF-DA-HOOK quick skip pattern spins in an off-da-hook quick WHIRLWIND/RIPPLE spin pattern loop which gets the listener into the groove big time i.e. at 0.12, 0.15, 0.19, 0.22 and so on after every alternate second, followed by a good solid dose of bazz to test out the woofers.

Feel good trumpet piece plays from 0.24 to 0.34

Ash King is the perfect choice for this song, as his vocals and singing style are ideally suited for this feel good composition. In fact, no other singer could have sung this song better than his feel good singing style, good selection by Himesh!

Ash King’s line, OOH (OFF-DA-HOOK short alaap) from 0.34 to 0.35

Ash King’s line, SHORT-CUT (OFF-DA-HOOK high pitched singing) at 0.49, GALIYON-OOOON (OFF-DA-HOOK high pitched twist) from 0.51 to 0.53

The gradually descending additional male vocal back up interlude from 1.05 to 1.08 gives great overall combined vocals effect.

The start-stop gap from 1.07 to 1.07 along with off-da-hook bazz sound gives the sahi desired effect and catches the listener’s pulse.

The male vocals from 1.20 to 1.26 enhance the feel good factor, as if the Shortcut Romeo is chilling out n humming to himself.

Between mukhda & 1st stanza, the cult bansuri with quick wicked skip effect is back from 1.26 to 1.37, followed by feel good trumpet piece from 1.38 to 1.49

1st stanza

Ash King’s feel good twists OOOOOO from 1.51 to 1.52, 1.54 to 1.55, 1.57 to 1.58 & 2.00 to 2.01 come from pre ABA compositional style.

The composition pattern from 2.04 to 2.15 is simple and Ash King’s feel good vocals make proceedings more chillax.

Between 1st & 2nd stanza, feel good alaap from 2.30 to 2.43 as if to depict that the hero is on course with his merry ways, followed by a feel good tune piece from 2.43 to 2.54

2nd stanza

Ash King’s feel good twists OOOOOO from 2.57 to 2.58, 3.00 to 3.01, 3.03 to 3.04 & 3.06 to 3.07 come from pre ABA compositional style.

Ash King’s line, DON (arrogant feel emphasis) at 2.59

The composition pattern from 3.09 to 3.20 is simple and Ash King’s feel good vocals make proceedings more chillax.

Ash King’s line, SHORT-CUT (OFF-DA-HOOK high pitched singing) at 3.34, GALIYON-OOOON (OFF-DA-HOOK high pitched twist) from 3.37 to 3.39

The combo of cult bansuri theme piece with a quick wicked skip pattern, and feel good trumpet piece plays near the songs end from 4.06 to 4.29

Off-da-hook intermittent violin piece from 4.29 to end along with the vocals get the listeners into the zone n make them feel it.

Ash King's line, ROMEO (off-da-hook passionate feel singing) from 4.34 to 4.36

Highlights of this song:

1. Ash King’s feel good vocals with off-da-hook high pitch singing.

2. Off-da-hook beat pattern with quick skip effect and a good dose of bazz.

3. The combo of cult bansuri theme piece with a quick wicked skip pattern, and feel good trumpet theme piece.

4. Additional feel good male croons/interludes intermittently throughout the song.

Jaave Saari Duniya

Its garba time upon hearing the peppy Shenhayi piece on a Gujarati Folk tune in unplugged mode at the start.

The mast jhakass tapori foot tapping beat kicks in from 0.11 onwards.

It seems that Himesh – the composer has a fascination of using this tapori beat pattern, since he has used it in Bodyguard Title Trax, Chalao Na Naino Se Baan Re and Go Go Govinda.

A catchy Banarasi Babu tune piece plays from 0.16 to 0.31 along with intermittent bindaas whistles.

Mika Singh comes behind the mic to have a good time, whereby his mukhda lines are sung with feel good vocals.

Off-da-hook quick drum roll hits from 0.53 to 0.54 in unplugged vocals give sahi desired effect.

Mika’s prolonged croons OOOOOOOO from 0.54 to 1.10 which is rather a mukhda hook, is sung with bindaas vocals in celebration mode.

Between mukhda & 1st stanza, the garba ishtyle peppy Shehnayi piece on a Gugarati Folk tune is back from 1.10 to 1.26

1st stanza

The tune pattern from 1.27 to 1.33 instantly reminds the listener of Go Go Govinda (as if the mast jhakass tapori beat pattern, peppy Shehnaayi piece and intermittent bindaas whistle piece were not enough to give an earlier cue at the start).

The LOL lyrics, BAM PHOOT JAAYE…GHAR LUT JAAYE make the listener crack up into laughter. The lyricist Rwaks!

The underlying tapori beat kicks in from 1.30 onwards and along with the vocals, get the listeners into the zone whereby they find themselves swaying in ecstasy and find their feet foot tapping, tempted to shake a leg.

Himesh – the Sufi Rwak singer joins Mika Singh from 1.34 to 1.39 in this ongoing party, and this vocal combo shows the comfort level of Himesh with Mika in terms of rapport, unlike some other popular veteran singers who have ego issues.

Off-da-hook quick drum roll hits from 1.47 to 1.48 in unplugged vocals give sahi desired effect.

Between 1st & 2nd stanza, a well structured Banarasi Babu tune piece plays from 1.59 onwards in unplugged mode, along with quick drum hits from 2.06 to 2.13, followed by the catchy Banarasi Babu theme piece along with the underlying mast jhakass tapori beat.

2nd stanza

The tune pattern from 2.28 to 3.26 instantly reminds the listener of Go Go Govinda (as if the mast jhakass tapori beat pattern, peppy Shehnaayi piece and intermittent bindaas whistle piece were not enough to give an earlier cue at the start).

Lyrics bring a smile on the face of the listener.

Lyrics like YAHAAN JAO WAHAAN JAO BAS JASHN MANAO, JOH BHI DEKHE JAALE BAS NAHI CHALE JAALE CHAHE JAALE are in total celebration mode.

The underlying mast jhakass tapori beat kicks in from 2.33 onwards and along with the vocals, get the listeners into the zone whereby they find themselves swaying in ecstasy, and find their feet foot tapping, tempted to shake a leg.

Himesh – the Sufi Rwak singer joins Mika Singh from 2.36 to 2.42 in this ongoing party, and this vocal combo shows the comfort level of Himesh with Mika in terms of rapport, unlike some other popular veteran singers who have ego issues.

Off-da-hook quick drum roll hits from 2.48 to 2.49 in unplugged vocals give sahi desired effect.

The song ends with Mika’s prolonged croons OOOOOOOO which is rather a mukhda hook.

Highlights of this song:

1. Mika Singh’s feel good bindaas vocals, along with a pleasant surprise by Himesh – the Sufi Rwak singer who joins him in the stanza.

2. Mast jhakaas foo tapping tapori beats, peppy Shehnayi piece and intermittent whistle piece.

3. Feel good catchy Banarasi Babu theme piece at start and in between stanza gaps, and Off-da-hook quick drum roll hits.

Shortcut Romeo - Reprise

The song starts with a techno tune until 0.13

A Banarasi Babu tune piece plays from 0.14 to 0.24

The underlying beat from 0.25 onwards is comprised of guitar riffs and laidback rhythmic beat pattern, and gets the listener into the groove, along with Aman’s mukhda lines.

The composition pattern is free flowing.

In between mukhda & 1st stanza, the Banarasi Babu tune piece is back.

1st stanza

The song becomes more authentic desi with tabla beats and likeable tune from 1.31 to 1.54

Aman’s sings with sincerity and dedication with sooth feel vocals, with emphasis on his line EK CORRECT MAUKE KA.  

In between 1st & 2nd stanza, the Banarasi Babu tune piece is back.

2nd stanza

The song becomes more authentic desi with tabla beats and likeable tune from 2.25 to 2.48

Aman’s sings with sincerity and dedication with sooth feel vocals.

Highlights of this song:

1. Aman Trikha’s sooth feel vocals sung with sincerity and dedication.

2. Rhythmic laidback beat pattern with techno bazz and guitar riffs.

3. Banarasi Babu tune piece.

My Picks

ORIGINALS

1. Shortcut Romeo & Pe Pe Pe (tie)

Shortcut Romeo

Song is cult in many ways i.e. off-da-hook underlying beat that spins in an off-da-hook quick WHIRLWIND/RIPPLE spin loop pattern followed by a good dose of bazz sound to test out da woofers and get listeners into da groove (half the battle of the song is won here itself by the orchestration), wicked flute theme piece and intermittent violin riffs towards the end that make listeners feel it. Off-da-hook feel good singing by Ash King which enhances the smooth flow of the free flowing composition, with emphasis on his line, SHORT-CUT (OFF-DA-HOOK high pitched singing) at 0.49 & 3.34, GALIYON-OOOON (OFF-DA-HOOK high pitched twist) from from 0.51 to 0.53 & 3.37 to 3.39, This new-age chillax trax has a fresh appeal and is the taste of Urban youth, whereby Himesh shows his versatility as a composer, with another modern urban contemporary approach towards compositional style.

Pe Pe Pe

A peppy rhythmic track sung with bindaas feel good vocals that is targeted towards the youth. The song is in the same mode as GOOD BOY BAD BOY TITLE TRAX and LONELY from KHILADI 786.

2. Khaali Salaam Dua & Jaave Saari Duniya (tie)

Khaali Salaam Dua

Mohit Chauhan is associated with class whereby people hardly hate on him. He has a smooth-n-silky vocal texture i.e. makhmali awaaz, which basically has a universal appeal. It is great to see that Himesh is working with him again after Jab Se Dekhi Hai from Bol Bachchan. It is a pleasantly laidback free flowing CLASSY track which grows upon the listener with repeat hears and is very well picturized. Himesh has consciously kept the orchestration minimal (in the same zone of Jaaneman from Radio) so that it has a calming effect on the listener when they hear it on a long drive at evening.

SOng has laidback orchestration, but if could have a profound tabla hit pattern on the mukhda lines and it could be in the semi classical genre, then its impact could have been manifolds and would have been catchier.

Jaave Saari Duniya

This is Go Go Govida Version 2. However, while the underlying mast jhakaas tapori beats, peppy shehnayi piece and intermittent whistle piece bear resemblance and a few compositional pieces at the beginning of the stanza, Himesh – the composer shows his yet another facet of compositional style which is new.  Lyrics are in total celebration mode. Lol lyrics in 1st stanza like, BAM PHOOT JAAYE…GHAR LUT JAAYE make the listener crack up into laughter. The lyricist Rwaks!

Stanzas are totally bindaas, masti filled with dhamaal, it is a blast of a party. Llyrics go hand in hand with the mood, like BAM PHUT JAAYE, GHAR LOOT JAAYE, CHAHE KUDI ROOTE ROOTE, GUM AAYE GHAM JAAYE CHAHE KUDI ROOTHE ROOTHE in 1st stanza, and JAAGO JAAGO AAO PARTY KARWAO, SUBAH SUBAH GHAR JAO, YAHAAN JAO WAHAAN JAO, BAS JASHN MANAO...JOH BHI DEKHE JALE, BAS NAHI CHALE in 2nd stanza, whereby Himesh joins Mika midway in the party.

3. Shortcut Romeo Reprise & Ishq Gangster (tie)

Shortcut Romeo Reprise

If shortcut Romeo had a more urbane flavor n appeal to it, the reprise version takes the more traditional authentic desi route whereby the tapori i.e. Shortcut Romeo is connected n grounded to his native roots.

Ishq Gangster

If Khaali Salaam Dua made the listener romantically fall in love, this song is quite the 360 extreme contrast will scare away that very same listener from this ajooba thing called as love. The only similarity with EK KALSA is the starting techno bazz tune, aggressive singing style and the ‘gangster’ theme. Otherwise, the tune and treatment is different. This song has more Rock touch and flavor than Ek Kalsa. Some of the intermittent wicked instruments and acoustic guitar depict that I NEED MY SPACE from DAMADAMM and ROCKY ROCK THE WORLD from Rocky – THE REBEL was also at the back of Himesh’s mind. Lyrics are pedestrian stuff, but one cannot expect much from a song with such a backdrop.  

REMIXES

1. Ishq Gangster Remix

This CULT remix packs a strong dose of adrenaline nitrate, and is a roller coaster ride sike giving stuff.

The wicked funky horn from 0.08 to 0.09 is used during election campaign speeches and rallies by aspiring candidates.

The male rap is rwakin, especially in between 1st stanza gap from 1.00 to 1.15 along with a catchy fluctuating electro tune.

Off-da-hook quick skip beat effect in unplugged mode from 0.33 to 0.34 & 0.59 to 1.00

Off-da-hook cutting edge live wire techno sound used from 0.34 to 0.58, 1.17 to 1.39 and so on.

It is one hec of a rwakin remix which follows a template of Gasolina and has a latino heat flavor.

2. Pe Pe Pe Remix

Good build up at start whereby beats gradually accelerate and become aggressive until 0.14. Good use of electro tune from 0.15 to 0.30

MASHUP

Upon hearing this mash up, the listener is reminded of FNF Masti (Remix) from Fool N Final.

It is a mix 'Bhaji Paw' dish of masti and bindaasgiri, and could be used as a promotional prop.

Electro tune used from 0.30 to 0.44, and techno tune used from 1.44 to 1.57

Verdict

The album delivers as per the films backdrop theme and is targeted towards the youth. It has more of peppy feel good tunes in the easy going celebratory zone, which bring a smile on the listeners face due to their antics.

As a Composer

Himesh – the composer shows a different approach in terms of a new compositional style in almost all the tracks, and this adds to the freshness. Yes, there is inspiration from earlier works but albeit in bits n pieces and the overall basic template n zone of the songs but the tunes in terms of compositional style have a new-ish (as opposed to the stereotype) approach. After hearing Ishq Gangster and Mashup, it is evident that Himesh had the album FOOL N FINAL at the back of his mind. Bodyguard Title Trax, Chalao Na Naino Se Baan Re and Go Go Govinda weren’t too far from his mind either.

Khaali Salaam Dua is the most melodious tune, but Shortcut Romeo, Pe Pe Pe and Jaave Saari Duniya are decently catchy too and the good rhythm compensates and acts as a buffer for these songs.

Orchestration

Best orchestration is in Shortcut Romeo track sung by Ash King, and its off-da-hook underlying beat that spins in an off-da-hook quick WHIRLWIND/RIPPLE spin pattern loop followed by a good dose of bazz sound to test out the woofers which is one of his BEST heavy beat patterns, the wicked bansuri theme piece with quick skip effect, and off-da-hook intermittent violin piece at the end…cult stuff!

Singers

> Ash King with his off-da-hook feel good singing at high pitched notes in Shortcut Romeo track.  

> Himesh – the Sufi Rwak singer in Pe Pe Pe with off-da-hook arrogant sooth feel vocals in mukhda DHAK * 5 and MAAR * 5, and off-da-hook middle octave singing in stanza lines, ME THARRA TU WINE, ME TERA TU MINE and ME 24 TU GHANTA, ME X-MAS TU SANTA

> Mohit Chauhan delights with his smooth-n-silky makhmali vocals.

> Mika Singh also does a great job in Jaave Saari Duniya, and the same can be said for Himesh – the Sufi Rwak singer who joins him in the stanzas.

> Sincere and honest singing by Aman Trikha, especially in the stanzas with sooth feel vocals which give a calming effect.

Himesh did two good selection choices in terms of singers i.e. by roping in Mohit Chauhan n Mika Singh. This is because,

> Mika Singh is associated with the masses and has sung some of the most mass hit numbers in recent times which worked big time in single screens.

> Mohit Chauhan is associated with the classes n multiplex segment base, n hardly anyone hates on him as he has a voice with a universal appeal.

So, Himesh covered both masses n classes with this album by roping in these singers.

Lyricists

This album has an assortment of lyricists, who all do a fine competent job in the given scope.

> Standout lyric is the LOL lyric, BAM PHOOT JAAYE…GHAR LUT JAAYE in Jaave Saari Duniya that makes the listener crack up into laughter. The lyricist Rwaks!

> Hin-glish lyrics of Pe Pe Pe are innovative and rhyme, especially in the stanzas.

> Lyrics of Khali Salaam Dua blend perfectly with the song’s mood.

> Lyrics of Shortcut Romeo both versions (especially the Reprise) convey the film’s narrative in a summary.

Shortcomings

While it is a good thing to create any new records of sorts which this album does by being an all male album, but this also takes away significantly from the album in terms of variety. The presence of female voice/s is missed and could have enhanced the songs, especially the romantic track Khali Salaam Dua e.g. Sunithi Chauhan crooning its 2nd stanza in her Ishq Sufiaana singing style, or whether adding her feel good croons to Shortcut Romeo track (the portions done by additional back male interlude vocals), just like she did in Kajraare Title Trax.

Conclusion

It is a ‘horses for courses’ album, which delivers as per the film’s requirements in terms of backdrop n theme. However, one feels that there is one genuine chartbuster killer track missing, but the album still works nevertheless due to the collective impact of all the songs, including the remixes.

Joomla! Debug Console