Special_Chabbis

Music review analysis of Himesh Reshammiya's album Special 26.

Gore Gore Mukhde Pe

The song begins with an underlying bazz sound effect and repetitive clap effect in unplugged mode until 0.29, along with Shadaab Shabri’s vocals.

The peppy harmonium theme piece from 0.29 onwards is joined in by the traditional ‘Pind’ tabla beats until 0.37 that were similarly used from 1.57 onwards in TU HOOR PARI from KHILADI 786.

The song picks up on pace and tempo as its rhythm is enhanced from as the full on beats kick in from 0.37 onwards along with bazz guitar from 0.37 to 0.39 & 0.49 to 0.53 that builds up the song.

The intermittent harmonium theme piece plays from 0.41 to 0.49, 1.12 to 1.19 & 1.24 to 1.32

The composition pattern from 0.54 to 1.04 comes from Himesh’s Sufi Rwak style, whereby the listeners can imagine how Himesh – The Sufi Rwak singer would have sounded on these lines.

The mukhda tune GORE MUKHDE PE ZULFA DI CHAAWA HAI ME MARJAAWA SONIYE from 1.04 to 1.12 & 1.20 to 1.23 is simple and well structured.

Off-da-hook profound drum roll beats from 1.08 to 1.09 that were similarly used from 1.27 to 1.28 in TU HOOR PARI give intermittent kick.

Shreya Goshal sings with melodious innocent vocals from 1.36 to 2.07 with sincerity, whereby the full on beats go semi plugged.

Aman’s lines from 2.08 to 2.15 are sung with feel good vocals.

Off-da-hook profound drum roll beats from 2.15 to 2.17 & 2.31 to 2.32 give intermittent kick.

Between mukhda & stanza, clap effect along with harmonium piece in semi plugged mode from 2.34 to 2.42

The ‘pind’ tabla beats from 2.42 to 2.44 that start the stanza are joined in by Shreya’s innocent melodious vocals from 2.54 to 3.14 sung with sincerity.

Aman’s lines from 3.14 to 3.23 are sung with feel good vocals.

Off-da-hook profound drum roll beats from 3.23 to 3.24 & 3.38 to 3.39 give intermittent kick.

Additional profound heavy dhol beats join in from 3.40 till end.

Highlights of this song:

1. The song’s build up at start from 0.37 to 0.41 & 0.49 to 0.53

2. Himesh’s mukhda repetitive hook lines from 0.53 to 1.03 that come from Sufi Rwak school of composition.

3. Shreya Ghoshal’s melodious innocent vocals sung with sincerity.

Summary

COMPOSITION

This song has originated from the spill-over lines of Shreya’s lines in TU HOOR PARI which were an extra for that song to accommodate, and so Himesh has constructed the mukhda around those lines along with enhanced rhythm.

ORCHESTRATION

The predictable orchestration is borrowed from TU HOOR PARI in terms of the 'Pind' tabla beats, repetitive clap effect and profound heavy intermittent drum roll hit, and this orchestration is beefed up with added full on rhythmic beats.

One of the reasons why this guest song got relatively mixed reception, was due to his predictable deja-vu orchestration. What happened is that, after listening to the modern new age orchestration in Himesh's last album Khiladi 786, people were expecting something path breaking or atleast an orchestration which was on par with Khiladi 786 songs (except Tu Hoor Pari).

GUEST SONG

If Himesh is to give guest songs in other films, then:

> He must sing them himself, instead of other male playback singers.

> He must ensure that the level of melody and standard of song is top quality rather than mediocre range.

Only in this way, will his guest songs make a bigger impact, justify their presence in albums which are basically helmed by other composers and even become the promotional title track.

LYRICS

Lyrics are run-of-the-mill stuff and uninspiring, whereby the song's setting also doesn't provide ample scope and oppurtunity for anything 'out of da box'.

POSITIVES

> The song’s build up at start from 0.37 to 0.41 & 0.49 to 0.53

> The compositional pattern of Himesh’s mukhda repetitive hook lines from 0.53 to 1.03 that come from Sufi Rwak school of composition.

> Shreya Ghoshal’s melodious innocent vocals sung with sincerity.

DRAWBACKS

Genre

This song doesn’t cause that much excitement or make the listener very upbeat or gung ho about it, mainly because it arrives at a time when there is already a recent overdose and overkill of traditional Punjabi songs by Himesh like Tu Kamaal Di Kodi and Title Trax from Son Of Sardaar, and Tu Hoor Pari from Khiladi 786. Therefore, the listener gets a strong déjà-vu feel of heard this kind of sound umpteen times before which makes it an uninspiring stereotype song. One wonders that there was no other genre that could be considered for this song, or that it was tailor made on the specific demands of the film's makers. Therefore, the song takes a beating in selection of ‘genre’ which works against its favor, and looking at the theme and backdrop of film which is a contrast, it seems that this song was just added to enhance the ‘mass’ factor.

The caliber of this song is of that which would perhaps even find difficulty to slot at number 3-5 in a usual benchmark Himesh album. For a composer who has great musical track record with Akshay Kumar and gave chartbuster like Tum Saanson Mein in Humko Deewana Kar Gaye and terrific Sufi Rwak composition Kola Laka Vellari in Welcome as a guest composer, this song doesn’t really do justice to an Akshay Kumar starrer film or to the legacy of the Himesh-Akki musical combo, whereby a lot more was desired and expected. In this regard, it is a disappointment and let down with regards to listeners initial high expectations based on their past associations. 

CONCLUSION

It is a happy-go-lucky fun filled rhythmic peppy song that can be played at wedding celebration festivities (especially the Punjabi ones) to shake a leg and lighten up the mood.

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